TAMIL LITERATURE

M.S.Purnalingam Pillai B.A., L.T.

Emeritus Professor of English

Tamil University Reprint

Thanjavur, 1985
Original 1929
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TAMIL LITERATURE .
(Revised and Enlarged)

BY
M. S, PURNALINGAM PILLAI, B.a., LT.
Emeritus Professor of English,
Bishep Heber College, Trichinopoly, Author of ‘Tamil India’,
‘Ravana the Great’, ‘Critical Studles in Kural’,
“St. Manickavasakar: His Life and Teachings’, etc.

PUBLISHED BY
THE BIBLIOTHECA, MUNNIRPALLAM,
Tinnevelly Dt,, South India.
88. 5, PURNALINGAM PILLAI, 8.a., L.
BORN May 1866.
 CONTENTS

Foreword, Dedication, Scheme of Lectures நற. ஈர xiii

Introdust ion. Tamil Literatur e, Classific ation, Tamilar,
Tamilaham, Tamil Kingdoms. Periods... pp. 1—12
Part I
Ancient or Classical Literature. pp. 18—109, The Age of
he Sangam, oe pp. 13—18
Section I. Agasthiar , Tolkappia r, Tholkapp iam, Gram-
mars, Thersiar. Pony pp. 19—30
Section II, Patthuppattu or Ton Layls. Nakkiror, Mam-
kudi Maruthanar, Mudathamakanniar, Rudran Kannanar, Nat-
tathanar, Perumkousikanar, Kapilar, Napputhanar, Dates of
மேடி oe pp. 30—53
Section III. Ettut-thokai, Nattinai, Kurumthokai, Aynkn-
runura, Pathittuppatthu, Paripadal, Kalitthokai, Abananuru,
Pura-nanura, ae pp. 54—67
Section IV. Pathi-no n-kil-ka nakku, Naladyar , Nanmani-
kadaikei, Kar-narp athu, Kalavali -narpath a, Iniathu- narpathu ,
Tnna-narpathu, Ayn-thinei, Tirak-kural, Thiri-kadukam, Asara-
kovai, Pala-moli, Siru-pancha-mulam; Muthu-moli-kanchi,
Elsthi, Innilai-keinilai. ae Ep. 68-83
Section V. Some Sangam Poets. Thiruvalluvar, his bro-
thers, Athikaman, Kapilar, bis sisters—Auvai I etc,, Auvai II,
Bt. Thirumulsr, Karaixel Ammai, Ideikkadar, Kalladar, Iraiya-
nar, Perum-thevanar, Kakkai-padiniyar, Pal-keppianar, Pal-
kayanar. vee pp. 883—~104
Seotion VI. Women-poets,or Poptesses. pp. 105—9.
Part 1
The Age of Buddhists and Jains pp. 111-152
Introduction. Leading Doctrines pp: 1124
 iv

Section Z. Pancha-kaviyams—Manimekalai, Silappadbi-

karam, Jivaka-chintamani, Kundalakesi, Valaiyapatih, Perum-
kathai. wee pp, 114—41
Section IZ. Minor Works, Nilakesi, Sulamani, Uthaya-
nan-kathai, Sothara-kaviyam. on pp. 142—8
Section III, Vamanachryar, Thivakarar, Pingalar, 145—8
Section ZV. Kalladam, Iyanar-Ithanar. pp 149-52
Part Hi
The Age of Religious Revival றற. 354-818
Introduction, pp 154-6
Section I. The Four Saiva Acharyas, Panniru Thirumurais,
St. Manickavasakar, St. Appar, St. Jnana Sambanthar, St,
Sundarar. oe pp. 156—181
Section II. The Twelve Alwars. Introduction, Thea Four
Thousatd Psalms, The First Alwars, Thirumalisaiy Nammalvars
Matburakavi, Kulasckara-perumal, Periyaivar, Andal. Thonda-
radippodi, Thiruppan-Alwar, Thirumangai-Alwar. pp. 181-95
Section 1/2, Cheraman-peruman, Thiru-Isaipps, Patti«
natthar Patthira-ghiriar, Nambi-andar-nambi, Sekkilar, Kacehi-
appa:sivachariar, = 196-208
Section IV, Narkaviraya Nambi, Kunasakarar, Amirtha-
sakarar, St- Pavananthi, Puttha-mittbirar, Kaua-vire pandithar,
es pp. 808-218
Part IV
The Age of Literary Revival 800—1400 A, D, pp. 213-66
Iniroduction: oe நற. 2192-5
Seotion I, The Great Trio, Introduction, Kamban, Puha-
lendi, Ottakkutthan: pp: 215-42
 v

Section II, Saiva Siddhants, Saatras. Introduction,

Woyyavantha-thevanar, Manavasskarm-kedantha Thever, Mei-
kanda Thevar, Arulnanthi-Sivachariver, Marai-Juana-Samban-
@har, Umapathi-sivachariar. ave pp. 242—55
Section III. Commentators, Introduction, Dampurnar,
Perasiriar, Sena-varaiyar, Naccbinarkiniyar, Adiyarkunallar,
Pari-mel-Alakar, A comparative estimate pp. 265—9
Section IV. Parani, Jayam-kondan, Kutthsnkavi Sakra-
varthi, Thandi-asiriyar ae pp. 259—62
Section V. Tho Highteen Siddhara. {ntreduction. The
Siddha School on pp: 262—6

Part V
The Age of Mutis or Matams (1360~1600 A. D)
a pp- 267—826
Introduction ask ம. 268
Section I The Lesser Trio (1450-1600) Kalamekam,
Athi-mathura-kavi, Irattayar = pp 268—75
Section JI. King-Posts. Niramba-Alakia-Thesikar, Athi-
virarama Pandiyan, Verathunga Pandiyan; Criticism
“ pp. 276—8
Seotion III, Villi and Aranaghivi ... pp. 27 }—82
Section IV. Minor-Poets- Param-Jothi, Poyya-moli-pulavar,
Virak-kavicoyar, Mandsla~purudar, Avasa-kesari, Vita raghava
Madeliar exe pp. 282—291
Section V. Thiruvavaduthurai- Namachivaya Thesikar,
Dacchanamurthi, Ambalavana Thesiker, Teana Thesiker,
Sankara Namachivayar, Velappa Thestkar, Sivea-Jnana-
Munivar, Pandara Sastras ae pp: 291~-8
 vi

Section VI. Dharmapuram. Introduction, Kumarakaru-

parar, Velli-ambaia-thambiran, Sambantha Saranalays Swami,
Vaithianatha Navalar: Arumuga Thambirans pp. 297—8
Seotion VII. Thtru-Annamalat; Introduction, Kukai-
Namachivayar, Arumuka Swami, Siva-Jnana-Swami p- 299

Seotion VIII. Surtyanar Koil... ந. 800

Section IX- Thiru-mangalam- Vira Saiva mutt, Siva-

prakasar, Velaya Desikar, Karunai-prakasar pp. 300303

Seotion X. Philosophers. Thatthuvaroyar, Thayumanavar,

Kannudaya Vallal, Santhalinga Thesikar pp. 304—309

Section XI, 17th and 18th centuries,—Pillaiperamal

Aiyangar, Hilappa Navalar, Hari Thasar, Apirami Pattar,
Padikkasu Palavar, Nalla Pillai, Kadikaimutthu Pulavar.
Kalimutthu, Rajappa Kaviroyar, Vadamalaiyappa Pillayan,
Arunachala Kaviroyar oe pp, 809—315
Seotion XII. Miscellaneous. 51 poets: pp. 315—23
Section XIII, Mahomedan Poets. Introduction, Sakkarat,
Vannakalanji, Aliyar, Nayina Mahomed, Umaru, Masthan Sahib,
Golam Khadir. wee pp. 323-6.
Part VI
The Age of Huropean Cutture (1700—1926)—75. pp, 327
Introduction. Zeigenbalg, De Nobili, Beschi- நற, 826-880

Sestion I. Old School, Oppilamani-pulavar, Visaka peru-

mal Iyer; Saravanai-perumal Iyer, Anantha-bharathi Aiyengar,
Minakshisundaram Pillai, Ramalinga Swami, Arumuka Navalar,
Mahalinga Iyer, Thevaraja Piliai, Chandrasekara Kaviroyars
 vii

Ramanuja Kaviroyar, Anandha Kutthar, H. A- Krishna Pillai,

Somasundara-nayagar, Pakali-kutthar, Vedaghiri Mudaliar,
ave pp. 331—41
Seotion 1Z, New School. Vedanayakam Pillai, Ranga-
natha Mudeliar, Thamotharam Pillai, P, Sundaram Pillai.
aoe 342-62
Section 171. The Drama co pp» 362—67
Section IV. The Novel we pp. 367—68
Section V. Tho Journal we pp. 368-69
Section VI. The Jaffna School... pp. 369—73

Appendix
I Seiect Works ee pp- 375—80
11 Poets Alphabetically Arranged ... pp. 881-95
IIT M. A+ Questions oe pp, 396—424
Index oe pp: 425—41
Bibliogrephy we pp» 442—46
Errata et Corrigenda. ee p. 447
 Foreword

This edition of the Primer of Tamil literature in antique

paper contains much new matter and ia in smaller type and
counts more than double the number of pagesin the previous
edition. It is thoroughly revised and brought up to date and
is provided with a full Index, with a complete Bibliography,
and with select M. A. questions on Tamil language and litera-
ture useful to candidates preparing for University examinations
on the subject. It has, in addition, a scheme of public leetures
prepared by the author to be delivered im 1926 under the
auspices of the Madras University.
The story of Tamil literature is unfortunately little known
tothe Tamil people themselves. Writers on Ancient India,
both Indian and European, make no mention of ancient South
India and its literature, because they know next to nothing of
the vast literature of that ancient land. In his Tamtl Indéa the
author has tried to open and direct the eyes of orientalists to
the buried treasures of the Tamil continent in religion, ethics,
philosophy, history, civics, sciences and arts. No History of
India oan be complete without an adequate treatment of the
history of South India founded on the firsthand knowledge of
Tamil poems, This book on Tamil Literature: the only book
of the kind in English even after the lapse of five and twenty
years since its first publication in 1904, will, it is hoped,
«discover to the future historian what Tamil books he ought
to study for a full account of the ancient Tamilaham and its
oceanic literature and for a full knowledge of the culture end
civilisation of the Tamils long before the emergence of the
cloud-clad Himalayas from the north-sea bottom, or muck
prior to the first exodus of the Aryans southward, across the
sandy deserts and wild woodlands that had sprung into
(viii)
existence after the divergencs of the sea north of the Vindbia
Mountains.
This revised and eularged edition of Tamil Literature was
in the press for over a twelvemonth despite the earnestness
‘and vigilance of the printer to bring it out earlier, It illus-
trates the inevitable delays and difficulties of the local press
run without type-foundries and without good paper-stores,
A quarter of a century ago the author of this treatise had
announced the preparation of a History of Tamil Literature
in two volumes. That announcement to the democracy of
letters could not be carried out owing to vicissitudes in his
pedagogic sarees, which not only afforded him no rest or peace
of mind for a long time but deprived him of the wherewithal
necessary for the publication of a big tome, The few hours
that he could spare from the turmoils of life were devoted to
the writing and publication of small books of research, as
Tamil India, Ravana the Great-King of Lanka, St. Mantcka-
vasakar: His Life and Teachings, Critical Studics in Kural,
etc. The author has passed his Grand Climacteric, and for
him tc write and publish hereafter a History of Tamil
Literature in two volumes at his own cost and without
adequate pecuniary support from woell-to-do individuals or
societies is hope beyond hope.
For this reason the Tamil Literatare Primer was much
enlarged with fresh matter, and whatever could be added to
make it more useful and attractive was freely indented on.
Its price has been increased to meet the higher post-war
demands of the printer, the stationer and the binder. The
author hopes that this new, enlarged and improved edition
will, to a certain extent, take the place of the projected two-
volumed History and meet with generous welcome at the
hands of all students, lovers, and admirers of Tamil language
and literature:
AvausT 24, 1929,
 DEDICATION
V. சே Susryanarayana Sasval, B. A.

A sincere friend and colleague true

Who worked a decace hard and grew
In fame as teacher great, and bright
In making noble verse outright,
In playing parts in dramas writ
By him ang framing rules to fit,
Till snatch’d away in flush of life
And mourn’d by darlings three and wife,
By kith and kin and scholars twelve
Knit well to him by bonds of love
For teaching old Tamil classics high;
To such a friend belov’d do I
This book dedicate enlarg’d, but late,
Since long detach’d by cruel fate.

(x)
 A Scheme of Public Lectures prepared
by the Author
to be delivered in 1926 under the auspices
of the Madras University.
oe

Lecture I
Navalan Theeva—Kumari Kandam—Tamil-Aham, The
first Deluge and Diepersion—Ancient Madura Submerged—The
Tamil Seriptures—Lanka sundered.
Lecture II
Kapadapuram, Mutthur, and Ramayana—The Second
Deluge and ODispersion—Manalur (Madura)—Kudal—The
Island becoming a Peninsula—Thara Desert—The Himalaya
Emergence—Aryan colonisation—Agastyar’s Exodus south-
ward—The Grammatical Compromise.
Lecture IT

Tholkappiam—Tamil Sociology, Economy, . Psychology,

Ethics, Politics, Philology, Prosody, Commentators.
Lecture IV
Terukkural—An Ethical Code— Universal—The Ethics of
the Householder, the Ascetic—the State (Sovereign Minister,
Ambassador, Spy. Taxation, Council; etc/)—The Sex-Relation-
Bthios in general—Commentators.
Leeture V
Anthologies—Vallals, Poeta and Postesses—The First
Interregnums
(xi)
 xi

Lecture VI
The Aryan and Tamilian Religious Compromise—Vaidike
Saivam and Vira Saivam—Baddbism and Jainism--Devaram
and Nalayira Prabandam, Tiravasakam,
Lecture VIE
The Jains and Tamil Literature—Epic, Dramatic, Lyric,
Didactic—Narrative—Grammar and Lexicon,
Lecture VIII
Sanskrit Influence—Kamban and his successors—TFrans-
lations—Puranas—Vedantic works etc.
Lecture IX
Saiva Abhamas—Satva Siddhantha-—Saint Meikandan and
his disciples—Saint Ramanuja and his missionary work,
Lectare X
Sekhilar and Pertya Puranam—Bharatham—Perundeva-
nat, Villi and Nalla Pillair
Lecture Xf

Tamil Mutts as centres of learning and piety—Thiruva-

vaduthurai—Dharmapuram ote» Pandara Literature, The
Second Interregnum.
Lecture XIE
The Vedanta-Siddhanta Philosophie Compromise, Saint
Thayumanavar, his contemporaries and followers,
Lecture XII
Siddhars—Their Philosophy, Medicine—the Siddhar
achool versus Ayurvedic school_Surgery—Tamil Astronomy
and Astrology—thelr popular works.
 xiii

Lecture XIV

Foreign Influenee—(a) Muhamedans, Islam and its

influence, Muhamedan poets~(b) European and American—
Zeigenbalg, Robert De Nobili, Beschi (Veeramamuni), Rhenius-
Rottler- Winslow—Rev, Dr. Caldwell—Revd: Bower—Rev. Dr.
Pope ;—Taylor, Ward, Percival, Drew, Ellis—Stokes—
Hoysington &o. Translations into English—Loxicon—Original
works—Verse and prose.
Lecture XV

Renaissance in Tamil Literature—Editions of old Tamil

Classics by Tamilars and Anglo-Indian Pioneers—Ths Drama
—(Prof. Sundram Pillai), The Novel—(Munsiff Vedanayagam
Pillai); the Essay, (Ramalingaswamy)—Translations into Tamil
-—Imitations—Modern Tami! Sangams.
 TAMIL LITERATURE

INTRODUCTION

ந்‌, Tamil Literature.—The literature of the Tamil

race is a record in suitable form and language of its emotions,
thoughts and volitions, and of its observations, ideas and
actions. It is ancient, vast and essentially moral and
religious. Its antiquity may best be inferred from the fact
that its most flourishing period or palmy era was at least two
thousand years ago. Its vastness will be evident when we
count the number of literary works extant and take into con-
sideration the volumes swept away by the floods from Madura
and Kavatapuram, Its essentially moral and religious character
can be made out if we reckon the number of didactic and
sacred volumes after eliminating the medical, lexicographical
and astrological works from any catalogue of Tamil books.
In ancient times the influence of Aryam on Tamil vocabulary
was not perceptible, and Tamil literature maintained its in-
dependence. The Buddhists arrested for atime the aggres-
sive nature of Aryam, but their check was overborne by the
Jains, who, great scholars as they were, copied from that
language its models, and introduced foreign words freely in
their Tamil works. It was they who vehemently put down
the composition of lyrical and dramatic works in Tamil on
the plea that they tended to stir up sensual pleasures. Barring
this, their influence on Tamil literature was noteworthy.
These puritans cultivated Natural. or poetical Tamil to a
large extent and have left a rich legacy of epics and didactic
poems. After the decline and fall of the Jain influence, the
124
2 TAMIL LITERATURE

triumphant growth of the Vaidik Sivaism and the development

of Vaiskwavism, which inspirited the Nayanmars and Alwars
respectively, added many a religious work to the stock of
Tamil literature. The revival of Saiva Siddhantam by St.
Meikandan and his disciples enriched the religious philosophy
in Tamil. Later, the Aryan classics were freely rendered
into Tamil, and Tamil puranams, modelled or Mabatmyams,
came to be written replete with hyperbolical conceits and
verbal jugglery of diverse kinds, In recent times Tamil
authors have begun to imbibe western culture and enrich
their own literature with poetical and prose writings based
on European models. In this way Tamil literature has
commenced a new era, and its future development is expected
to be great. Love and war formed the themes of the ancient
classics, and religion and philosophy of the mediaeval poems,
as science and humanity predominate in the modern writings.

2. Classification—-Tamil literature falls into three

great divisions: /yal (poetry), /:us (music) and Natakam
(drama). The second and third sections have no representative
works extant after the two great deluges, though their names
have survived them. Isai Nunukkam, Perundrai, Perum-
kuruku, Indra-kaliyam, Pancha-marapu etc were on Isai,
while Muruval, Sayantham. Seyittyam, Guna Nool, Mathi-
vanam etc treat of Natakam.
Isai-Nunukkam was composed by Sikandi, in venba
metre, in compliance with the request of Sara-kumaran atias
Sayantha-kumaran.
Indra-Kéliyam, by Yamalendran, was much used by
Adyarku-nallar.
Pancha-magapu, by Arivanar, was extant in the days of
Adyarku-nallar.
 INTRODUCTION 8

Seyittiam, by Seyittianar, is remembered for a few sutras

quoted ‘by commentators,
Guna-Nool, by an unknown author, is not forgotten by
reason of a few verses extant.
Sayantham is also on drama, and only a few stanzas of it
are available.
Mathwanir, a Nataka Tamil-Nool, by Mathivanar, a
Pandyan ruler, in sutras and venba metres, was of great service
to the commentator Adyarku-nallar.
The first division, Iyal, was treated under two heads,
Yakkanam and Ilakkiam. The first, which is the art of
correct and elegant writing, comprises all works on grammar,
including logic, rhetoric, and prosody. The rules of grammar
have been deduced from the best classics. Ilakkiyam, a
general term for all well-written works, includes all approved
poetical compositions, whether original or translated, con-
structed on the rules laid down in Nakkanam. Iakkanam is
treated under five heads. The section on Letters constitutes
that part of grammar which deals with the number, name,
order, origin, form, quantity and combination of letters, with
their initials, medials, and substitutes. The section on Words
treats of the four parts of speech, namely, noun, verb,
particles, and adjectives. This includes etymology and
syntax. The third section is Matter; or the mode in which,
by writing words, a discourse is formed. This section treats
of amplification, of the passions and affections of the mind
which act internally on man, and of things belonging to the
external world, The section on Versification contains the
laws of prosody. The fifth on Embellishment corresponds to
the European rhetoric. The Tamil grammar is independent
of other tongues and more ancient, and the most famous of the
post—diluvian times are Agatthiar’s, which are lost;
4 TAMIL LITERATURE

Tholkappiam ; and Nannul, The Tamil Lexicons were made by

the Tamil Jains. Under the head of Iakkiyam, the Tamilar
have epic, lyric, ethic, dramatic, scientific and philosophic
Pieces: of these by far the most numerous are the ethic.
Mahabaratham and Ramayanam represent the epic; Naisha-
dam the lyric the poems of the Jain poets, of Valluvar, and
Auvai, the Dravidian Sappho, the ethic ; Silappathikaram, the
dramatic ; the works of Agasthiar and other siddhars the
scientific; and the Siddhanta works, the philosophic,
Pothiyaimalai, near cape Comorin, was the Parnassus of the
Tamil poets,

3. Tamilar.—The Tamils, or Tamilar, were certainly

the natives of the ancient Tamilaham ‘or Lemuria,’ a
continent in the Indian Ocean about the equator லம்‌.
merged a hundred centuries ago, The theories that they
came from the Tibetan plateau or from Elam between
the Tigris and the Euphrates, are all conjectural and exploded.
After the submergence of Tamilaham, they advanced north.
ward, subdued the aboriginal Naga tribes of Maravar, Eyinar,
Vedar, Oliyar, Oviyar, Aruvalar, and Parathavar. Among the
Tamils, the three most marked tribes, Marar (Minavar),
Thirayar, and Viinavar, are said to have founded the Pandya,
Chola and Chera kingdoms respectively, This theory too was
exploded, The ruler of the ancient Tamil country was Pandya,
so called because it was an ancient land, The members
of his family separated in course of time and occupied the
adjacent or chera land and the eastern coast or chola territory.
Thus the three kingdoms were Tamil kingdoms. The
‘amils were adventurous, and hospitable and tolerant in
Teligion. They were civilised, and polished: and they had towns
and forts, andarms and weapons, and drove a roaring trade,
Unlike the migratory Aryans who were polytheistic in religion,
 INTRODUCTION 5
who dwelt by the river side, and offered animal sacrifices, the
rationalistic Tamilar preferred mountain homes, were mono-
theists, and worshipped God with flowers and incense,
symbolic of the heart and its melting. The Tamilar
were of Eight Classes: Arivar, Ulavar. Ayar, Vedduvar,
Kannalar, Padaiadchier, Valayar,and Pulayar. The Arévar,
a small band of ascetics, knew the past, present and future,
were consulted on ceremonial occasions and lived outside the
towns. ‘he Ulavar or farmers were next in rank. Called also
Vellatar and Karalar or lords of the floods and seasons, they
formed the landed aristocracy of the country. The third
in rank were the .Ayar or shepherds. Next to them
were Véiduvar or hunters. ‘Ihe fourth class consisted
of smiths of all kinds, 4 adatadchier were armed men
and formed the military class, The last two classes were
fishermen and tanners respectively. The iron-bound caste
system, Brahmin, Khsatrya, Vaisia and Sudra, was purely
Aryan, and the Aryans ruthlessly foisted it on the familar.
Tholkappiar refers to Arivar, Ayar, and Vedduvar, but
makes no mention of them in his chapter on marapu. He speaks
of Anthanar, Araser, Vanikar, and Vellalar, as four chief guilds.
From this it sill be apparent that the Aryans, soon after
their commingling with the Tamilar, first in the Panjab and
-then in the Gangetic basin, set to destroy the original class
system, but could not consistently redistribute the classes into
their fourfold caste, ‘Lhanks to the spread of western culture,
the caste system is slowly losing its rigour and bids fair to
die, thougha hard death. On its dissolution the old class
system, based on individual worth, work, or wealth, is likely
to rear its head and will make for the progress of the Tamilian
race.
The Tamilar are knowo as the - Greeks” of the ‘Scots’
of the East, owninga language noted for its liaked sweetness,
 6 TAMIL LITERATURE

independence and incorruptibility, a literature as vast and as

old as the hills, anda civilisation which derided the Aryans
as Mlechas, They had nan-morats or ‘ four scriptures’ viz
Powdigam (Powliam) {hai thiryam, Talavakaram (Chandosam)
and Samam,* which, excepting the first, form three of the oldest
upanishads, and which are long anterior to the three Vedas
(trayi) themselves and their Gods}. Though the nan-marais
had found a watery grave, their doctrines and their forms of
worship survived the Deluges in the minds of stray bands of
survivors for long, till the Sanskrit Vedas, reduced to writing,
prevailed under peculiar historical cyclic circumstances during
the rule of the Aryan monarchs in the South, when the priests
held undisputed sway over them and, ergo, over the peoples
subject to those monarchs. ‘the Tamilar worshipped Siva the
Supreme Being or Mulu Muthal, under the Nadu-thari.
Eanthu, or planted wooden or stone Zinga (pillar) form, washing
it with pure water, decorating it with fresh flowers, and
reciting verses from their Marais or Scriptures, and had no
intermediary priest between them.
4. Tamilaham, or the ancient Tamil Country, was
the submergéd continent of Lemuria in the Indian Ocean on
both sides of the equator. In his History of Creation Vol. II

© Vide Tirumongai Alwar's Peria Tiramoli V, V.9 and VII vii, 9.

Amare Simbnn, author of the Amara Kosa, speaks only of three Vedas,
and Simban’s age has been fixed as 500 A D. It should be noted that
threo of the nan-maraia came to be classed or grouped under the oldest
Uponishads, because their teachings are diametrically opposed to the
contents of the Vedas, in the conception of the Godhead and in the mode
of worshipping Him.
{ The three Vedas in Sanskrit wore refashioned into four by the
Sage Vyasa. \ide Tholkappiam, Blutha, Sirappu Payiram, Nachinare
kiniar’s Commentary, p 10, para 2 ‘Vyasa! was s totm used to denote the
state historiographer. 748௪ கூர்மபுசாணம்‌, வியாசர்‌ வரலாத்று கோஜ்௩ூ,
 INTRODUCTION 7

pp 325-6 and Vol, I. 361, amd in the Pedigree of Mam pp.173,

80-1, Prof. Haeckal assures us that the Indian Ocean formed
a continent which extended from the Sunda Islands, along the
coast of Asia, to the east coast of Africa, and which is of great
importance as having been the cradle of the human race. Sur
Walter Raleigh’s History of the World (page 99) strongly sup-
ports the hypothesis regarding the first nursery of man, and
affirms that “India was the first planted and peopled country
after flood.” The Seiznce of Man, Australia, for Decem-
ber 1900, contains the statement, ‘ The locality of the origin of
the earliest race from the most recent researches appears to have
been on lands now submerged beneath the Indian Ocean.’
‘Yopinard is of opinion that Southern India did not in olden
time form part of Asia. In 1897 Sir John Evans, in his
presidential address to the British Association, referred to
Southern India as the probable cradle of the human race,
(Vide Science of Man, August, 1901). Dr. Maclean, author of
the Manual of the Madras Presidency, writes to the same
effect An account of the Lost Lemuria by Scott, Elliott, pp
23, 30, and 38 will be found instructive and interesting and
confirmatory of the original abode of man in the Southern
ocean, In Peoples and Problems of India, Sir T. W. Holder-
ness K, C. 8. I writes, chapter I page 23: “Peninsular India
or the Deccan (literally the country of the south) is geologi-
cally distinct from the Indo-Gangetic plain and Himalaya,
It is the remains of a former continent which stretched
continuously to Africa in the space now occupied by the Indian
Ocean. ‘The rocks of which it is formed are among the oldest
in the world and show no traces of having ever been submerged.
In many parts they are overlaid by sheets of black ‘trap’ rock
or basalt which once flovved over them as molten lava. In the
Deccan we are therefore in the first days of the world, wz see
land substantially as it existed before the bevinnings of life.
8 TAMIL LITERATURE

The Indo-Gangetic plain stretches without a break from the

Indus on the west to the delta of the Ganges on the east, a
distance of twelve hundred milés When the world was still
in the making and before the elevation of the Himalaya, the
space now occupied by the plain wasasea, The southern
shore of this sea was what is now Peninsular India. With the
rise of the Himalaya, the sea disappeared.” ‘This confirms
the Tamil tradition that the land south of the Vindhia Hill
was an island, called Navalan Deevu, and that Tamilaham was
a \ast continent bordering on Africa in the west, on Australia
in the South, and touching Kamaschatka far in the east.
Tamilaham was in existence 15,000 yearsago Ancient Madura
and Kavatapurain or Mutthoor were the capitals of the Pandya
kingdom, Lanka was a portion of the old continent. When
the first Deluge took place, it was sundered from the main land,
Valmiki’s accounts of Kavadapuram and Lanka defy the des-
criptions given of ancient Rome or the pyramids of Egypt.
The great |amil commentators, Adyarkunallar, Silappathikaram
pp 265-6, 197-8), Nachinarkiniar( holkappiam, Porul, p 809),
Mampurnar (Cholkappiam, Eluthu, p 4), Nilakandanar, editor
of Nakirar’s gloss upon Trayanar’s Ahapporul, (p 5) speak of
the submergence of the rivers Kumari ane Pahruli in
Tamilaham. Archaeologists point out the infiuence of Lamjl
on the languages spoken in distant lands. Sir W. W. Hunter,
History of-India, p. 8, says that the language spoken at Kamas-
chatka at the North-East corner of Asia is considered by
eminent authorities to be a dialect of Tamil In the Indian
Antiquary, Vol. X., pp 46—7, we find that the language spoken
by the Maories in the far-off New Zealand which forms the
ultima thule of the 700 Kathams of the Tamil land from Cape
Comorin referred to m the Silappathikaram and the languages
spoken by the inhabitants of the numerous groups of islands
between these two boundaries are similarly akin to Tamil.
 INTRODUCTION 9

After the submergence of the original Tamilaham and tk?

emergence of the Himalaya, the land lying between the latt-f
and Cape Comorin became one, and has now come to be known
as India The Jamil warriors then spread their conquests as
far as the Himalaya and established their kingdoms there.
The adventurous Tamils who had escaped the floods in their
boats seem to have founded colonies in Africa and Europe and
proceeded to the farthest west as America, Scholars have
found out that the language spoken at Tuscany in Italy isa
dialect of Tamil, ‘The three classical languages of the world,
viz, Sanskrit, Hebrew,and Greek contain 1amil words in their
vocabularies, Mr. Ramakrishna Pillai has, in a series of
papers contributed to the Madras Christian College Magazine,
pointed out points of similarity between the Tamils and the
Scots in ther language, polity, customs and manners; A
retited officer of the Madras Government is tracing out the
identity of the Scandinavian and other European myths with
those of the Tamilians, These and many other researches are _
likely to prove that the Tamilaham was the cradle of ‘he whole
human race.
In later times the Tamilaham comprised the three Ta
kingdoms, and, frst of all, the kingdom of Pandya, which the
Tamil poets have called ‘the sen Tamil land.’ According to
the old commentators it included twelve xadus or provinces,
besides Pandi. They were Thenpandi, Kuddam, Kudam,
Karka, Ven, Pooli, Panri, Aruva, Aruva North, Cheetham,
Maladu, and Punanadu. Of these the seventh to the eleventh
(both inclusive) were provinces in which impure or incorrect
Tamil was spoken. Besides the three great kingdoms that
patronised Tamil learning in their capitals Madura, Urayoor,
and Vanchi, there were other provinces subject to them, where
the Tamil bards had patrons. Nanjilnad had a patron
in Porunan; Mahoor in Palayan Maran: both were
 10 TAMIL LITERATURE

principal chieftains who owed allegiance to the Pandyan

king. Feudatory to the Chola were Thirayan of Kanchi,
Pull and Atbanungan of Venkadam, Malayaman Kari
of Maladu and Mullur, Ma-vel-Evvi of Mailai-kurram,
and Nannan of Chenkanma in the valley of the Cheyyar.
Alumbil, Kuthiraimalai, Pali, and Thakadur paid tribute
to the Chera king At present the lamilaham is wherever
the adventurous Tamilar settle for trade and commerce
and cultivate Tamil, viz, Africa, the Madagascar, the Mauri
tius, America, Ceylon, and some islands in the Pacific Ocean.

5. The Tamil Kingdoms,—The Pandia, Chola

and Chera kingdoms are known as the three great Tamil
Kingdoms, Thondaimandalam was of a later date. Their
boundaries, which varied at different times, were in Auvai’s
time as follow :

i, The Pandian Kingdom.—Avvai, I] a contem-

porary of Kamban, defined its extent thus :

வெள்ளாத்தின்‌ தெற்கு மேற்குப்‌ பெருவெளியாம்‌

தெள்ளாம்‌ புனற்மன்னி தெற்காகும்‌--உள்ளான்‌
ஆய்ந்த சடத்ிழச சன்பத்‌ தறுகாதம்‌
பாண்டிகாட்‌ டெல்கைப்‌ பதி.
(South of the river Vellar, Comorin on the south, the sea
sought by the gull on the east, and open plain on the west
comprising 56 kavathams.]

‘The Vellar passes through the state of Pudukota and falls

into the sea, south of Point Calmere. Peruveli or Peruvali
probably reiersto the Achan Koil ghaut leading to Travancore.
 INTRODUCTION 11

ii. The Chola Kingdom.—Puhalendhi, a later poet,

described it in this wise :

கடல்கிழக்கு தெற்கு சமைபுரளும்‌ வெள்ளாறு

குடதிசைக்குச்‌ கோட்டைச்‌ சரையாம்‌--வட இசைக்கு
ஈழ மேதலா யிருபத்து காற்காசஞ்‌
சோழகாட்‌ டெல்கையெனச்‌ சொல்‌.
[The sea to the east, the overflowing Vellar tothe south,
Kottaikarai to the west, and Elam to the north covering 24
kavathams]

Kottaikarai was the boundary 6f the three kingdoms,

The Chola Kings were great warriors and extended their
country to Vemkata or the hot hill and to the Pennar. It was
in extent just a half of the Pandyan Kingdom.

iii. The Chera Kingdom.—Avvai has given its

boundaries as follows:

ase s soiuyerl arcrO@piGs QeaCar@

குடதிசைக்குக்‌ கோழிக்‌ கூடாகும்‌--கடத்கரையி
Ceorog தெற்காகு மோரெண்‌ பதின்கா,தஞ்‌
சே2 எட்‌ டெல்கையெனச்‌ செப்பு

{The northernmost point is Palni, right to the east is

Shencotta (Tenkast is another reading), to the west is Cali-
‘cut, the sea-shore on the south—extending over 80 kava»
thams}

Chencode is taken as Thiruchencode in the Salem District,

In point of extent it was as much as the other two put together.
1a TAMIL LITERATURE

iv. Thondaimanadalam.—According to Auvai, this

land covered 20 kavathams.
மேற்குப்‌ பவழமலை வேங்கட நேர்வடச்காம
HFG Gail யணி௫ழக்குச்‌--£ர்சளூயர்‌
தெற்ருப்‌ பினாகை இகழிரு பதின்சாச
கத்ரொண்டை காட்டெல்லை காட.
The eastern ghauts to the west, Venkatam to the north,
the sea-board to the east, the Pinikai or Cheyyar to the south,
covering in all 20 full kavathams.
Very often for administrative convenience a_ kingdom was
divided into two parts, one part directly under the eye of the
sovereign and the other under that of the Yuvaraj or some
royal kinsman. The split sometimes became permanent when
the kinsman waxed in power and influence. The Thondai
and Kongu mandalas seem to have taken their origin in this
manner.
6. Periods.—Tamil Literature falls into six Ages as
follows :—
I The Age of the Sangems—up to 100. A. D. It was
followed by a long period of tull, generally
known as the Dark Ages,
11 The Age of Buddhists and Jains—A. D. 100 ta
600. தற. 5
111 ‘he Age of Religious Revival—A. D 600 to 1100
AD.
IV The Age of Literary Revival—A. D. 1100 to 1400
A.D,
V_ The Age of Mutts—A. D, 1400 to 1700 A. D.
V1 The Age of European Culture—A. D. 1700 ta
1900 A. D,
 PART I

Ancient or

Classical Literature
Up to 100 A. D.
 I—THE AGE OF THE SANGAMS.
Up to 100 A, D.

1. Introduction.—The word ‘Sangam’, used by

Buddhists and Jains for a religious order or coterie, came to
supersede, on the score of its euphony, the expression ‘Kiittam’
which is Tamil, and the presence of poets of the Buddhist
or Jain persuasion in the third academy -held in modern
Madura accounts for it. Madura bears the name of Kadat,
for the reason that the poetic academy met there. ‘lhree
Sangams or Academies are alleged to have existed in the
Tamil country, longo intervallo, at three different periods doing
the work of literary censors. Their existence is challenged by
critical scholars, both Indian and European, on the ground
that the account is full of improbabilities and inconsistencies
and draws too much on the marvellous as it gives an incredi-
ble longevity to each poet and prince who had anything to do
with the Sangams. They believe that these Academies must
have been the figments of some poetic imagination akin to that
of Vallala Senan tn his Bhoja Prabandom, where Sanskrit
poets of totally different times—Kalidasa, Bharavi, Mahan,
Bhavabhuti, Bhana, Thandi, and others—are made to
assemble in the Court of King Bhoja and to pour forth
panegyrics on his devoted head. “It is of course opento
doubt", wrote Professor Sundram Pillai, «whether there
ever existed a regularly constituted body of pundits and poets,
which may be called a College in our modern sense of the
word ; but that a number of brilliant men of genius rose and
flourished soon after the memorable victory of Phalaé
Alamkdénam, and at intervals from one another so short that in
 ANCIENT OR CLASSICAL LITERATURE 16

the perspective of posterity they appear to have formed but

one grand galaxy — one single group or College —it would be
the height of scepticism to question”. The question of
their existence cannot be easily decided andl the researches of
the archeological society in South India bring to light facts
and materials enough to explain away the apparent improba-
bilities and contradictions. Till then the commentators’
account will stand and must be accepted cum grano salis, The
following venba of the Sangam age gives the number of the
syndics and poets of each Sangam.
“ஏழேழொ டைஞ்ஜூறு மேழே ழொபேஃதம்‌.
ஏழேழுஞ்‌ சங்க மிரீஇனார்‌--ஏழேழ்சேர்‌.
காத்பதினானூ௮ முப்பானேழ்‌ மாறு நானூத்று:
ஈரத்பதினொன்‌ பான்சவிஞர்‌ காடு 77.
2 The First Sangam.—It is said to have been
composed of 549 poets including Ahatthian, Siva, and Muruga,
and to have lasted 4440 years. The poems composed then are
known to us only by their names. They are furtpudyt,
Muthundrat, Muthu Kuruku, Kalariévtras, and others ‘Lhe
first Academy held its sittings in the ancient sea-sunk Madura,
during the reigns of eighty-nine kings from Kaisinavaluthi to
Kadum Kone, Its standard work was Ahatthiam, It is
contended that Ahathian is different from the. Aryan sage, and
nine Ahathians are alluded to in the ancient classics, After
the first two deluges that submerged Tamilaham, the sea north
of the Vindhia Hill dried up, and forests and sandy deserts
sprung up in its place. Agasthiar, the northern ascetic,
could not, therefore, be dreamt of in Tamilaham as a member
of the first or of the second academy. A great poet of the
Tamilaham or Ahatthian was perhaps the lode-star of the first
Sangam. The poets of this Sangam composed countless
 16 TAMIL LITERATURE

pari-padals, and all were extinct while those of the last were
only seventy, and form the fifth of the eight collections ct
Ettu-thokai. Vide section II] infra.
3. The Second (Middle) Sangam.—This met at
Ka(p)vadapuram or Alai-vai (g%evamis) or Vayiloor (4seart)
or Mutthur (qe greer¢), also submerged and washed away by
the enraged sea. It had 59 syndics and judged the poems
of 3700 poets, It lasted 3700 years, and its standard works
were Ahatthiam, Ma-purunam Isat-Nunukam and Bhutha-
puranom The works composed during the long period of
this Sangam exist only in their names. ‘They are Kuli,
Kurnkw Vendult, Violamuias etc. The sessions of this
Academy were held duting the reigns of 59 kings from
Ven-dare Chelian to Muda-thiru-Maran.

4 ‘The Third (Last) Sangam—This college

lasted 1850 years covering the reigns of 49 sovereigns from
the Lame Thiru Maran to Ugra Peruvaluthi. It consisted
of 49 members, and the poets who submitted their poems to
them for imprimir numbered 449. It included the northern
sage Agasthiar and his disciples. The names of the 49 syndic
members are believed to be preserved in the Garland of
Thiruvalluvar appended to his Kurr:l Perésas, Kurthu
இன்னை Vars, Patthuppartu (Ten Idyls), Mrtw-thokai (Eight
Collections), and Pahisnen-keet-knaku (Eighteen Minor
Didactics), besida number
es of other works not submitted
to the Sangam for approval, belong to this period Of the
first four of these hardly anything is known ‘he president
of this Academy seems to have been Nakkirar, and its
exunction is variously accounted for, Some ascribe it to
the presentation of Kurral and to the ill-treatment of poets
by the members of the Sangam in the plenitude of their
influence and conceit, as described in Oogs- Murs, A few
 ANCIENT OR CLASSICAL LITERATURE 17

trace it to the preponderance ol the Buddhist and Jain

influence ‘others to the recalcitrant Nakkirar, who -was cursed
by Siva; anda few others to thedestruction of Madura by
fire due to the wrath of Kannagi, the dear consort of Kovalan,
Of the numerous works of the third Sangam, AMuththolayiram
consists of three parts, each part having nine-hundred stanzas,
in venba mctre on the three great Tamil Kings, and the work
is remarkable for its diction and imagery. It treats of Aham.
A few stanzas have been culled from commentaries and
published separately in the Sen Tami) Magazine.
6, The three Sangams or societies of learned men, which
are considered as myths, by modern critics despite references
to them by St. Appar and St. Manikavasagar were followed,
Jongo intervallo, by a fourth anda fifth Sangam, though these
were not so famous as the first three. ‘Ihe fourth Sangam
lasted probably for 150 years (600—750.AD), the great lumin.
aries of which were probably Perum-Devanar, the writer of
several poetic prefaces to poems, and the authors of Naladiar,
and Tirumangai Alwar, who has used phrases as Sanga
Tauul and Sangamatha-Tamil, who probably lived then, The
fifth Sangam, held about 900 A. D.,. at Madura in the
time of Tiruthakka-Devar, was probably tbe offspring of
Poyyamoli Pulavar’s efforts. Sangams are said to have been
brought into existence in the Chola capitals at different times,
but they did not flourish, They depended on the good graces
of Chola sovereigns and their existence was ephemeral. The
new Madura Sangams collapsed perhaps on account of
dynastic changes and of the disturbances by Kalabras who
conquered the Pandya country in the sixth century (the
common word ‘Kaleparam’ meaning‘ confusion * owed its origin
to them). ‘The sixth Sangam, started by Sriman Pandi
‘Thorai, has outlived a quarter of a century, and will explain
why and how Sangams fade away,
18 TAMIL LITERATURE

‘The influence of the Sangams on Tamil literature was

very beneficial. The censors took great care to separate the
wheat from the fares among poetical compositions afd
preserved the dignity of the literature, They allowed no slang
or vulgar words to creep into the poems submitted for their
approval. Their rigid adherence to canons helped the pro-
duction of good and flawless poems, though they thereby
crushed poetic freedom and originality.
 Sec. I AGASTHIAB 19

SECTION I.
1. Agasthiar—Many are the legends associated
with the name of this renowned ascetic whose fame exercises &
peculiar charm over the minds and hearts of all lovers of Tamil.
‘Three of them stand foremost that relate to the supposed origin
and diffusion of Tamil language and literature, The first refers
to Agasthiar’s collision with the members of the Sanskrit
College at Benares and to his prayer to Candaswamy to teach
him a language, in some respects, better and sweeter than the
sacred Sanskrit To indicate that his prayer was granted the
house where the sage was, was, on a sudden, all perfume, and
the Swami ordered him to search a certain corner for it.
“igs heir hurried to the spot, opened a pack in the nook,
discovered, to his surprise, a heap of Cadjan volumes, and fell
out exclaiming Tamil ! Jamil! (sweet, sweet). Afterwards,
he took lessons from the Swamiand taught the same in the
South’ as Tamil Language.
A second account is to this effect. A ban:l of Aryas,
headed by Agasthéar in their exodus to the South, found famil
ina flourishing condition. Anxious to see their dear language,
Sanskrit, predominant in the land, they set themselves to put
down their rival and exterminate the Tamils, the natives of the
soil. Failing like the Saxons of the continent of Europe in
their endeavours to root out the ancient Celts and their Celtic
language altogether from Britain, they drove the Tamil-
speaking population to the southern part of the Peninsula.
There they happily found their congenial atmosphere and their
language had liberal patrons among its kings.
A third tradition runs as follows. Once upon a time
when all the Rishis and the celestial train had assembled
on the summit of the Himalayas to witness the splendid
celebration of Parvathi’s marnage, the Mount, groaning
20 TAMIL LITERATURE

under their weight, sank, causing the south to rise up. Then
to level it, it is said, Siva chose 4gas hior as the fittest person
and, preaching to him some visva mantras, sent him to the
Sandalwood Mount, He went thither, accomplished the feat,
and made the Mount his head-quarters and the fountain-head of
all Tamil learning.
In chapter XXIV of Vol. 1., on Ancient India, of the Cam-
bridge History of India, entitled the Early History of South
India by L. D, Barnett, sta.,0n p. 596 occurs the following
as afootnote: “The tradition that the Brahmin sage Agastya
led the first Aryan Colony to the Pothiya’ Hill and eeaed
Tamil literature probably arose in a later age, after the
Bralimin influences had gained the ascendant in the South,
en the basis of the legends in the Sanskrit epics ”
However fabulous and cov*iadtctory these accounts of the
origin of Tomil, it is bey:nd question that Agasthiar was
& godfather, rather foster-fa'ber of Tamil, though not !ts parent,
as Villiputurer says in bis Bharathim.
₹₹ அகத்‌ இயன்பயக்த. செஞ்சொலாரணக்கு 93.
Tt was certainly he that first brought Sanskrit grammar
and models to bear cn virgin Tamil, Agasthéar’s epoch and
history, apart frem his connection with: the Ssngams,
are Wrapped up in checurity. Nevertheless with the help of
the records saved from the ravages of white ents, we are able
to assert that the Iand of his birth was Arysvartha, the land
situated between tbe Himalayas and the Vindhya mountains;
tbat be was short in stature and was, therefore, called Kurs
Moni; thet he had by Lopomuthraé, daughter of a king of
Vitbarba country, prophet-son by name Sétthan; that, welle
versed in Sanskrit end Tamil, he possessed extensive knew-
ledge m theology, metaphysics, medicine and alchemy; that
his worka on these topics were many; that he wrote a
 8௦ | THOLKAPPIAR 21

Grammar, called Ahatthiam in two parts, which form the basis

of all extant treatises in Grammar; and that he had twelve
Grammar disciples, besidés one or more in medicine.
Passing over the two hundred and five medical works
falsely fathered on him, of which the chief are Vasthia kummé,
Gunavikadam, Vasthiastiram, Noyinsdram, Avilthasdram,
Senthuramurat, Amutha-kala-ghianam, Panchakavia Nikandu,
Kanmakandam, Purana Rutthiram and Sangu Sutthi, and
also his Sanskrit Ashtagam, which evinces his mastery in
theological lore and disguiation, we come to his Grammar in
two books, known as Per Ahatthiam and Sitr Ahatchiam,
which emb: died the rules and pointed out the characteristics of
Verse, Lyric, and the Drama in twelve thousand sutrams.
Though most of them have shared the ruins of time, a few have
been embalmed and treasured up to us by commentators on the
celebrated work Pholkappiam, and the verses quoted by them
and published by Dewan Bahadur Bhavanandam Pillai are on
the face of them spurious,
2. Tholkappiar. Called after his village Tholkap-
piakudi situated to the south of Madura, he was named by his
parents Therana Tumdkini, Deecended of Jamathakini Muni
of Brahmin extrastion, * he, of Agsathiar's twelve disciples,
devoted himse!f mostly to grammatical studies and turned out a
proficient in grammer. He wrote Tholkappiam, which exvitea
the jealousy of his master. He was the leading pupil of
Agastya, well-vered in Ayndrzm,
About nine Ahathiars are mentioned in Tamil works,
ine:uding the Tamil Muni. Abathiar was alsoone of the rishi-
editors of the Vedic slokas. Besides, one of the five munivarg
* Jamathakini, according to Vedic Bra, lived 8558 or 4000 years ago.
Agastiar’s twelve disciples were Tholkappiar, Athamkot Asar.
‘Vhuralingar, Sembootcheysi, Vaiapikan, Vaippinn, Fanambaranar,
Kalamrumpat, Avinayanar, Kekkaipddini, Nattatthar, and Vamonar,
22 TAMIL LITERATURE

to whom the Abamas were preached on the Mahendra Hill

situated to the south of the Pothia Hill was also an Agastya.
Tamil scholars of research fame are inclined to believe that a
number of Agathiars or inevitable poet-sages had existed and
consributed to Tami) literature prior to the advent of the Aryan
rishi in the southern peninsula, with 18 crores of Velirs or
ploughmen who overcame the Rakshas and placed Ravana
under the apell of his melodious songs. As regards his age, the
reference to him in Ramayxnam by Valmiki, that be was at
Potbia before Rama's entry into the forest, must be noted,
In Kiehkinda Canto, 41st Sarga, Sugriva is made the mouth-
piece of a few slokas which contain the royal command for
the quest of Sita and which make mention of the three Tamil
Kingdoms and of the great Tamil grammarian Agastya point to
his age some 4000 years ago though even this might appear
fabulous to historical and critical minds,
The difference between the master and the pupil bas
been accounted for by reference to quite another circum-
stance, When Agostbiar left the Himalayas for the Sandal-
wood Mount, be gave Thoikappiar an order to take his
(Agastbiar s) wife after him, he going in advance of her a four-
vod distance. Tholkappiar implicitly obeyed his master's
command till both be and his mistress reachad the Vaigai,
While crossing the river, a strong rapid current began to
sweep cff the lady, Then Thoikappisr, Jest he shou'd lose
her, opporiunely gave her a bamboo stick. She held it fast
and with is she got safely ashore. This incident of literal dis-
obedience on the part of his pupil so displeased the master
that he hurled anathemas on his head and eursed him that he
should never get to heaven nor attain bliss. Tholkappiar, put
out by his Guru's unreasoning indignation and his undreamed-
of eurses paid him inthe same coin. Agasthiar grew out of
temper and induced Athankotostriar, another grammar
scholar of his, tocutup Tholkapp'am and stand in the way of
 Sec, I THOLKEAPPIAM 23

ite recognition by the Assembly of «the Wise at Madura.

Athankotasiriar was in உறி. His position was delicate, for,
on the one hend, Tholkappiar was his kinsman, and, on the
other, Agasthiar was his master Thus he had to steer
between Scylla and Charybdis, In compliance with his
master’s request, he detected a few flawsin Tholkappiam and,
by doing so, made its merits spparent, which led to its
recognition by the Sangam: It must be voted that neither
Agastiar nor Tholkappiar wrote any original poem-

3 Tholkappiam, tbo Jife-work of its author, is in

three parts and ccunts 1612 sutras. it is the oldest extant
Tami! grammar, the name signifying ‘ ancient book’ or ‘the
preserver of ancient institutions’, It- was preceded by
centuries of literary culture, for it lxys down ru'es for different
kinds of poetical composition, deduced from examples furnished
by the Lest authors whose works had been in existence,

It trexts clearly and sysiematically of only one of the three

time-honored divisions of Tam], viz. Tyal or Natural Temil,
Tho three parts of it are Bluthu (Orthography), Sol (Etymology),
and Porul (Matter), cach with nine sections. It being the
fountain-head fzem which streams of Tamil grammar have
igsued. we give its contents in full and comment on each
part as briefly as possible,

1 Noon-marapu
9 Moli-marapa
3 Pirmppu Tyal
4 ‘unar | yal
1 Elutthu
(Orthography) 1516 ‘Phokai MarapuP
? Urupn Iyal
Uyur-mayangn Tyai
8 Palli-Mayangu lyal
9 Kuttya-lokava:Panar-Lyal,
24 TAMIL LITERATURE

{1 Kilavi-Akkam
Vetru-mai-Iyal

ae)
Vetru-mai-mayangu:Iyal
Vili-marapu,
II. Sol (Etymology). Peyar-lyal
Vinai-Iyal

அவ்வைகையையம்‌
Tdai-Iyal

Geren
Urri-Tyat
Eoba-lyal
Aba-thinai-Tyal
Para-thinai Iyai
ஜு மு வஹா

Kalava-lyal
shes

Karpu-Ival
311. Porul (Matter) Porul-Iyal
Meipattu-[yal
Uvama-lyal
Seyyul-Iyal
ஹெ

Marapu-Iyal
From tha foregoing it wil be evident that the auther
makes his third part include yappu and ant (prosody and
rhetoric) which are generally regarded ag the fourth and
fifth divisious of Tamil grammar. Further, Xalayu Iyal and
Karpu Iyal iorm parts of Aham and need not be treated
under separate hesdings- Thoikappiar geems to have evolved
all the figures of rhetoric (rom s mile or wvama and bas given
a chapter on psychology in Meypattu [ysl apd another om
icms and idiotisms in Marapu Iyal, On the whole,
it is very likely that the grammavian in giving nine chapters to
eaoh psrt was carried away rather by his sense of symmetry
than by the subject-matter. Itis the only work from which
we can have agiearing of the ancient Tamilar’s manners and
customs+
In the first part on Letters, tho rules governing Alapedat
or elongated vowels and the sutras about the indebtedness of
the consonants to the vowel » deserve careful study,
 Sec | THOLKAPPIAM 25
‘The second part on Words is masterly in treatment, The
firs} and n nth chapters, dealing with the formation of simple
and compound words and containing remarks and exceptions,
are important, In this the author has attempted at finding the
rot meanings of words. It is a peculiarity—a peculiarity
which will show the critical culture of the Tamilar—that the
gender classification is based on the signification of words.
The first two obapters cf the third part are o special feature
cf Tamil grammar. They are difficu‘t to master, but they are
interesting. A right and clear understanding of these obapters
will serve as a key to unlock the treasures of many a subse-
quent treatise on Porul, Porwi (substance, subject, matter) is
Givided into Aham (inner) and Puram( outer). Of these Aham,
the Subjectives treats of love, iis various emotions, and incidents;
and Param, the Objeotivey relstes to all other things—life
in
general, and especially war and the affairs of the state. Love
is true or natural, when mutual affection draws the parties
together; and untrue or annatural when it is one-sided (katki!aiy
crted and morganatic or forced (perum tbinai), Trne
consitered under five aspects, viz union (punerthal),
separstion (pirithal) patience in separation (irutthal), wailing
liraagal), and sulking (udal),and these are made to fit in with
the five-fold pbysiograpbical division, viz) mountain (kurinobi),
desert (palai), jungle (mullai}, beach (naithal), and fields
(marutham), Further, it is made to turn on the six divisions
of the year, viz, cloudy (kar), cold (kuthir) early dew (mun-pani),
Iate dew (pinspani), spring {ila-venil), and summer (muthu-
vénil) from August to July, and on the six divisions of the day;
viz, the first hours of night (malai), midnight (yamam), the
smill bours of night (vaikarai), morving (kali), noon (nan-
poksl), and evening (erpadu). Besides these, the natural pecu-
liar'ties of each of the five thinais are made to bear on the
aspect of love peculiar 60 16. Such peculiarities are comprised
26 TAMIL LITERATURE

under fourteen beads, viz , deities (ar-anangu), nobles (uyarn-

thore), the vulgar (ilinthore), birds (pull), bests (vilanguy,
town (oor). water (neer), flowers {poo), trees ‘meram), food
(vunavuy, drum (parai), lyre (yal), tune (pan! and occupation
(tbolil). Love, again, is wedded (karpu) or furtive (kalavu);
and furtive love leads to wedlock or the grave, for the rejected
lovers cannot bear life without love. Marriage was solemvised
by the parents on the self-choice of the lovers, and marital
rites came into vogue when aliens proved untrue in their
courtship. This is a bare outline of Aham, and commentators
find in it an allegory of the different stages through which
the soul of man passes from its appearance in the body to its
final absorption in the supreme:

Puram, whose subject is war and state, consists of seven

divisions, the first five of which correspond to the five-fold
division of true love, and the last two correspond to Kaikilai
and Perum-thinai. The seven divisions of Puram, with their
corresponding divisions of Abam, are as follow:

1, Vetohi cattle-raid, corresponds to Kurinchi.

2. Vancht, invasion, oe a Mullai.
3. Ulinat, siege ... ory ws Marutham
4. Thumboi, wor we w. Noithal
5, Vahat victory ane a Palat
6, Kanchi, sober counsel . ve Perum-thinat.
7. Padan, encomium ... a Kaikilat

Cattle-raiding is the beginning of warfare. Tt leads to

sys‘ematic ¢vasions of the raiders’ territories Then comes
the siege, upon which the vr proper beeirs Tha war ends
in victory to one party or the other, and the victor and the
vanquishad are counselled respectively to be sober, without
being intoxicated with success, and to be calm and resigned,
 Suc. I THOLKAPPIAM 94

without being overpowered by grief. The Joyal subjects of

the victor pay him their joyfui tribute of laudatory odes or
encomsa.
A brief note on the language of flowers will close this
bird's-eye view of Tholkappiam. Vetohi, the country geranium,
or ‘ flame of the forest,’ bears a profusion of bright, deep-red
flowers, which are associated in idea with bloody action.
Vanchi, a creeping plant, bears yellow flowers and is green
all the year round. 1b is a symbol of inexhaustible energy.
Utinat 1s © species of cotton plant whose shoots are golden, and
a wreath of which is worn in derision as emblematic of the
weak and worthless fort besieged. Thumbai, called in Sanskrit
@ronas is the especial war-flower, and a wreath of it is worn
when 2 king contemplaies an offensive war, Vahai (mmosa
flectuosa) bears white flowers, and a wreath of its leaves and
flowers is worn by a king who raturns home after a glorious
victory:
The difficult matter of the work required anu: tat.on and
commentary. Ilampuranar annota ed Evuthu, and Senavarayar
commented on Sol, The commentaries were named after their
authors, Hampuranam and Senavarayam respectively. They
are excelieni in themselves; but the whole work was success-
fully annotated ozly by Nacchinarkinyar.
Besides these three, there were two more, viz: Perasirier,
and Kalladar. Of the five Hampuranar was the first in point uf
time and annotated the whole work, Nachinarkiniar closely
followed him in his commentary, and bis totes on Meypattiyal,
Uvama Iyal, and Marapu ya! have yet toappearin print. He
is the most beloved of scholars. Kalladar's commantary on
‘Sol has not attracted much attention. Verily he was not the great
poot of that name. but he was probably a native of the villaze,
Kalladam Perasiriar, as a commentator, was ‘above all Greck
and Roman fame.’
38 TAMIL LITERATURE

The long-mooted question, whether Tholkappiam was

founded on Agathiar's Agatthiam or cn Indra‘s Aindram has
been almost laid at rest. Aendram forms but a portion of
Agatthiam, Further, Tholkappiar, the chief of Agasthtar's
disciples, had more chance of hearing the main principles of his
work from the lips of his master; and he might have read tha
master’s celebrated work itself.

4. Grammars = The contributions of Agasthiar's

twelve scholars go by the npme cf Porul Pannirw Padalam, a
work in twelve parts. Panambaranar Sutvam and the preface
to Tholkappism were written by Panambaranar, Avinayam,
Kakkaipadiniam, in two parts, small and large, and Natrattham
are treatises on Prosody.

Dr, Caldwell writes: ‘ Whatever antiquity may be

attributed to the 'Tholkappiam,it must have been preceded by
many centuries of literary culture. ib lays down rules for
different kinds of poetical compositions which must have beem
deduced from examples furnished by the best authors whose
works were then in existance ".

5. Theraiar. As Thoikappiar was the best of

Agasthiar’s Grammar scholars, so Theratar is said to have been
among his medical students: The history of his birth, life and
Geath is a deep mystery: No deub* he was the veritable gon of
Zisculapius and rivalled his master in medical shill and in the
Rosisrusian art- His real name was Therer The name Theraiary
probably a varinntof it, has a story of its own

**செயுமூறை தெரிலொ,ச்‌ தோன்கா யடியேன்‌

உயுருறை வயித்திய வுரைச்தமிழ்ச்‌ கரிசல்‌.??.
and his guru was Dharma Sowmi,
ரிசதநம சலுமீ யச்குரு வசமே,?9 (கரிசல்‌),
 Sec, I THOLKAPPIAM 29

Agasthiar had treated

a certain patient (Ssm-mohini) for a
long time and effected no cure, The news of bis failure reached
Therer. He took the patieat under his treatment and exerted
his best medicai talent to recover the sick man. All remedies
proved fruitless, and Therer was in despair. Suddenly and
luckily too, a thought flashed on his mind and he resolved to
make surgical operations on his brain, He put the patient
under the influence of a substance similar in virtue to chlora-
form, brake open his skull, and discovered, to his great surprise,
a therai (a mass of fleshy growth, like the venomoua frog)
formed in his brain, impinging it and giving him incessant
pain and mental vexation. AS once he held before it a
tumbler of water, into which the excised mass was thrown,
giving the invalid immediate relief and reeovery, Instances of
similar wonderful medical exploits threw a halo of glory round
his namo; and they are too many to rebearse here. Theraiar’s
practioal pr -of of bis great medical skill stirred up the envy of
his master. fle denouuced the pupli in yery strong terms for
his successful practice.
Thora‘ar's works on medicine and hygiene were twenty-one,
bu’ Sigamony Venba, Nadikothu, Noyanukavithi, Noyinsaram,
Pallu Natviam, Maruthuva Bhavatam Yamaga Venba, Neer
Nirakiurt, Nee~ Neikkuri, Tatla Varukka Surukkam, and
Karisal are the only works that have survived the ravages of
time. His hygionic principles are practical and excellent. He
advocates two mealsa day, denounces day-sieep and constant
drink,e iting plaintain fruits and taking loug watks after a full
meal. Theraiar,an astrolozer and a good Tamil scholar, uses
Sanskrit and Telagu words freely in his poems, Some of hia
sayings are proverbial: 1 மாத்திரல்கான்‌. (மந்திரக்கால்‌) மதிமுச்‌
கால்‌, ₹ கமனுக்சொரு ஈமன்‌ வெத்தி? (தும்பை) 660, 14188 18௦௧.
“alleged that he was a contemporary of Ve-mannar ௦1 195 150௩0.
Patharthiguna Chinthamani, an excellent gem of
Theraiar- contains about 1,800 stanzas: Theraiar’s proficieucy
30 TAMiL LITERATURE

was not in the medical art alone. He was also a great

alchemist. There is a story (the geauineness of which 1s
doubted) that bis Guru put him te death jest his scholar
ruined the world with his alchemy, Yukémuns, in his Vaithsa
Chinthamani, speaks sloquently of Theratar and acknowledges
his debt immense ef endless gratitude to him for his store of
medical knowledge -

SECTION IL,
Paithuppatiu or Ten idyis
Tho Ten Idyis are named in the following Veuba:
மூருகு பொருகாறு பாணிரண்டு மல்லை
பெருகு வடமதுரைக்‌ சாஞ்டெமருவினிய
கோலெ நல்வாடை கூர்கு.ிஞ்9 பட்டினப்‌
பாலை ப௫டாம்‌ பத்து.
Of these ten olassical pictures in verse, two are by Nakkirar,
two by Rudran Kannanar, and the remaining six by six different
posts. Five of them (1-4 and 10) are in the form of attup-padat
or guide, and all but the first, which is a guida to the war-god
Muruga, under the pretext of guiding s needy bard, minstrel,
or dancer to a bountiful prince, describe his prowess and hig
country’s charms in telling language. The Edy!s, 5, 7, 8, and
§, illustrate three of the five thinais—jungle, hill, and desert,
and the aspect of love peculiar to each as described in Thol-
Kappiam. Ali of them are in akaval metre and must be read ag
wholes, for the thought leaps from line to line, and no euttings
ean be made without impairing the run of the labyrinthine
thought. The Idyl 6 may be charged with diffuseness,
digressions, descriptions, apostrophes, interrogations and
other artificial devices of style; but they wilt be found on
 8௦. 11 PATTHUPPATLU 91

exataination
to have been designed by the author in order to
administer the gilded pill of a gentle bint about the transitori-
mess of the world and its glories to the lord of Madura, flush-
ing with bis victory st Thalai-Alam-kanam. ‘Viewed from the
point of dedication, the first Idyl is to the Tamil god of war,
the second and ninth are to Karikala Chola, the sixth and
seventh to the Pandyan king Nedun-Chelian, the fourth is to
Tlanthirayan, king of Kanchi, the third and tenth are to two
chieftains; Nalliakodan and Nannan respectively, the eighth
ig to Pirshattan, an Aryan king, and the filth bears no
dedication at all.
பப Aushor- Dedication,
1, Thiru Muruga
Atruppadai Nokkirar Maruga
2. Porunar-Attuppadai Mudattama Kan- Karikala Chola
niar
3. Siru-pan-Attuppadai Nattatthanar Naliiakodan
4. Perum pan-Attup-
padai Rudran Kanvanar Ilanthirayan
5: Mullaip-pattu Napputbanar Nil.
6. Mathurai-Kanchi © Maruthanar Nedunchelian
7 Nedu-nat-Vatai Nakkirar do,
8. Kurinchip-patta Kapilar Pirabattan
9. Pattinap-palai Rudran Kannanar Karkala Chola
10. Malai-prdu-Kadam,
or Kutthar-Attupadai Kousikanar Nannan
Each pattu or idyl is arichly wrought descriptive poem in
the most finished style. Itis portrait of nature in some of
her pleasant or striking mecds- It is sober in thought and
accurate in representation. It is free from fantasies or conceits
disfiguring the modern poems, It is ௩௦3 enjoyable in par's,
 Sze, Il PATTHUPPATIU 33

கொல்குசேர்‌ வாழ்க்கை யஞ்ிறைத்‌ அம்பி

காமஞ்‌ செப்பாது சண்டது மொழிமோ
பயிவியது செழிஇய ஈட்பின்‌ மயிலியற்‌
செறியெயித்‌ ஐரிவை கூந்தலின்‌.
நதியவு மூளவோ வதியும்‌ Ga
and gave them to Tharumi, a poor Brahmin, who had
invoked his aid for a long time, Tharumi presented
them to the King and anxiously awaited his reward,
‘The King sent them to the fellows of the Sangam for approval,
All but Nakkirar set their seal to their excellence. Siva, in
the guise of a poet, tried to overpower him, First he showed
his matted hair, and then opened his frontal eye. These could
not daunt Nakkirar, who more than ever persisted in picking
holes in the verses,
Siva grew hot with rage at his impudence and made his
seat too hot to hold him. Unable to stand the lurid light of
his frontal eye, Nakkirar jumped into the lotus tank. While
floating there, he composed one anthathi in praise of Siva.
The second is the story of Nakkirar’s relation to
Chambagovadivi, which forms an interesting episode in the
life of Nakkirar, son of a schoolmaster of Madura who lived
in Ugraperuvaluth’s day. Setting aside the miraculous story
connected with her birth, we might say that she was the
daughter of- Marakathavadivi, the head maid-servant of the
palace of Karikala Chola. In her early years, she commenced
her studies and, in a few years, made a great noise in the
world as a princess of letters and received, on this account,
the title Yams] Arriyum Perumal, In recognition of her
merits, the king granted her a splendid palace with necessary
appurtenances, appointed for her many a maid-servant and
patronized her as best as he could, She grew
Fair as the angel that said Hail!
34 TAMIL LITERATURE

and felt the rage of the wild fire, love, She gave out that she
would wed him who could get the better of her in the
literary arena, Many pundits flocked there as suitors;
but one after another returned crest-fallen, Thus she remained
‘a vestal virgin until her twenty-fifth year, One day, she
chanced to look at a wood-carrier and spitted at him for his
physical deformity. Inflamed with her contemptuous treat-
ment, he made up his mind to marry her at any cost. With
this object he repaired to the Madura Board and informed the
Fellows of her haughtiness. Nakkirar girded himself to put
down her pride and arrived at the Virgin Court in the guise of
a wood-carrier. Her servants took the intelligence of the
seeming wood-carrier’s arrival to their sovereign mistress ; and
a regular communication in stanzas between the Virgin Poetess
and the disguised Nakkirar was the result. At length, she
appeared in person and took a vow that, if she were defeated
in the intellectual combat, she would suffer the ignomimious
punishment of riding naked on an ass round her country like
Godiva, or, to use the English phrase, would be sent to
Coventry. Nakxirar said that he would rest content if she
would marry one that he would pitch upon and that, in case
of his own failure, he would become her willing bond-slave,
Steadfast in this resolve, Nakkirar produced a stanza witha
hidden reference to the digging of a vaili root he had seen on
his way,
néaé Ca@rS sOésriga CadasA
பச்சைக்‌ கொடியாட சின்றாளே-இச்சித்தே
'மேலவன* சவர்ந்து மின்கொண்டு போஇன்ற
மூலபலன்‌ கண்டாய்‌: மொழி,
and asked her to interpret it. All her endeavours tc solve the
puzzle proved fruitless, wheréupon she rushed on a standing
mirror and put an end to herself. Thus, Nakkirar accomplish.
 Sec. 1L PATTHUPPATIU 85

ed by his tactics what he could not with his learning.

Growing compassionate on her and her maiden woes he brought
her back to life. She married the wood-carrier and fulfilled
her vow. There is a confusion of two different Kirars in these
stories,
A full account of Nakkirar will be found in Thiru-
Vilayadal-Puranam. Nothing more of him as a man is
known than that he was the son of a Kanakayar or school-
master of Madura, that he was a conch-shell cutter and a
Brahmin, “sds gdudseser Gerd” and
Geers unicumes enero’ துமி.த்த
வளைசளைம்‌ தொழிந்த சொழுக்நினன்ன
சளைபிணி யவிழாச்‌ சுறிமுகப்பசன்றை??
[The Brahmin who performed no yaga cut the head of the
conch-shell, etc.] as described by Avur Mulamkilar in Aha
Nanuru St. 24]; and that he had a son by name Kiravi-
Kottanar.
The sovereigns celebrated in his verses are Nedunche:yan
identified with Ugra Peravaluth!, Nan Maran, Killi Valaven,
Karikalan and Cheran Athan.

There ia a temple in Macura, west Masi street, known as

Sangathar Koil dedicated tc Nakkirar and an image of the poet
at Thirupparam ghiri by the side of the lecal deity cal'ed Sri
Mutbukumaraswami. At Thirupparamkuatr-m the poets’ image
is carried about on the fourth dsy, during the annual festiva's
held there in the month of Panguni in commemoration of Siva's
Grace to the poet whom He had released from the clutches of a
demon. This poem, forming the eleventh in the Sarva Psalter
is daily conned or recited by every fervent Siva devctee after
bathing under the impression that he can realise his desire by
the Grace of Sivae Part I Tiruppsrankuntram describes the
36 TAMIL LITERATURE

fight with and victory over Suran or Surapadman, Part IT

Tiruchir-aiaivoi isa personal description of Muruga with six
faces and twelve arms. Part IIE treats of the removal of the
curse inflic‘ed on Ayan or Brahma at the instance of the Munis
and the thirty-three gods. Part IV Tirvverakam describes the
<Anthanars’ eulogy which ploased Muruga, PartV Kuntru-thore-
adal, where Muruga sports with maidens singing and serving
and with those whose hands ho c asps or who are entitled to his
embrace while the hillmen and maidens dance with joined
hands, and Part 71 Palam-Uthir-Solai bas for its subject
matter the grant of Moksha or beatitude. The address to
Muruga by means of desoriptive epithets in twenty-one lines
[88—59}] snd the vivid description of the waterfall in the
concluding lines are note-worthy. The omnipotent Muruga
punishes the wicked, cond.nes and shows his Grace at the
en'reaty of the holy, loves sports with the maidens of the
hills, and blesses all according to their devotion and
aspiration,
Bofore discussing his important works, let us say a word
about his minor poems. Nine small p-ems, appearing in the
Eleventh Trrumurat, sre attributed to him, They are
1, Kayilai-pathi-Kalathi-parhi-Anthathi, 2. Enkoimalai-Elu-
pathy, 3, Thiru-Valan-chui-mummoni-kovai, 4. Bla-kur-
Jruxkai, 5, Perum-Deva-pani, 6. Kopa Prasatham, 7. Kar-Ettu,
8, Potri-Kali-Venbs and 9 Kenpappa-Devar-Thiru-maram.
The thought and sentiment and style of these poems are in
quite a different vein however well-turned the stanzas are,
They ace more modern, full of Sanskrit words and mytbo!ogical
references, and religious intolerance charac‘eristic of the dark
ages that foliowed the extinction of the Sangam. Besides
these; there 18 another spurious work fathered on him, to
wit, the reputed commentary on Irayanar’s Abapporvl. Tt
can be easily proved to be apocryphal if we just run our
eyes over the stanzas quoted from other authors for ilustra'ing
 Seo It PATTHUPPATTU a7

the text, avd peruse the opening passages of the com-

mentary where Nakkirar is made to point cut how it was
transmitted through nine generations counting from himself.
There is a Sanskrit Nikandu in the Tanjcre Palace
Library bearing the name cf Nakkirar, pomting to hig
scholarsbip in that language.
The two immortal works of Nakkirar, the critic-poet, are
the first and seventh Idyls, called respectivay Thiru-Muruga-
Attupadai and Nedu-nal-Védat,
(a) Thira-Muruga-Attuppadai. In this guide te
Muruga, which consists of 317 verses Nakkirar gratefully
recounts his own eseape by God's grace from the meu: tain
cavé in which o dragon had shut him up with 999 other objects
of prey, and tells posts who ma; wish to oblain salvation at
His hands where he may be foundin all hs splendcur, The
favourite places of His residence are Thirup-param-kuntram
near M.dura, Thiru-checralai-voi cr Trichendore in the
Tinnevelly districty Tbira-vovi-nan-kud' or probably Palnf,
Thira-Vérakam in Ma'ainadu, Kuntu-shore-adal and Palam-
uthir-colai or Alakarkoil in Madura: The Idyl deseribes
Muruga with bis six faces and twelve bands (with his junetic’ s),
as a doity higher in rank than the trinity and Indra together,
worshipped by the pious Anthanars in dripping clothes, mutter-
ing the six mystic syilables and by the rustics in mountain
homes on’ by the villagers cf the plains cffering sheep or bull
sacrifices. What strikes a reader of this poem is the readiness
with which the Arvang metamorphosed Muruga and hig
mother Kattavai into Subramanian avd Uma and included
them in their pantheou. Further, he will note that the
worshippers of Murnga propitiated bim with animal sucrifices,
hypnovic or devil dances, and Kurinchi songs. The story of
Nakkiray’s escape may be found in detail in tho Nassirar
Sarga in Srikalatthi-puranam, and the Inc:dont is commemos
38 TAMIL LITERATURE

rated at Thirup-param-kuntram every year in the month of

Pankuni or March. From a literary point of view this idy) is
inferior to its companioas, particularly to his own Nedu-Nal-
Vadai. Its different resdings shew its antiquity, but it was
later than others of the kind, which were its models, The
suffix pu occurs eleven times and the alapedas (the elongation
of vowels: thirty times Besides these striking characteristics,
the use of Sanskrit words or expressions, thirty in all, is but
two percent in a poem of 317 lines.
Thiruveragam is not a village near Kumbakonam, as
some annotators itagine, but a village in the hilly districts,
‘Eragam' isa place in the Western Ghats in the district of
Madura.
Thiruppatamkuntram is described by the poet as it were
in the west of Madura, though it is really to the south-west of
the town,

At Thiru-vavin-nan-kudi, ca‘led by Auvysi Cnittan Valvu,

Muruga holds a levee of ali the gods and saints, emaciated
and clad in satfron-dyed cloths and deer skins, which suggests
an earthly scene,

An attu padai is a form of address to « minstrel, songster

or actor in quest of a patron directing him to an open-handed
and bountiful princes, by a minstrel, songster, or actor who
returns with presents from tbe cornucopia of the same generous
prince or nobleman. In this idyl Nakkirar adopts this form
but makes an allegorical use of it- He chants in it the praise
of Muruga and directs the pious-minded to his worship at any
of the six places deser.bed in the poem. The poem names only
four particular spots sacred to the deity. The goat sacrifice,
she enthused dance, the sacred grove. the trivium or quadri-
vium, the tree with a large contiguity of shade under which
 Sec: It PATTHUPPATTU 89

the villace Blders meet in council and do business, the mead-

stone for cows to rub thernselves sgainst, all these mentioned
as tempting situations for meeting. Muruga, can ba seen even
new in villages far away from the bustle of cities. The
detailed ‘acrificial scene and the cfficiating Velan at the
ceremonies are described very vividly.
Tbe poet compares the ruddy complexion of Muruga to
the rising sun on the blue ocea and the removal of ignorance
at the sigh: of Muruga to the sun's rays dispell’ng darkness:
(6) Nedu-Nal-Vadai, This little may be rendered
into ‘Good Long or Dreary Winter’. ‘Phe charming poem
contains 188 lines and is highly artistic, The Exerdium
describes the dances avd songs of tbe mountain fairies and the
valturous Isrge-eared furies. The poet leads us from the rural
parts in the cold winter seaszn to the city and to the bed-
chambers of the queen in the palace at midnight. It then
falls in‘o two divisions, relating to the pining queen in her
palace and the king in the camp going from tent to font
cheering his soldiers to fght, in the black wintry night. A
true hero like Nedum Chelian lovos war more than his lady,
With 2 view to bring comfort to the diso-nsolate queen at
the separetion of her busband to win military triumphe,
Nakkirar speaks through the mouth of a maid-serv.nt cf the
palace who is a devotee of Kottavi, [Kottavai-ai-paravu-val]
that the Penéyan will soon return triumphant from hig
expedition, The cnly reference in the poem to the Pandyan
king lies in the worés வேம்பு தலையாத்த கோன்காழெஃம்‌, (06
margosa being the emblem of Pandyan kings 1 wili be
apparent that this song of Love is partly a song of war, It
will also be found to abound in naturalistic descriptions of
the effect of the chill winter [1] on shepherds. cattle, birds,
plants and palms abroad: |2} on tbe citizens of Madura, yoru,
and olds men and wemen, {3] on the pining queen in her
40 TAMIL LITERATURE

sumptuous palace, and [4] on the embitious bing in the

camp,
Tho poem describes strong-bodied, snowy loosely clad
Mlechas or foreigners, futl-drunk and tipsy, but without any
olue to their nationality, The long corridors of the palace are
lit up by lamps borne by images made ty Yavanas who were
also famous varpenters. In the b'esk cold season the fire-
pan and the smoke-pan are in grea requisition, Incenses
are burnt, and molasses are adéed to keep off cold and
catarrh, The windows are closed and the airy chembers
upstairs forsaken: be exquisite fon lies covered with cobwebs,
and there is no demand for sandai paste or flwer garlands,
Women don’: dance but sng and warm their harp strings by
rubbing thera against their hocoms, The realistic description
of the sulky queen lying on her ivory cot with eyes wide open
and wesring no crnaments except her talé or marital te
resting loosely on ber boom, conch-sbell wristlets on ber
forearms, aid mudakke or nelsvu on her stender fingers, and
putting on sctton cloihes and no si ken fabrics is p'etureeque.
The taste and tact with wh.ch every line is made to subserve
the ove single artistic effect of presenting the king and his
queen spending the Greary winter nicht alone and apart and
away feom each other, cannot but arrest the reader's attention,

2. Mamkudi Maruthanar; Madurai Kanchi.

We take this 6th Idyal bere, because it is addressed
to the
same potentate as "he preceding one: it has been briefly
designate] as the ‘Gentle Hint,' for its author Mamkudi-
Maruthanar ceutiously introduces the not very weicome subject
to his patron-lord of ‘tbe slippery evanescence of all temporal
enjoyments, the utter vanity of all earthly empires’ It con-
sists of 782 lines, and tke subject-matter may be analysed
thus:
 Seo Il PATTBUPPATTU 41

1—250. The justice, wisdom, charity, and martial

glory of Nedum-Chelian’s family and of his own as the
conqueror of Saliyor or Nellore and Kuttanad and the
victor of Thalai Alamkanam followed by the capture of
Muthu-Vellelas; these bemg due in his own case to his
passionate love of his own people in Korkai and his implacable
hatred for his enemies, Then the gentle hint is couched in
the interrogative form.
250 to 720, The description of the Madura country
under the five-fold division into thinai followed by a graphic
account of the city, its bazaars, gates, ditches, night watches,
etc. and of its every-day life.
720 to 782 Once more the gentle hint asto the
worthlessness of worldly splendour to secure him salvation,
anda wish that he should follow the footsteps of his pious
ancestor Muthukudumi in performing sacrifices, working for
the weal of his loyal subjects and enjoying the good things
of life,
8 அரயெல்‌ பிழையாது அறநெறிகாட்டிப்‌
பெரியோர்‌ சென்ற வடிவழிப்‌ பிழையாக.
குடமுதற்‌ ரோன்றிய தொன்றுதொழு பிமையின்‌
வழிலழிச்‌ இறச்சநின்‌ வலம்படு கொத்றம்‌, 79

In the graphic description of the city life, we come across

Buddhistic monasteries and Jain shrines in their flourishing
condition with hosts of worshippers attached to each ; and the
vivid portraiture of an arch-thief and the descriptions of the
country and city of Madura show that Maruthanar was a keen
observer of men and manners and an ardent lover of nature,

The poem mirrors the civilisation of the southern kingdom

andisa recordof the ancient customs and manners of the
Tamil race.
 42 TAMIL LITERATURE

Kanchi, Tolkappiar defines, ‘ummeg@ Anup ude pay

னும்‌ நில்லாவுலசம்‌ புல்லிய கெதித்தே?, 13. ௦4482 170105, 11045
world is unstable or perishable whatever its glory, The
unstable glory of the earth suggests the search after the
permanent or imperishable glory or salvation (ség,f). The
night guards are described as courageous detectives and
unerring shots, The early dawn is the time when Brahmins
chant vedic hymns, harpers tune their strings, the ‘rum is
beaten, and cocks, peacocks and swans cry. The king Nedun-
chelyan is exhorted to walk in the footsteps of his ancestor,
Muthukudumi, renowned for his yagams or sacrifices and to
attain eternal bliss. The similes of the rising sun, the
crescent, the full moon used to describe the prosperity of
the sovereign are striking indeed, Besides this moral epistle,
the laureate of the Court of Nedum-Chelian was the author
of seven stanzas (XXIV, XXVI, CCCXIII, CCCLXV,
CCCLXXII, CCCXCVI) which are embodied in the Pura-
Nanuru, and the last of which praises Vaddattu Elini Athan,
Next we take up the two Idyls dedicated to Karikala Chola,
viz, Purunar-Attuppadai and Paitsnap-palai-

3. Muda-thama—Kanniar: Porunar—Attup-
padai. This is a panegyric or. the munificence of Karikala,
a very famous warrior-king of the Chola country who pushed
his conquests up to the Himalayas. He was the son of
Elamchetchenni and married a Vellala girl of Nagur. He was
a wise judge and ruler and coupled valour with discretion,
His remarkable victory at Vennil over the Chera and Pandya
forces spread his reputation far and wide, Besides describing
the wisdom and martial glory of the Chola Emperor, the idyl
contains a charming description of the Kaveri and the fertility
of the lands watered by it. Porunan isa war minstrel,
who
is shown the way to the bountiful sovereign for reward,
 Sec II PATTHUPPATIU 43

Mudathama Kanniar, its author, of whom little else is known,

presents in this idyl a true picture of the squalid poverty of
the poet and man of letters, when he speaks of his patched-up
clothes soaked with sweat and swarming with lice and their
tiny eggs in the rents. A critical reader cannot pass over the
commonness of fine embroidered clothes manufactured in the
country and also the prevalence of drunkenness, gluttony, and
flesh-eating. It is hard to think that the pundit-reader will
fail to mark and digest the simile of the maiden’s soles to the
tongue of the grasping dog and to remember the archaic form
08 கால்கு 1௦ நான்கு, “பால்புரைபுரவி நால்குடன்‌ பூட்டி??, The
Idyl contains 248 verses.

It records the story of two old men alluded to inuy@ump

who tried the young wit of the king ina case brought before
him. The king -disguised himself as an old man and out-
witted the ingenious clients. There is a reference in the
poem to the Tamil manner of seeing a recompensed poet off by
going seven paces after him,

4 Ruadran Kannanar 6) Pattinap-Palai. This,

the ninth Idyl of the series, was composed by Rudran Kanna-
nar of Kadyalur, who was also the author of the fourth Idyl.
For the composition of this exquisite amatory song, Karikala,
as Kalingathu-parant has it, rewarded the author with
sixteen hundred thousand gold pieces.

“தழுவு செந்தமிழ்ப்‌ பரிசில்‌ வாணர்பொன்‌.

பத்தொ டாறுா ருயிரம்பெறப்‌
பண்டு பட்டினப்‌ பாலை கொண்ட அம்‌?9,
This idyl of separation, known as vanchi-nedum-patiu
illustrates the conflict of duty and love in a hero’s bosom and
his final choice of the latter with the soliloquy: “O my dear
44 TAMIL LITERATURE

mind! [cannot think of taking my wife with me, for the

jungles between are as dreary as the lance borne by Karikala
against his foes. Her shoulders are more tender and cooler
than his sceptre and cannot bear my separation, So I will not
accompany you, leaving my love at home alone, even though
you make me the lord of Puhar of everlasting renown You
may go aud prosper.” The poem contains 301 verses, of
which the first 218 describe the wealth and splendour of
Puhar, the great mart of nations in those days, and the
capital of the Chola kingdom ; the next two, 219-20, introduce
the name of its king: and the concluding 81 lines, 221-301,
describe his valour and heroism, Fora grand and exquisite
picture of Kaveri-pum-pattinam, or Puhar now nowhere, let
the reader turn to Silappathi-karam. In the present poem too
we come across Buddhist monasteries and Jain abbeys in the
land of Chola, which show not only the prevalence of other
religions but the religious toleration of the kings of old in
South India. The descriptions of the city, its forts and
ramparts, parks and bowers, alms-houses and ascetic homes,
streets and palaces, beach and customs-house are really
charming It is truly delightful to look over im imagination
the bales of goods in the customs-house bearing the tiger-mark
and the immense variety of natural products imported from
different shores, v2., horses, victuals, gold, pearls, corals,
pepper, sandal and scents, Muruga worship, devil dances,
toddy-drinking and cock-and-ram fighting indulged in by the
hardy Kurumbas find emphatic expression in it.

In the flourishing trading city of Puhar uo coins were in

use: business was transacted by barter and exchange; asa
maritime city it abounded in parathavar or fishermen. : There
were charity houses or dharma salas for the poor and the needy
and for the stray cattle, Flags floating on the roofs of houses
 Sec. 11 PATTHUPPATTU 45

indicated that they,were places of disputation among philo-

sophers. Yavanas (Greeks), the Chinese and the Japanese had
their head-quarters in the city, and the traders were un-
commonly honest in their dealings. After the destruction of
Puhar by the ocean-flood, Urayur or Urandai became the
capital of Chola and had a fortress built init. Sevvanthi
Puranam relates how the-valorous king, once a prisoner in
the hands of his enemy, escaped from the prison-house, and
how he reduced the city to ruins,

(ம) Perum-pan-Attuppadai. This, the 4th Idyl

of the series, is, as already noted, by Rudran Kannanar
of Pattinap palas. It contains 500 verses and treats of the
introduction by a donee of a panar or lyrist to the king of
Kanchi, Thondaiman liam-thirayan, In respect of his name
there hangsa tale. Though fabulous, the poetic legend has
eternized it, A Chola ruler of Negapatam fell in love witha
Naga virgin, and a boy was the fruit of the illictt love, The
boy was probably thrown on the waves, which brought him
ashore with a chondas creeper covering his body. The ruler
made him a petty lord over a portionof his dominions,
comprising nov Chingleput aud North Arcot. The land was
known as Thondai-nadu, andits ruler went by the name of
Tlam-thirayan. “Beors@ wad gysGar gyibucr. Though
a petty lord, he distinguished himself by his prowess and
more by his bounty and kind and prompt attentions to the
bards. In this poem will be found an account of the five
thinass and the occupation, diet and behaviour of the inhabit-
ants therein, together with a graphic description of his majesty,
his capital, and his unstinted munificence, The Yalpanar
plays a few tunes in praise of the god at Thiru-veh-ha, a place
of pilgrimage near Kanchi, In the description of the
Scrupulously neat and clean Andhanar homes of the classic
 40 TAMIO LITERATURE

age, the Brahmin poet speaks of the parrot taught to scare

away the hen and the dog from their approaches.

“மனையுறை கோழியொடு கமலி தன்னா

மறைவாய்ச்கிள்ளே மறைவிளி பயிற்று:
மறை காப்பாளர்‌ உழைப்‌?

and of the breadth of sympathy and the lack of exclusiveness

as characteristics of the village Brahmins. The low caste
panan hankering after sumptuous meat diet at the hands of
the king, is welcomed and fed sumptuously with vegetarian
food in a Brahmin home, prepared by the chaste Brahmin lady,
with mango pickles and flavoured pomegranate slices. The
picture of the Brahmin is over-drawn. The five-fold products
of the cow required for Vedic rites make the cow chief of the
animals about an Andhanar’s home, Teaching Vedic sloxas
to parrots is slightly hyperbolic unless weafefl means ‘the
ery to scare away.’ The description of Kanchipuram with its
perennial festivals, its broad streets traffic-worn, its busy
bazaars, its military quarters, its numerous groves full of
playful monkeys snatching morsels of food from the rice mixed
with ghee served to the elephantry and its bounding brick wall
is brief and pointed. The ‘mushroom simile’ is noteworthy,

The name Perum-pan-attuppadai is explained in the large

number of verses composing the poem. The Naga race lived in
certain parts of the Tamil country and in Javakam or the
island of Java. Peeli-Valai was the name of the Naga princess,
Manimekalai, XXV, 178-9 bas the following verses about her.
“சாக ஈன்னா டாள்வோன்‌ parses
பீலிவளை யென்பாள்‌ பெண்டிரின்‌ மிச்கோள்‌!:
5. Nattathanar: Siru-pan-attup-padaij, As
this Tdyl is of tho same type ag the preceding, wa put it here,
 Ssc IL PATTHUPPATTU 47

though it forms the third of the series, The epithet Siru

denotes the comparatively small number of verses making up
the poem, which describe a minor ruler as against ‘Perum
of the preceding elaborate poem dedicated to a King in
numerous numbers. Its author was Nattatihanar of Nallur,
and the lyrist is directed by a well-rewarded poot to Nallia-
Kodan, the bountiful prince and war-chieftain of Hrume-
nadu. The prince was & descendant of the Ovier (gaSui)
dynasty of ancient Ceylon, He came after the famous seven
Valials and excelled them all in measuring his gifts to the needy
and the deserving. He was wise amidst the wise, simple and
lewly amongst the bumble and poor, and chivalrous in the
society of Games, The following verses describe bis virtues
moral and military, as gratitude, good heart, grudgelessness,
gracefulness to foes submitting fo him, guarding againat low
society + furious valour, resolute will, mercy to the distressed
army.
“*செய்க்கன்றி யறிதலும்‌ சற்றின மின்மையும்‌
இன்மூச மூடைமையும்‌ இனியனா தலும்‌
செறிர்‌ விளங்கு ஜெப்பின்‌ அறிந்தோர்‌ ஏ.ச்‌,௪
அஞ்சினர்க்‌ சளித்‌ தலும்‌ வெஞ்ெ மின்மையும்‌
ஆணணிபுகு சலம்‌ ௮அழிபடை சாங்கலும்‌.
வாண்மீச்‌ கூடற்றதி.து வயவரே)த்தக்‌
கருதியது மூடிச்தலும்‌ காமுறப்படு கலும்‌
தெருவழிப்‌ படாமையும்‌ ஊடியதஅணர்தலும்‌
அரியே ருண்சண்‌ அரிவைய சேத்த
HAY படுதலும்‌ அறிவுகள்‌ குடைமையும்‌
வரிசை யறிசலும்‌ வரையாது கொடுச்சலும்‌
பரி௫ல்‌ வாழ்ச்சைப்‌ பரிரில சேத்சப்‌
பன்மீ னவெண்‌ பான்மஇி போல
இன்கைகை ஆயுமோ டிருந்தோன்‌ 3.
These sum up the virtues of a typical hero-kin3.
Deseriptions of cities and towns are plentiful here. There ara
48 TAMIL LITERATURE

glowing pictures of bis capital Muthur, and the mofussil towns

Eyil-pattinam, Velur, and Amur. and of Madura, Vanchi,
and Uranihat, the capitals of the three Tamil kings. Further,
there are touching references to the seven minor patrons of
Tamil bards and their gifts, the patrons being Pekan, Paris
Kari, Ay. Athikan, Nalli, and Ori, of whom full accounts will
be found in Pura-Nanuru, The astronomical fancy of Kéthu
swallowing the moon is turned to good poetic account in the
description of the king-fisber on the Hanehé tree pouncing
on the Kayal fish m the deep pool tearing the leaves of
the water-lily and the petals of the Jotus and attracting the
swarms of beetles black scrambling for honey, and there is a
reference in the poem to the ambrosial Nelli fruit presented by
Ath:an to the poetess Auvvai- Allthe two hundred and sixty-
niue verses of this Idy] are so simple, easy and flowing that very
little help in the way of commentary 1s necessary.
Touches of social customs are come across in the perusal
of the idyl. The pounding of rice with long wooden pesties
ringed at either end. which, with long use, become smooth, is
practised even to-day. Young monkeys were nursed in houses
as children's playmates»

6. Perum-Kousikanar: Malai-padu-kadam
or Kutthar-attup-padai, This Idyl, the title of which
may be rendered into the ‘ Mountain Echo’ or ‘Guide toa
Dancer’, is the last ot the series, but its placement here 18 justi->
fied on the ground that it completes the attup-padais, It was
composed by Perum-Kousikanar, a poet of rare talents, and
Cedicated to Nunnan. anotber minor Mmsenas of many-hilled
kottam, Kadam means sound produced in mountains.

It contains 583 verses, in which the author describes the

grand mountain scenery of Naviram with the Siva tempie on its
summit, the rapid whirling Cheyyar flowing down its slopes,
 Sro. If PATTHUPPATIU 49

the numerous waterfalls with their continuous roar, the noises

of the elephant tamers, the drunken dancing drummers, and
the women singing and pounding millet, the whir of sugar
mills, the stone epitapbs and direction-posts seen all over the
way, the well-guarded mansion of the mountain ebief with its
well-stocked menagorie and botanical garden, the hospitality
of the hill-tribes, and the civility of Nannan and the promph
and gracious reception accorded by him to the bards who
Alocked toh m for favour, There is in itan impressive account
of the daccer's skill and art—an art which, in these refined
times, is much neglected, being associated with vile women,
‘The poem was charged with a defect called Ananda-Kutram, an
example of the vagary of un criental critic. In the verse
₹ இமினன்ன Garnet @saeré ger the combination of weir
avd eer produces the sound Nannan associated with the
word for fire—an unlucky combination indeed |

The recurrence of certain ideas and images in some of

these idyls by different authors bespeaks the stock-in-trade
and no literary theft. Droid streets are river-lke, rice stalk
Gngor-likes women’s soft soles the gusping dog's tongue-like,
ete.

The description of Nannan’s patmee is picturesque. It

ties close to the river Cheyyur ad is guacded by warriors. Its
wails are decked with his vie orious i-nces, striking terror into
the hearts of spectators It has in its ueighbourhood cubs of bears
and tigers in cages, the deer mungoose, the wild sheep, the
peacock, the jungle-fowl and the elephant each in its own
place. Its lord sie in court every day ond rewards bards,
dancers, actors, experts 1 eve1y arts with a cheerful faco and
an untiring courtesy, determined to pass his span of life in the
path of fame, unlike the numerous uadutiful kings in prosperity
dying unhonoured and unsung.
 50 TAMIL LITERATURE

‘ Malai-padu-Kadiim' comes under the category of ‘padin

patty.”
7. Kapilar: Kurinchip-pattu. It may be render-
ed into ‘Mountain-Song-’ Its author was the famous Kapilar
of the last Academy, and it is said to bave been composed by
him to let the Aryan King Prabattan know ef the charms of the
Tamil language. Composed by him with this noble motive, it
must be the best of the idyls in thought and diction. It con-
tains 261 verses snd bears another pame Perum-Kurincht, A
mountain chief meets by sheer eccident a obaste virgin of rare
beauty and fails in love with her. Love at first-sight is always
deep and lasting. They meet onder the shades of trees made
for whispering lovers, and pass their day timo together in lovers"
retreats, in sholas and shady wa ke, or by the haunted streams,
At night-fall they separate, and the lady-love pines her nights
away. Thon the lover makes bold to meet her at night in her
own home reckless of the dangers that he will thereby ran
bimself into, is imparadised in ber arms, and goes away steal-
thily at cockcrow. The lady’s maid is in the secret of this
clandestine love. Fear of detection and seandal is preying on
the hearts of both. The mother of the girl feara that her
daughter is possessed and seeks exorcism at the hands of
Vélan. The lovers are firm-rooted in love, avd they will wed
each other or wed death, The maid pitfes the anxious mother
and tells the tale of the lovers ina fascinating manner, wilh
the addition that ber mistress's love wa: the grateful offspring
of the chieftains rescue of her from the rut elephant and the
whirling stream when they were watching the miliet field, Her
Enmilia-like passionate defence melts the hearts of the parents,
and the young lovers have their happy consummation,
The Idyl is « happy illustration of ‘True love never runs
smooth’ and ‘None but the brave deserves the fair,’ It has
an anthography of ninety-nine flowers and is studded with
 Sec. If PATTHUPPATTU 5

striking similes, Of the flowers, Champaka and Falasa are

tbe onty ones bearing Sanskrit names, and of the similes, those
of the millet-ears, the dripping flowerss and the frenzied pea-
cock;—not to speak of the Ullurai-wvamum or iroplied similes
rife in the description of the hill-country—are the most
impressive and exquisite, Further, the Idyl teaches that
modesty and chastity are the jewels of women,

‘This song of Lovely Union by accident in mountain homes

is cast in the form of a speech by the lovely maid-in-attendance
to her mother who is the faithful nurse, in defence of her
mistress and her ungullied purity. Such maid-speeches are
permissible only in cases of extreme necessity when the
mistress’s mother anxiously consults the velan for the cause of
ber daughter’s languor and Jlagsitude and prepares most
expeditiously and unawares for mating her with a stranger
who formally applies to the parents for the hand of the charm-
ing maidens
The beautiful figure of the blushful virgin shaking with
fear at the sight of the rogue elephant like the dancing peacock
in a frenzy is strikingly original and proves that the poet was
a close observer of bird-nature. The tear-falling of the sorrow-
fol maiden, beauty-bereft, is likened to the dripping of
flowers after a heavy rainfall. The description of the evening
with all its accompaniments of the setting sun, the returning
antelopes and cows, the singing nightingale on the palmyra
top, the prey-seeking snake in the light of its gem disgorgeds
the prayerful Brabmin doing his sandya-vandanam, the fires
kindling hillmen, the bangled damsels cooking their evening
meal, etc is graphic and true to life, Above ail, the delicacy
of the modest maiden who abhors the touth of a stranger what-
ever his rank is peculiar to the women of this country asa
whole, and the mesalliance celebrated in, this pretty highland
fdyl is worthy of note.
52 TAMIL LITERATURE

8 Nappu thanar: Mullaip-pattu. It is a ‘Jungle

Idyl’ describing wifely patience when her lord is away on a
military expediticn- It is the shortest idyl and the one without
adediestion. It containg only 103 verses. Its author, Nappu-
thanar, was
a gold merchant of Kaveri-pum-pattinam. It is a
wintry night, when the queen in her seven-storied palace is
counting days and comforting solitariness with the reflection
that the king will return in triumph on the expected day,
and the king, after pulling down the forts of his foes, is
eounting his. losses and planning successfal campaigns.

‘The expected day has arrived, but the king has not come,
Hope deferred maketh the heart sick, The day seems long and
the night tsdious. The queen has now lost all command of her
patience and despatches old wemen to temples with fiowers and
sacrifices to consult omens. Their favourable replies bring ber
mind no calm. Suddenly the ears of the moody lady catch
the far-off sound of blaring trampets and blowing conches, and,
as quick as thought, the king's triumphal chariot ceases its
rumble in the palace portico,

The names of the hero and heroine ate not given,

“மச்ச ஹுசவிய அகனைங்‌ இணையும்‌

சுட்டி யொருவர்‌ பெயர்கொளப்‌ பெருஅர்‌ 77
Forbearance is the theme of this idyl, In the interests of
the state the queen endures the pangs of separation, though now
and them she shivers at the thought of aloofness like a pea-hen
Pierced with an arrow. Tho king is sleepless in his tent
counting his losses and gains and planniag future campaigns.
The lady in isolation is most anxious of ber lord's quick return
and beguiles her time by consulting omens, which practice is
common even now in our Tamilcountry, ‘Be not troubled,
 Sec I PATTBUPPATIU 53

your mothers will be here instantly’ were the words of a young

Shepherdess uttered to the caives orying for their mothers—and
theee words were au auspicious omen:

Dignified lova, distinguished from Kai kilai or onn-sided

love and perum-ihinat or undesirable or foreed love, is studied
under the five aspects of union (Kurinebi), separation (ra'ai),
wifely patience in separation (mullai), wi'ely pining in
eeparaticn (neithal), and wifely sulkiness on husband’s return
(marutbam). Tho title of the poem will now be
the reader. It bas been characterised as a pal:t-pattu based
on mullai thinai.

In this Idyl it will be noticed that mabcuts use words

of a northern language, probably Hindustani, but not at all
Sanskrit, in taming elephants, and that Y.vanas,—imterpreted
viously as Greeks, Turks, Mahomedans, aud Sonager or
Chinese; in any case, foreigners,—-are the King’s chamber+
guards,
9. Dates of these Idyls. As the authors of some
of these Idy!s were the contemporaries of Karizala Chola,
and Nedum-Chelian, the date of their compositions must range
between GOand 95 A.D. Karikala I. preceded Ukkira-peru-
ya'utbi in point of time, asd Nedunchelian was only his
successor, When the daies of the famous battles of Tulei+
Alom-Ksnsm snd Vennil come to be setties, the dales cf
these poems too can be fixed definitely, But as it is known
that the pocms were written a' different times and the ister
idy!s refer to Vailals of a later time, an interyal of at least
acentury is said to be very likely,
54 TAMIL LITERATURE
SECTION IL.
Ettut-thokai
1. The Eight Collections are enumerated In the
following stanza:

நற்றிணை நல்ல குறுந்தொகை ஐங்குறு

சொத்த பதித்றுப்‌ பத்தோல்கு பரிபாடல்‌
கற்றறிந்தார்‌ போத்றுங்‌ கவியோ டகம்பு தமென்‌
DEB pss Gans Qsrens.”
1, Nattinal 5, Paripadal
2. Kurum-thokai 6, Kalit-thokai
3. Aynkuru nora 7, Abananura
4. Pathittup-pattha 8 Pura-nanwru.

Of these four or five haye been issued from the press,

and the rest lie in Cadjan manuscripts. Almosa all of
these have the introductory invocation from the pen of
Perum-Thevanar, (815—70 A. D), the authsr of the Bharatham
called aftet him. Hxeepting the fourth, which deals with the
Chera kings, their prowess and munificence, and the fifth,
which is partly hymnal and partly descriptives and the eighth,
which ig manifestly of the objective or life in general, the
other five treat of love in some aspect or other, and their
metres vary according to the subjeet-matter. The fourth,
fifth, seventh, and eighth collections are mines of information
on the history and sosiology of the South Indian Sovereigns
and peoples.
2. Nattimai- It contains 400 short lyrics on love by
175 different poets with an invocation by Perum Thevanar;
All the lyries are in ahaval metre, and the lines composing
them range between nine and twelve. The collection was
made by Pandyan Maran Valuthi, the conqueror of many
 Sxo. II] ETTUT-THOKAL 55

Janda) It was published by the late Narayanasamy Aiyar of

-Pinnathur with notes,
3 Kurum-thokai, or collection of shott lyrics,
contains 402 stanzas on love with four to eight lines by 204
different poets The mvocation by Perum Thevanar will make
the number 405. The compiler was Purikko. All the iyrics
but the last twenty seem to have been annotated by Per-
Asiriyar, though the annotation is lost to us. The last twenty
abstruse lyrica had a lucid commentary {rom the able pen of
Nacchinarkiniar, as is evidenced by the following stanzas:
“பரரத்தொல்‌ காப்பியமும்‌ பத்துப்பாட்‌ இங்கவியு
மாரச்‌ துறுந்தோகையு ஊைக்ஜான்தத்‌--சாரச்‌
இருத்சகு மாமூனிசெய்‌ இக்சா மணியும்‌:
விருத்தி ஈச்சினார்ச்‌ இனியமே.!?
“*ஈல்லறி வுடைய தொல்பே ராசான்‌
கல்வியும்‌ சாட்டியுல்‌ காசினி யறியப்‌
பொருடெறி தலுந்தோகை யிரபது படட்டிந்‌
தொபொரு ளென்றவ னெழு.தா தொழிய
விதபொரு ளென்றதற்‌ கேத்ப வுரைத்தும்‌ 93,
Mr, Sowri-Perumal-Arangan of poetic repute has issued it
with a commentary of his own.
One of the lyrics comprised in this collection ig Nakkirar's
Sonnet on the Bee quoted elsewhere,
4 Aynkuru-nuru: This collection comprises 500
amatory poems by five different poets with an invocation by
Perum-Thevanar. Each of the five thinai’s or physiographical
divisions is handled in ௩ charming manner in a century of
stanzas, some ef which occur in the commentary on Thol-
kappiam, Porulathikaram. About 100 verses of this compilation
were composed by Kapilar It was compiled by the great
scholar Kudalur Kilar at the instance of Irumporai-
56 TAMIL LITERATURE

An excellent commentary on this anthology by an unkaown

author has been brought out by Pandit Saminatha Aiyar.
5 Pathittup-patthu. This collection, evlogizing the
Chera kings and patrons of Tamil bards, consists of ten
pieces by ten different poots, each piece containing ten
stanzas. Of these ten decads, the first and the last seem to
have boom lost for ever, and of their authors, four of them,
Kepilar, Paranar, Ari-Sir-kilar, and Kothamaner, were poets of
the last Sangam:
Decad. author. Chera king
Second Kannanar of Kumatiur Nedum-Gheral-athan
Third Kothamanar Kuttuvan
Fourth Kappianar Nav-mudi-chera
Fifth Paranar Chenguttavan
Sixth Natchellaiyar Cheral-athan,
the Conqueror,
Seventh Kapilar Vali-Athan
Eighth Arisirkilar Perum-Cheral-
Irumporai, the
Victor of Thakadoor.
Ninth Perum Kuntur Kilar Tlam-Cheral-
Irumporai.
While tho otber poets obtained money and land for their
ewlogia, Kothamanar, patronised by Pal Pugal-Kuttuvan, aimed
at heaven or swarkam and reached if after performing vedic
sacrifices. It has an old commentary by an anonymous anther,
which is published by Pandit Saminatha Aiyer, Tae commentary
refers to sinnul by Nemi-nathar, and the commentator, thera-
fore, betonged to a later time.
Kannanar was en anthanar and obtained pirama-thayam,
or a grant of 500 villages and a share in the revenue collection
of the Southern country for thirty-eight years, In this second
decad will be found an account of the densely packed Aryans af
 See IfL ELTUT-THOKAL 57

the foot of the Himalayas,

of the Nedum-cheral-athan as the ruler
of tke vast country between the Himalayas and Kumari, and of
Muruga as of elephant riding, It also describes the heroism of
Akkuran in the Bharatha war and the chera king's boundless
generosity, and his victory over the Bactrian Greeks (Yavanas}
and booty of diamonds trom them. very song of it is labelled
with a telling word or phrase occurring in it. The king is
described as the protector of the groat and good or ' Santore
mei-marai’. In the eighth stanza of this section come
Viralyar, women dancers; whose locks of hair wore divided
into five parts and knotted.
‘The author of the third decad, Koihamanar, celebrated the
ten sacrifices performed by Pal-Yanai-Sel-Kelu-Kuttuvan, the
brother of Nedum Cheral-athan and his renunciation of the
world with his wife at the close of the tenth. This decad
contaias an account of the conquest of ihe Kongu country
by the Cheras, of the subjugation of Umbar Kadu, of the
king's policy of taking advice from prophetic old men and
rewarding them amply, of his Kali (Kottavai; worsbip under
the name of ¢ aiyerai’ and of his taking Nedum-para-thayanar
as his confidante.
The fourth deoad describes Kappianar of Kappi-acru as the
dones of forty lakhs of gold ooins and @ shure of the state
revenue from Kalani-Ksi-Kanni-Nar-mudi-chera- It bas an
invocation of Tiru-mal in the firsi stanza and siludes to the
victory won over Nannan, the chiofiain of Pulinadu. It praises
the royal benefections and herosm. There is a reference in
Stanza 2to counting with Kalangs or its seeds (gndandme
bonduce). In Stanza 10 the withering of the leaves of the silk
cotton tree is considered an evil omen.
The fifth deoad oulogises the chera king's gift of his own
son and the revenue of Umbar Kadu to Paranar. The same
King built a temple for Kannagi and subdued the Aryan Kings
58 TAMIL LITERATURE

of the north and the nine minor rival chieftains of the Chola
Kingdom and alsa of Mohuor Palayan, The poem alludes to
the custom of making ropes of the hair of women of the hos ile
rulers, wherewith elephants were yoked, and to that of
soldiers quafling beer and eating ginger root plucked out of the
garlands worn by them of ginger snd flowers. In Stanza or
Section 4, the custom of burying deai bodies in big pots under
yanul trees is touched upon. In section 2, grand feasts in
honour of the departed heroes called Kala-velvi, and war-dance
kuown as ‘thunanagai Kutthu’ are graphically deseribed, and
reference is bad to the surgical operation of stitching soldiers’
wounds with long white needles.
The author of the sigth ten was the pootess Nachellayar,
who was called Kakkai Padiniyar, because she pressed inte her
poetry the omen of th ory of the crow asan indication of the
advens of guests in a song of the Kurum-thokai, She obtained
from the king nine tulas of gold and a lakh of gold coins for
making ornaments and was retained in the palace. The poem
refers to the snake-gems abounding in tbe Himalaya mountain,
fo fasts on full-moon days (stenza 1). to the weapons of war—
bows, arrows, swords, anklets and green wreaths (stanza 7), the
last two being worn by cowardly soldiers, and to dances with
swords uplifted in the battle field by victors.
The seventh decad describes the hospitality of the king as
wellas his unboumded charity and the queea's purity,
and the honeyful jack fruit of the hilly region and
the many cataracts in it. The king is said to have been a
past master in the rules relating to sacrifices. In stanza2
eleven suns are said to have dried up the universal deluge;
in sestion 8, the fort-walls bore the number of days fought
by the besieged, even foodleas,
The poet of the eighth decad, Arisil-kilar, celebrates the
eonquest of Thakadoor by the king ond refers -to gifts of nina
 Seo. IL] ETTUT-THOKAL 59

lakhs of gold coins and the royal cot (which was subsequently
returned) bestowed on him.
Tho ninth decad deseribes the gifts to the poet, Perum-
Kuntrut-Kilar, of 32,000 gold coins, ornaments and lands by
the king who won victery over Ko-Perum-Cbola, Palayan
Maran. and Viechi-&o and conquered Vanchi and held a great
sacrifice, It refers to the Vindhia wood as the close preserva
of Kali or Kaval peyaria-kanan- © The same king is said to have
ruled Kongu and Poli-nad, Winter was preferred for war
operations (St, 2) actuated by a desire for power and authority,
Of this collection it is said that it is a store house of
obsolete words and phrases, ancient grammatlea! forms and
endings; and inexplicable customs and manners of the Temil
Cheras, and that it represents the purity of the Tamil languago,
hardly 2 dozen Sanskrit words being found in 1800 lines.
The eight chera kings eulogised in this collection are
found in the genealogy given below,
I 37
Uthayan த்‌ Athan Anduvan Seral Irumporai
i I (4] Kaduueko Ali Athan
1. Tmaya Varman Q. Fal Ruttovan (25 years).
alias Nedum-
Cheral-Athan, (B] Peram» Soral Tramporai
(ruled 58 years) | (17 years),
By Padman Devi, (By Maviakilli Devi)
1 ர்‌ [0] lam Seral Trumporai,
॥ T 1 (16 years).
8, Nar-mudi 5. Adukotpattu 6.€enkuttuvan 4, llam-Ko
cheral Cheral Athan (55 yeara)
(25 yoara) (85 years)
Senkuttuvan, brother of Ilam-Ko, lived between 175—295
AD. He was a nephew of Nedum Cheral Athan and a con-
temporary of Gayababu I of Ceylon, of Nedu Marran and Vatri-
yel-Cuolyan of the Pandya Kingdom,of Uruva Pabrer-Ilamset-
Chenni and Vel-Pahradakkai Perunarkilll of the Chola dynasty
 60 TAMIL LITERATURE

respectively, and analiy of the Satakarnis of the Andbra line

of Kings,
Adukotpattu Chera! Athan, nephew of Nedum Cherai
Athan, heid bis capital at Thondi, now Kadaluadi, in the
Malsbar district. Kadungo Ali Athan, nephew of Anduvan,
granted the village of Okandur for the Vaishnava tenaple.
Perum Seral, nephew of Kadumko, wasa contemporary of Ugra
Pandya. liam Sersl, the nephew of Perum Seral and son of
Mayur Kilan and Venmai Anduvan Sellai, defeated the father
of Karikala, 1t must be noted that the lina of royal’ suvcession
was through the nephews of kings.
6. Bari-padal. Of the seventy pieses composing thie
co.lection, only twenty-four by thirteen poets have survived the
wreok of ages- ‘The title seems to have bean suggested by
the name of a particular metre. According to the subjoined
stanza, eight pieces praise Vishna, thirty-one Muruga, twenty-
six the Vaigai, four the city Madura, and one the oceam
* இருமாற்‌ இருநான்கு செவ்வேட்கு முபப்பச்‌.
தொருபாட்டுச்‌ கார்கோளுச்‌* கொன்‌ஐு-மருவினி௰
லையை யிருபத்தாஐு மாமதுரை நான்கென்ப.
செய்யபரி பாடம்‌ திறம்‌ 33,
The old commentary on this collection is attributed ta
Pari-me!-Alagar by Pandit Saminatha Aiyar who has published
it. Unlike the preceding collection which treats of pura-thinai,
this beiongs to Aka-thinsi,
* பாடிய சான்றவர்‌ பீடுகன்குணர
மிகைபடு பொருளை ஈசைபடு புன்சொலித்‌
ஐந்திடைமடுத்த கந்தி தன்‌ பிழைப்பும்‌?.
One poetaster by name Ranthtyar is said to have tampered
with and interpolated verses in this poom ashe did in Jivakae
** Another reading is Kadakal or Kadu-kilal
 Sec. IIT ETTUT-THOKAC 61

Chintamani, and Porimelalakar, it is said, removed thom when

fae aunotated the poem: This information was gathered from a
00097 of Kurrall commentary by the said commentator preserved
by Tiru-Meni Rathna Kavirayar and by Thevarpiran Kavirayar
of Alwar Tirunagari.

2, Kalit-thokai. or Anthology of Short Poems. This

work, composed or compiled by Nallanthuvanar of the last san-
gam, consists of 150 love songs in Kali metre in all its od
varieties, which, with its saliatory rhythm, is admirably adapted
to the treatment of love in lis five phases, The songs treat of
detached incidents and are mostly in the form of Alalogues, the
speakers being chiefly a lady, her maid servant, and her lover ;
and they reflect the Tamilar’s mede of courtship and marriage
and sezusl relationship, Tho Kelippas describe the separation
of the lovers in palai, their union in kurinehé, their discords
in marutham, their reunion in mullai and their pinings
after separation is meithal. ‘Thus they desoribe bow two
lovers meet, marry, and live together so as to enjoy the maxi-
mum of conjugal happiness, But true love seldom runs
smooth. 9௨8 disappoihtment, and elopemenis are put in to add
to the zest and relish of wedded felicity, A Kalippatiu may
consist of an ahaval, a venba, a Kalippa ora number of cack
of them, or a mixture of some of them: the ahaval consists of
thres or more tines and genorally ends with the letter o.
‘When the penultimate line consists of four feat, the ahaval ig
called Nilai-mandilam, when it bas only three, it is called
Nerisai. A veuba consists of two o: mora lines and has the
last line short of one foot- The Katippa is a variety of venba.
*கற்றறிந்தார்‌ பேசுங்கவி?, 88 006 saying goss. A Kalippa of
varying length and metre, consists of tharavu, the opening
stanza, surithakam, the concluding stanza, thalisaé, the inter.
vening stanzas end thant-sel, detached word.
62 TAMIL LITERATURE

The poom is a rare and excellent specimen of Tamil

literature; ite sentiment and diction are refined and polished.
At abounds in implied, hidden, or condensed comparisons and
innuendoes, which but for the able commentary of Nacchinar-
kiniar, published by Rao Bahadur Damodaram Fillai, will
remain iron-peas or seated book to many.
௭ உள்ளுறையுவமரு? மேனை யுவமமுக்‌.
செள்ளிதித்‌ தெரிந்து இணைப்பொருட்‌ கேற்ப
வுள்ளுறை யுவமத்‌ தொளித்ச பொருளைக்‌
சொள்பவர்‌ கொள்ளக்‌ கு.றிப்பறிந்‌ துணர்‌,த்தி
யிழைச்சிப்‌ பொருளுச்‌ கெய்தும்‌ வகையைச்‌
,இிறப்படச்‌ தெரிந்த சர்பெறச்‌ கொளீஇ 1).
In the ninth song the poet observes that a virgin going
away with a young man of her choice is nothing unnatural and
quotes the instances of the pearl, the sandal, and the coral that
do not 1emain where they are formed or grown but go to those
whd would have them,
A specimen of Kalippsttu is thefollowing which occurs in the
chapter headed Maruthakkals, and which is rendered in English,
only in its main features) Marutham, agricultural land, is the
scene cf temporary quarrels between husbands and wives on
the score of the former visiting brethels, Such a temporary
quarrel, said to be the salt of love, is justified by a reunion
with greater zest, One who daily tastes miik will better enjoy
ite deliciousness when at times he tastes things sour’. A hus-
band relates his dream to eoax his wife and win her back. Yor
real conjugal pleasures the practice of virtue and the earning of
wealth are indispensable; but the dream of such a pleasure needs
neither. The dream was as follows’ “I saw ladies with thelx
maids on sand hills like swans tired with their maids on sand
hills, hke swans tired of flight in the quest of food and resting on
a side of the Himalayas as the shades of evening fell fast. They
 Sze. 111 ETTUT-THOKAT 63

seized a flower creeper and plucked bunches of flowers from it

when the bees fled like the enemies of Pandya when he bore the
neem or margosa ffag and stormed their fortresses, The hee
swarm dashed on the ladies as if enameured of their beauty. In
the conflict the flower garlands and pearls of one lady got
entangled with the bracelets of anotber, and the pearl necklace
of s third was caught hold of by the ear-pendants of a fourth
lady. The striped waist cloth of a fifth lady took bold of the
pointed clasps in the anklets ofa sixth. Annoyed by the buz-
zing bees a lady who had refused her Icver's embraces before
rescued herself by grasping his broad garianded arms. Anotber
lady tucking ber flowing kirtle with one band and holding her
loose hair with another found shelter in a bank of flowers:
Another drove the bees with a floral wreath and got into a boat
ribbed with their bones. Another, in her tipsy and semi-consei-
ous state, plied her bands in vain. Thus they were in chaos like
the fragrant creepers storm-tost and self-entangled and had their
rescue from the bees by flight. This was my dream.” Further,
husbands and wives in Madura earnestly invited Cupid in the
vernal season and gave hira a garden party, amidst bee-swarms.
Duriug the season the Cuckoo warbles and invites its female to
its bosom. Let us do likewise. Let us be united, to part no
more."*
8 Aha Nanurau, or Aha-Paitu or briefly Aham-
This, too, like the preceding ones, has an invocation from the
pen of Perum-Thevarar. It contains 400 lyries on love, the
lyrics being composed of verses from thirteen to thirty-one.
They are classified as follows;
Ast 120 lyrics compared to an array of male elephants (safls
யானை கிரை)
2nd 180 lyrics . . to a string of corals interspersed with
8608 (மணிமிடை பவளம்‌)
Brd 100 lyrics ., a necklace of pearls (6s fes@srae)
64 TAMIL LITERATURE

This collection, made by Rudra Sanmauar, son of Uppuri

Kudi-Kilar of Madura, at the instance of Ukkira-peruvaluthi,
bas a deal of historical interes), as there are numerous references
in the poems to Karikala Chola and Athan and Ohenkuttuvan.
Mamulanar and Paranar contributed most to this collection:
Vide 15, 55, 61, 114, 126, 233, 250, 294, 310, 346, 898, and G
124, 195, 257, 396.
The first ninety lyries ef this Nedum-thokai have an old
eommentary. The book was published by Mr. ¥. Rajagopala
Aiyengar, and it helped Mr.R Raghava Aiyengar to issue 5
better edition of it with exegetios and other sids. The drift of
thie anthology was given in a few ahaval verses by Villava-
tharaiyan alias Palvanoa Thevan of Manakkudi-
9. Pura Namwru. This, like Ahan, contains 400 pieces
in the usual ehaval metre by different poets of different times:
This work is also known as Puram, and Purap-pattu,
Ut has » high historical vaiue, for the poems refer to the kings
of the three Tamil countries, besides petty kings; ministers,
captains, and warriors, as well as to maay posts of the last
Sangam.
Further, the collection gives us an insight into the political
and sosial history of the Tamil peoples about two thousand
years ago. About 150 bards seem to have contributed to this
sollection, of whom Kapilar, the ‘friend and ianreste of Parts
eomposed 8. Ori's bards were Van Paranar, and Kalaithiniya-
mayar, Vide 152, 153. 204. Cri was killed in battle by Kari
and his ‘ands were restored to the Chola, Kapilar also was his
favourite post: Auvvai was the peetess of Athikan’s Court,
Vide $1, end for her praises of the thres Tamil kings: see 226-
Ber lyrics count thirty-thrse in this collection. Athikan, who
defeated Kori and sacked his chief city, Kovalur, patronised
Paranar too. Péken, another munificent chieftalns patronised
Kapilat, Paranar, Arisirkilar, and Perum-Kuntur-Kilar, and all
 Sao. 11I ETTUT-THOKAL 65

of them wrote his eulogies. Ay, a vellaia chieftain like Pari, had
afavourite poet in Hnicheri Muda-mosiyar- Nalli is praised in
St. 150 and 158 and Kumanan in 162—65, In this manner about
120 petty Rajas are praised by the wandering miustrels in
adequate verses. The contributions of Kovur-kilars Perumthalai-
satthanar, Nari-veru-thalayar, Alam-kudi-Vankanar, Perum-Sit-
thiranar, Kodi-talai-Viluthand!nar, and Siru-karum-thumbiar are
also remarkable, Some fifteen lyrics bear no author’s name, Ag
regards the social beliefs, customs and manners recorded in
this valuable historical piece, we refer the reader to the
description of Suttes in St. 246. to Tact in Government in 185,
to the ploughing with asses of the razed forts,
to the burial
urns (Ema-thali), in 228, 238, 256, 314, to the potency of
Karma, to the Vedic Yagams, to the rude stone-spitaphs
(8@0) of heroes, to toddy-drinking by women, and to the
splitting of the chests of warriors dying in peace with the sword
lest they fail to enter Valhala or the heaven of heroes. Lyrics
367—8 are wholly lost. This collection describes virtue and
wealth arranged according to the thinat and thwrat, or with a
note on the same subjoined to each lyric. The present commen-
tary is for 266 lyrics, and the notes on lyric 242 et seq are
incomplete, being worn out in the manuscrip'- An old
commentary on the whole collection seems to have existed at
one time, but it is not available ‘The lytic *மீனுண்‌ கொச்ன்‌?
sited. by Nachinarkiniar in his notes on tho sutra or spgaa
gp in Tholkappiam, Porul, is not found in this anthology.
This anthologia illustrates that Tamil poets, in thair
uttermost poverty and indigence, were great self-respecters,
They would not accept presents as alms but as marks of
appreciation of their poctic genius. Thay were faithful and
unflinching advisers and confidantes to kings} they averted
war and ruin to their rulers by telling them truths in an
agreeable manner. They were broad minded, generous, firm
28
66 TAMIL LITERATURE

and impartial, and very influential. They were parfect:y honest

and sincere even in extreme distress.
As specimens of the thoughts and sentiments of the lyrics
are subjoined the English renderings by Rev. Dr G- U Pope
of two of them (No. 18 on the necessity of Irrigation and
No. 205 being a Defiant Plea for kindly charity) by Kuda-
Pula-vienar and Perum-tbalai Sattanar respectively.
Descendant of the mighty ones, who put beneath their foot
‘The wide extended earth, girt by the roaring sea.
Ten times hundred million years
Prolonged be thy mighty sway!
Thon art the Victoreking of the city rich,
Whose moat is filled with both small and great,
Whose mighty guarded wal! to heaven uplifts itself!
Dost thou desire tke wealth of all this world _
And of the worlds beyond
Or wish to overcome all kings
And hold them ‘neath thy sway ;
Or seek for glory and good renown ?
‘Then mighty Ruler, lisien to my song.
Who give to frames of men the food
‘They need, these give them life :—
For food sustains man’s mortal frame,
But food ia earth with water blent :
So those who join the water to the earth
Build up the body, and supply its life
Men in leta happy lands sow seed and watch skies for rain,
But this oan ne'er supply the kingdoms’ wants and the kings’y
‘Therefore, O Chelyan, great in war, despise this not :
Increase the resersoirs for water made.
Who bind the water, and supply to his fields
‘Their measured flow, these bind
‘The earth to them. The fame of others passes swift away.”
 Sec If ETTUT THOKAI 67

“Though the three monarchs rich in amplest wealth

Gave loveless gifts, we'd scorn the pelf!
O lord of Kovai, round whose heights
‘The Jasmine twines its wreaths all glittering white ;
Whose swotd victorions quencher ardour of thy foes,
Whilet thou to needy suppliants that flee
Lo them from face of conquering foes, art refuge sure !
© hentsman searching out from rocky cave
Aud den all creatures great and small, with hounds
Swift-footed, bearing still thy mighty bow !
May thy blest days in joyous comfort pass!
The clouds that go to graze on ocean’s plain
Drink from ita plenteous store, nor ever back
Come they without the gift they seek ;—
So suppliante from thee, ot from some other gain,
Due gift of car and tusked elephants ! ”
Tadd one more lyric No. 278 which describes the hetoism of a
Tamilian mother in days of old und which [ translate as follows:
“A woman old, outworn with age,
Whose shoulder bones were dry as wood,
A rumour heard her son had fled
‘The battle scone, and rose in rage,
With sword in hand, to hack her breast
‘That gave him sack, were ramour goods
the searched an@ searched In angry mood.
‘The foughten field till phe the crest
And trunk did find of warrior son
Amid the fallen brave a-bled.
‘Then joyed sho more than she a-bed
Did lie of him and birth-pangs won.”
68 TAMIL LITERATURE

SECTION IV,
Pathi-Nen-Keel-Kanakku-
The Eighteen Minor Didactics are as
follows :—

1. Naladyar Various Authors

2, Niomani-Kadikai Vilambia-Kakanar
ச { 3, Kar-narppathu Madura Kannan-Kutthanar

Fal 4, Kalavali-narppathu Poikaiyar

2Zz 5. TPP!
Iniathu-narppathu Puttham-Chéathanar
ம்‌
% (6. Inna nsrpathu Kapiler
__ { 7 Ayn-thinai-aimbathu Maran Poraiyanar
ட Ayn-thinai-Elupathu Mavathiar
a | 9. Thinai-moli-aimbatha Kannan-Chenthanar
$410, Thinai-malai-nuttu.
BY simbatha Kani-methaviyar
(11. Kainpilai, Innilai © Kannan-Chenthanar
19, Thiruk-Kural Thiru-Vallavar
39 Thiri-Kadukam Nallathanar
14, Acharak-Kovai Peruvayil-Mulliyar
15. Palameli Munturai Araiyanar
16 Siru-pancha-mulam Masmulanar
17. Muthu-moii-kanchi Purisai-Kilavanar
18. Elathi Kani-Methaviyar.

The subjoined Venba contains the names of the eighteen

minor classics,

** நாலடி, நான்மணி நானு த்ப தைந்திணை முப்‌

பால்‌ சடுசல்‌ கோவை பழமொழி-மாமூல,
மின்‌ னிலை சொல்‌ காஞ்ியுட னேலாதி யென்பவே
கைக்நிலைய வால்‌ இழ்க்‌ சணக்கு. ??.
 Szo. IV PATHI-NEN-KEEL-KANAKKU 69

Of these eighteen, about one-third are by Jain authors.

Some are by Brahmms, 4—!4, and a tew by none
Brahmins, Tho name of the collection seems to refer to the
worldly virtues taught in these small poems viz , virtue, wexlth,
and pleasure, as distineuished from the lengthy works treating
of bliss or salvation, The two other collections we have
already reviewed are in the free flowmg abaval metre while
these small poems are in the Verba metre peculiar to Tamil,

“ஐம்பது மூ.தலா வைக்நா தீரு

வைவகப்‌ பாவும்‌ பொருணெதி மரபித்‌
ஹொகுக்கப்‌ பவது மேற்கணக்‌ காகும்‌.
₹ அடிகிமிர்‌ பில்லாச்‌ செய்யுட்‌ டொகு.இ
wpb பொரு னின்ப மடக்‌ யவ்வத்‌
'தஇதப்பட வுரைப்பது கீழ்க்கணக்‌ சாகும்‌.)
Kurral, called Muppal, Palamoli, and Naladyar are the
only long works in this series. Morality being founded on
love, the subject-matter of these pieces may be said to be
love and morality, theoretic and practical. All the poems are
distinguished by their force and terseness, and two of the
three long works have become so well-known and been so well
appreciated that their importance has given rise to the prover-
நக வரத, காலுமிரண்டும்‌ சொல்லுக்‌ குறு, ஆலும்‌ வேலும்‌
udgré @ mB. The English renderings of the titles of some
of these works are Rev. Dr. Pope’s.
1. Naladyar. It contains 400 quatrains, and the
suffix—dr is honorific, as in Thiruk-Kovaiyar. Its composi-
tion has
a tale to tell, Eight thousand Jain sages had left
their home in a time of drought and sought the help of the
Pandyan King. When the famine was over, they wished to
return home but could not bid farewell to their benefacti.
They, therefore, left the country al! ina body on a particular
 70 TAMIL LITERATURE

night, every sage leaving in his lodge a venba stanza, These

were collected and taken to the king who, to test their worth,
caused the palmyra leaves on which they were written to be
thrown into the Vaigai. Those that floated against the current
were preserved; and the three collections that stood the test
were Natadt Nénuru, Pala-mi, and Ara-neri-saram. Probes
ably, this account is metaphorical, and signifies that these
collections have survived the ravages of time. The quatrains
are of very unequal value, and their prevailing tone is cynical,
They were divided into forty chapters of ten stanzas each by
Pathumanar on the model of Thiru-kurral, 13 chapters on
Aram (Virtue), 26 on Porul (Wealth) and 1 on Kamam (Love),
and the work of classification was executed so injudiciously
that the titles of the chapters ofton ‘afford no clue to their
contents. The oldest commentary on the work is Pathu.
manar's, Another tradition about Naladyar is that Vajra-
nandhi, a Jain, established a Sangam at Madura about 450
A.D. and that the poem was the production of the Sangam,
The work is valued by all religionists alike for its practical
morality.

“ergor ob Cagwomb கானூறு கானூரும்‌

நானூறல்‌ சத்தத்கு நத்றுணையாம்‌--மானூறும்‌
பண்மொழியாள்‌ பாகம்‌ படர்ந்து சடைக்கரந்த
சண்ணுதலான்‌ பெற்ற களிறு.
வெள்ளாண்‌ மரபுக்கு வேதமெனச்‌ சான்றோர்கள்‌.
எல்லாரும்‌ கூடி யெடுத்துரைத்‌ச--சொல்லாய்க்த
நாலடி கானூது ஈன்னிதா வென்மனத்தே.
எலமுட ஸித்கத்‌ செளிந்து,??
In stanzas 200 and 296 of the poem occurs the expression
மூதி சரையர்‌, which has raised a deal of controversy among the
critics.
 Sec. IV PATHI-NEN-KEBL-SANAKKU 71

ஈபெருழத்‌ தசையர்‌ பெரிதுவர்‌ இயும்‌

கருணைச்‌ Con ஜுர்வர்‌ கயவர்‌ 72
நல்கூர்க்சக்‌ சண்ணும்‌.
பேருழத்தரையசே செல்வரைச்‌ சென்றிரவாசார்‌.?.

It is capable of two interpretations, viz the kings Chera,

Chola and Pandya who were lords of the Tamil country, ௪
wealthy men who owned three villages. Many of the Pallava
sovereigns of Kanchi and their tributaries also bore the titles,
Qne section of the Palli or Pallava tribe, called the
Muttarasar (Telugu Mutracha) ruled in the Chola country,
first as feudatories of the Pallava and then of the Pandya
kings, during the eighth century A.D. It was during this
period that Naladyar was composed under the auspices of the
Muttarasa governors.” They are still to be found in the
North Arcot district under the name of talaiyaris, and many
Potigars of Chittoor and other minor rulers are of this class,
Of such tributaries were the kings of Tanjore, who ruled in
the 8thc. with Vallam, near Tanjore, as their capital. As
echoes of thoughts and sentiments in Bhartruhurt's sup ishi-
thim surafau are found in Naladyar, it is argued that
Naladyar must be alater work. But ‘Supashitham’ is not
Barthruhari’s composition; it 1s only his compilation,
When it was composed and by whom are not known,
Evidently the verses have been handed down from generation
to generation, and the Jain scholars, well-versed in Sanskrit,
might have read the Aryan classics and made use of the ideas
occurring in them in their own productions. Or it is very
likely that, as great wits jump together, the same thoughts
of universal application might have struck the Jain authors
and the Sanskrit composers alike. As specimens cf che
quatrains, two are subjoined in their English garb :
22 TAMIL LITERATURE

THE FUNERAL
“They march and then strike once. A little while they wait,
Thon strike 9 second time the drum. Behold, how brave !
The third stroke sounds: they veil it, take the fire, go forth:—
The dying bear the dead.”
PENITENCE
‘* As when lamp enters darkness flies, go sin stands not
Before men’s penitence. 4s when in lamp the oil
Wastes, darkness rushes in ; so evil takes ita place
Where deeds of virtue cense,”
2, Nan-mani-Kadkai., or ‘ The Salver of Four Gems,’
contains 101 quatrains. Its author, Vilambia—Kakanar, was
a Vaishnava, Each venbais decked with four gem-like precepts
or prudential maxims. This poem has afforded to commen-
tators many parallel passages. For an illustration of the
poet’s observation of nature, the reader is referred to stanza 4,
which may be rendered thus:
“* Asuna dies at dram beat; kinsmen die at logs of honor,
Bamboos in jungles die when old and bearing rice,
Bagehood dies when unworthyscandals ari
‘ Asunam’ is a tuneful bird or beast, it is charmed with tunes,
and the harsh drum—beat makes it die, This idea occurs in
Chintamani, Aham etc. Rev. Dr. Pope has given a close
rendering of stanzas 7 and 106 on Wealth and Words respect-
ively in these terms:
«« From the rock the radiant gem is born ;
From the deer one’s speech high joys are born;
From gentle kiudliness is virtuous action born}
And every thing from wealth is bern.’
“ Sweet words make men. yout owa, harsh words
Unpleasing cause mon’s hearts to harshly blame,
A Gentle word
Brings gracious thoughts to human hearts By this
The heaven that pasees not is gained.”
 Sec. 1V PATHI-NEN-KEEL KANAKKU 73

3. Mar-Narpathu, by Kutthanar, son of Kannanar

of Madura, comprises forty stanzas describing the cloudy
weather,
The poem has been praised as ‘ sruugyae? or a work
of metrical beauties. It treats of love, of the mullai-thinai
or the lady-love at home longing for and anxious about t
return of her lover as the time fixed by him has long passed
away. The author was a worshipper of Thirumal. Karthigai
Deepam in the month of Karthigai is celebrated in St. 26.
The tillers are said to cover their heads with nocht leaves to
keep them warm in the cold weather-stanza 39, The victori-
ous warrior seems to have been publicly entertained (36).
Should the cloud glide by the right side, it was held as a
good omen, (12 St.). Women braided their hair in five parts
[ஐம்பால்‌], ஷம்‌ applied black ointment to their eyelids (8).
Balaraman is referred to as * நாஞ்சில்‌ வலவன்‌ ? ௦1 the white
plough victor, (19). I give below the last stanza of the poem
in English :
The lover’s signs are seen; the dark clouds like date plums
Axe tho gad lady’s cure; the Iady’s forehead will hence forth shine’,
4 YWala-Vali-Narpathu, by Poikaiyar, consists of
forty Venbas describing the sanguinary battle of Kalumalam,
the famous Flodden Field of South India, in which the great
Chola Emperor, Kochenkannan, utterly crushed the forces of
Kanaikkal-Irumporai, a great Chéra king, and took him
prisoner. Among the slain were many kings and chieftains,
The poet, the laureate of the imprisoned Chera, wished to
cury comfort and consolation to him and obtained an order of
36,8856 from the victor. But as the monarch had died of thirst,
the order was of no avail, and the war-sopg in praise of the
Red-Eyed Chola that gave the order, lives for ever.
‘The question has been raised whether the author of this
poem, and of a song in Pura-Nanuru, was also one of the first
74 TAMIL LITERATURE

three Alwars or not, The consensus of critical opinion seems

to be that the Alwar or ‘ the divine poet ’ sang of the mundane
monarch and also wrote a Pattu-Iyal after his own name. The
sacred poet has, besides Senganan and Kokkothai-marpan,
praised Killi, Thirayan and others and described Vanchi and
other cities, and his time is that of the Chola poet referred to
above, i, e. about the sixth century.
5. Iniathu Narpatbu, 2 poem of forty stanzas,
containing ‘sweet’ precepts, was composed by Putthan
Ohenthanar of Madura, It is nft-quoted and is in the hands
of our school boys. What follows isa specimen of the poet's
idea of Love:
© Right pleasant i life worth those we are atone;
Pleasant to see the full moon in the wide Gelds of heaven ;
But to be unblameable in deed, and with a tender soul
fo be loving unto all is truly eweet.’?
Only stanza 9 has five verses, known as ‘ Arida Seyyul.”
6. Inna Narpathu, by Kapilar, enumerates in each
of the forty stanzas composing it those things that cause pain
orare disagreeable.
‘The desire of the destitate to do benevolent deeda is vain;
To dwell in a city of palaces to the poor man is nonght ;
‘fo feast upon the mere sight of a cookhouse is vain;
Friendship of those who desert you in adversity is vain,
௪, Ayn-hinai. The five small works comprised
under this head are erotic poems based on the five-fold
physiographical division, They appear as garlands and con-
tain stanzas from fifty to one hundred and fifty. Of these five
works, Aynthinai-aimbathu and Thinatmalat-Nuttu-Aimbathu
have been published by the modern Madura Tamil Sangam,
© Aimbathu’ by Maran Poraiyanar, describes in fifty stanzas
the five-fold conduct of the five lands at the rate of ten stanzas
each,
 Sec, IV PATHI-NEN-KEEL-KANAKKU 5

' Elupathu’ or seventy stanzas by Moovathiyar allots 14

stanzas to each thinai, and has an old commentary.
Thinaimoli-Aimbathu has also an old annotation,
Thinaimalai-Nuttu-Atmbathu has no notes for the last
twenty-three stanzas,
8. Thirwk-Kera), by Thiruvalluva Naiyanar, con.
tains 133 chapters of ten couplets each, dealing with virtue,
wealth, and love, It is a masterpiece of Tamil Literature. 1ts
excellence lies in what Kalladar, has said in his rare work—
“சமயச்சணச்கர்‌ மதிவழிகடறாஅ உல௫யல்கூறிப்பொருளி௫வென்‌ ற),
Its author, a valluva or low caste man, was born at Mylapore,
Valluvar and Chakkayar were officers of state: the former
proclaimed royal edicts on the elephant’s back and the latter
were astrologers to Kings and their amusers by means of
dramatic performances. His profession, according to the legend,
was weaving, of which no trace is found in Kural. The great
weaver-poet was an electic in religion and Philosophy, and a
great cosmopolite. In determining his religion, the crucial test
to be applied is what, religion he has not condemned, It is
evident that he has not said a word against Saiva Siddhantam
ot its principles. Hindus and Jains claim him as their poet, A
brief analysis of this universal code cf morals is sub-joined,
4, Chapters—Introductory—God, Rain, Virtue, Ascetics
zs [ 20. The Ideal Householder,—Domestic Virtue based on
ஹ்‌ Affecti
2 | M4 The Ideal Ascetio— Ascetic or Higher Virtus
| ase
©-1 25. The Ideal Sovereign— Royalty. on Grace,
re | 10. The Ideal Statesman— Ministers of State,
2 | 22. The Ideal State— The Essentials of a State,
f 113. fhe Ideal Citizen— Morality, Affirmative and
1. negative,
Bk, 111 25. The Ideal Lover— Furtive love ending
wedded love, #
 76 TAMIL LITERATURE

These are the seven ideals presented by this Prince of

Moralists,and read and appreciated by the civilised world.
Rendered into almost every important European language—
English, French, German, and Latin—the Kurral presents an
ideal monarchy portrayed by the Citizen of the world within the
limits of practicality and at the same time outdoing the Republic
of Plato ané the Oceana of Harrington, Almost free from the
influx of Sanskrit words, the Kurral shows the richness and
power of the Tamil tongue; it has an appendix, called the
* Garland of Thiruvallur,’ in which the author of each of the
fifty-three stanzas describes in language hyperbolioal the Tamil
Marai, or the Tamil veda. One of these by Idafkadar brings out
its much-in-little characteristic and may be rendered as follows:
“ it is a semi-perforated mustard seed into which the poet has
poured the contents of the ceven seas.” The Muppal or Triple
Treatise bas no less than twelve commentaries, written by men
representing the different religious sects of Hinduism, of which
the first printed and therefore popular is that by Parimel-Alakar,
Mr. V. O, Chidambaram Pillai has brought out Manakudavar's
commentary on Aram, the first section of the poem‘and the
whole by Mr. K. Ponnusamy Nattar, Hight more commentaries
have not seen the Jight of day and it is not known if they are
sull lurking in any nook cr corner of the Tamil land.

தருமர்‌ மணக்குடையர்‌ தாமத்தர்‌ நச்சர்‌

பரிதி பரிமே லழகர்‌--இருமலையர்‌
மல்லர்‌ கவிப்பெருமாள்‌ காளில்கர்‌ வள்ளுவ.நூ.ந்‌
கெல்லையுரை செய்தா ரிவர்‌.

The immediate popularity of this hook of short and memor-

able epigrammatic sayings is attested by the incorpcration of
telling lines by contemporary pcets in their compositions. In
Canto XXII, 11 59-—61 of Manimekalai occur the following lines.
 Sec. 1V. PATHI-NEN-KEBL-KANAKKU 77

*ழெய்வக்தொழாஅள்‌ சொழுகத்‌ ஜொழுதெழுவாள்‌

பெய்யெனப்‌ பெய்யு பெருமழை யென்றவ்‌
பொய்பில்‌ புலவன்‌ பொருளுரை தேறுய்‌ 97-(12மாக] 55:
and in canto XXX, li 351—2 these verses-
யாமே லுரைத்த பொருள்கட்‌ கெல்லாம்‌
காமம்‌ வெகுளி மயக்கம்‌ காரணம்‌ ?! —(Kural 360)
Echoes of Kural are seen in Mati Gers 10௦,
Here follows Rev, Dr. Pope's summary of the obapters
dealing with the ideal householder. “The ideal householder
leads on earth a conseorated life, not uamindful of any duty to
the living or to the departed, His wife—the glory of his house
—is modest and frugal; adores her husband, guards herse'f,
and is the guardian of his house’s fame. His children are bis
choicest treasures ; their babbling voices are his musio, and bis
one aim is to make them worthier than himself. Affection is
the very life of his soul ; of ail his virtues the first end greatest,
The sum and source of all is Love, His house is open to
every guest, whom he welcomes with smiling face and pleasant
word, and with whom he shares his meal. Courteous in speech,
grateful for every kindness, just in all bis dealings, master of
himeelf in perfect self-control, striot in the performance of every
assigned duty, pure, patient snd forbearing, w:th a heort trea
from envy, modest in desires, speaking vo evil of others, refrain-
ing from unprofitable words, dreading the tcuch of evil, diligent
in the discharge of ail the duties of bis position, and liberal in
huis benofaations, he is one whom all unite to praise.”
Though the poem ostensibly deals with three of the four
objects of life, it has incidentally made explicit the fourth
object viz bliss, or salvation. 6 நூப்பாலில்‌ காத்பரன்‌ மொழிக்‌
gai. The Rey. Dr, Lazarus points out the one great defect
of the Kural to be its conception of God, both personal and
impersonal. But Mr. Nallasamy Pillai’s exposition of the
 78 TAMIL LITERATURE

first chapter shows that the missionary’s statement is not

based on facts. After pointing out that God is the first cause,
the most Intelligent, the Dweller in the hearts of men, the
Immaculate, the King of Kings, the Incomparable, the
Possessot of Eight attributes, the Eternal Truth, and the
Perfect Being, he says that no amount of learning or ethical
perfection without belief in God and worshipping His feet
will avail, and the only way to salvation is by reaching the
feet of the Ever Free. Chap. 36 on ‘How to Perceive Truth’
should be read with care in this connection, Men who see
the mystic vision, find the true support, are free from all
delusion and are nearer heaven, without being reborn and
being subject to the tripte tyranny of lust and wrath and error.
The chapter on Fate may be easily misconstrued. Though
the poet teaches its omnipotence due to Karma and the will of
the supreme, he says that men have free will and insists on
each individual's responsibility for his choice of the higher or
Jower path in his earthly pilgrimage,

‘+ Though Fate divine should make our labour vain

Effort its labour’s sure reward will gain,” (619)
“Who strive with undigmayed, unfaltering mind,
At length shall teaye opposing Fate behind,” (620)
These couplets show that man is ever master of his fate and
the architect of his fortune. I append a few gems, as
Specimens, taken at random.
« Forgiving trespasees ia good always5
Forgetting them hath even higher praise.
‘Tf each his own, es neighbour's faults would scan,
Could any evil hap to living man?’*
‘The loveless to themselves belong alone;
The loving men are others’ to the very bones
“If Jove and virtue in the honsehold reign,
This ie of life the perfect grace and gain.”
 Seo, 1V, PATHI-NEN-KEEL-KANAKKU @

© ‘The gain and los of life are not mere accident5

Just mind inflexible is sages’ ornament."
“ Humility in all is goodly grace; but chief in them
With fortune blest, "Tis fortune’s diadem."*
“ A timely benefit,—though thing of little worth
The gift itself—in excellence transcends the earth.”
© With rising flood the rising lotus? stem unwinds s
The height of men is measured by their minds.”
‘€ Mid uplifted hands of prayer msy a weapon be hid 5
‘tho weeping tears of foes are of lke effect.’
The metre of the poem—a short venba er couplet of four
feet and three, which is peculiarly apposite to convey great
truths in epigrams, —has given its title. A Brahmin scholar
has come out with a foolhardy pronounceiment that Thiru-
valluvar is a variant of Sri Vallaba and that Kural is a
poetic translation of this sage’s work in Sanskrit,
9. Thirikadukam, or « The Three Spices," is a good
specific for the evils of bum: nity. The three spices, which are
the ingredients of the stimulating and restorative-medieine, are
dry ginger, long peppers and black pepper. In each stanza of
this fascinating, yet fantastic little canto, Nallathanar gives
three moral truths which act like a ood tonic on the mind of
man: Pura-Thirattu bas cifferent readings for some stanzas
and gives other stanzas omitted in the printed book,
“© Youth ia by nature apt to slide away from right;
Folly is might to utter things forbidden;
And ever more
Moanness indulges in angry passions !—~
‘These three the wise will shun,’ (8b. 18)
“To speak thonghtlessly shout life while it is enjoyed5
To say we've lost it, when the end is nigh ;
And to feel shame (for sine) when dieesse ccmes end the body
fails;
Theso three are characteristics of shortelived mortals.”
(St. 91)
80 TAMIC LITERATURE

10. Asarak-kovai, by Peravayin-Mulliar of Kala-

thur, is a collection of rules of life and etiquette in 100 stanzas,
In this charming httle treatise, the author seems to give the
substance of poems on conduet in Sanskrit. Man’s life, private
and public, is controlled by a few rules of etiquette and
ceremony, but with a knowledge :f which no man is ever
successful in it. There are rulesin the poem governing food
and raiment, sleep aud cleanliness, decorous behaviour with
elders and kings, the uses of domestic iife and of eschewing
evil habits; and il! companions.
“ One's body, wife, trust property and polf against distress,
‘hese four every one should care for like gold;
Else permanent evil will accrue.” (St. 97)
'* Strive like the busy ant, the nested sparrow and the
hospitable crow 5
Those that do like these will have the good of life domestic.”
(St, 88)
11, Pala-moli, or ‘Old Words” is a book of pro-
verbial wisdom by a Jaia king-poet, Munturai Araiyanar.
Each of the 400 venbas in it contains a proverb in its last verse.
காய்சாணிற்‌ கற்காணாவாறு, கிறைகுட கிர்‌ சளும்பவில்‌, குரங்கின்‌
சை கொள்ளி கொடுச்சுவிடல்‌, நணலுக்தன்‌ வாயாற்‌ கெடும்‌,
மிரல்காக்கைக்‌ கோர்‌ கல்‌.
It has an old commentery, Mr. Chelvakesavaroya
Mudeliar has brought ous a neat and beautiful edition of it
with notes.

‘When man possesses wealth and worldly greatness,

If be be not of a truly disciplined mind,
The exaltation of such an ignoble person,
Is like putting a torch into a monkey's hand.”
 Suc IV. PATHI-NEN-KBEL-KANAKKU 81
«€ Wealth that knows no sam, Ligh birth, all kingly adjuncts,
And to be named as worthy by the king,
Are not great things, Hore and hereafter
To possess one's self is greatness.”
These are two specimens out of the valuable collection.

12. Siru-pancha-mulam is a small treatise in the

usual venba metre, of which each stanza contains five roots of
wisdom. Composed by the Singam poet Mamulanar; it is
not much in use, though it is remarkable for the terse grace-
ful expression of homely thoughts or commonplace ideas.
Pura-Thirattu bas different readings {cr scme stanzas and
gives some stanzas which find no place in the printed
book- ர
“The beauty of the eye is benevolence;
‘the beauty of the Jeg is firmness;
‘Tho beauty of calculation is correct number ;
The beauty of music is ita charm for the car;
‘The beauty of the king is the prosperity of the land,”
A chaste wife is ambrosia;
A learned man of disciplined mind is ambrosis;
A country well-taught is ambrosia;
‘Yo a country whose banners reach tho clouds the king is
ambrosia5
And the servant that does his duty is ambrc
13. Muthu-moli-Kanchi, 2 collection in ten parts
of ten old gem-like sayings in each, is attributed to Purisat-
Kilavanar. A few precious maxims, which our pupils can
every day; are given below.
ஓதவித்‌ நெந்தன்றொழுக்க முடைமை, மச்சட்பேத்றின்‌
பெறும்‌ பேறில்லை, ஈமமுடைமை ஈகையினதிப, உண்டி வெய்‌
யோர்ச்‌ குறுபிணி யெளிச. பொருணடை வேட்கையான்‌
மூறைசெயல்‌ பொய்‌. வன்மையிற்‌ இதந்தன்று வாய்மை
யுடைமை, The name Kiinchi is used with reference to
the thinai-poral-
126
82 TAMIL LITERATURE

14. Elathi or “Five Precious Perfumes,” a moral poem

by Kani-methaviyar, contains 81 verses, in which each quatrain
is supposed to combine; vompare and illustrate five or six points
of practical wisdom. Literally, the title means Cardamum
Et ostera; ie. cardamum, camphor, erikasu, (an odorous wood),
sandal-paste, and honey, a confection ofwhich yields an aro-
matio preparation for the bair, The author was a Jain and is
styled a disciple of Mekkayanar, 2 professor of the Madura
Sangam. It basa very useful commentary. The substance of
two quatrains is subjoined to indicste the nature of the contents
of this poem. ‘ Didactics. serve a man no purpose if he relieves
distress, despises none, eschews low company, feeds:otherss gives
thom drink wounds nobody’s feelings, and speaks kind words.’
" According to the sages, the marks of twe loving souls are
neither survivicg the other, each sharing the other's wealth,
both he!ding sweet discourse, joying to meet, grieving to part,
and sharing each other's pain,”
15 Innifai, Kainnilai- It is doubted which of the
twois the proper name. ‘Inmilsi’ is fathered on Poygayar
and has 45 stanzas (job 10, Qurger 9, Gerind 12, af@ 14)
treating of the four objects of life. It waa collected by
Puthanar of Medura, and had the invocation from the pen
of Bharatha Perum-Thevanar.
வேல த்தரீஇ விரிசடைப்‌ பெம்மான்‌.
வாலிழை பாசத்‌ சமரிய கொழுவேற்‌
கூத்தம்‌ கதழந்‌ செறி கொன்றையன்‌
கூட்டா வுலகங்‌ கெழீஇய மலிந்தே.!)
The first stanza of the poem runs as follows:—
« ger poh sOsrpp apajentd Bescp
மன்றுயர்க்து போர்ச வசை சேர்மின்‌--பொன்று
அ.றமறிக்சோன்‌ சண்ட வறம்‌ பொருள்சேட்டல்லன்‌
மறமொறுச்சு வாய்த்த வழக்கு.
 Seo, V. SOME SANGAM POETS 83

In the old oadjan treatise found at Alvar-tiru-nagari in

Tinnevelly Dt, *கன்னிலைய srGesemsq? and in another
Spereftovu ami? pssersG’? are the readings found.
Accordingly it was published by Mr. V. O. Chidambram
Pillai, Those who demur to this name and favour ‘ Kai-nilai®
are great scholars like Pandit Saminatha Aiyer and interpret
‘innilai’ as an epithet==' inimai akia nilai-ai sol-lum’ applied
to Kanchi. Vide the Pandit’s Preface to ‘ Aiyn-kuru-nuru,
second edition and ‘ Kai-nilai’ is interpreted as ‘ what ought
to be in the hands of scholars’, The treatise bearing this
name has not yet been discovered,’ In his Preface to Asarae
Kovai Mr. Chelvakesavaroya Mudeliar bas enumerated the
eighteen’ works including ‘ Innilai’ ag the sizteonth in the
list.

SECTION V,

Some Sangam Poets.

1, Thiruvalluvar *
Sage Valluvar, priest of thy lowly clan,
No tongne repeats, no speech reveals thy name ;
Yet, ell things changing, dieth not thy fame,
For thon art bard of universal mang
And still thy book above the waters wan,
Virtue, true Wealth, and jey, and being’s aim,
In sweetest mystio couplets doth proclaim,
Where wicds sea-wafted palmy forests fan.
* The different names by which the author and his Kurral are known
are as follow : Nayanar, Thevar, Muthalpavalar, Theivap-pulavar, Nan-
mukanar, Matnanupanki, Chennapothar, Perunavalar; Muppal, Uttarae
vedem, Theiva-nul, Poyya-moli, Vayurai Valthu, Tamil Marrai, Thiru.
valluvap-payan.
84 TAMIL LITERATURE

Haply undreamed of visions glad thine eyes

In realms beyond thy fabled,seyen-fold birth,
And clonds of darkness from thy spirit roll;
While lands far-off have heard with strange surprise
Faint echoes of thy song, Throngh all the earth
‘Mon hail thee brother, soor of spotless goul.
In the case of no Tamil poet is Dr. Caldwell’s dictum mora
true than it is with the author of Kurral, “Tamil writers, like
Alindu writers in general, hide their individuality in the shade
of their writings. They seem to have regarded individual
existence as worthless and absorption inte the universal spirit
of the classical literature of their country, as the highest good to
which their compositions could aspire ”.

As tradition bas it, this immortal poet stamped out the

arrogance and superciliousness of the Madura Board of Tamil
Pandits and pulled to pieces the Madura College itself It was
he who sounded the last peal to the extinction of the learned
fraternity in Madura and caused the general wreck of letters
that followed its dissolution. Is was he who gave ont the
sacred Kurral, the finest of the Tamil compositions, replete with
ethical and political aphorisms. and read and re-read by all
mankind withcut distinct'on of caste, colour or creed, and
without any prejudice or carping, The undying fame of this
immortal work has secured translations of it in more than one
European language- Beschi rendered it in Latin and his
annotations exhibit his depth of knowledge and acuteness of
understanding. Versions of parts ov of the whole of Kurral
by Taylor, Ellis, Ward Percival, and Pope testify to their
individual, earnest, unflinching \sbour in tke field of foreign
culture, The sacred volume comprises one thousand-three-
hundred and thirty compact distiohes of qunitessential wisdom
and falls under the three divisions of Virtue, Wealth and Lova.
Virtue is ascetic and domestic, The second division on Wealth
 Src, V. SOME SANGAM POETS 85

is more a treatise on political economy, an exposition of how

to acquire, preserve, and distribute wealth by the royalty, and
the last section on Love describes love between man and
woman, It opens with a chapter of praises and invocations to
God and issueceeded by an interesting and appropriate one
on Rain, the source of health, wealth and all worldly pros-
pority. Even this work is attempted to be deprived of its
originality by a dogmatic assertion that its thoughts are borrow-
ings from Manu, Chanakya, Kamandykia and other works in
Sanskrit. A Sanskrit translation of it was undertaken by some
Aiyengar pandit of Srivilliputtur.

The story of its recognition and approval by the literary

Sangam at Madura is a very interesting one. It is weil-known
tbat Thiruvalluvar composed his Kurrel in compliance with the
request of his friend and pupil Hlela-singan. The author took
the manuscripts fo Madura and met his sister Auvasyar on the
ways who, to avoid a heavy shower, had taken shelter under a
tamarind tree opposite to a spreading banyan, under which cur
author had found his refuge She asked him what the heavy
load on his -head wes. He replied that it was his Kurral,a
trastise on Virtue, Wealth and Love. Sbe simply iaughed and
embodied the sum avd substance of the voluminous work in a
single stanza. The brother and sister proceeded to Madura und
appeared before the sacred Board. Valluvar wes jestingly
interrogated by the haughty Fellows of the Sangam of bis
whereabouts, to which his curt and sententious reply revealed
to them what he was- Then they sald that without a furtber
question they would recognise its worth if the Sangam-plank
afloat in the lotus tank would hold it, Valluvar placed his
heavy cadjan load on the board which, to the surprise cf all
the spectators, so contracted itself that it threw out all the
errant Pandits and held the volume alone. [t was then Sua
those conceited men perceived the divine nature of the manus-
86 TAMIL LITERATURE

cripts and poured forth a world of panegyrics on it, These

eulogistic stanzas form a pleasing and instructive introduction
to many an edition of Kurral, The Garland of Kurral being
of made up of stanzas composed by poets of different times, is
found unreliable,
On his way back from Madura the sad tidings of his dear
wife's death fell on his soul like the bolt from the blue and he
gave out the following stanza as a record of his conjugal
felicity ;—

9149.05 GefunGor weirryeor. wor

படிசொத்‌ ஐவரா,த பாவாய்‌--அடி.வருடி.
er ora® முன்னெழுந் த பேதையே போதியோ
என்தூங்கு மென்க ணிரா,
Dr. Pope bas rendered the stanza thus :—
« Sweet aa my daily food! Ofullof love! 0 wife,
Obedient ever to my word! ehafing my feet,
The laat to sleep, the first to rise, Ogautle one !
By night henceforth what slumber to mine eyes ? *
This sweet and dutiful partner, Vasuki, was the only
daughter of one Markagahayar, a Vellalsh and well to-do land-
lord of Kaveri Pumpattinam, who commanded a thousand
ploughs, She was given in marriage to our immortal Poet re-
gardless of caste distinctions. Perhaps her father was satisfied
with Thiruvalluvar's noble mind and breadth of culture and
with his pleasant ways and winning manners, But tradition
assigns a utilitarian motive to their marriage, viz., that Vailuvar
slew a dragon that had been laying wasto Markasabayar's
property and obtained the hand of Vasukias » handsome prize,
Who knows notthe ugly legend that our Nayanar was des-
conded of Adi, a pariah or a pariah-bred woman and Bhagavan,
a Brahmin husband? According to it, Bhagavan in the course
 Sec, V- SOME SANGAM POETS 87

of his wandering in search of his father (who at variance with

his wife had left bis hearth and home), met Ad! in a choultry,
fell in love with ber, and made her his own. Adi was left un-
eared for in her babyhood and brought up by @ pariah of Uraiyur
and then by a brabmin called Neethi-aiyen Whatever the
story of her origin, it is beyond doubt that sbe was the mother
of seven children, three sons and four daughters, by Bhagavan.
The term of their marriage bond was rather very curious,
Bhagavan laid it as a condition that she must forsake ber
children wherever she might give them birthand take no after-
thought of them, and follow him whithersoever he went. She
consented to it and kapt her word all her life through. For
though maternal affection was strongest in her, her children, all
gifted with pootic inspization from their birth, essuaged the
wrench of separation by breaking out in consolatory stanzas.
Adi-Bhagavan means the primal Deity, and the story of the
poet’s parentage is a myth.
Joana Amirtham, a poem four centuries old, makes
Valluvar and his brothers and sisters the children of Yali
Datthan and » pulaichi-
யாளி கூவத்தாண்டு மாதப்‌ புலைசசி
காத்‌ சாணி யாசி மேதினி
யின்னிசை யெழுவர்ப்‌ பயந்தோளீண்டே.!?
This is equally absurd,
Valiuvar was not the name of a caste then. Nor was
the poet a priest of a lowly clap, Valluvan and Sakki (Vide
Thivakarem) were executive councillors of the crown; the
former was a lord temporal and the latter a lord spiritual. But
the poet combined in him both fanctions, amply testified to by
bis immortal poem. His knowledge of life, domestic and
public, of state policy and diplomacy, was profound indec3.
In tater times Valluyan came to mean a proclaimer, mounted on
88 TAMIL LITERATURE

an elephant, of royal commands and edicts, feasts and festivals,

by drum-beats. Hence Valluvan was mistaken in the days of
Kamban end in the subsequent periods fcr a pariah or drum-
beater, and the poet was dignified with the religious he1dship
of the degraded caste. Further, there is no record to show
that bis profess'on was weav:ng, and there is no verse
in all his Kurai that alludes to that ora(t. Thiruvalluvar
wes born, it is said, at Mylapur and nursed by a local
weaver. Then a childless Vellala woman 90% him up,
bestowed on him all a mother’s care and ten‘erness: but
was obliged to restore him to the original weaver for fear of
her 1l]-humoured neighbours and relations, Under his patro-
nizing carey be grew up and married the ccod-natured Vasuki,
His conjugal life, according to tbe story, was nothing but
sweet and agreeable- The micerable lot ci men of letters did
not fail him. He was not blessed with a child, He, however,
satisfied himself with bis intelectual offspring. His Kurrat
has, eternized his name and fame, and it has no less than ten
commentaries, of which that Ly Parimelatagar came out first
in print and the one by Manakudavar was published about
twelve years ago and still unknown to many, The former is
dist nguisbed by its Aryan t'ncture while the latter shows@
kyowkedge of the Tamilian traditions, manners, ovstoms and
civilisation, and the arrangement of the verses in each ebapter
is rational and significant. The other commentaries are yet
to see the light of day, though one or two of them are still in
the bands of jealous scholars unwilling to part with their
long-cherished darlings.

Jnana Vettiyas is said to be his second intellectual

offspring. Ib commences with a description of the human
body and its functions, and closes with specific remedies for
the ailments incidentsl to frail humanity. It contains about
1890 stanzas of diveree metres and rhythm. Its parentage has
 Seo, V SOME SANGAM POETS 89

been doubted on the ground that its preface refers to some other
author, But the lines
அம்புவியிற்‌ கு,றளட்‌. யேன்‌ பாகொளில்‌
அகேகம்பே ரெனை யெதிர்ச்து உரைதான்‌ கேட்ச
seem to settle the point in favour of Thiruvatluvar.
By profession» our Nayanar was a weaver,—a fact alleged
to be supported by the couplet,
'இழைகக்‌ தானெருடு மேழை யறிவேனோ
குழைகக்கும்‌ பிஞ்ஞசன்றன்‌ கூச.
In this calling, Thiruvaliuvar was considerably assisted by
hig friend and pupil, Elela singan, who supplied bim wi:h packs
of cotton-thread free of coat.
The poem deprecates Kambar (1120—1200) and Athi-
vira-rama-pandian of the 16th century (3564-99). How could
Tiruvalluvar of the 2nd century have deprecated poets who
lived many centuries later? So the poem is « forgery,
₹பெருநூல்களாயிரத்தைந்நூற்றில்‌, முன்னமே யான்‌ பாடிவிட்டே
ஞாயிரத்து முந்நூறு, மூடித்துவைத்தக்‌ குறளஅவா யுலகோர்ச்‌
காண்டே.? Is was written probably by a man who bore the
namo Valluvar and who lived in Tanjore, two centuries ago,
where the woud vetti means vali (ay) and is used In the
senge of coastal region in that district
TPhiruyalluvar’s relationship to his scholer, untike that of
Agasthiar towards Thotkappiar and ‘Therayar, was highly
amiable and praiseworthy, tela singan was the proprietor of
many ships and, on one occasion, one of them had stranded and
cocid not be hauled up» When this news reached Thiruvallu-
var, he went down to the stranded vessel and, putting his hand
fo the ropes, pulled it, saying ‘Blaiyah’ and telling others to
fcliow suit, The ship was moved out of the shoal, and it fared
on as usual with its traffic. Thisincident has given currency
90 TAMIL LITERATURE

to the term ‘Hlaiyah’ used even now by boat-rowers and

other work-day labourers, His honest gains and his conse-
quently unmolested security have bocome proverbial
எலேலக்கன்‌ பொருள்‌ சானேபோய்‌ தானே வரும்‌.

Thiruvalluvar bad two brothers, Athikaman and Kapilar,

ani four sisters, Auvat, Uppat, Uruvat, and Valls.

It must be noted that, according to Mahavamso, Elelan

(B.C. 205~161) ruled Lanka with his capital at Anuradha-
pura,

2. His Brothers, Athikaman was Valluvar's

elder brother. Born at the Karur grove, he was brought up
by Cheraman Peruman, one of tha Pandian rulers; On the
death of the sovereign, Athikaman held the helm of his state,
patronizsd Panapathirar, and composed Ponvannathw Anthathé
in the brief and scanty hours of his recreation. This Anthathi
was pubtished at Chidambaram, and we have not come
across any other work or stray stanza of his. He lived between
80-100 A. D, Thiravalluvar's younger brother was Kapilar,
who wrote an Ahaval, which is tho only biography of his family:
Kapilar was brought up by a Brahmin at Arur. In his seventh
year Parpaiyen, his foster-father, invited his relations for the
boy's thread-investiture ceremony, They declined his invita-
tion as the boy was not of their caste, Young Kapilar screwed
up his courage, went into the midst of the Brahmin con-
gtegation, and addressed them go eloquently ௦௩ “ Action, not
birth, makes one high or low’ that they consented to take
part in the ceremony, He was one of the forty-nine Fellows of
the last Sangam and has given a Venpa in praise of his
brother's Kurral. His works are Ahaval, Inna Narppathu,
and Kurtnchtip-Pattu, besides 31 pieess occurring in Pura.
manuru.
 Sc, V. SOME SANGAM PORTS 91.

Nappa-Salayar of Marokkam, veat Korkai, praises Kapilar

as ‘yoargpés bp ais@nerer? i.e, ‘pure-minded Anthanan *.
Kapitar was Vel-Pari’s alter-ego and his Court-laureate- His
elogies on tho death of Pari are the ont-pourings of his heart,
and be offered his master’s daughters to [rungo-vel and Vichi-
Kove. On their refusal, he loft them in the custody of
Brahmins. Hig stanzas number 250; of which 20 are in Nattin-
ai, 29in Ainguru-nuru, 10 in Pathittu-patthu, 16 in Abam, 31
in Puram 1 in Pathu-pattu, 1] *நெட்டிலேயிருப்பை '--ம all 208
ahavals, His venbas are 1 in Val'uvar's garland beginning
' @erweray’ and 41 in Inna-Norpathu, moking in all 42, 155
ahavals treat of Kurinji and he is generally spoken of as “Kurin-
jipoet’. He was not a narrow sectarian. lis pooms are
encomiastio of Vel» Ori, Athan, Kari, Nalli, Pari, Pekan,
and Malayan fendatory rulers and patrons, Priendshi
gratitude, and benefaction form his chief themes, Besides
these works, he is known as the ausbor of Muttha nayanar
Thiru-Irattaimani-malal, Sivaperuman Thiru-Anthathi and
Thira-Irattai mani-malai which are comprised in the XIth
Thiru murai, His name oceurs coupled with Paranar, as
‘ Kapila Paranar’ hike Castor and Poliaxs David and Jonathan
etc, and Idaikadar seems to have been another bosom-friend of
his among the poets of the day. ‘Tiru-Vilayadal describes bim
௦ *மின்னமில்‌ சபிலன்‌ ரோழன்‌ பெயரிடைச்‌ காடனென்போன்‌.?
3. Auvai. Of Thirovalluvar's four sisters, Kuravar
Pavai, (Valti) Muravai, Auvai, Uppai,
“கபில ரதிகமான்‌ காந்தறவ$ ப௩வை
மூூலனைய கூக்சன்‌ முறுவை--நிகரிலா.
வள்ளுவ ரன்வை வயலூற்றுக்‌ காட்டி லுப்பை
எள்ளி லெழுவ ரிவர்‌, ??
Auvai-was the most intelleo' val woman, regarded as the incarna-
tion of Sarasvaii. Instances of her intellectual feats are namerous-
92 TAMIL LITERATURE

Phere must have been two poetesses of the same name, which
means only ‘an old woman”, at different times. The sister of
the great Valluvar lived in the time of Peru-nar-killi, and the
later Auvai was a contemporary of Kambar. The first woman
was patronised by Athiyaman Anchi and, after his death, by
Elini, the son of Neduman-Anchi. In Pura-nanuru st. 89-95,
a description of her person and ber patrons will be found.
Once she addressed the three Tami! Kings, Peru-narkillai,
Ukkira-peru-Valuthi: and Ma-ven-ko and encouraged them to
do good and be good all their lives) Her life was abnormally
prolonged by the nelli-fruit she had at the hands of her first
patron. This incident was put to the bost use by a story-monger
when he made one woman out of two. The legends connected
with them both are given below +

Zdatkadar expresses his opinion on Nayanar's Kurral, as

50n85 gens Csi, ete., meaning ‘ much wit in a few words.”
The first Auvai improved his line substituting atom for mustard
and conveyed the author’s meaning and her high opinion of
Kurral in a more telling manner.
This intellectual Amazon led the life of a literary Bohemian
picking up her mesl by turning a few occasional verses
Ske seottered the scintillations of her brillient genius at
random and grew more and more insolent with her literary
suecesses- To lower her a pegs a golden opportunity offered
itself. Kandaswami was up a naval (Jambu) tree plucking
fruits, and tasting them. Auvai: by chance, came on the spot
and asked kim a fruit. He questioned her whether she
wanted a hot oracold one She cculd not make out what be
meant by a hot fruit: and, nevertheless, asked for it. Imme-
diately, he dropped down a fruit, a little too foreibly, on the
sand, Ske took it up and blew hard to remove the sand clinging
toit- Then Kandaswami pointed out that she could not have
 Sec, Ve SOME SANGAM POETS 93

blown at all but for its heat. At this fash of wit, her coun-
tenanoe fell and her pride subsided, This discomfiture taught
her that her knowledge was but a drop in the ocean and that
she had much to learn yet-
In religion, she was a firm believer in the existence of the
Almighty, the moral Governor of tbe Universe, and was &
special devotee of Vinayakar, It was Vinayakar who, according
to Puranas, conveyed her to Heaven even before Sambandhar.
She was a believer in the ubiquity of God which the following
instance would illustrate, ‘The holy priest of a certain temple
rebuked her for having stretched her limbs towards the idol.
Suaviter in modo, fortiter in re, Auvai, feeling strongly against
the reproach, asked him politely to show her tbe place where
God was not, so that she might turn her limbs in that direction
and not blaspheme Him. The priest was non-plussed and ac-
knewledged his ignorance of the true idea cf God and His
attributess It is mdeed aoteworthy that such a truly pious
woman and a staunch advocate of conjugal life and wedded
happiness is said to have lived an exeeodingly protracted lile of
two hundred and forty years with the help of a panacea given
by her own patron (pity she has not transmitted it to us)—lived
and died in single blessednoss as an ascetic from place to place.
Kapi'ar’s biographie Ahaval mentions Nannidu Chery as
her birth-place and a tailor’s house as her nursery,

Auvan'’s works are Attisoodsi, and Kontraivendan, most

appropriately colled the ‘Golden Alphabet of the Tamilsy
Muthurat and Nalvalé besides 33 lyrics in Puram: and a few
lyrics in Aham. Each poem is » magazine of moral wisdom,
and is mastered by our boys in their Tamil schools: They form
a healthy preliminary to a course of pure and sound discipline.
The soundness of the moral precepts they coniain and their
condensed expression easiiy take hold of young minds and
remain there as their life-possession. European scholars have
94 TAMIL LITERATURE

translated them in their respective languages, and editions of

them in English, German, and Dutch are available. She
lived sometime at Madura, a few years in the Chola Nadu
and in the Chera country, but long with Athikan. Now and
then she spent short time in herm'tiges with munivars. She
gang of her patrons, Athikan, Venko, Nanchil Valluvan, Ugra
peru-valuthi, Perunarkilli and others. « She was a great Jnana
yogi: There is among the ficlds a thidal or highland in the
Tanjore district, with a banyan tree on it, which goos after
the name of a blackamith who had warmed ber clothes and fed
her on a rainy day, and the tradition about it is that at a time
of flood, when all the fields were submerged: this particular
plot was unaffected at her bidding.
“ வள்ளையும்‌ கொள்ளையா? வளவனும்‌ பேராறாஇச்‌
சொல்லன்‌ திடலொழியக்‌ சொள்ளாய்‌ பெருககடலே,!?
This upland 1s haifa mile now of Thulasiar-patunam in Tirn-
thurai-poondi talug, where the image of the postossin her
wrinkled old age was worshipped in a temple built for her and
endowed with lands for daily servicese This has in later times
become the habitat of God Visvalinga, and the image has been
shoved into an obscure corner of the temple Such a fate has
overtaken ‘qudmd Worter Qudp gerenauiri> tc, Avvai, whose
thousand verses areas dear and beloved as children.

Women hold nocturnal orgies in commemoration of her.

Villiputhurar has praised ber rare poetic talent in the stanza
beginning ‘gereou ur_gyégG sa@Osi: ure? Her verses
blessed or cursed men with ths desired effect.

The works of the second Auvai are Kalviyolukkam,

Asathikkovai, Nannoorkovat, Nanmanikovai Arunthamtl-
malai, Durisana Pattu, Ponthan Anthathi Jnanakkurral, and
Pidaga Nekandu.
 Sec V. SOME SANGAM POETS 95

We hardly know anything of the first Auvai’s sisters

Uppat, Muruvat, and Valls, though all of them are said to
have been born-pootesses.

At the installation of Kulothunga Chola, Awvai II was

one of the many poets who were present to honour the occasion.
Poet after poet composed stanzas in praise of the King and in
honour of the juhilant occasion. When the turn came to
Atuvat, she was requested to give her own verse. She said
simply azdyws. The posts at ths durbar were at a loss to
make out her cypher and urged her to say more. She merely
repeated the same expression twice or thrice and remained
quiet. The commonwealth of letters entreated her to render
its significance explicit, when Auvai unfolded its deeper mean-
ing as follows; «If the sides of the water-courses leading to
the fields rise higher, more water will flow through them;
more water, more crops; more crops, increasing population5
large population, powerful monarchy ”
Another example of her subtle intellect is the conversation
between her and Kandaswami, Kandaawamt bade our Aspasia to
mention something which would ameliorate the intellectual con-
dition of mankind, to which she replied that solitude was the
best. To his question which was the most cruel infliction on
human beings, her reply was the following olimax: ‘“ Poverty
is hard; poverty in youth is harder; harder still is irremedi-
Sbie disease; the hardest of all is faithless love, and excee-
dingly hard it is to be fed by the faithless." Kandaswami asked
her a third question ‘ what is rare?” and her reply to it was im
the same strain. “ Human birth is rare; human birth with-
out physical defect is rarer; human birth without mental
deformity is rarer still; sound intellect combined witha
naturally charitable diposition is the rarest of alli such a soul
certainly merits heaven.”
96 TAMIL LITERATURE

க, இர்‌. Tirumular,» Siva Yogi, who resuscitateda

shepherd boy Mulan at Thiruva-vadu-thurai, came to be
called byhis name. He was the author of Thiry-manthirams
which contains the principles of the Saiva Agamas and forms
the denth book of the Thiru Muraé. Thirumular’s greatest siddhi
(achievement) is his realisation of the Oneness- The emotional
nature of man enslaves him as if enfranchises bim, Emotion,
when freed from the taint of attachment, lifts up the soul and
leads to the enlargement of self-experience which enlarges the
soul until it isin tune with the Infinite. The *whoie personal
relationship of man is summed up in pati, pasu, pasam, Paté is
God whose law is unity Pasu is the life-process whose law is
evolution (implying involutlony, Pasam is the universe or the
world of attachments whose law is number. Tirumular defines
manthiram, thus: “ward e@aypiuie we Are” ie, perfect
soncentration of mind on anything. Three thonsand mantras
make up his book, a neat editicn of which was published some
Years ago by the Jaffee Mr’ Viswanatha Pillaie It treats of
sariys. kria,joana aud yoga. The author was a disciple of
Nanthi- His muin doctrine is Qs Ger—P o_god ser Sf AS gt
மில்லை, Jiva bas form. The suppression of the senses will do
harm, and if the senses become actionless; it is wisdom,

: ஒன்றன்‌ தானே இசண்டவ னின்னருள்‌.

கின்றனன்‌ மூன்றினுள்‌ கான்குணர்க்தான்‌, ஐந்த
வென்றனன்‌, ஆ விரித்சனன்‌, ஏழும்பர்ச்‌
சென்றவன்‌ சானிகுக்‌ சானுணர்க்‌ செட்டே.2)
“ His Self the Eternal Unit is: His Grace so sweet makes it
two, In threefold cause abiding, the fourfold mind cogniseth,
He conquering the fivefold senses evolving the sixfoid character,
transcending the sevenfold heavens and existing in the know-
ledge of eightfold form complete.’
 Szc, V. SOME SANGAM POETS 97

The oft-quoted stanza of Thiru-mantram is the first +

5 அன்புஞ்‌ செவமு மிரண்டென்ப ரறிவிலார்‌
அன்பே சிவமாவ தாரு மறிலலார்‌.
அன்பே சவமாவ சாரு மறிர்‌தபின்‌
அன்பே இவமா யமர்ந்திருக்‌ தாரே.2?
The ignorant think that Love and Sivam are different: They
80 not know that Ikove becomes or settles into sivam (Bliss).
After knowing this, they themseives rest in that condition,
Thirumular exhorts men to cling to the real Guru and eschew
the sham one,
'குருட்டினை நீக்கும்‌ குருவினைக்‌ கொள்ளார்‌
குருட்டினை நீக்சாக்‌ குருவினைக்‌ கொள்வர்‌
குரு9ங்‌ குருடும்‌ குருட்டாட்ட மாடிச்‌
குரும்‌ குரு9ங்‌ குழிவிழு மாறே.
Those who do not hold fast to the Guru who will heal their
blindness will take to him who cannot doso, The blind guru
and the bliud discip'e will indulge in the blind dance and both
will fall into the pit,
Sekkilar pra‘ses this grext devotee and man of God in
this strain,
முன்னியவப்‌ பொருண்மாலை,ச்‌ சமிழ்மூவா யிரஞ்சாத்தி
மன்னியமூ வாயிரத்தாண்‌ டிப்புவிமேன்‌ மஇழ்க்திருட்து
சென்னிமதி யணிந்தார்சக்‌ திருவருளாற்‌ நிருச்சயிலை.
,சன்னிலணைநங்‌ சொருசாலும்‌ பிரியாமை, தாளடைக்தார்‌>?
“That Trath of Tratbs is garland sweet of Tamil in 8000 verses
laid at the Lord’s feet
Living the blessed life of Truth for 8000 years on this earth of
ours
And by the grace of Him who the crescent woars on his head
Reached the beatitude of Kailas joining His feet without separation
for ever ”
The sage is also credited with the authorship of a medical
treatise called Va-kada-nool.
12.7
98 TAMIL LITERATURE

5. Karaikal Ammai, or ‘Lady of Karaikal’ waa

a marchant's daughter of the place. She was known afterwards
as tho Demoness of Karaikal, Her name was Punitha-
vathiar, She loved and served God and studied religious
literature, Sbe found pleasure in serving devotees, Mer
father Danadattan gave her in marriage to Paramedattan.
The man and wife lived at Karaikal, a (French) seaport
north of Negapstam- One day the husband sent home
two sweet mangoes, one of which she served to a devotee.
When her lord cama and asked for them, she supplied
one butcould not give the second. Siva resoued her from
her difficulties, but the divine fruit was deliciously sweets
‘When pressed about it, she spoke the truth, and to test it, sha
was prezsed for another fruit- When that too was granted, her
divinity struek Paramadattan with wonder and awe. -He took
her to be a divine being and left the town and settfed in the
Pandyan territory and married,and had adaughter whom he
called by the name of his first wife. Punithavathiar heard about
her hazband’s whereabouts and went thither. Paramadattan
prostrated at her feet along with his second wife and ohild, and
at once she prayed to God that she should bs shora of all flesh
and beauty and turned into a demoness, Her prayer was
granted. Her hymns +2 Siva, called Thiru-Alam-Kadu
Muttba-Thirup-pathikam, Tairu-Iraiti-mani-malai, and Arpu-
tha-Thiru-Anthathi, are styled Muitha Phevaram.
She proposed to vislt Kailas and reached the outskirts of
the silver-mountain, and began to walk on her head, Siva and
Uma witnessed the bony demonish person and Siva called her
‘mother, ' when she fell at his feet, calling ‘Father.’ She prayed
for undying love and deathlessness and unforgetfulness of him
and eternal dwelling under His Dancing feet singing his praise.
Siva granted her request and told her to go to Thiru-Alankadw
to witness his Dance. She did so and sang, and was taken under
his Foot, This is one of her stanzas freely rendered in Englishi—
 Szc. V. SOME SANGAM POETS 99

« With garlands of words and flowers

If we adorn the golden feet
Of our Iea with love and one mind
How will the Karmic darkness afflict "?

6- Idaikadar, another Yogi snd friend of the great

Vallavar, was present at the siege of Karur by the Chola King
Killi Valavan, He was the author of a minor Tamil classic ‘ Oosé-
murré’ which is imperfect but which is quoted in the comren-
tary on Karikai,a great work on Tamil prosody. He was
contemporary of Kulosa Pandyan, and friend of Kapilar,
dai-kali-nadu was probably his native provinces

Cosé-murri or one pattharru is poem ot 54 stanzas, and

the title is thus explained. The third sangamin its desline
became autocratic and treated poets with disdain’ To put down
its arrogance, Ldsikkedar composed these verses full of onoma-
topoetic words which the sangam amanuenses could not write
with the sharp pointed style and for which they broke it and
gave up the work of transcription as hopeless The transcri-
bors were five who were at the back of the sangam benches and
took down the verses as the poets read them before the censors.
he leaves on which they were copied were blackened at the
end; and cellected into a volume and kept bound; safely among
the oli cadjan volumes. The poor authors waited for favourable
epinions when the supercilious censoriate pointed out that
there wasasimilar work in the sangam library aud ordered it
to be brought. ‘This trick was fulsome enough and was exposed
by Idaikkadar. It is said that the sangam became extinct there-
after. Whether this was fact or fiction is left to the judg-
ment of the reader. We have already referred to Kurral as the
destroyer of the Sangam. Apart from these two traditions,
the real cause of its disruption seems to haye been the irruption
of Kalebhras into the Pandy nadu-
 100 TAMIL LITERATURE

The following verse is oft quoted :-

“யார.த்தம்‌ கரையின்‌ அருகிருக்கும்‌ மாமரத்தில்‌
காக்கை இருந்து ௧&& கஃஃசெனக்‌--காச்கைதனை
ஏய்யக்கோல்‌ இல்லாமை ச்‌ ச, ச்‌ த்‌,ச்‌ என எய்தான்‌.
வையச்கோன்‌ ஆன்‌ என்‌ மகன்‌ :2
7. Kalladar Jeff bis native town of Kalladam when i¢
suftered from a severe famine, and was entertained at the
Pandyan Court. He was present at the battle of Thalai-Alam-
Kanem and sang the praises of Nedum-Chelian who won it.
Ale is reckoned among the commentators on Thol-kappiam
and is supposed to be the author of Kalladam, which recounts
the miracles of Siva at Madura in 100 Ahavals, Among the
miracles Porkili; Panar carrying message to Cheraman,
Thatathakai’s marriage, Jackals turning into horses and vice
versa, Siva carrying earth for the Vaigai embankment ete: are
mentioned: Further, the stories of Sakkiar, Murthi, Kannappar
௪௦௦ ave well known tothe author. He was also at the arangetal
et Kurral, He has quoted from this moral g¢ode. These
woilicate ogainst Kalladar as asangam poet unless there
was a later poot bearing that name. Kalladam, once a flovrish-
ing port near Quilon, was probably the seat of a Saiva shrine
in the days of Manikka Vachakar, and Kallad{anjar 2 e+
should not be mistaken for Kallada Deva Neyanar, author
௦1 திருச்சண்ணப்ப தேவர்‌ இரு மதம்‌, of the 9h century.
There is an old saying current even now wlth reference to it,
viz., “Hold no controversy with a student of Kalladam." The
poem will ve found to be the product ofa later poet if itia
examined in respec' of iis diction and the numerous allusions it
contains 'o Jater events. Its commentators are Mailerumperu-
mal Plitai for 37 abavals end Subbaraya Mudaliar for the rest.
** சல்லாடர்‌ செய்பனுவற்‌ கல்லாட நூதுநால்‌
வல்லார்‌ சங்கத்தில்‌ வதிந்தருளிச்‌--செல்லாயு
மாமதுரை மீசர்‌ மனமுவந்து Ca Oy
தாமசைத்தார்‌ நாறு தரம்‌.
 Sec V SOME SANGAM POETS 101

‘The design of the composition was the elucidation cf the

internal merits of Thiruk-Kovaiyar
8, Ivaiyanar’s came is known to us by his grammar
Ahapporul or Kalaviyai to which Nakkirar has been credited
with a commentary. The circumstances that Jed to the
composition of this work are as follow :—
The Pandian kingdom suffering from a severe drought
and famine, the king ordered the Fellows of the Sangam to
bo self-exilos from their country until the times of scarcity
should be over and the signs of better days re-appear, They
ostracised themselves for a time. Clouds gathered and the
rains poured down. Tha land was merry with the new-
awakened life, and the retired men of letters returned from
their penitontial retreats, They were not idle in their homes
of seclusion but wrote treatizes on Grammar which they
brough: to their king, excapt Ahapporul. Its disappearance
to!d heavily on tho king's spirits, to rouse which Siva is said
to have produced its essence in sixty sutras on Love,
Tt was ௦016ம்‌ *அன்பிணைந்திணே. Kalladam St, 5 gives the
history and importance of its composition thus:
Sragw alg sg OurGainor பொடுங்க
மாறனும்‌ புலவரும்‌ மயங்குது காலை.
முக்துறும்‌ பெருமறை மூளை த்தருள்‌ வாச்சா
லன்பி ளேந்திணையென்‌ ஐறபத சூத்தில
கடலமு? தெடுச்துச்‌ சரையில்வை்‌ ச௫போஷ்‌.
பரப்பின்‌ றமிழ்ச்சூவை இரட்டிமற்‌ ஐவர்க்குச்‌.
செளிதரச்‌ கொடுத்த தெனறமிழ்ச்‌ சடவுள்‌ 13,
For this divize work, every one of the forty-nine fe!'ows
wrote a separate commentary, and every one of them,
deluded by vain self-love, claimed a decided preeminence for
his own commentary. They, therefore requested the ki ய
choose a compstent Judge to piok out the best of the os
102 TAMIL LITERATURE

A voice in the sir cried Rudrasanmar. He was sought for by

the academia body and found dumh by nature. They brought
him to Madura and seated bim on the plank in the lous
tank» Every Fallow tead out bis own commentary. When
Ireiayanar read his own, special passages dimmed the Jaiga’s
eyes with ‘ears of joys but they trickled down his cheeks
(and bis hair stood on end) at the reading of every line and
every passaze out of Nukkirar's commentary. Henea his
commentary wes declared the best and carriad away whe prize

9. Perum Thevanar was a native of Thondai-nadu:

எபாமதம்‌ பாடும்‌ பெருந்சேவர்‌ வாழும்‌ பழம்‌ ப.திகாண்‌) மாருதம்‌
பூவின்‌ மணம்‌ வீசிடுக்‌ தொண்டை மண்டலமே.? He was great
m_ verse-making and prose-writing. He has contributed to
the Garland of Valluvar as one of the sangam poets. His
Bharatam, still unavailable as a whole, is often cited by Nachi-
narkiniar in his commentary on Tholkappiam. Hoe has supplied
the invocatory or prefatory verses to Aimkuru-nuru-Aham, and
Puram, which eulogizss Thirumal and one to Kurum-thokai,
which ஹக்க Muruga, and has invoked Vinayaka in hiz
Bharatam, As he has praised Nandhivarman the Victor over
some of his foes at Theliarru, be probably lived in the latter
half of the ninth century. ஆ

40. Kakkai-Padiniar, Poets bearing thig name

are many. The first of thom was a fellowestudont of Tholkappiar
and hag heen praised by commentators as *கல்யாப்புச்‌ கத்னோர்‌
மதிச்குங்‌ சலைக்காக்கை பாடினியர்‌! ஊர காக்கை பாடினியர்‌ மூ:
விய மாப்பெரும்‌ புலவர்‌? In tho notes on, stanza 6 af Cosé-
murrs (be commentator Arai-Poyilan writes; ‘QarerGaurar
மன்னுணர்வின்றி மறைமொழி பயன்‌ கொடாது? and adds that
Kakkai-padiniar never said a word for or againsta man but
spoke what he felt. He is said to have rescued Agasthiar from
the curse of Tholkappiar- His prosoly bieacs the name
 Szc, V. SOME SANGAM POETS 103

Kakkai-padiniar, no longer exrant, and emphasizes that «foot!

(களை) 18-௦௦ ossontial factor of verse.+
There was another poet distinguished from the preceding
by the epithet ‘@oena? or young, probably his younger
brother, and a third man characterised as Mw [Little], Iam
Kakkaipadiniar seems to have lived when the river Kumari
was unsubmerged. and Sirukakkaipadininar flourished after its
submergeneve when Kumar! signified the sea and composed a
work on prosady cailed after his namo, Siru-kakkai-padinéam,
on the model of Tholkappiar’s. In later times Idaikadanar's
younger brother bore the name Kakkai-padiniar, and Nacchel-
laiar had ths subriquet Kakkai-pading as sha prsised the
caw-caw of the crow,
விருத்தம்‌ வியன்றுறை சாழிசை யென்று.
பொருத்து முறைமை மறுத்தல்‌--விரித்துச்‌
சிறு காக்கை பாடினியார்‌ செய்த முறையே
மறு காக்கை வைஜ்சார்‌ வகுச்‌அ.??
11. Pal-kappianar, one of the grammar scholars of
Agastiar, wrote a prosody entitled Palkappiam, which was a
digest of his master's treatment of the subject in his Agathiam,
and modelied it on Tholkappiam,
12. Pal-kayanar, 2co'her of Agastiars disciples,
composed an analytic work on versification unlike the elaborate
Tholkappiam., டு தால்காப்பியப்‌ புலவர்‌ தோன்ற விரித்துரைச்‌
ari, udsrugot UGsge udrafeyt” Palkeyam is quoted
with approbation and approval in the commentaries, ‘ Yappa-
rungala Viruthi’ and Guna sagarar’s, The opening sutram of
பல்கரயம்‌ 1018 88 10110௬5:--
₹₹ இமிழ்‌ கடல்‌ வரைப்பி னெல்லையின்‌ வழா௮,ச
தமிழியல்‌ வரைப்பிழ்‌ ரூனினி* விளங்க
யாப்பிய ரூனே யாப்புற விரிப்பி
னெழுத்தசை சர்‌ தளை யடிதொடை அக்கோ
 104 TAMIL LITERATURE

டி.முக்கா மரபி னிவற்றொடு பிறவு.

மொழமுக்கல்‌ வேண்டு மூணர்ந்திச னோரே.!?.
Be differed from Tholkagpiar im his view of short 2 and said,
எழுவகை யிடச்தும்‌ குத்திய கரம்‌ வழுவின்றி வரூஉம்‌ வல்லா
தூர்க்தே.2? In Panniru Pattiyal, be has more clearly described
the grammar of ‘iandakam’ than the other two who have
attempled it.
13. Ths sangam poets that adorned the courts of Chera,
Ckola and Pandya exceed 586 in number, and most of them
were mincr posts. 1% would ba tedious to give a detailed list
of their hard and long and unpronounceabie or uncuphoniougs
names Some among the sovereigns of tho three kingdoms were
pacts themselves, a3 Iramporsi, [lim-ko-vel, Kadtum-ko-vel,
Nedanchelian, Arivadai Nambi. Kili-valavan, and Nalamkilli.

SECTION VI
Women Poets
Poetesses. Besides Auvai, there; were distinguished
female writers whose poems are included in Kuria-thokar and
Aham: the daughters of Pari; the love-lorn Chola princess
Athi-manthi who became the wife of Attanatthi, a Chera
prince, washed away by the Kaveri; Velli-Veethi, fourteen of
whose poeticeffusions occur in Nattinai, Kurun-thokai, and
Nedun-thokai; Zla-veiyini (Kura-mahal and Pei-mahal);
Kava!-Pendu and others,
Nagaiar, a native of Anjil and daughler of Anthaiar,
wasa talented lady, and her ivrics appear in Nattinai (No.
233), in Kurum-thokai (No. 294), and in Aham (No 352),
Her patron was Anji Athikaman, In Aham her description
of the monkey that snatched away the jack fruit has been
praised for its beauty.
 Sec Vi. WOMEN POETS 105

Masatthiar, 2 kinswoman of Ma-Sathanar and a

native of Okkur, wrote lyrics of the Mullaithurai kind, descrip-
tive of heroism, and her lyrics occur, two 324 and 384 in
Aham, and one 379 in Puram.

Keeran-aittiar, of the hunting community, was a

native of Kalar in Mayaveram taltk. Her lyrics ros. 163
217, 235, and 294 in Aham are in the form of lamentations
of lovers forlorn.
Nap-pasalaiar (Kumili-ngalar), author of the lyrics,
No. 160 in Aham and No. 152 in Kurum-thokai, is famous
for her description of the laying of eggs by tortoises, which
the male ones protect.
Ponthai-Pasalaiyar’s only lyric occurs in Aham
as No, 110 and contains the suggestion of the maid to the
nurse that she was chaste and alert.
Nak-kannai-ar, daughter of Perumkoli-naykan, was
enamoured of Porvaik-kope Perunar Killi and sang the glory
of his victory in a tournament (Vide Puram 83-4). In Aham
the lyric No, 252 illustrates by a simile her mother’s vigilant
watch over her,
Nal-Velliar wrote a lyric, No. 32 of Aham, which
Nachinarkiniar has explained in Thokappiam Porul, sutra
519, and another No. 365 of Kurum-thokai.
Poothiar of Munniyur has described the grain of
bamboo rolling like dice and the mountain of Nannan having
gold quarries (Vide Aham No. 173).
Velli-Veethiar’s lyrics in Aham Nos, 45 and 362
describe the quest of Athi-manthi of her husband and the war
that ensued on the lopping off by Anni of Thithian’s punnai
106 TAMIL LITERATURE

branches in Kurukkai field and of the power of the Vana.

varamban in destroying fortresses, Her simile of the tiger’s
nail to the deep-red murukku-bud is well-known, Auvaiyar has
described this lady's quest of her husband and her tribulations,
Her venba No, 23 in praise of’ Kurral is oft-quoteds

Kamak-Kanniar bas two lyrics Nos. 22 and 98in

Aham and two in Puram Nos. 27 and 30%. She has the
epithet ‘Qag? urigu? prefixed to her names, because she has
taken pleasure in describing the dance in intoxication,

Kanihiar, called after either the bluestone or the

milk-white arecanut tree branch, was a blue stotking of
Thiru-Perai in the Tinnevelly district, near Thiruk-kuruhoor,
one of the 108 Vaishnava places of pilgrimage. She was
a Vaishnava by religion and interpolated many stanzas, about
445 in Chintamani. Her verses, technically perfect and full
of meaning, repeat the word sity. The first three lines of
a stanza by way of completing the quatrain with the last line

“அஞ்சிலோதி யாரிடராத்‌ பேரின்‌ பமைந்திசினே

ரஞ்லோதி யன்றோ வறிசவின்‌--அஞ்லோதி
யஞ்சிலோதி யாரிப்‌ படுநெல்‌ லறைக்கரும்பு.
வஞ்சிலோதி யாடவையஜ்‌ சாய்‌?!
are remarkable for ingenuity. Besides these, her venbas giving
the contents of Pari-Padal, of Tholkappiam, and of Chinta-«
mani are quoted by Tamil Scholars, In point of time she was
prior to Parimelalakar and Nachinarkiniar, as the former has
characterised her as ‘ston. 004 s569.
Kura-Mahal Ha-veyini has celebrated in Aham
157 the virtues of patience, forbearance and sympathy in the
Kuravar headman and chieftain Erai (wep).
 850, 31, WOMEN PORTS 107

Pei-Mahal-Iaveyini was famous as a scholar and

witch and sang of the field of war. In Puram 11, celebrat.
ing the heroism of a Chera king, she sings of his munificence
and says, ‘the pading or the she-minstrel had her gold orna-
ments, the panan or the he-minstrel his gold lotuses strung
on asilver cord’.

Kura-Mahal-Kuri-Aiyini was 4 gypsy or foreteller,

and her song is No, 375, ‘Nattinai’, beginning ₹ என்‌ குறிப்‌
பெவனோ தோழி வென்குறி?.
Haval-Pendu was a Marava by caste and belonged ta
the family of village guards. She had a warrior son and
looked upon her womb as a tiger’s den, hollow, during his
absence in times of war. Puram 86 isher single lyric.

Naccheliaiyar, the full name being Kakkaipadiniyar

Nacchellaiyar, sang of Cheralathan in Pathittuppatthu, vi.,
and his gifts to her of gold, nine thulams, and a lakhof coins
and lived by his side, Kurumthokai, 210, and Puram, 278,
are her lyrics, in the former of which occurs Nalli, a patron or
vallal-
Kunti-ya!, probably sister of Kuntiyanar, is known as
the author of the lyric No, 50 of Kurum-thokai,

Varu-mulatyar-Iththi’s only lyric is No. 176 of

© Kurum-thokai’, and is a lament of ber lover whois compared
to a bee making honey. *வரைழமுதிர்தேனிற்‌ போகியோனே?.

Allur-nan-Mullaiyar was 2 native of Allurin Pan.

dya-nadu, and her name goes with Athi-manthiar, Musathiar,
Auvvai, and Velli-Veethiar, Nos. 32, 67—8, 93, 96 140, 157,
202 and 237 of Kurum-thokai and No, 46 of Aham are hers.
108 TAMIL LITERATURE

Puthi-yar seems to have been the name of some ladies,

Ven-Puthi appears as the author of Nos. 97 and 174 of Kurum-
thokai ; Venmanip-puthiyar of No. 299 ditto,

Nap-pasalaiyar of Marokkam near Korkai, so called

Perhaps for ker paleness on account of separation, was an
admirer of Kapilar (Puram, 126) and eulogized the Chola king
Killivalavan who fell at Kulamuttam, Malaiyaman-Kari and
his son’s general Kannan. In Nattinai 204 she explains her
name ;

₹ புணரித்‌ புணருமா ரெழிலே, பிரியின்‌

மணியிடை பொன்னின்‌ மாமை சாயலெ.
னணிகலஞ்‌ சசைக்குமார்‌ பசலை யதனால்‌ 22.

Pum-Kannu-Thirayar was a friend and associate of

Nan-Nagaiyar of Kachi-pédu and Nacchellaiyar, and her
contributions of 006 1311௦ ₹ மீனுண்கொக்கன்‌ ? 8 of Nos. 48
and 171 in Kurumthokai bespeak her literary merit.

Pootha-pandyan-Thevi, wife of Pootha Pandyan,

loved her lord whole-heartedly and inseparably, and lost her.
self in her husband’sfunera]: pyre, though her lord’s bosom
friend and bard, Pér-Alavoi-yar, stopped her from doing so,
Her address to this bard and others before her last act of
heroism, beginning + ud ener SCs ud சான்றீரே,? has become
a household word.

Ankavai, Sankavai—daughters of the great patron

of bards, by name Pari—married a king called Theiveekan,
after having been left by Kapilar under the guardianship of
some Brahmins, They were true to their blood and helped
bards in times of need, Pala-moli, 171, has
 Sec. VI. WOMEN POETS 109

, ₹ மாரி யொன்‌ தின்றி வறக்திருந்க காலத்தும்‌.

பாரி மடமகள்‌ பாண்‌ மகத்கு--நீருலையுட்‌
பொன்றக்து கொண்டு புகாவாக ஈல்‌னொ
ளொன்றுரு மூன்றிலோ வில்‌ 9!
Here ‘puka’ means ‘food. Their lyric occurs in Puram 112
Note:— Athi-manthiyar was senior to Velli-Véethiar, who, in her
turn, was senior to Auvai ;
© Garcraf விதியைப்போல ஈன்றூஞ்‌ செல
வயர்ந்திரனொால்‌ யானே ?1--- 3760010410 --(.44020/
4 ததிமந்திபோலப்‌ பேழ்‌
'ஐலந் சனென்னுழல்வேன்‌ கொல்லோ?! (00- 7”871- 1722152327)

As the last was the daughter of Karikala Chola, her time

was that of her father (A, D. 55—95),
 PART I

The Age of Buddhists

and Jains
 iL—The Age of Buddhists and Jaius
1. Introduction, Both Buddhists and Jains were
Hindus and came from North Iadia and gradually settled in
Kanchi, Kongudesa, and in Madura with Anai-malai as their
head quarters and sanitarium, In course of time they exercised
their inflaence an all kings, and in the time of the Pallava
rulers their religious influence was in the ascendant, They
lived peaceably with their neighbours, the Tamils, the Aryans
and others andextended their sway geutly by their love and
kindness, They never attacked tho ancient, unadulterated
Saivaism, bas were frien ily $> it, as their Tamil compositions
amply testify. They were protestants among the Hindus and
wore great Sanskrit scholars. Thoy denied the sanctity of the
Vedas and the infallibility of their teachings: In ancient times
there was no rub on the score of birth, toucbzbility or shadow-
ability, and the quietness that prevailed then was most favorable
to the production of Tamil literature.
In the Civilisation of India by R. C. Dutt pp 67—S,
be writes: “It was necessary that the rules and observances,
framed for smail Aryan colonies living in the midst of
vast flinduised nations, should undergo changes so as to meek
the requirements of the people. Buidhism was the result of this
growing need, it spread and popularised the old At yan doctrines
of belief, it rej2cted Vodie sacrifices and exclusive rites, and it
substituted a system of moral culture and moral precepts which
all Hindus, al! mankiod, could learn and practise, The nation
entered by tha wda door which was thus opened to it, and
Baidhism bezame mors ani more popalar in its rites and
forms, its pilgrimagas and celsbratiors: Cxacchas and monas-
teries wera excavated, sviats and relics were honoured, legends
 THE AGE OF BUDDHISTS AND JAINS 118

and tales were multiplied, and the image of the Buddha was
worshipped in all parts of India after the Christian era, The
old Aryan religion struggled in vain against these innovations;
Manu’s Institutes endeavoured in vain to make a stand for the
ancient faith and observances.

During a thousand years Hinduism was influenced by

Buddhism, until Hinduism adopted all that had made Bud-
dhism popular, and thence Buddhism declined It is a mistake
to suppcse that Buddhism was stamped out of India by perse-
eution; except, in very rare instances, when conquerors
indulged in oruelty and massacres, there was n) religious
persecution in India, Huddbism disappeared from India, be-
cause its mission was fulfilled. Hinduism had edopted joyous
celebrations and vast pilgrimages, Hinduism had assume?
image-worship and popular rites, Hinduism had reunite4 the
Aryans and the Hinduised non-Aryans into one homogeneous
community, and thence Buddhism declined in India, because its
mission wa fulfilied and it ceased to be necessary.” We bave
already adverted to the religious toleration of the Tamii kings
of South India and the consequent progress of the six religious
sects in ite in the capital towns there flourished Buddhist
shrines and Jain monasteries side by side with Siva and Vishnu
temples, and the kings made liberal grants to ail of them. We
came across Buddhist and Jain poets in the third Sangam, and
noticad that atleast six of the minor didactics were of Jain
origin. Into the debated quastion of the priority of Buddhism
to Jainism or vice versa. or of the independence of Jainism or
its being an offshoot of Buddhism, we are not going to enter.
But we ave tolerably certain that the two religions long
flourished in the southern peninsula and that Jainism fell into
the sere and yellow leaf, long after the decline and extinction of
Buddhism. But great was the influence of the Jains on Tamil
literaturo as they wore great moralists and lived exemplary lives.
ae
14 TAMIL LITERATURE

2. Their leading Doctrines. “The Buddhists,

while they reject the pantheon of the Hindus, admit an
indefinite number of incarnations of the great spirit Buddha
who animated in suceession the bodies of their chief priests and
whose first human incarnation was in the person of the founder
of their faith. They believe in the eternity of matter, tha
supremacy of intelligence as a property of matter, and the
transmigration of soulse They deny the autherity, divine origin
and infallibility of the sacred books of the Aryans, do not
acknowledge caste, and have no respect for fire worship; but
they bave great regard for animal hfe. Their priests live much
in monasteries. The end of all things is Nirvana. The sacred
books of the Buddhists are called Trigitaka or three baskets.
The Jains profess the doctrines but admit caste, which Bud-
@hism rejects. They worship many of the Hindu deities in
addition te their own saints, who are 24 in number called
‘Tirtankaras; and those of them who by ascetie practices have
erogsed the oceaa of human existence are then regarded a
superior to the gods. Their priests are of all castes. Their
Supreme Being is Aruban or the Perfect One". There are two
main divisons of the Jains, the Digambaras, sky-clad or naked.
and Swetambaras, white-robed, the latter being their teachers.
The former now wear coloured garments. Though they admit
caste, there is no real distinotion of it among them. A jain is a
Brabmin, Kshatriya, or Vaisya according to the calling he
pursues, All the three intermarry indiscriminately. Their
veneration for animal life is quite pharisaical. Their writings
are clear and epigrammatio, full of satire and worldly wisdom,
though not very religious. They carry a broom to sweep the
giound before they tread on it. They never eat or drink in
the dark, fearing that they might inadvertently swallow an
insect.
The greatest Buddhist poet of the Sangam Age was
Knula-Vanikan-Sattbanar. or Satthanar, a corn merchant-
 Sec, I, PANCHA-KAVIYAMS 115

SEOTION I

Pancha-Kaviyams

1, Mani-Mekalai: Cheethalai- Satthanar-

This is another rame for the eame poet, for he struck bis
head with en iron stylus and made it ulcerate with wounds
whenever he detected a flaw or error in thought or expression
in the works submitted to the Sangam for approval His
fame rests on Manimekalai or Manimakalaé Thuravw, which
is the earliest of the five great Tami! epics and which is a mine
of information on the subject of Buddhism, its worship, beliefs,
fenets, superstitions, and philosophy. It contains thirty
Kathsis or ‘ gathas,’ and describes the circumstances in which
Manimekalai, the daughter of Kovalan, renounced the world
and took the vows of Buddhism as stated in Tripitaka which
represenis the Hinayana creed, the creed of the Burmese and
Ceylonese, as distinguished from the Mahayana creed which was
prevalent in Northern India, Nepaul, Tibet, China and Japan.
What follows is the argument of 'he epic:

Manimakalai, the heroine, is the daughter of Mathavi, &

dancing woman, and Kovalan, a rich merchant of Kaveri-pum-
Pattinam, Mathavi gives up ber low life at the news of her
Paramour's death ab Madura and surreuders herself at the feet
of Aravana Adihal, a Buddhist Sage, so as to be initiated into
the mysteries of the four Satyas and five Bilas, She retires to a
monastery wilh her daughter, and her s-gely life is unconsciously
followed by her child, One day the daughter in company with
Buthamathi goes to a flower garden to fetch flowers but, seeing
the priace Uthayakumaran coming in guest of her, shuts herself
Up in acrystal chamber in it. Failing in his quest, the prince
wends his way home quite out of sorts. But tho virgin is
carried away to the island Manipallavam, where the tutelary
116 TAMIL LITERATURE

deity, Manimekalai, places ber in sight of Buddha Pitika or

the sacred seat of Buddha made of polished oystal, Immedi-
ately she knows her past and is told of the princo Rakula, her
husband, in her previous. birth. ‘Tho guardian deity of the
sacred seat accompanies her to the tank Komuki and gets her
the mendicant bowl, called Amirtha Surapi. Then she return
home to Pukar, and bows to Aravana Adlhal. The sage des-
eants on the story of Aputhra and the importance of feeding
hungry mouths. The young disciple goes a-begging and gets
her first alors from Adhira, a very chaste wife, Her bowl, like
the widow's cruse, is inexhaustible With a handful, she
nppeases the hunger of Kayachandikai, and many others who
erowded in Ulakavaravi. While dispensing charity, she comas
across Uthayakumaran and, suddenly metamorphosing herself
as Kayachandikai, enters the City Jail, which she converts Into
an almshouse, The dejected love-sick prince follows the metas
morphosed lady aud meets with Kanchanan, the husband of the
true Kayachandikai. The result of the encounter is the murder
of the prince by the jealous husband, This sad intelligence
reaches Manimekalai, who is consoled by the loca! deity. Ma-
vankilli, the prince's father, imprisons the virgin mendieant,
but she gets out through the qusen’s influence. Then she goes
to Nagapura, wherefrom sho starts for Manipallacam, accom-
panied by the piince of the place, The latter, on his arrival in
the island, sces the sacred seat and reads his past history
Manimekalai then learns that Kaveri-pum-pattinam has been
washed away by thesea. Afterwards, she goos on a pilgrim-
tour to Vanchi to worship Kannaki, where she learns her future.
In the Ohera capital, she sees the representatives of the jarring
sects and acquaints herself with a knowledge of their tenets
and principles. Sheer accident brings her to Masattuvan in
penance, who directs her to Kanchi: There, while busy dispen-
sing food to the famine-strieken, sho meets with Aravana Adihal
and bears from him a description of the virtues that befit one
 Sec. I, PANCHA-KAVIYAMS 117

for Nirvana, She settles there permanently doing penance

and preparing herself for that extinction of birth,”
The author enumerates five methods of disposing of the
dead by the Tamils—cremation, exposure in an open place to
jackals and vultures, burial, shutting up the corpse in natural
pits, and covering it with big earthen jars (sryf).
1 சுடிவோ ரிடுவோர்‌ தொ௫குழிப்‌ படப்போர்‌
சாழ்வயி னடைப்போர்‌ தாழியித்‌ சவிப்போர்‌??
The epic is in Abayal metre and is noted for its simple and
- elegant style and its numerous exquis'te descriptions of natural
scenery. The t'me of its composition was the time of the Chera
King Chenkuttuvan, #,¢,, about A. D 90. The poet has largely
pressed into his service the supernatural element, Manimekalai
flees from place to place with the he!p cf a deity, which also
reveals the story of her former birth,

Though the ep'c looks like a pendant to the story of

Silappathikeram, it preceded the latter. in the time of its
composition and sugges'ed it to its auther,

The real object of the ‘Jewel Belt’ appears to be to

represent Buddhism as superior to every form of Hinduism,
and especially to the Jain system, ்‌
ஈ பூத்த ஞாயிறு தோன்றல்‌ சாலைச்‌
,இங்சளூ ஞாயிறுக்‌ இல்குரு விளங்க
சங்கா ஈாண்மீன்‌ தசைமையி கடக்கும்‌
வானம்‌ பொய்யாத மாநிலம்‌ வளம்படும்‌.
ஊனுடை யுயிர்க ஞ..அயர்‌ காணா.
வளிவலங்‌ சொட்கு மாஇிரம்‌ வளம்படும்‌
களிமிகு (iti ஈலம்பல தரூஉம்‌
கறவைகள்‌ ரார்‌,தீஇச்‌ கலநிறைபொழியும்‌
 us TAMIL LITERATURE.
பறவை பயன்றுய்‌,ச்‌ தூறைபதி நீம்கா
விலல்கு மச்சளம்‌ வெருஉப்பசை நீங்கும்‌.
கலங்கஞர்‌ ஈரகரும்‌ பேயும்‌ கைவிடும்‌ ?3.
It is the last effort of Tamil literature to restore Buddhism
to its primal dignity and purity- The heartless, pitiless character
ofthe Jan saints is brought outin the story, Jainism partly
failed from a lack of human sympathy. The Jams showed
mercy and pity rather to the animal creation than to suffering
humanity, whereas the Buddhists were all sympathetic towards
every kind of human infirmity. In the story of the cup appears
Chinta Devi: who offers the Sacred Cap to Apudran, This
Devi has been identified with Prajoa—Paramitra, whose image
was discovered in the island of Jaya, and taken to the the
Ryks museum at Leyden. {+ represents Santa Rasa, ie,
Gispassion or peace, Tbe Tamilians looked upon ber as Trans-
eendent Wisdom or Sarasvati and bad « temple for her at Then=
‘Madurai. The river Kumari was then in existence, and Brah-
mins, men and women, from North India went thither to
bathe and wipe off their sing. Tho story of Suli illustrate: it.
The birth and parentaze of great Rishis are depicted in thia
Epic.
அன்மக னசலன்‌ மான்மகன்‌ சிருங்கி
புவிமகன்‌ விரிஞ்சி புரையோர்‌ போற்று,
whos னல்லனோ கேச கம்பளன்‌, ?:--28117, 93--5,
** மு.தூமறை மூ.தல்வன்‌ முன்னர்‌ ச்சோன்றிய
கடவுட்‌ சணிகை கா.சலஞ்‌ சிறுவர்‌
அருமறை மே£சல்வர்‌ அந்தண ஸிருவர்‌. 72011, 916,
Vasishta and Arastia were the sng cf Thilo'hamai and
Bhrama.
Nags kings and princesses appear in this epic as Valai
Vanan end Peeli-Va'ais two Naga Kings fought for the posses-
 Sec. 1. PANCHA-KAVIYAMS 119

sion of the Buddba seat in Manipallavam near Pukar. Parple

patches abound in it, describing birth and death and charity.

2- Silappadhi Karam: Iam-Ko-Adihal, or ‘the

Young Prince Ascetic’ was the brother of Chenkuttuvan and the
second son of the Chera King, Athan, and grandson of the Chola
Emperor Kerikal by his daughter Sonai- To prevent the possi-
bility cf sueceediag to the throne of his father as predicted by &.
seer, be resouuced the world in his youth and became a monk
of the Nigrantha sect. In his hours of loisure of which be had
evough, he cultivated his taste for music and literature. Yeara
after, the author of Manimekalai visited Karur and recited the
stery of bis Epic to the king. It mato a deep impression on
his mind and suggested to the royal monk the idea of writing
another Epic poem commemorating the lives of Manimeksiai’s
parents Kovalan and Kannaki. Stlappathikaram ot ‘the Lay
of the Anklet’ is interesting to the modern reader in many ways?
it contains full and vivid accounts of the different classes of
Tamil society one thousand and eight-bundred years ago; ib
displays the author's knowledge of music and dancing and
refu'es the erroneous notion that the Jam authors, being
puritans in literature, know nothing of the science that excites
pleasurable feelings ; it is elegant in style and describes varied
scenes with the eye of a pret; it is remarkable for the various
me!res employed for love ditties, dramatic representations, and
sacred hymas; and» above all, it is noteworthy for its fina
portraitures of the hero and the heroine, The differen’ titles of
the poem sufficiently indicate itsssope and importance. They
are I. iyal-[sai-Nataka-porul-thodarnilai-Seyyul, 2, Nataka-
Kappiam, and 8, Uarai-idai-ittapattudai-Seyyul. The Epic hag
a commentary by Adiyarku-Nalier, Is teaches the moral that,
as life and youth ané riches are fleeting, we should take time
by the forlock and make the best use of itin doing good 95-00
which ave never lost and which alone will help us in cur future
120 TAMIL LITERATURE

life. Itis in three Kandame or cantos and thirty Kathais and

is dedicated t2 the three great capitals of the Tamil kings. The
sabject matter of each canto is as follows :
Canto I. Pukar, or Kaveri-patiinam. In the city of
Pukar, the great mart of nations in olden times, there lived &
wealthy merchant Machattuvan who had an only son Kovalam,
At an early age this young mam, an accomplished musician, was
married to Kannaki, a chaste and charming merchant princess:
Some years after, he met with Mathavi, » fema'e musician and
dancer, in the royal court during the festival of Indra celebrated
there with great pomp and splendour for four weeks and,
vavished by her accomplishments in music, fell in love with her.
The love songs, anent a fisherman’s daughter sung by the two
lovers, are charming. He forgot his wife and home, and in
course of time he had a daughter by ber, Manimokalai, He
took away his wife's jewols and lavished them upon the dancer.
The mode! wife, though inly grieved, willingly parted wtih them.
Kannaki's dream prognosticating evil fortune is told to Devanti,
a Brahmin lady- When ali the resources had been drained, he
returned penniless to his patient wife and proposed to go to
Madura to trade again and recover his fortunee Joyous that
her husband had come back to her, she gave him her pair of
anklets and begged him to use them for his capital. Both made
their exit at midnight and started for Madura. On the north
bank of the Kaveri. they were followed by a Kavunthi or an old
Jain nun, They passed through Arangam and halted at
Uraiyur, In the ‘latter place Kovalan met the Brahmin
messenger Kausika sent by his parents and Mathavi. He des-
patebed him with his greetings for them, and the three started
Maduraward, On the way they witnessed a Kali dance ina
Vedar village and finally arrived at the northern bank of the
classic stream of Vaigai, the theme of many a poet's song-
Canto II. Madura, -They crossed the river on a rafé and
reached the ascetic homes outside the walls of Madura. Entrus-
 Seo, I. PANCHA-KAVIYAMS 121

ting his wife to the Kavunthi and bidding farewell to them in a

most touchirg manner, he entered the city-gate guarded by
‘Yavana soldiers and was lost in wonderment at the sight of the
splendid city. As the Kavunthi had arranged with Mathavi, a
shepherdes’, and her daughter, Aiyai, for lodgings in Madura for
Kannaki and her husband, they were ecmfortably accommoda-
tad in a neat little cottage, Then Kovalan prozeeded to the
marke! street to dispose of one of the anklets and met there by
aceident the chief jeweller to the Pandyan king. The goldsmith,
on arrant rocue who had recently made away with a similar
finklet belonging to the queen) tock the anklet from him
in order to show it to the king. The just king Nedumchelian
sent his guards to cateh the thief, of whom one despatched him
with » stroke of his shining blade. The sad news was carried
to Kannaki by a shepherd girl who, after a dancing entertain-
mont, h2d gone to the river with flowers, incense, and sandals
to wership Vishnu on her way. The patient wife burst into
tears, rushed forth into the city with cries and lamentations,
and found her hushand’s corpse, which for the nonce opened its
eyes and closed them bidding her await re-union. In her fury
she tore off her left breast, ung it with curses over the city,
and hurried into the king’s presance, She broke the other
ankle’ with her and cast the enclosed diamonds before him. As
the queen's con‘ained only pearls, the king was convinced that
be had beon duped by the jeweller ana fell into an everlasting
swoon at the thought of the enormity of the crime. The
Pandyan queen prostrated and begged pardon of Kannaki-
The inconsolable lady uttered, “ This king shall die and his
palace shall be consumed by fire", and the whole palace was
in flames in an instant. It spread into the city, when the
goddess of Madura besought her to save it from destruction and
told her that her husband's death was the fruit of his sin in a
former birth, that he was Bharatha, an officer of the king of
Simbapura, who had the greedy merchant Sangama executed as
 128 TAMIL LITERATURE

aspy from the king Kumara of Kapilapura, and that she

would join her husbend on the fourteenth day. Thus comforted,
the unhappy widow left the city by sbe western gate and
departed the world on the bill of Thiru-Cbenguntru on the
appointed day, when Kovalan bore her away to the bliesfal
seat, The news of the death of Kovalan and Kannaki conveyed
by Madalan so shooked thelr pprents that tbe fathers turned
monks and the mothers died of grief; and when it fell on the
ears of the dancing woman, Mathayi and her daughter Mani-
mekalai too became nuns, Kennaki festivals were béld at
Korkai, and famine and pestilence ceased to afflict the people
Canto IIJ. Vanchi, The image of the chaste matron
Indy was set up in the Chera capital and began to be wor-
shipped, The king Chenkuttuvan caused an image of her to be
made out of the stone he had himself brought from the
Himalayas, and consecrated it with grand ceremony in the
presence of the kings of Kongn and Malaya and of Gajababu,
king of Lanka.
The date of its composition is fixed with the help of the
references to Gajabahu and Nuru-Karnas or Sathakarnin,
Emperor of Magada, who were contemporaries and whose reign
lasted’ between 77 and 133 A.D. The consecration of the
image took place probably about 120 A. D,
A.D,55 Aecession of Karikal the Great, His victory ab
Vennil over Pandya and Chera.
,»» 56 Accession of Athan to the Chera throne,
» 170 Birth of Chenkuttuva.
», 90 His accession.
95 Death of Karikal,
120 Kannaki’s temple consecrated,
‘The evils of association with prostitutes, the constancy of
ebaste wives under the most trying circumstances, the inevite
 Sec. I, PANCHA-KAVIYAMS 123

ableness of fate or past kerma,, the royal injustice and repent-

ance and death, the vindieation of innocence—these are some ‘of
ibe important topics dealt with in this Lay. When Kannaki
wails on hearing of the tragedy of her busband, she is like the
moon behind the pouring rain and says ‘I remain behind and
ery, my lover lost’, implying that it was her own want of
virtue tbat she did sot die the moment she heard of Kovalan’s
death and have her burnt en his funeral pyre, ag all virtuoug
women do. That cbaste women cannot live in the unjust
monarch’s town is a Tamilian belief- When the Pandyan king
discovered bis grave error, be was 60-overcome with grief that he
died on his throne. In the course of the story we come across
the rulers of Pukar, Karikala and his grandson Ko-Killi, those of
Madura, Nedum-Chelyan [Ugra Pandian} and Iam Chelyan,
and that of Vanchi: Chenkuttuva Chera, brother of Ilamko,
As regards Satha-Karnas who provided Chenkuttuvan with a
fleet of ships to cross the Ganges on his march northward to
conquer Kanaka and Vijaya, sons of Balakumara, for haviog
vilified the Tumil kings, 11 must be noted ibat one hundred
Karnas is the expression used in the text (KXVI—149) and
should not be confounded with + Sathakarnin* (40 B. 0.—16
A. D) meaning ¢ keen-eared ’, the name of adynasty, A word
about Vanchi. Is itmodern Karur? Pandit Saminatha Aiyer
says it is, but other scholars differ: Mr, Ponnambalam Pillai
contends that it is Thiru-vanchaikalam and gives his reasons
as follows: ‘The towns of Karur in the Coimbutore district
and Thiruvanjikalam in the Cocbin state, a mile from Cranga-
nur, were successively the capitals of Chera, and it has to be
determined which of them was the seat of the Government
ab the time weare speaking. It will be seen from Chap 25 of
the Sileppathikaram tat the king set out accompanied by hig
queen; his heit-apparent, and his younger brother ona tour to
view nature in her naked beauty, and the first stage reached
during the Royal progress was the Periyar, which ‘resembled
124 TAMIL LITERATURE

the garland around the neck of Nediyone (Vishnu}'. It seems

that the banks of this river, which issued from one of the
highest mountains, were filled with groves of Kongu (parriflora).
Vengai (Marsipium) and Konrai (oassia speciosy and its bed
was interspersed with alluvial islands of Arcadian charm.
This, coupled with what follows, tallies with the description of
the river which takes its rise in the Sivagiri maintains, joins
the Idiyera at Kuttbu-kal, and pours ther united waters into
the Cochin lake about ten miles from Thiruveojikaiam, Karur
is on the confluence of the Cauvery with the Amaravathy, and
if the royal party had reached the banks of either, their names
would have been mentioned; for the Cauvery has been referred
to elsewhere in the poem.

Again, it has been the iramemorial practics of Travancore

and Cochin bill-men to wait upon their sovereigns whenever they
visited the outlying portions of their dominions with presents
of forest produce, and entertain them with their dances, Thera
was no exception to this rule at the time Chenkuttuvaan visited
the banks of the Periyar, While be was sitting there with his
consort and bis brother on the beautiful alluvial sand brought
down by the river, the hill-men gathered round him with
presents of various kinds peculiar to their native forests, and
the following were some, of them: tusks of elephants, chips of
white cedar and sandalwood, potfuls of honey, green carda-
moms, arrow root (Kuva-niru) flour, cocoanuts, mangoes,
garlic, plantain bunches, areca nut bunches, young elephants,
tiger cubs, bears, black monkeys, peacocks, hill-goats antelopes,
civet cats, parrots, etc, I have not given a complete inventory
of the fauna and flora found at the place and said to have been
laid at the Royal feet, But from what has been mentioned,
it will be seen that, though individually the several species
may be found in different parts of South India, all of them can
be found together only on the Malabar coast,
 Sec. I, PANCHA-KAVIYAMS 125

The facts which I have mentioned in the two preceding

paras point to Vanji on the Malabar coast, 4. ¢. Thiruvanji-
kalam, as the capital of Chera, In Chap 28 of Manimekalai, it
is said that, soon after the transfer of the seat of the Chcla
government
to Conjeeveram, the rains failed, the country a-
round it was subject to famine, and man and beast were falling
victims to it) and the survivors migrated to Vanji. There is
not much difference between the climatia conditions of the
country around Karur and Conjeeveram, and there can never
be an emigration from one part of the Coromandel coast to
another on the score of famine, There is no doubt. therefore,
that it was to Thiravanjikalam tbat the famine-stricken people
of the Chola country wended their way Again, towards the
close of Chap.23 of the Chilappathikavam it is said that the
heroine of the poem betook herself to the dominions of Cher +,
by travelling wesbwards by the banks of the Vaigai and entered
Malanad er Malabar. Again, certaim female characters in the
poem, who started from the Chola capital in search cf her, first
went to Madura: and thence traced the same track to Vanji.
Lastly, king Chenkuttuyan was 2'so the ruler of Coorg or
Kndagu, and it must have been inconvenient to rule it from
Karer All thesa facts go to prove that Vanji, the capital of
Chera, was Thiruvanjikalam, and not Karur. It is a weil-
reco,nised bistoreal fact that the last-mentioned city was the
later capilal cf the House of Chera. and that the former was
more ancient”,

Next, the Kadalattw description bere ag in the Jewel Belt,

is graphic and the nemes‘s that attended the roguish goldsmith,
to wit, the infuriated mob lynchea him and set his house on
fires is well deserved. itis worthy of note that the two epics
had their birtb at Vanji and that the Caera kings were great
Tami} schoiars and patrons of Tamil learning, a fact attested
by some of tbe lyrics in Pura-Nanuru and Patbittup-patthu.
126 TAMIL LITERATURE

Evidently the modern Malayalees have forgotten their birth-

right and heritage in their craze for Sanskrit, and no authentie
history of their aucestry and country is possible without the
help of Tamil literature. Another point to be noticed is that,
besides the consecutiveness of the story of both epics, they are
historical in their setting as they tell us of the three kings of
the south, while their treatment is poetical,

Both poems begin with adoration to the moon, the sun

and rain, and contain no invocation to God as indu works
have, because their authors were Buddhists. The two epica
evidently belong to the transition period between the Budd-
histic and Paranié ages. Silappathikaram alludes to Indra,
Vishnu and his miracles, and the war-deity, Kumaravel,
The prince-author of Silappathikaram lived as a monk in a
monastery called kunavayil-kottam ‘palace or temple at the
eastern gate’, while Satthan, the author of the Jewel-Belts
a dealer in grains and a member of the Madura Academy,
was a protege of the Chera royal family.

3. Jivaka Chintamani: Thirut-thakka-The-

var. He was born at Mailapur, the birth-place of Valluvar,
and was a Jain. His fame rests not so muck on Nartviru-
tham, a smail treatise, but on Jivaka-Chinthamant, an epic,
which, though based on a Sanskrit original, contains an
exposition of Jain doctrines and beliefs, Its cther title,
Mudi-porul-thodar-nilai-seyyul, suggests that it treats of tha
fourfold object of life and aim of a literary work, viz., virtue,
wealth, pleasure, qnd bliss. It is the story of Jivaka from
his birth to the attainment of bliss and hes a commentary by
Nacchinarkiniar, It is in 18 books or Ilambakams and contains
3145 stanzis. Itis noted for its chaste diction and sublime
poetry, rich in religious sentiment, full of refleetions and remarks
on the grounds of human action, and replete with informaticn
 Sze. I, PANOHA-KAVIYAMS AQ

about the condition of tha arts and customs of social life at tha
period oi its composition, It will, therefore, interest the scholar,
the poet, and the antiquary, and there is a tradition current
that Kamban’s Ramayanam owes much of its excellence and
many of its beauties to this memorable Epic. Its story? is ag
follows;
“Sacchanthan was the king of Emavkathanadu and
married Vijayai, So cnamoured was bo of the queen that ba
neglected his government and ‘eft his minister Kattiankaran in
charge of i+ Ho proved treicherous to bis master: he formed
a plot against his life, ascended the throne. as the master fell
in the engagement, besieged the palace, and sent Vijayaiina
mayilpotri or peacock-like aerial car, Advanced in pregnancy,
the queen gave birth to Jivakan in the cremation ground of the
state amid a wild forest and began the life ofa devotes, The child
wast aken by a cich merchant, Kantbukadan Cketti, who had
gone thither for the disposing of his dead son and was
brought up as bis own and posted up in all branches
of learning. When he came of age, a gang of free-booters
attacked the city and plundered it The young hero pursued
them and rescued the plunder, Ia approciation of his valour,
Pasu-Kavalan, a citizen. gave him his daughter Govindsiyar
in martiage. While enjoying the happiness of wedded lifes
he competed with Thattaiyar in a Vina performance and, pro-
ving himself far superior to her in the arty gained the hand and
hesrt of the mus‘sal lady Then he was given certain scented
powders of their own’ minufacture by Gunamalai and Sura-
manjari and was asked to judge which was of stronger or finer
smell, fe decided in favour of the former who accepted him in
marriage After exhibiting his skill at metamorphosis, he tamed,
a rat clophant of the minister. Thea he went on a travelling
tour and met Patbhumai, a princess of the Pallava kingdom, in a
perk in the »gony of 8 venomcus snake-bite. At once Jivakan
showed his proficieucy in the healing art and rescued her from
128 TAMIL LITERATURE

death.* Asa mark of gratitude, the rescued lady martied him,

His next feat was doing wonders at Kema-mapuram and wed-
ding a Vaisya gi.!. Kemasari. From Thakkanadu he proceeded
to Susanadesam, and there proved his skill in archery and
wedded the princess Kanakamalai. Then he started on his
travels, anc reachrd Thandaka-Araniam, where he me‘ his
mother aud obtained her blessing, Returning to his own city,
he fell in love with Vimalai, a merchant’s daugheer, and took
her for wife.- He then heard of ,Suramanjari’s dejection and
contemp! for man and hastened to cure her melancholy, Wearing
the mask of aye, he plaved Githa-natakam and so pleased her
with his performynce that she surrendered herself to him
They became man and wife. The nextfeat that awaited bim
was hitting at a taryet end winning the youngest daughter,
Manmakal, of the king of Vidéhaw. Now the fome of Jivaka
spread far and wide and stitred up fears in the mind of the
usurper. The latter laid plots for his life, but the young hers
slew him aud ascended the throne of his ancestors. He then
ze-couquered his father's dominions and made thom aeknow!lsdge
him astheir sovereign. Having regained his lost kingdom,
he
vuled it wisely and weil and married Tlakkana‘, his material
uncle's danghter. ‘With her and his wives he spen* hi finn:
most happily and had by them a pumber of sons to whe: h
partitioned his dominions. Then he and bis devoted feral
associates rendunced the world and spent their time in do
chartty and performing austerities till they attained Moksh:.,”
Chintamant was composed expressly to show the
author's ability to treat of Kamam or excessive love, as the Jain
© Vide Padumaiyar Iambakam stanzas 52—8, where Jivakan is said
to have jearat, ftom @ Raksha king, thtee mantras.
“ Qi sreé sateked erie: anapps
படுங்குர ஐருமிது பாம்பு மல்லவும்‌:
சுடுக்திமல்‌ கோய்களும்‌ செடுக்னாம்‌ வேண்டிய
Cale year ஏணாரம்‌ கூறிஞன்‌..!!
 Src, I, PANCHA-KAVI¥YAMS 129

ascetics generally. disceursed well on asceticism and penance,

The story of Jivaka was suggested to him by his Guru, and the
topic of love. by the Sangam poets with whom he moved freely
and friendly. Some of the points to be noted in this poem are
the prevalence of polygamy» the service of Brahmins: man and
woman, in chetti houses, a fting at the glutionous Brabming
who laid violent bands ona dog, in canto 2, an engine like the
aeroplane called the peacock-car made of sealing wax, astrolo-
gical consultations in the stories of Guna-malai, of Kema Sari,
and of Vimalai whose father's slumped goods 8௦18 quickly at
the approach of Jivaka, ili-omens experienced by Katriankaran,
the treacherous usurper, the snake-bite cure by Jivaka in the
case of Padumai, the establishment of an orphanage for 505
children to be provided with milk and food, quibbios <r plays
upon words as in Kumari-ada, the author's calling to his aid the
god of gods, Chitta, the primal Divinity, ote. The moral of the
poem is figuratively expressed. A male monkey feeds its female
with jack fruit sna'ched from the garden and the gardener drives
them away berelt of the stolen fruit. Jivakan, the gardener,
takes back the realm, usurped and enjoyed by Kattiankaran.
Tho strong inherit the earth, The poem was hailed by the San-
gam echofars as the best of the kind,remarkable for its choice
diction, high sentiment, melody, rhythm, use of figures, graphic
descriptions of nature etc. However, one of them suggested a
doubt as to the moral purity of the author; be was an ascetic and
yet appreciated and indulged in describing love dalliance as well
8 a worldly man or even better. He proved that be was im-
maculate by the fire ordeal of taking two red-hot iron bars in his
hands. The scoffers felt sorry, when thé poet told them that
they served to prove to the world his moral rectitude and
nnworldiiness. Evidently, the author was a Chola convert to
Jainism and hadan old head on young shoulders. He completed
the voluminous work in the short space of eight days. As
specimens of his double-entendres mixed with love-dalliances,
12௮
130 TAMIL LITERATURE

the following verses (26 and 27) are from Sura-manjariar [am-
pakam, the 9th in the poem =
4 வந்தவர வென்னையென, வாட்சண்‌ மடவாய்கேள்‌,
ந்தை ஈலி௫ன்ற இரு நீர்க்‌ தமரியாட
வந்திலத ளாயபய னென்னை மொழிகென்றாள்‌
மூக்திகலி என்றழது ழப்போழியு மென்ருன்‌.
நறவிரிய காறுகுழ லாள்பெரிது ஈக்குப்‌
பிறருமூள:ரோ பெறுகர்‌ பேணி மொழி சென்னச்‌
துறையறிந்து சேர்ந்துதொழு தாடுந ரிலேன்றுந்கு
அதிதிர்பிற ரீவிரென ஐயமிலை என்றான்‌.!?
Here Kumari-ada means to bathe-in the Kumari river aad to
lie with a virgin. By bathing in the said river the bather would
regain youthful beauty, and in order to be with the virgin the
old form was sloughed off and Jivaka appeared as a shining
youth, ‘ Thurai-arinthu-sernthu-tholu thaduna ril’ means there
is no one who knows the bathing ghat and bathes and worships
as he ought, and there is none whoknows how to accommo:
dato himself to a beautiful virgin ia order to win her love’,
Nari-viruttham is a small moral treatise of fifty
stanzas composed by the poet on the nature of a fox that hap-
pened to run acrossin front of his Guru and himself as they
were conversing about his poetic talents to attempt the magnum
opus. Tt teaches the instability of human life and enjoyment$
youth, body, wealth are evanescent; murder. theft, anger,
miserliness, lying, moat-eating must be eschewed. The story
used to illustrate the moral lesson was based upon one in Hi-
topadesa and runs thus; A hunter saw an elephant which
entered and made havoe of the thinai field, and hastened and
stood on an art-hill close by and bent his arrow at the animal,
The enraged and wounded elepbant dashed himself upon the
hill aud fell down dead. A cobra who could not brook the shock
@ame out and smote the hunter. The latter cub the cobra in
 Szc, 1, PANCHA-KAVIYAMS 131

twain with his sword and himself died of the poisonoys bite.
Just at this junoturea hungry fox that passed by observed
that she had plenty of food for days and months ; the clephant
for six months, the hunter for a week, the cobra fer a day and
began to pull the strings of the arrow from the wound of the dead
elephant. Immediately the arrow struck into the foxjs mouth
and the greedy fox too died, Such will be the case with misers
or fortuné-huaters who would have much and eat none o: it
About eighteen stories are made use of in the eourse of this
short poem for iaculcating sound and practical morals. St.
Appar has referred to this story in one of his stanzas in a lika
moralistic vein 5
ஏரி பெருக்குவ ரவ்வெரி மீசன
அரு வருச்சம சாவ துணர்இலொர்‌
ரி யயற்கரி யானை யயர்த்‌துப்போய்‌
நரி விரத்தம sr eat ems.”
They who kindle the sacrificial fire without knowing thet
God is akin to fire in form or shape and who forget him, for
whom Brahma and Vishnu are tired of searching, will play the
part of the fox described 10 the poem. (in viruttam metre), ie.
will not realise their object or attain the goal Every Tamil
soboolboy knows the story by heart, baving learnt it in a single
stanza in Viveka Chintamani : ல்‌
₹ கரி யொரு திங்களாறு, கானவன்‌ மன்று நாளாம்‌.
இருகப்‌ புத்றினகை மீன்றுணு மிரையா மென்று
SA ste வேடன்‌ கையில்‌ விற்குதை ஈரம்பைக்‌ கவ்வி
கரியினார்‌ பட்டபாடு காளைகாம்‌ படுவோ மன்றே ??.
The Panchakaviame, it should be noted, deal with the lives
ofrich chet:ies and their daughters, and the new religions were
probably supported or embraced hy them- Chintamani is a
Jaina, work, Silappatbikaram partly Jain, Manimekalai and Kun-
dalakes! Buddbistic, In Virasolium, Yappu-padalam, St 23,
182 TAMIC LITERATURE

commentary, we find that Kundalakesi and other Kavyams are

in Virutha metre and that, as this metre is a post-Sangam one,
these are clearly post-sangam works. Valayapathi Stanzas,
quoted in Puram, show that it must be a Jain work. Both
Kundalakesi and Valayapathi are disputatious workss In Vala-
yapathi Kurral verses are incorporatod, as

ஈ முத்துக்‌ தொடர்ப்பா டெவன்சொல்‌ பிறப்பறுக்க

அத்ருர்ச்‌ குடம்பு மிசை 7: (துறவு, 40),
the same as (‘@per 345°), Some of the stanzas of Valayapathi,
quoted by commentators, have been collected and published as
@ booklet, and suppiemented.

4. Kundalakesi, Valaiyapathi. Those, the last

two of the Pancha Kaviyams, are known to us only by name.
Two accounts of the plot of the former have been given: one
occurs in Vaisyapuranam, chapter 34, and the other in the
Journal of the Mahabodhi Soeiety, 1900. Tho substance of
both is given below for what it is worth, as we cannot say
anything definitely of the poem till we come at it.

“Akalanka Chola, proud of his skill in war and in samesy

challenges everybody th contest with him in the game of
ball, The Pandyan king offers a similar challenge, but it is
offered specifically by name to the Chola emperor. This
challenge is accepted by Kaveri, a Vaisya, known for his
charity, and the bosom friend of Chola, After many trials,
he defeats the Pandyan king in the game and wins trophies.
On his way home he is encountered by Kollath-ayan, a
Pandyan general with ali his sovereign’s forces, and, in the-
war that ensued, slays him; His head is carried off to the
Chola king as a trophy, and it is given over to his wife
Arambaiya-rathipai, at the request of the victor ”\— Vatsya:
puranam,
 Sac I, PANOHAKAVIYAMS 133

‘* Kadslakesi, a rich Chotti-banker’s daughter, playing on

the terrace of her house, sees from a balcony a young man
Kalan escorted by the police on a charge of robbery and falls in
love with him. The young man turns out to be the son of one
of the king's ministers, and the influence of his parents gots
him release. He marries the Virgin. and lives happily some-
time with her One day she said in jest, are you not a thief?
and this remark stung him to the quick. Then the treacherous
thought occurs to his mind that he shouid deprive his wife of
her oroaments by doing away with het ina secret place, The
man and wife appear in them best clothes and well-decked and
go ostansibiy to offer a baltkamma sacrifice to the deity for
sparing the robber's life. The wife is taken to tha summit of a
huge rock and threatened with death if sho does not give him
all her jewels. She is far more cunning and hurls him down
the precipice. Disgusted with life, she joins the nunnery of
the Nigrautas, but leaves it as she cannot make up ber mind
to part with her long beautiful hair. Sbe goes to Savathi and
lives the tife of the Bhikkuni and attains bliss or Arhatship ”.--
Journal. The account given in the Vysiapuranam has no bear-
ing on Kundalakesi as described in Nilakesi-theruttu, and in
the journal, whiie the latter two agree in almost all essentials.
Kundalakesi was evidently a successful disputationist on be-
half of Buddhism. Her Guru was Arukka-chandran of
Ujjain.
5. Valaiyapathi. The story of this epic is found in
chap. 35 of the Vaisyapuranam, and as no other account has
come forth, we give the drift of the former in the ‘following
lines;
« Vaira Vanipan, called Navakoti Narayana for bs untold
riches, married two wives, one from his caste and another from
another. He is threatened by the castemen with excommuni-
cation for the second marriace. Tbe threat takes effect, and
 184 TAMIL LITERATURE

the second wife is sent off. Having conceived at the time of

her separation, she delivers a son a few months alter, without
this being in the least suspected by the husband. The son
attains his years of discretion and is abused by hs playmates
as the son of & nameless father. Uaable o put up with it,
he asks his mother of his parentage She gives the name of
the father, and immediately the boy burr'es on to the town and
represents himself tobe the son of his discarded wife, The
father cannot believe it and repudiates his claims, He calls
upon the caste-elders to decide it. The lady is asked to prove
her fidelity to her husband She invokes the promised aid of
Kali, who appeats suddenly and, with her testimony, convinces
the council of the fact of her unquestionable chastity. Vaira-
vanipan acknowledges the boy as his son and makes over to
him the village of Alakapuri, and a large sum of money to
evable him to start business as a merchant”. About a
hundred stanzas of this poem have been published in two
instalments in Sen-Tamil.

6. Konguvelir: Perum-Kathai This epic, said

to be based on Kuniittiar’s Bruhathkathai in Paisasa (Tamil?)
language, relates. the story of Uthayanan, ruler of Vatsava,
andis praised by Adiarkunallar above Jivaka Chintamani,
The whole work is in ahaval or blank verse and contains, so
far as it has been unearthed, 5 cantos with a number of sub-
cantos to each, The first canto entitled Uyjain or Unchas,
has fifty eight subdivisions, of which the first thirty-two have
been irrecoverably lost, and even in those that remain there
are hiatuses; the Second, Itavana, has all the twenty parts
almost intact; the therd, Magadha, 27 chapters, of which
the eleventh is not available and there are blanks at the end
of chapters 10 and 16, and at the beginning of chapters 12
and17; the fourth, Vatthavu, 17 sections, with a few half.
lines and whole lines left out in some of the sectons ; the fifth,
 Szc. I, PANCHA-KAVIYAMS 135

Na-avanc, 9 divisions with wide gaps in most of them; and

the sezch canto, Penance, isa perfect blank. Even in its
imperfect state, the whole epic counts very nearly 16,000
lines.

- Kongu Velir, its author, wasa Vellala prince and lived

at Vijayamangalam in the Kongu-nadu. He was a patron of
bards and was fond of their society. He was a jain by
persuasion. In this Epic will be found some of the teachings
of Jainism. Evil deed will eclipse the soul and the soul that
has worked out the evil will go up, Do not eat in darkuess,
ie, after sunset. Panchamantram, O-thi, prathimayegam,
seddhar, sin-alayam (sethiam, Aruhatthanam, Aram-thanam),
pavanalokam, astrologers’ Car, Vellimalai, Panchakulam,
Asoka tree, Isakki or lyakki—these appear or are made use
of in the course of this long poem.
Many good principles enshrined in it will be of help to
the readers and be a guidance to them in their struggles in life,
Divine worship is essential ; hero-worship equally so; fate or
karma will have its own way and be inexorable ; even foes
will befriend scholars; learning must be onr treasure; one bent
on executing a great thing must seek proper means,time, place
and sincere helpers; life cam be lived happily with such aids,
Things must be done .with patience; foes deserve kind treat-
ment for good qualities; women clever in their mother tongues
and other languages often acted as great peace-makers bet-
‘ween sovereigns; remove the indigence of kinsmen, be grateful
for the least good done; time lost cannot be regained and must
therefore be valued; never slander or vilify others; never make
or have foes but be gracious to all; do charity as our saviour.
sufferings must be undergone as the fruit of past deeds;
penance is necessary; women's blandishments are harvifui$
domestic, conjugal life is excellent; children’s duties; the
 136 TAMIL LITERATURE

qualifications of teachers; subjects and their. functions; mi-

nisters and their duties; friendship's bonds; behave towards
people according to their natures; respect for ascetics—all
these and more can be gleaned from the epic.

Besides these points, there are graphic accounts of diffe-

tent assemblages (ambalams}, of kinds of beds, cots, palaces,
forts, dances, ornaments, arms, armies, music, dress, societies,
swinging, vehicles, wells, motors, aeroplanes (aircars), spies,
astrologers, male and female, education, industries, archi-
tecture, sculpture, tributes, flags, temples, charities, mintages,
jadders, tunes, ball play, garland-making, marriages, religions,
foreign artists, lutes, fans, festivals, reservoits, toys etc.

The argument of the Epic may be given in a few words:

Sathanikan was king of Cowsambi. His wife, Mirukapathi,
‘was pregnant and about to deliver. In the moonlight night she
slept in the court yard with red clothes on. A bird of prey
(sim-pul) took her for amass of red flesh, carried her away
and left her at Vipula-ghiri (morning mount). When the bird
thought of tasting the flesh, the pregnant woinan opened her
eyes, and, it flew away. At sunrise Uthayanan was born.
He was tended by his maternal granafather who had taken toa
life of penance and was living in a hermitage on the hill.
He was educated alone with Yuki, a Brahmin lad and
son of a rishi, and turned out an expert in many bran-
ches of knowledge. His harping kept even viephants
under spell. Anelephant of a superior order, encharmed by
his talents, agreed to dohim good service if he would not eat
before feeding the long-trunked self. With the help of the
animal, he obtained his uncle’s dominions, thea his father’s,
aad ruled both. One day he forgot his word and ate first and
the elephant disappeared, Uuthayanan went in search of him.
 Sec, I. PANCHA-KAVIYAMS 187

In his wide wanderings he came across an elephant, which

he mistook for his own, but which wasa work of art and
concealed many warriors of Ujjain like the famous Wooden
Horse of Ulysses described by Virgil. It was a monstrous
device of the king of Ujjain who wanted to capture the
tributary prmce Uthayanan for default of payment of tribute.
The warriors concealed in the monstrous elephant emerged
and fell upon the unarmed prince and took him prisoner to
Ujjain at the instance of Salam-kayan, the chief minister.
The prince’s bosom friend, Uki, at once vowed that, as his
dear friend had been taken by a trick, he would revenge it
by carrying away the princess of Ujjain without her father’s
knowledge, and he caused the rumour to spread abroad that
he was dead. in disguise he and his warriors proceeded to
Ujjain, and while he was there, he drugged the royal elephant,
Nala-giri, so that it became intoxicated and mad and made
havoc of the whole city. Prachothana, its king, was helter-
skelter and, coming to know that the imprisoned prince was
capable of taming the mad animal by his lute, he released
Uthayanan, who didas desired. The king was immensely
pleased and appointed him as toxophilic tutor to his sons
and as musical master to his daughter, Vasava-thatthai. The
princes and princess fared well in their respective studies and
the tutor was amply rewarded. During the festival of
bathing, Vayan-thakan, Uthayana’s dear friend, told him all
about Ukivs stratagem, and Uthayanan eloped with the
princess and her companion (Kanjanai) on a female elephant
called Pathra-pathi, and crossed the borders of the kingdom
of Ujjain. Uthayanan was reinforced by his friend Ida-pakan
and reached the city of Jayanti. He then married Vasava-
thatthai and was lost in her charms. The state affairs were
utterly neglected. Uki, after having played the devil in
disguise at Ujjain, hastened home with Sangia-thai in a motor.
138 TAMIL LITERATURE
He saw his friend and ruler bewitched and determined to
separate him from his wife in the interests of the state,
After giving directions to his friends for the management of
the affairs of state, he once again set afloat the false rumour
that he was dead. The sad tidings fell on the ears of Utha-
yanan and agonized his mind. He was comforted and
taken with his wife to a grove near the city of Ilavanam
and afterwards to the city itself, where they were lodged in
a palace. One day the prince went a-hunting, when .Sangia-
thai led the princess through a secret way or tunnel, and they
and Uki, in disguise, passed to the city of Shan-par and
spent some time there. The hunting prince returned and
found his palace on fire. It filled him with grief that his
wife and friend Uki should have fallen victims to the
flames, and so he made up his mind to live no longer,
Nevertheless, it struck his mind that a sage was at Rajaghiri
who could bring back to life the dead near and dear, and
he, accompanied by his friends, lay concealed in a grove
near that city. Then there was the vernal festival a-going
to honour and propitiate Cupid, Padmavati, the king’s sister,
took part in the celebration. At her sight Uthayanan was
spell-bound, and the lovers resided for a time in a nunnery
there. When the kingdom was invaded, Uthayanan showed
his military valour and sacked th foes and put them to rout.
The king of Rajaghiri rewarded his services with the hand of
his sister and they were happy ‘imparadised in one another’s
arms’. Uthayana’s brothers and forces defeated their enemy
and Uthayanan bore sway at lower Sambi. Then Uki came
back with Vasava-thattai and others and the restored king lived
harmoniously with both his wives. His ministers, Uru-
mannuva and Uki, were rewarded, Prachothanan sent dowries
to his daughter and Uthayanan made an ample return through
Uki. Uthayanan became enamoured of an expert ball-player,
 Sao I PANCHA-KAVIYAMS 139

Mina-neekai, and married her. Afterwards he took to wife

Viri-sikai, daughter of a Raja-rishi, Hs first wife conceived,
and he took her in an air-car over the whole country from
Pothya hill to Himalaya ona pleasure-trip, After their
return from the long and pleasant excursion, Vasava-thatthai
gave birth to a son, Naraviina-thatthan, and the heir-ap; arent,
bred up with Uki’s four sons in all the arts and sciences,
married Mathana-manjikai. This lady was ravished by
Miinasa-Ve’kan who had come to Cow-sambi to witness a
festival. With the help of his ministers, Naravanan over-
came the Vidyadharan and recovered his chaste wife and was
famous as the conqueror of Vellimalai. Uthayanan made over
to his son Gomukan by Patmavati the burden of the state
and passed his days in retirement, doing penance.

Between this epic and the Jivaka Chintamani, both of

which are by jain authors, there are many striking parallels,
and tle student would do well to note them. Jivakan’s mother,
on account of the treachery of the chief minister Kattian-
karan, was sent in an air-car, and, when she heard the
tumult in the city and feared her husband’s safety, she was
non-plussed and forgot to guide the car. The car descended
on a cremation ground, where the queen delivered Jivaka.
Similar was the case with Uthayanan’s birth ; his mother
was carried away by a vulture to a hilland gave birth to him
there, Both princes became experts in archery, music and
other kinds of knowledge and won their way back to their
hereditary kingdom after untold sufferings. By the
display of their valour and skill, Jivakan married eight
women and Uthayanan four. Both were grateful to their
helpers, Both lived happily with their kith and kin. When
old, both retired from the world, leaving their sons as rulers,
and spent their days in meditation and penance,
140 TAMIL LITERATURE

A word about the Jains in South India. The late

archaeologist, Mr. Gopmatha Rao, wrott in Sen-Tamil? Vol V,
about the time when the Jains bad their exodus to the South,
About 60 or 50 B.C. thousands of Jains were at Ujjain
leading holy and literary lives in sangams. Bhadra Bhagt.
one of the sages, predicted a twelve years’ famine in that
kingdom and told his brethren to find their pastures else-
where. Whereupon they moved towards the south and
wandered over the famil Country. ‘hey settled at Thavala-
Sarovaram (Hassan, Mysore) and spread Jainism in the
south, and established Jain sangas everywhere. Anai-malai
became their head-quarters afterwards, and thousands lived
im the city of Madura, where they were under the auspices
ot the Pandyan King, The zenith of their prosperity was
during the regime of the Pallava sovereigns, For six
centures or so their influence was very strong and conver-
sions multiplied, They were members of the Tamil
Academy and enriched the Tamil literature with their epics,
tales, grammars, and gnomic verses and wrote dictionaries.
Their influence waned with the decline of the Pallavg
dynasty and with their falling off in their ways and modes
of life.
Two or three purple passages as specimes of the author’s
varied talents are subjoined. The first passage describes the
expert ball-play of Mana-neekai.
* கூழன்றன சாமம்‌; குழன்றது கூந்தல்‌)
இழன்றது மேனி; அவிழ்க்ச.து மேகலை;
எழுந்த குறுவியர்‌; இழிந்தது சாந்தம;
டின சடல்கண்‌; கூடின புருவம்‌;
அங்கையினேற்றும்‌ பு,றகசையினோட்டியும்‌
,சல்குற வளைத்து, சான்புரிர்‌ சடிச்தும்‌
இடையிடை யிருகா நெரிதர மடித்தும்‌.?? 600.
Canto IV. sec, 12. | 439 ef. seq.
 ௭௦ I, PANOHA-KAVIYAMS 14h

The second is Prachothana’s certificate of Yuki, and the

wrench of their separation:

“கண்பின்‌ மாட்சியுவ்‌ சல்வியசசலமும்‌

பண்பின்‌ றொழிலும்‌ படைத்சொழில்‌ மாண்பும்‌
காயு மாந்த ராயினும்‌ யாதும்‌
'தியவை கூறப்‌ படாத திண்மையும்‌:
இவற்கல. இல்லை இவனார்‌ பெற்ற
அவத்கல இல்லை யான்‌ மாட்‌...
ஈவில்சொது மினிய ஞானம்‌ போலப்‌
பயில்சொறு மினிய நின்‌ பண்புடைச்‌ ஓழமை
உள்ளுசொ நுள்ளுசொ ள்ள மின்பு தப்‌
பிரிவுறு அன்ப மெம்மாட்‌ டெய்‌...)
Canto V, sec. 7, 1! 106—112.
The third illustrious specimen describes the thinai’s—
Marutham, Mullai, Kurinchi, and Palai in appropriate
language. Vide Canto I, sec. 48, l 151—70; sec. 49,
UI04—II6; sec. 50, li 17-33; and sec. 52, ll 37—~44, of
which the last is given below:

“ ஓமையு முழழிஞ்சிது மூலவையு மூகாயும்‌

கவும்‌ சான்றியுங்‌ கொலமுட்‌ டொடரியும்‌
அமவு மரசு மாரு மாத்தியும்‌
இரவு மிண்டும்‌ குரவுங்‌ கோல்கும்‌
கள்ளியும்‌ ஈடம்பு மூள்ளியு முருக்கும்‌
,சணக்கும்‌ பலாசம்‌ சணைக்கான்‌ ஜெமையும்‌
ஈங்கையு மிலவுக்‌ சேங்காய்‌ செல்லியும்‌
வாகையும்‌-பிறவும்‌.2:
 142 TAMIL LITERATURE

SECTION II
Minor Werks
1. Introduction. The five siru-kappiams of the Jains
are Nilakesié, Sulamani, Yasothara-kavyam, Nagakumara-
kavyom and Uthayanan-kathai. Of these only the second
Sulamani, ond the third have been published, and something
is known of the first and the last, while the fourth is wrapped
in obscurity,

2. Nifakesi. Its authorship is uwxnown. It is in ten

sarkkams and contains religious disputations and refutations.
The devilish heroine, whose name is the tisle of the poem,
refutes the arguments of Argha, Buddha, Ajeevaka, Sankhya,
Valsedika, Veda, and other worshfppers and establishes Jainism.
It is also known os Nelakesi-theruttw and has a commentary by
Samaya-thivakara-vamana-muni,
Thola-moli-Thevar. Sulamani or “Coronal
Gem" by the Jain poet Thola-moli-thevar, is in twelve canics
containing 2131 quatrains, and its original is Mahapuranam,
It resemb!es the Jivaka-Chinthamani in its poetical excellence
and in the use of the fairy machinery. It was first published
by Rao Bahadur Thamotharam Pillai. It is said to contain
many words and uses of words now more or less obsolete, 1a
this quasi-epic, desoriptions of places are many and tedious,
and the Hindu mythological stories are turned to curious
account, though couched tn faultless verse, Ib is not popular
with the Tamilar In spite of its word-mosaics and purple
patches. Tho influence of the soothsayer, the custom of the
bride’s own choice of her husband, the chivalrous feats of wars
and the prevalence of polygamy ste amceng the noticeable
customs and manners recorded in the poem, its story is ag
follows.
 Sxzo. Il. MINOR WORKS 143

Prajapathi, king of Suramai (the Delightful), had two

principal wives, Mikapathi and Saki, These became the
mothers of Vijayan and Thivittan respectively. ‘The former
was fair like Balaraman and the latter dark-complexioned like
Krishna. The two brothers were peerless in beauty and
appearance, and a soothsayer told the king that he had
dream and that the dream signified that Thivittan In a week's
time would marry a fairy princess. A similar dream was inter-
preted by another sootheayer in a similar manner to the king
of Iratka-nupuram to the eftect that his daughter Suyamprabai,
a paragon among fairies, would marry an esrthly prince and
that prince was Thivittan, The fairy monarch despatched
Marusi to Bothanam with a letter to the king of Suramai. The
despatch struck the king with wonder and nevertheless consented
to the marriage. Marusi returned to the fairy land. Its
emperor, Achuva-kandan, to whom Thivittan’s father was sub-
ject, demanded of him the usual tribute of gold, pesris, coral
and ivory, Prajapathi ordered the tribute to be raid, bug
Thivitten defied the emperor and denied allogiance to any fairy
king. This wes exactly what the soothsayer had predie’-d would
happen. A councillor of the fairy court took the form of a lion
and laid the land of Suramai to waste- Whereupon, the sous of
Prajapsthi set out to slay the lion, The lion retrented intoa
cave and was warmly received into the stomach of rea! lion.
Thivitian followed the assumed lion inte the cave, seized the
real lion by its mane, and killed it, The prediction of the
soothsayer of Iratha-nupuram came true, and its kin,: set out
with Suysmprabai and wedded her to the gallant licn-slayer,
But the fairy emperor: boiling with wrath for the new unnatural
alliance, marched with a mighty host against Thivittan. A war
ensued, in which Thivittan, gifted with wonderful magic powers,
made havoc and slew the fairy emperor. This triumphant
victory msde Thivittan's father-in-law suzerain lord of the fairy
land. Thivittan shared the ancestral dominion with his father
344 TAMIL LITERATURE

and lived happily with his fairy bride and ten thousand other
spouses. Fle had a son by his fairy bride called Amirtha-senan,
and his sister, wife ot his wife's brother Aruka-kirth!, on the
same day gave birth to a daughter, called Sutharai and ௨180 &
son. Thivittan had another daughter, Min-jothi-malai, and,
when she grew marriageable girl, proclaimed a Suyamvaram.
The girl chose the son of her mother’s brother, and the fairy
princess chose Amirtha-senan.
Thus a firm alliance of the earthly and fairy kingdoms war
the result of the two weddings. Both unions were fruitful, and
the two families increased and multiplied. It then occurred to
Prajapathi’s mind that all his prosperity was the fruit of virtuous
acts in & former birth and that he must renounce the kingdom
and pass the remainder of his life in devout meditation, were it
t continue in his race. He celebrated a pompous festival in
honour of Aruba and had hell, heaven and purgatory revealed
to bim by the Jain deity. {mmediately he renounced the world
and obtained release, ¢. ¢, victory over earthly desires.
4 Uthayanan-kathai., or the story of Uthayansn,
king of Vathsa-desa, contains six cantos with 367 stanzag
including prefatory ones. This is evident from the following
Verses:

ஈஉஞ்சையினிச்‌ சாண்டச்தி ுயர்சவிரா.ம்‌ தீரெட்டு

மிஞ்சவே யிலாவன இன்‌ வீ.றயர்‌ முப்பதாகும்‌.
மெஞ்சவின்‌ மகசாண்ட மெழிலுடை முபப்ப,ச்சைக்சே
யஞ்சுட ஜம்பதாகு மரியவர்‌ சலதி லன்றே?!.
நறுமலர்‌ மாலைமார்ப னரவாகனன்‌ காண்டத்‌இ
லறுபது மொன்றுமாகு மாயெ து.றவுச்‌ காண்ட
மறுபறு மைக்துமாகு மன்புவைத்‌ சோழுவோர்க்குந்‌
(இறவதிழ்‌ சேட்பவர்க்குஞ்‌ வசத யாகு மன்றே!.,
Its other name is Uthayana-kumara-kavyam.
 Sec. Il, MINOR WORKS 145

5. Sothara-Kavian, in five Sarkas, contains 320

stanzas. Its author is unknown, though a Jain. It is based on
Banskrit ‘ Yasothara Charitram ’ in four sarkas and 296 sickas.
Both run so closely that one may be said to be the shadow of
the other- The Tamil author has {mported into his work
hundreds of alien words, Some of the proper names occur in
both with slight variations: Chandramathi as Chandra-mun-
mathi, Irania Kesipu as Irania-munnam-Kasipu ete. The date
of the Sanskrit work has been fixed 1026 A. D. in the reign of
Jaya-Simhan, and the tamil poem mnst have been composed
considerably later. The hero of the story is Asoka, ruler of
Avanti, whose capital was Ujjain, and who was of the solar race.
King Sodhara and his mother were killed on account of the
sacrifice of a Cock made of flour to Kali and had a number of
fow births. The former had Avathi-Jninam and obtained
moksha. The poem has been editsd by Mr. Venkatarama
Aiyengar with the story of Yasodhara and notes and other ‘aids
and with a preface in English by Mr. Arthur Davies, A
specimen stanza is subjoined from IT. 46.

மாதாரா ரெனையரேனும்‌ வசையினுச்‌ குரியரல்லர்‌,

பேதைசா னிலனும்‌ பெண்ணி னனையனே, பிதிதுமொன்றுண்‌6)
ஏதிலார்‌ மன்னர்‌ சென்னி யிமலுச்‌ குரிய வானிற்‌:
நீ௮செய்‌ சறுபுன்சாதி சதைத்ததும்‌ மன்‌ தென்றான்‌.
The following is a brief summary of the Epic. Marithatthan,
ruler of Rajaputra, in Audoya, told his subjects to celebrate the
chitrai festival to the deity Chandamari and ordered Chanda-
Koruman, the fort-guard, to bring two handsome human beings
for sacrifice along with the beasts- Ha cme across a brother
and a sister called Apaya-rusi and Apaya-mathi, two followers
and disciples of Su-datthar,
the bead of the Jaina Sangam and led
them to the king. They were asked to bless the king despite
their captive state, and, when they did so undaunted, the king
inquired who they were. They said as follows: ‘ Asoka was
10
 146 TAMIL LITERATURE

ruler of Avanthi with Ujjain as capital. His queen Chandramathi

begot a.son Yasodharan. He married Amirutha-mathi, and
their son was Yasomatht. One day King Asoka caw ina mirror
a grey hair in his head and, thinking ‘that he bad grown old,
made over the government to his son and retired to a forest
with men of his stamp, Yasodhara became king. In the still
small bours of a nigh? his wife heard a song sung by an
elephant-keeper and was enamoured of it. She was sad and
dreaming of the singer. Her companion Gunavathi saw her
mocdy and asked the reason for it. She spoke the truth and
added that the singer and herself were sincere friends, Her
companion hastened to the elephant-kecper and found hm an
ugly leper. When she reported this matter to the queen, the
queen said that, whatever he might be, her heart had already
passed to him. Gunavati brought him es desired, and he end the
queen passed a while in a lonely places Days passed. One night,
when the xing was drowsy, the queen left him and burried to
the elephant-keeper. The king got up and followed her with a
swor in hand end saw how the clandestine lover beat the queen
for late coming. She explained ii At this st ge the king in
his wrath thought of cutting down both of them, but pity
overswayed him. Ha did no} wish ta use the honorable sword
to kil! a fooland a woman and retraced his steps homeward, and
pondered long over his renunciation. Next day the queen was
with him on the throne in the assembly ball, and the king hung
a flower at her. She pretended she could not bear it and fell
into a swoon. The king laughed when she recovere! her
consciousness and then repaired to his mother. Seeing him
pale and sullen, she demanded the reason for it. He related
that he dreamt that Chandra kanti, lke tho shorn moon, dwelt
with darkness in the night. The mother took it asa fore-
shadowing of great evil by Chandika-devi and told him to
offer her a sheep sacrifice in October as expiation. The king
could not bear tbe idea of killing any animal like his Jain fore-
 Seo. II. MINOR WORKS 147

bears, and she advised him to offer her at le:st a cock made of
flour. Then he meditated over the suggestion and concluded that
the destroying of an effigy was the same as destroying the an‘wal,
Nevertheless, he obeyed the mother’s dictate, Accompanied by
his mother, he proceeded to the Kali temple and cut the imaga
in two with his sword when it cried and felldown. The ‘king’s
mind was distressed, and he imagined that his wile's clandes-
tine action would kill him too. He returned to bis palace and
thought of abdicating his throne in favour of his son and
preparing to retire to a forest for penance. His queen proposed
that she would follow him, but, before doing so, she desired to
hold a feast.’ The king agreed to it- The mother and the son
ate the poisoned sandwiches, and died. All people were
lost in amazement and cursed the host. Different
souls interpreted the avastrophe in their own ‘ways,
They then took birth as the children of Pashpaveli, the
young queen, and wera named Apaya-ruei and Apaya-mathi
respectively. The children were brought up in ali the ascom-
plishments of royalty. King Yasomathi went to the forest
for hunting and mel with Sudbattha. muni in his Yoga. As
no game was had, he incited the hounds to fal! upon the Yogis
but they stood at arm’s length from him, Enraged at its
the king lifted his sword to kill him, when his dear companion,
Kalyana-mitran, of the merchant community happened to come
near and expatiated on the merits of the Yogi as the quondam
ruler of Kalinga, On hearing his narration, the king prostrated
at the Yogi's feet and begged forgiveness. His children too
attended on the father when the Yogi exhorted him to do good
and told him all about his parents’ state after death, Apaya-
rusi became his successor and he too renounced the throne m
fayour of his younger brother Yasodharan, .\paya-rousi and
Apaya-mathi left the world for ever and reached heaven.
148 TAMIL LITERATURE

SECTION III

1. Vammanachryar: Meru--manthirapura-
mam. This Jain puranam, by Vammavachryar, is in twelve
sarukkas or cantos containing 1406 stanzas. It gives the story
of the brothers Meru—-Manthira and eontains a full exposition
of the Jain beliefs and superstitions. The following venba
testifies to this:

“gus is மானூத்றின்‌ மேவு மிருமூன்றாம்‌.

யாயபுகழ்‌ மேருக்சண்‌ மந்தரர்பா.த்‌-.நூய
,சவராச ராசன்‌ கு.றுரூனிவன்‌ சந்‌.த
பவசோச மந்திரமாம்‌ பாட்டு??,
2. Thivakarar: Thivakaram. This is a lexicon
by Thivakara-Munivar. It was composed at the instance of and
dedicates t2 Senthan of Ambarnagar, eulogised by Auva! and
praised by Kalladar in Puram, St. 385, in which Chalukya kivgs
are referred to. It contains ten thokuthis or collections or
chapters with 2956 sutrams.

3. Pingalar: Pingalanthai is another lexicon by

Pingalar, eon of Thivakarar, whieh embodies a few rare or
difficult words not found in his father’s work, It also contains
only ten chapters. Init 'pallavar' is interpreted as meaner
men or ‘ilinthavar’, These two lexicons by the fatber and the
sop must be perused by one who wishes to master Tamil
poems,
₹ செல்கநிர்‌ வரத்திற்‌ நிவாகரன்‌ பயர்‌,2
பிக்கல மூணிவன்‌ றன்பெயர்‌ கிதீஇ. ?)
 Sec. 1V, PURAPPORUL.VENBA-MALAL 149

SECTION IV
1. Kalladam, see Sangam Age, Section V., Para 6,

2. Aiyanar—Ithanar. He was the compiler of

Purop-porul-venda-matat, a garland of venbas on Purapporul
or outer life in general 16 is said to be based on Porul-pannira-
padalam and is divided into twelve chapters or padalas on
thinais. It containe 86: quatrains. Some of them treat of
Ahbam, to wif, the last three chapters or padalas, which also
throw light on the ancient history of the south. The headings
of the padalas are given below.
Padaiam 1. Vedehé or the Cxt.ie Raids.
2 »~-Karanthai or the Rescues,
ஞு 9. Vanehs or the Inyasiou of the enemy &
terriiories.
n 4 Kénohi or the Defence o: the King:
ல 5. 1760101%. or toe Delenve of whe Fort.
த 6, Ulinas or Besieging Enemy's strong-
holds.
ii J, Lhambat or Wer in general,
aii 8, Vakas or the C.nquest,
Ps 9, Padan or Panegyris,
" 10, Misceliancous or Generai,
ன்‌ ll, Katkslus or One-sided love.
o 12, Perwm-Thinat or Lil-assorted love,
The first padalam eutitled Vedchi cr the flame of the
Forest, so called because tts flowers are of dazzling brightness,
contains 21 verses, of which the second verse describes tho
today jar and toddy-drimking even by ladies while the sixth talla
us of the scouts, or trusty spies: the sixteenth, describing
the feast of victory, refers to toddy and dance; the nineteenth
celebrates the drummer; the twentieth the protectress or
Kottravai of the warhke host; and the last depicts the Dovil-
dance, called the Vallai-Dance.
 150 TAMIL LITERATURE

The secord padalam, Karantbai, ‘so-callei after the dark

purp.e flowers used for the basil or tulasi wreath, has 14 verses
and son:s of the heroic race of Maravars who fought in the
armies of Kings for pay,
Tho third padatam, Vanji (Sanskrit Madhavi), called after
the name of an ever-green creeper bearing yellow flowers, con-
tains 28 verses describing an Invasioe and its sequel, The unfad-
ing vanji wrea h was worn by the heroes giro with Hashing
swords and bearing banners, The hero is described in verse 41
as cne who, like fire, penotrates the foeman’s rank and van.
quishes the enemies who submit and pay tribute Verse 58
gives an account of the Warriors’ fest. and the concluding verse
closes witb triumph and pity-
The fourth padalam. Kanji or the elm-tree, with dark
foliage, portrays the last stand made by the defenders in their
mountain fortresses, the full of heroes «nd their wives; demons
and demovesses hovering over the bioody babtiefields, Jibations
to them, consumptions of toddy, and universal wail, in brief,
theic orushing defeat (in verse 80 and extermination. The
word has come to mean ‘sober counsel’ as in Madurai ‘ Kanji’.
The /ifth padalam, Nechi, or ' Vitex nirgundi,’ ealled after
the five-lesved chaste tree bering pure, pale-bluish, fragrant
flowers, a wreath of which was worn by the defenders of hill-
forts; contains the usual praises of the king and his wavriers
who fought“ to the finish and mingles romance with war, the
siege being the outcome of the king's refusal to give his daughter
in marriage to the leader cf tho besieging army- In verse 86
allusioa is made to the triple fort of the Avunar or Asuras des-
troyed by Siva or Rudra,
Padalam stzth, entitled Utinat or cotton plant with golden
shoots, a wreath of which was worn by heroes in derision, des-
cribes sheep-sacrifice and alludes to the exploits of Siva and
to the storming of Viraca by Vishnu. 1: desaribes crossing
 Seo, 1V. PURAPPORUL-VENBA-MALAI 151

moats on rafts, scaling ladders, ploughing the foundations of

the destroyed forts with asses and sowing worthless plants
therein, and universal stbmission (as in verse 120).
The seventh padalam, where the wreath deseribed is of
tumbas or drona, has 25 verses beginning with verse 127 and
treats of war in general Verse 187 is the bard’a eulogy ; verse
151 depicts the wounded werriors wife weeping with joy, and
verse 154 the warriors’ imperishable glory and immortal renown,
the wives of the two fallen kings perishing with their husbands
in the flames,
The eighth padalam, Vagat or ‘Mimosa flectuosa’*, whose
leaves and white flowers were worn by victorlous kings or
prize-winners in a competition, contains 34 verses throwing
light upon the feolings and habits of the people and
on ithe introduction of the fomfold caste system,
The Kshatrya Vagai symbolises triumphant war, (verse 156);
the Brahman Vagai, sacred rites or Yaga sacrifices (163); the
Vaisya Vagai, the s'xtold deed of capitalists or landed proprie-
tors (164); the Sudra Vagai, faithful service und toil (165);
the Chieftain’s Vagai, conciliation (i 6); the Sage’s Vagai,
truth (167), the Heroic Vagai. glory in battle (176); the Vagai
of the good and of the town (185, 177); and the final Vagai
boing grace ia life and death (188).
The ninth padalem has fifty-one stinzas and treats of
royalty and is miscellaneous in character.
Padalame X,XI,end XI partake of Abam, the palmyza
wreath worn by the Chera king, the margosa wreath by the
Pandyan, the atthi wreath by the Chola or sembian—these
three were worn by kings. Nadu-kal celebration in detail is
found here {verse 251) as wel! as reference to sepulchral urns
(or Eema-thali},
It should ke berne in mind that there is a correspordci.ce
between the thinai divisions in Aham and the divisions in
158 TAMIC LITERATURE

Pura-Porul: Kurinchi corresponds to Vedchi, and the seene

of the latter is accordingly a hill fortress; Vanji corresponds
fo mullai; ulinai to marutham } tumbai to neithal; Vagai to
Palai; Kar.ohi to Perunthinai; Kaitilai to Padan. Puram
somprises all the activities of human society not comprised
in Abam or Pure love, It corresponds to aram and porul in
நாகி,
The author is said to have been a descendant of the old
Chora kingss and the work is closely allied in subject and in tone
to the Pura-nannuru, Each venba is preceded by kolu or the
gist of it in a few words. Though this compilation treats of
Purapporul, some difference will be noticed between if and
Tholkappiam:
 PART Ill

The Age of Religious

Revival

(700—900 A. D.)
 W.—The Age of Religious Revival.
(700-900 A.-D.)
Introduction. As a result of foreign invasions, the
literary sangams collapsed, and darkness reigned supreme
for three or four centuries. Saivaism ebbed with the dis-
appearance of the Tamil Marais, and other religions gradually
bore sway. The Aryan religion began to assert itself with all
its formalism, and many people who hated ritualism seceded
from it, Buddhism and Jainism, which arose as protests against
the ceremonial overgrowths, putrescences and excrescences
in the Aryan modes of worship, prevailed and were supported
by kings. The predominance of Buddhism and Jainism in the
Tamil land and the frequent conversions of Saivas and Vaish-
navas to them filled the other Hindu religionists with horror
so that they were biding their time and waiting for the decline
of the Jain power and influence to assert the worth of their
vwn faiths and to put an end to proselytising. Various were
the occasions when the Nayanmars and Alwars preached
bhakti and piety by working miracles with the help of their
gods, and defeated the Buddhist and Jain missionaries in open
religious debates. The Thurwvasakam of Manickavasakar
contains references to the alleged deleterious influence of
Buddhism and to his combats with Buddhists at Chidambaram;
and the hymns of Jnana Sambhandar, who was called the
«Hammer of the Jains,’ condemn Jainism wholesale for its
denial of the sanctity and infallibility of the Vedas and Vedic
71189; * வே சவேள்வியை நிர்சனை செய்தூழலுவர்‌2? The religious
toleration of the Tamil kings led to the conversion of Kun
Pandya to Jainism and ended in stirring up enthusiasts for the
other sects, In the course of centuries the Tamil Saivas, who
 THE AGE OF RELIGIOUS REVIVAL 155

were vegetarians and who had looked upon the Aryas as mle-
chas for their merhus and meat-eating and drinking intoxicants
and as untouchables came, by the force of juxtaposition, of
aryan adaptability, and of political contingencies, to be recon-
ciled to the ways and habits of their neighbours and to accept
the authority of the Vedas, in the absence or submergence of
their own nan-marai’s in writing. Saivaism, accepting the
Vedic rule, became metamorphosed into Vedic or Vaidika
Saivaism. ‘CagQup str éC emis SGesas genpalaas?.
The Jains, between whose doctrines and those of the saivites
there was noessential disharmony in two out of three cases,
were startled at the metamorphosis of saivaism and decried the
Aryan hypnotism and other simulacral practices. The
Tamils, under the new mesmeric influence, shook hands with
the Vedic Aryas and combated against the Jains. The cham:
pions of Vedic Saivaism were the Four Great Saiva Samaya
Achariars. The Saivas who did not accept the compromise
were known as Véra ‘atvas, whose distinctive characteristic is
linga dharana or wearing the liga on the head (or on the body).
‘Thus Saivaism split itself into Saivaism pure and simple,
Vedic Saivaism, and Vira Saivaism, Leaf and flower and
water served to worship or do puja to the linga or symbol of
Siva; sacrifice was all important to the Aryans who accepted
the saiva mode of worship and blended it with ther own,
At such a time the words, Vedas and marais, came to be
promiscuously used, anthanan and Brabmin became synony-
mous, and Aryam and Sen Tamil came to be regarded as
tongues of equal rank or status. Vira Saivaism, reformed by
Basava, preached shatsthala (six steps to salvation), ashta-
vatana (eight protections) and panchachara (five observances)
which are not mutually exclusive. The Vira Saivites hold
Manickavachakar in high esteem as an acharyar of their own.
St. Appar or Thirunavukkarasar, a reconvert
to the Saiva faith,
156 TAMIL LITERATURE

was an elder contemporary of Jnana Sambandar, and Sundarar

lived two centuries later. A study of the lives of these great
saints and sages will reveal the fact that the caste system,
now so tigorons, admitted of considerable latitude and that
inter-matriage and inter-dining were very prevalent, Sunda-
rar, a Brahmin sage, married Paravaiar and Sankiliar of a
lower order, and Saint Appar, a Vellala, dined with Apputhi
and his wife and children at their earnest entreaty. To
rescue the Vishnu faith from the ravages of Shamanars,
Alwars arose and wrote prabandams, Of the twelve Alwars
or incarnations of Vishnu, Poykaiyar, Puthatthar and Peyar
belonged to an earlier time and were known as the ‘ First
Alwars.’ The religious persecutions commenced by the Hindu
devotees with the exhibitions of their piety in miracles made
the schismatics lose their position, though they lingered long
in the land, and led to the country being studded with temples
all over and to the rise of ritualistic literature. In the conflicts
of religions the cause of sound learning and culture suffered
much. The hymns of the Saiva and Vaishnava devotees form
two huge collections known as Thirumurat and Nalaytapra-
bandam respectively. Both the encyclopedic compilations
contain, like the Vedas, praises and prayers offered to the
Deity and bear no evidence of internal conflict between these
two faiths themselves.

SECTION I.

The Four Saiva Acharyas

ஈசொத்கோவுக்‌ தோணிபுரச்‌ தோன்றதுமென்‌ சந்தன்‌
சித்சோல வாதவூர்‌, சேசிகரும்‌-மு.ற்கோவி
வந்திலரேல்‌ மீறெங்கே மாமறைநா லேக்சே
எந்தையிரா னஞ்செழுச்‌ செக்கே,?
 Sec. I. THE FOUR SAIVA ACHARYAS 187

1. Panniru Thirumurais. About the eleventh century

AD, the hymns of the Saiva devotees were collected and classified
into eleven groups by the indefatigable Nambi Andar Nambi,
a Brahmin priest of Thiru Narayur, who enjoyed the patronage
of Rajaraja Apaya Kulasekhara Chola, Of the eleven groups OF
Phirumurais, the first seven were by ;Sambandar, Appar, and
Sundarar and form the Devaram or \‘ Garland to the Deity."
These are sung in Siva temples in the Southern Districts: and
special provision bas been made in all of them for their reciters
or Othuvars. If these correspond to the Vedio hymns; the
Thiruoasakam, which forms part of the eighth Tirumurai or
collection; takes the piace of the Upanishads: The four authors
of these eight collections are known as the great Saiva Samaya
Acharyas, Chronologically, while Manickavasakar stands apart,
St. Jnana Sambandhar and St. Appar were contemporaries,
and Sundarar came next. Of the remaining three
collections, the vinth group, called Thiru Isaippa,
consists of the hymns of nine other mumor authors, including
the Chola kmg Kantbarathitthar, which were composed in
imitation of the Devara hymns, The tenth collection contains
the mystic songs of an old Yogi, Thirumular; and the eleventh
or the last embraces a number of miscellaneous poems composed
by poets frora Nakkirar downwards to Nambli Andar Nambi
himself, who was the author of the last ten pieces init. The
third of these ten, called Thondar Thiru-anthathé, forme the
basis of the popular Peria Puranam, These eleven collections,
together with the Purana just named, make up the sacred
literature of the Saivas, if wo pass over the later fourteen
Siddhanta Sastras, which are professedly philosophical and
which correspond to the Vedanta Sutras. The hymcology in
Tamil 1s distinguished by its pan or setting to music.

2, Manicka Vasakar, or the ' author of ru>y-pearl-

like utterances’ apprebenied the danger to the Tamilian
158 TAMIL LITERATURE

religion from Buddhism, and waged war with it. His poems
strike the keynote of the influence of the Aryan cult on the
religion of the Tamils and the consequent fusion of the
mythologies. His heart-melting strains are full of living faith
and devotion, and every iittle poem of the author exhibits
his longing that ‘He must make him His’: What has made
Manicka-Vasakar so popular is not merely his piety and self-
humiliation but the ostensible adaptation of his Vedic and
Agamic ideas to the tastes of boys and girls fond of sports
and pastimes, such as ammanat, thumbs, salal, ocsal, otc.
The name of Manicka Vasakar was Vathaourar, from
the place of his birsh and from the name of its Jocal deity.
His parents were Brahmins of Amathiar gotra. His precovity
and rapid attainments reached the ears of Arimarthana
Pendyan, who sent for him and appointed him prime minister.
Farther, he honoured him by conferring a titie ‘ thennavan-
pirama-royan’. Manicka-vasakar proved his best administra-
tive ability in various ways and bis official work never clashed
with his spiritual life, He was in the world and yet out of iv.
At one time the king gave him a commission to purchase
horses: In implicit obedience to his master's command, the
minister, accompanied by the four-fold force, reached Perun-
thurai with bags of money. There bis eyes ligated on Siva
with his congregation seated under the shade of a Kuruntha
tree and he forgot his mission altogether. Inspired sy the God,
he began to sing sweet and thrilling songs and spent the
bags of money with him in repairing old Siva temples In decay
and ruins, The king, who had anxious'y awaited his return
with splendid studs, could not put up with the delay and sent
® missive to him. Withousa pie in his hands but implicitly
believing in the divine grace, the minister returned to Madura
and told the king that she horses would arrive in 2 few days-
The appointed day arrived and no horsescame. The king’s
wrath knew no bounds, and he ordered his men to recover
 Suc, I. THE FOUR SAIVA ACHARYAS 159

the money from the minister. The latter burst out in tears
and invoked the aid of Siva, The ever-ready God to his devotes
turned jackals into horses and sent them to the king, The borses
pleased him so well that he made presents to the jockeys and
had them stalled for the night. During the night they resumed
their shapes; ate away the horses already in the stall, and got
out of it howling. Once more the king was put cut, and he had
the minister thrashed and tortured in custody. Once more the
proud minister appealed to Siva. Suddenly the floods breached
the dam in the Vaigai and oftars or earth diggers were in great
demand. Siva appeared as one of them and was punished for
slack work: The blow was felt on the back of every living or
sentient creature, not excepting the king. This incident was
traced to the piety of the minister, and the king begged
forgiveness. The winister forgave him and resigned his office.
He went on a tour of pilgrimage and visited the Siva shrines.
At Chidambaram, he held disputes with the; Buddhists of Lanka
and, by the power of his miracles, made them acknowledge
their defeat- Whom the God loves die young. Full to the brim
of God's love, the sage passed away in his thirty-second year.

His works are Thirwvssakam and Thiruk-kovaiyar, The

former comprises poems, which are so many gems of sacred
literature. They embody doctrines of the Siva fait as found in
the Vedic lore and illustrate them in truly pathetic strains,
“There are indeed but few poems m any language that can
surpass Thiru Vasakam or the ‘holy word’ of Manicka
Vasakar, either in profundity of thought, in earnestness of
feeling; or in that simple child-like trust, in which the struggimg
human soul with its burdens of inteilectual and mora! puzzles,
finally finds shelter.” That these poems have exercised consider-
able infiuenee on posterity goss withou. saying, Thatthuva
Royer. Thayumanavar, and Ramalinga Swamigal cwe nota
little of their excellence to him, “The constant mixture of lefties’
160 TAMIL LITERATURE

aspirations, tenderest prayers, and sublimesh adoration with

wild legends, and with symbolism much of which must seem to
us (Europeans) uncouth, repellant, unworthy and degrading,
makes this Satva Psalter intensely fascinating.” The discovery
of the hidden or esoteric meaning of each of the psalms in this
Psaim Book, or the ‘Thiru-vulla-kidai’ is assigned by tradition
to Saint Umapathi, and we givé here the esoteric meaning of
three of the psalms as % specimen.

3. போத்றிச்‌ இருவசவல்‌ ௦2 the Pilgrim's Progress. Its

purpose is said to be veg fer e jug@ or the creation of the
world, or the soul's passage from life to life,

2. AgruicrahQuagéR or the Morning Hymn. It is said

to treat of @Gurstere
sf or the vanishing night, the night
which, after giving rest to the body and restoring its energies,
prepares one to be ready for the battle of life which leads to
salvation through the grace of Siva,

3. Bqpsywded or the Sacred Lily flower, Its hidden

meaning is ora afew SG se or to obtain release from the
conquest of Maya, (4 =p, world-ae—@@er, darkness
+@=#4ee, remove =pluck away the darkness of the world).

Thiru-kovatyar or ‘ Thiru-Chittambala-Kovaiyar’, whose

subject-matver 1s Aham, ehiefly Love furtive and wedded, con-
tains 400 stanzas m kattalai-kalitthurai metre. It is called
Kovat or collection, because it strings together twenty-five
clusters of ¢hurats or sub-divisions of the subject. The higher
wisdom enshrined in these verses can be roached only by the
cultured few to whom the transitoriness of this life’s span is
patent and who knows that Sivam plays with Atma and
produces many a phenomenon. Its importance is conveyed
by the following verses:
 Sec. I, THE FOUR SAIVA ACHARYAS 161

*(இரணங்கா ணென்ப ரர்‌ சணர்‌ யோகெ வாகமத்‌தன்‌

சசரணல்கா ணென்பர்‌ சாமூகர்‌ சாமன்‌ மூலிதென்பர்‌.
ஏரணங்கா ணொன்பரெண்ண மெழுசத்செல்ப ரின்புலவோர்‌
சரணகசாய இத்தம்பலச்‌ சோவையைச்‌ செப்பிடினே??.
[ஏரணம்‌ - நியாயம்‌. எழுத்து - இயற்‌மீழ்‌;3.
It has a good commentary from the pen of Per-Asiriyar.

The vexed question of this saint's priority or posteriority

to the three Devara bymners has raised a deal of dust. Tha
age of Manickavasagar has been fixed differently by different
. scholars» Mr, Tirumalaikolunthu Pillai’s book!et places him in
the first century; Mr. Ponnambalam Pillai would give bim
the second or third century; Swami Vedachalam would have
him as a post-saint of the third centary; Mr. Wilson would
assign to him tke seventh century; the Rev, Dr. Pope the
seventh, eighth or ninth century; Mr. Innes the ninth
century} Prof, Julien Vinson the ninth or tenth century,
Rev. Mr. Goudie from the eighth to the tenth century: Dr.
Rost the chirteenth or fourteenth century; Mx. Nelson of the
Madura manual, the ninth century, as the saint fought
Buddhism 819 A D.; and Mr, K. G, Sesha Iyer probably the
third century, aud at any rate not after the fourth century, The
main arguments of the last writer are these! (a) Manicka-
vasakar has praised Kannappar and Sandeesar, but not the
three Devara hymners, (b) the Halasya mentions Arimar-
thana Pandyan as prior by 12 kings to Kun Pandya who
ruled in Jnana Sambandhar's time (7th OC), Therefore he
should have lived in the 4taC. (0) In Mehavarna-payan's
{of Coylon) time #, . between 954 and 267 A. D , the contest
is said to have occurred between a Saive and a Bnddhist,
The contest was Manickavasakar's, Therefore he should have
lived in the middle of the 3rd C (d) The Jackal and Ottan
miracles were performed only for this saint, The reasons for
Dat
162 TAMIL LITERATURE

giving him a Inter date may be ga*hered from what foliows.

The life of Vathavurar 1s given in Thiraviluiyada!, Vathavurar
Puranam, Thirup-porum-thurai “Puranam, and Utthara-kosa-
mangai-Puranam, Periyapuranam by Sekkilar makes no mention
ofhim asa bhakta, This statement is met by the explanation
that Vasakar pursued tho highest path of Sanmarga, That he
was not a man of the Sangam age is determined by his reference
fo the Sangam in his Kovaiyar. “eutop arS@pisis
வொண்டீக்‌ தமிழின்துஷைத!3, His name does not occur in St.
Sundarar’s Thiru-thonds-thokai. The expression Qumimugenw
யில்லாத புலவர்‌ refers to 8 group of poots and not to any iu-
dividual poet, and similar groups are also found in the same”
work. Those in favor of his priority quote such lines as these
from Devaram in support of their view-

*குடமுழ ஈ$திசனை வாசகனு& சொண்டாய்‌?

%ரியைச்‌ கு.இரை செய்வானும்‌ நரசரைச்‌ சேவுசெய்வானும்‌?
“வசையின்‌ மலசல வாசகர்‌ வாழ்த்தவே?.
Vasakan, in the verses and 3. means the janitor or
messenger, and no biog:apher of his mentions that the drummer
Nandi at the portal of Sivas Kailas came to be born in the
world as Mauickey sakar, which name by ttsalt is descriptiyg
of his gem-like utterances The word ‘Vasakar’ in v, 3 is plury);
the second line, said to allude to the miracle of jackals being
metamorphosed into horses, has no verb in the past tense to
denotea past action bu) describes the wonderful miraculous
power of Siva. Should the line be interpreted with reference to
Vathavurar, the other portions of the verse should be similarly
interpreted and stories of feats on behalf of particular
individuals made oui. Custom and temple usage do not give
Vathavurar seniority, and all the poetic invokers of his aid
give him only the fourth rank. Further, Vathayurar seems to
have been a contemporary of Vara-guna-pandya of the 9th or
 8௦, 7, TAH FOUR SAIVA ACHARYAS 163

10th ec. He condemns Mayavadbam, which took its shape in

the 9th c- with Sankarachariar, “esrigu: wren
at sQ.wer ay ey
சண்டமாரு;தளு சுழித்தடித்தார்தீது?. Again, the Devara writers
seldom refer to Agamas but alwayr mention Vedas and
Vedangas, and even whea they speak of Agama, there is no
indication of their reference to the Tamil Agsmas. ‘udsruf
லாகமஞ்‌ Gerd 6 ger uTa@SCe. Vathavurar makes frequ-
ent mention of Agama, In Sivapurana he has ஐகமமா சின்‌:
'மண்ணிப்பான்‌ ஜூன்வாழ்க 1 the Kirthi-thra-Abaval oecur
மன்னு மாமலை மசேக்திர மதனிற்‌
சொனன வ.கமர்‌ சோத்றுலிர்‌ தருளியும்‌??
“டவேட ராஓுச்‌ கெளிறத பல.4௮
மாவேட்‌ டாலய வாகமல்‌ வால்‌௪ய??
Theso references show that in the age of Vatha-vurar
Agamic literature began to raise its head till is became popular
in the 12thC. as Satva Siddhenta literature, Vathuvurer had
his Guru and diksha, but none of the 63 siva bhaktas, except
Tirumular, had it. Moreover, Devara hymners use the word
‘mala’ to denote Maya and Karma, but nowhere in all the
hymns is there even a casual reference to ‘anava*, The
expression ‘mum-mala’ occurs in many a path’kam of Vathavarart
₹மூலமாயெ ழம்மல மறுக்கும்‌,? yprwod upMaré Gayis
வும்‌,? * உள்ள மலழன்று மாய வுகு பெருந்தேன்‌,? * மும்மை மல
மறுவித்து மு,.தலாய மூ,தல்வன்‌ றன்‌ 2) Another point to be soted
is that in all devara iiterature there is no verse signifying the
merging of the bhakta in siva, but the prayer rings throughout
that the bhakta should approach the Lord's Feet. The Saivags
accepted the theory of mergence only later on, Vathavurar’s
Poems are full of that idea: * இவமாக்கி யெனையாண்ட, ? * தன்‌
ters தந்த வென்னாரமுதை? *பொல்லா மணியைப்‌ புணர்ந்தே,?
சென்று சென்றணுவாய்‌ச்‌ சேய்க்து சேய்க்சொன்றா.த்‌ இிருப்பெருக்‌
துறையுறை சவனே.? Again, Viruttham was used by the
164 TAMIL LITERATURE

hymners, but Vathavurar hes used Viruttham and thurai freely.

Among his works are kovai, sathakam, ammanai, patthu,
thasangam ete-, varieties of pooticsl compositions, If Vathavurar
belonged to ancient times, his kovai should have been quoted by
the senior commentstor, Ilampursnar, whereas 15 Kalithurais
have been cited from the kovai on a Pandye king of the 8th0.
in the commeutary on Iraiyanar’s Ahapporul. All these tend
to prove the posteriority of Vathavurar.

The next point of dispute is about Perum-thurai. It was

located on the west coast and identified with Thiru-puni-thura,
® sea-port in the Cochin state on the basis of ‘Kuda nadu’s
But Thiru-perun-thurai is said to be on the east coast, situated
& little to the north-west of Madura,

The melting nature of the strains cannot be shown in an

English rendering, The great crisis in the life of the great
saint was his sudden conversion from sensual thraldom into a
Jivan mukta, In his decads and elsewhere he celebrates the
ethical value of pain or suffering in the perfection of the higher
nature of man, Siva’s boundless grace is the keyhote of many
of bis songs, and one may cross the sea of birth and reach the
shore of bliss beyond by contemplating on Panchachara or tha
five mystic letters, n&-mé-si-ua-ya. It is hardly possibla for any
alien to compreheud the redemptive power of this mantram or
the significance of Siva’s Dance. Even the Rev. Dr, Pope, who
had been a student of Tamil all his life, could not do it and
hence spoke of the ‘strange combination of high spirituality
and gross idolatry in the tyries’. The mantrais parely Tamilian,
A practical proof of it ig that no Aryan, man or weman, bears it
38 a name, whereas it is used very largely by the Tamils, Nama
Sivaya, or Siva-dya-nama means ‘Ours is the host of Siva,” and
the Tamilians reverence the siva-bhaktas as ther own,
 Sxo, I. THE FOUR SAIVA ACHARYAS 165

3. St. Appar. Jnana Sambandhar addressed Marul-

neekiar, son of Pukalanar and Mathiniar of a celebrated YVellala
family at Thiruvamur in Thiru-munaip-pad!, as appar (father)
when he met him at Shiyali. The other names by which be is
known—Thiro-navuk-karasu, Sol-Ko, Vakku lear, all synony-
mous terms—are for his literary merits. The main incidents
of his life are his conversion to Jainism, his reconversion to
Hinduism effected by kis love for his sister Thilaka Vathiar and
by the cure of sulat, a painful colic, which bad afflicted bim,
and his miracles in the various places of hia pilgrimage. After
the death of his parents, both of whom were staunch Saiva
devotees, Marul-neokiar felt the instabliity of life and worldly
glory and lavished his inherited wealth and possessions on
charitable works, He caused new tanks to be formed, wolls dug
up, groves planted, water-pandals put up, and charity houses
founded. Poets too shared his bounty. He renounced the
world and turned an ascetie and, not knowing wherein the
saving beneficence lay, halted between two opinions on religion.
Ultimately the pendulum of his hesitating mind swung to
Jainism, end he, for his proficiency in the Jain lore, was called
Dharmasena when he overthrew the Buddhists in a controversy.
Asadevout Jain he lived long at Pataliputra, (Thiru-pathiri-
puli-yur or Ouddalore New Town), when he had an attack of
the painful colic, The Jain doctors tried their !evel best to cura
the malady but in vain. © Writhing in agony, he thought of his
sweet angelic sister and on a midnight quit his Jain abode for
hers, He wore holy ashes and sang hymns in praise ot Siva,
The dire disease left him for good. The Pallavaking, at the
instance of the Jains, recalled him and subjected him to a series
of trials. He gave poison, put him'in kilns, under the feet of
elephants, and in the sea stone-bound, and all these could not
do away with his life. The king toe, therefore, embraced
Saivaism. From Thirup-pathiri-puliyur where he cang the Nama-
sivayah-pathikam to the unseen Helper he went to shrine after
166 TAMIL LITERATURE

shrine snd composed pathikams or poems of ten stanzas each,

At Shiyali be met Joana Sambandhar, the gifted child and son
of God, and both lived together for a time at Srikari (or Shyali).
Bidding farewell to his younger contemporary, he proceeded to
Thingalur, where he shared the hospitality of Apputhi, a devout
Brahmin, and gave life to his dead boy. Apputhi's goodness of
heart and broad sympathies made so deep an impression on his
mind that he eternized his name in the beautiful hymn com-
posed at Thirup-puvanam. At Thiruvarur he stayed longer
and composed many psalms, including that one of preverbial
sayings.

Once mere he met Jnana Sambardhar, and both visited a

few shrines together. At Thiruvili-milalai God appeared to
them im a dream and told them to feed the famine-stricken with
two gold pieces which they might find at the foot of the image
of the local god. They did accordingly and raehed Vetharanyam.
There they exhibited their feats at hymning. Appar’s hymn
cpened the long-shut doors of the inner shrine while Samban-
dhar’s closed them. This incident was allegoric, The Vedas
and Upanishads in Senskrit were sealed books to mapys as
learning had decayed after the Sangam age and as other hetero-
doxies had borne swsy; snd they were opened by the Saiva
reformers, who showed the force of the Divine love and graca
and mercy: They, then, separated, and Appar passed through
Pasur and Thiru-pukalur, be passed away in his ripe old age:
he was eighty-one at the time of his death. Of the forty-nine
thousand hymns said to have been composed by him, only 315
are extant, and they form the second three collections of the
Adankal Murai.

The poetry of St. Appar is not so popular as it ought to be

for two reasons; one is the laek of sandhams, aod the other
want of commentaries: Yet a student of research will find in
 Sec. I. THE FOUR SAIVA ACHARYAS 167

his poems a mint of information of the past history and civili-

sation of the Tamils, As a social reformer, he set no yalue on
the easte system , he looked upon the pulaya and the so-called
high casteman with an equal eyc if both were virtuous and
holy: He was also a religious reformer. He needed no priest
intermediary between God and himself, As a theologian, he
condemned the unhygienio practices of the Jains and their
materialism as they had no faith in God or in a future life and
as they were perfectly contented with the experience of the
five senses, St. Appar was an ideal ascetieand sympathised with
all orders of creation, He loved animals, birds and boys at
play He was an expert agriculturist, and his Devaram bristles
with agricultural metaphors and similes. ‘Quiwoenwu Gopané
செய்து? (சனித்திரு நேரிசை 86, 9), *உயிர்கிலை யுடம்பேகாலா?
(இருவாரூர்‌, இருகேரிசை 8, 7), *புள்ளுவரைவர்‌ கள்வர்‌ புனத்‌இி
டை? (சனித்திரு நேரிசை 8% 5), He knew the art of navigation
well, probably because he visited foreign lards as Jain pontiff: he
depicts the difficulties of voyage, escapes from whirlpools, want
of food, and subsistenes on sea-priducts, ‘werQ@wuayé
தோணிபற்றி? (இருவொத்றியூர்‌, இருகேரிசை St, 9), ‘op
மிடைச்‌ சோணிபோன்றேன்‌? (இருக்கடடர்‌, கேரிசை 86 6),
“பொய்மாயப்‌ பெருல்‌ கடலிற்‌ புலம்பாகின்‌ற? (திருவாரூர்‌ இருச்‌
சாண்டகம்‌ 5 1), *அன்பக்‌ சடவிடைத்‌ தோணித்‌ சொழில்‌
பூண்ட? (திருவையாறு, இருவிருத்தம்‌ 81, 6) Lurmg his பக
wars betweeen Paliavas and Chalukyas were frequent and
exterminating, and he must have witnessed carnage in gory fields
*படைகள்போல்‌ வினைகள்‌ வ5து? (இருக்கோவல வீரட்டானம்‌ 81. 7)
“Geus Geo. wréens Cues? (ditto St. 9). More than forty per-
cent of his hymus will be found to treat of ம stie life, iove
and beauty, the perishab'e nature of the bumer body, and the
pleasures and luxuries of life that hamper th. _.est cf salvation
He condemns the miser, the liar, the cheat and hackhiter end
likens human hfe to the unjal or swing play. Neither misan-
168 TAMIL LITERATURE

thropist nor fatalist, he held that the true hermitage must be

built in the inner world, St. Appar had exquisite taste for
music and cared more for sound or euphony than the form of
verse, He snjoyed the warblings of birds and the hum of
insects, The chapter entitled ‘Thiru-Arnr Proverbs,’ is fail of
self-condemnation for -bis conversion to jainism. As a Jain
pontiff St- Appar must have read Sanskrit literature as well.
His poetry is mainly lyrical, but it is also narrative and descrip-
tive, Siva being his typical hero- The dramatic strain of his narra-
tion may be seen in PGuepéer® and ufersemrwi நேரிசை எய்ம்‌
eal with Ravana and Mt, Kailas, his aerial car, his attempt
to lift the mount, his groan under the Lord’s toe, his strong
will, his veema play and reward of Divine Grace. The refrain of
*ஊன்றினான்‌ மறித்து சோச்கில்லையன்றே,? tho repetition of
‘aeir Geuégy’ and tho alliteration of s serve the double purpose
of stirring up the drowey spectators and exhibiting in high
sounding terms the heroic and proud Ravana who had physical
prowess, who was dogmatic and would listes to no cunning
connsel. The 'Kantrapur* hymn teaches the daily duties of
the Saivites.

The next question is whether St. Appar lived and died as’
a bachelor or was a married man at any time of his long life,
He should have been in the midst of the Jains for at least a
quarter of a century in as much as he attained the high posi-
tion of Darma Sena or Spiritual Guru. He should have
married some some member of the Jain royal family and been
father of some children, The desertion of the family, rather
than his apostasy, must have been the cause of the manifold
persecution meted out to him. Many of his stanzas about
women and their wily charms, the love of wives and children
and kindred dependent on the possession of wealth etc.
confirm his married life, 710௦ 5, 10 பலவகைத்‌ திருத்தாண்டகம்‌.
 Szo I, THE FOUR SAIVA ACHARYAS 169

‘The Thevaram of St. Appar affords hints about the Tamil

nan-marai as god-given and as an exposition of God, and about
the worthlessness of the external ritual devoid of divine faith.
Siva sat at the foot of the mountain banyan and preached the
fourfold Tamil Scriptures to four Tamil Munis on virtue,
wealth, pleasure and bliss, *கங்சையாடிலென்‌, ‘ong Pod
பலபேசுஞ்‌ சழக்கர்காள்‌' *கோலும்‌ புல்லு மொருகையில்‌ கூர்ச்‌
சரசம்‌ சோலும்பூண்டு துயநறிலென்‌ பயன்‌ 3 etc. frankly con-
demn the pharisees in religion, ¢ gaeur wr Gui: Gasg.on@
அருமறையோ டைம்பூ.தர்‌ தானேயா௫) ‘wmpyenwu Carr Ss
,சாய்போத்தி (பலவேதஃ& அங்கமாறு மறை கான்‌ சவையுமானார்‌?.
These and other verses throw light on Vedas and Marais as
separate books and on Vedas incorporating the Marais at some
later time. The history of the composition of the first three
Vedas known as family prayers of Rishis at different times
and in different places and at vast intervals and of their
compilation as four by Vyasa some centuries later
after the time of Amara Simhan (500 A.D.), the nature
of their composition at haphazard as prayers for rewards
to manifold or multiplicity of gods instead of being
heart-pourings to one Divinity and teaching the four-fold
object of life-pursuit, and the fact of their human make
as contrasted with the divine gift of the Marais about the hidden
God point to their separate existence at a remote time. These
hints and speculations will be thoroughly worked out in the
process of the stins.
One well-known stanza of St. Appar’s connected with his
persecution is hereunder given in its English garb :
மாசில்‌ வீணையும்‌ மரலை மதியமும்‌
வீசு தென்றலும்‌ வீங்ளெ வேனிலும்‌
மூசு வண்டுறைப்‌ பொய்கையும்‌ போன்‌ சதே.
ஈச னெர்சை யிணையடி ரீழலே??
170 TAMIL LITERATURE
{« Gladdoning like the advancing spring tide;
Cooling dike a tank where bees
Drunk with newly gathered honey
Hum midst overhanging trees;
Like the evening moon delightful;
Like the faultless Veena sweet;
Like the zephyr soft refreshing
are my Father Isan's feet’,
4, St. Jnana Sambanthar, the marvellously pre-
cocious sage, was born at Shiyali (Brahmapuram, Venupuram,
or Thoni-puram) as the son of Sivapatha-Viruthayar and Bagha.
vathiyar, rigid saivites of the Gownia gotra, At the age of
three, he accompanied his father one morning to the bathing
ghat of the local temple tank. Busy with his own ablutions, the
father forgot the presence o! his son; and the boy, ieft to him.
self, cried and wept, and called out for his mother. The local
goddess heard the cry, and, appearing before the boy, gave him
acupful of her own milk. The boy drank the holy draught and
forthwith became Thiru-Jnana-Sambantha or the one related (to
the godhead) through wisdom, In the meantime, the father,
having finished his ablutions, came up to his boy, and demand.
ed an explanation for the cup in his hand. The child, called
thence Aludaya Pillai, broke out in verse, and, pointing to the
divine figure just vanishing through the sky, proclaimed the
source of the gift. The hymn still exists, and is the very first
of the compilation called Thevaram. After declaring himself
the elect, Samhanthar found no rest. Crowds of people looked
at the prodigy and invited him to their villages. He heartily
responded to their calls, and commemorated his visits, by
composing hymns of ten stanzas in praise of Siva and the
villages visited. In his tour he was met by Thiru-nilakanda
Yalpanar, who accompanied him. He went to Thillai
(Chidambaram) where God gave him a litter and paraphernalia.
Returning home, he was invested with the sacred cord, and the
 Sec. I. THE FOUR SAIVA ACHARYAS 171

young Guru raised unbounded admiration among the people.

Travelling about from shrine to shrine in company with Appar,
and arriving at Vetharaniam, he received an invitation from
Mankairkaras1, the queen of Kun Pandya of Madura, The
object of it was to convert her husband from Jainism to their
traditional faith. The youthful sage readily responded to the
call, While at Madura, he championed the cause of Vedic
Saivaism against the Jains and worsted them in the contest.
‘Tradition says that 8000 of the Jains committed themselves to
the block to keep up their vow. ‘The king became a Saiva and
lost his hunchback, ‘Then the young saint resumed his travels
and visited about 200 places, In his sixteenth year he married
the daughter of a pious Brahmin called Nambanthar. At the
end of the sacred wedding at Nallur, a miraculous fire
appeared in answer to the prayers of the bridegroom, and, all
present, including the married couple, departed this life for
heaven. Thus the life of this youthful sage and saint began
and ended in miracles. The following are a few of them: the
curing of the paralysis called Muyalakan that attacked the
daughter of Kol: Malava; the giving to his father of the
golden parrot while at Thiruvavaduthurai ; the closing of the
doors of the inner shrine at Vedharaniam ; the cadjan booxs
remaining unconsumed when thrown on fire; the floating of
the same in the river against the current ; the revivifying of a
dead merchant and of a virgin who had died of cobra-bite ; and
the change of male palmyra trees into female ones at
Thondaimandalam.
His hymns are said to have numbered 10,000, but only
384 are extant. And these form the first thrre collections of
Thevaram, There is a saying * என்னப்பன்‌ என்னைப்‌ பாடினான்‌?
*சம்பந்தன்‌ தன்னைப்‌ பாடினான்‌, ? * சுந்தரன்‌ பெண்ணைப்‌ பாடினான்‌.?.
This reminds us of the fact that each pathikam of his contains
the name of the author in the eleven:h quatrain,
172 TAMIL LITEBATURE

The following extracts from The Age of Theru-Jnana

Sambandha by Professor Sundram Pillai fix the boy-prodigy’s
position as a religious teacher and as a poet:
“ He is decidedly the greatest and the most popular of the
Tamil Reshis. There is scarcely a Siva temple in the Tamil
country where his image is not daily worshipped. In most of
them, special annual feasts are held in his name, when the
jeading events of his life are dramatically represented for the
instruction of the masses; All classes of poets, from his
colleagues Ippar and Sundarar to the latest of Purana writers,
from the purest Vedantists like Arui Nandé Sivach riyar, from
the iconoclastic Kannudaiya Vullalar to the Vira Satva
Stvaprakasar, unite in invoking his spiritual aid at the
commencement of their respective literary labours ; and indeed
any Tamil scholar ought to be able at short notice to compile
a goodly volume of the encomiums paid to the memory of this
religious teacher by an appreciative posterity.
« Even considered as a poet, he has more than ordinary
claims to be remembered. His hymns, of which three hundred
and eighty-four Pathagams or more than 19,000 lines are now
extant, are models of pure and elevated diction, generally
earnest and touching, but always melodious and well turned.
Most of them appear to have been uttered impromptu; and all
of them being lyrical, are set to music. The original tunes are
now mostly forgotten. They were lost in the later airs
introduced by the Aryan musicians of the north, Taken all in
all, Sambandhar must be put down as a true and great Tamil
poet, certainly the greatest in the lyrical department.”
One historical event in the hfe of thie saint is Queen
Mangaiyarkarasi's embassy to him which led to the downfall of
Jain sm in the Tamil country. His contemporaries were Appu-
shi Nayavar, Muruga Nayanar, Tiru-nila-kanda-Perumpanar,
Sirn-thondar, ete- The life of Swu-Thondar as Pallava-General
 Sxc. I. THE FOUR SAIVA ACHARYAS 198
and destroyer of Humpi, the capital of the Chslukya king Puli-
kesin Il, determines the age of Jnuna Sambendar to be the
middle of the 7th ©. If we give any credence to the param-
barai of the Jnana Samb«nda Mutt in Madura, the present
incambent is the 118th, and the first or original founder's time,
calculated backward from the 118th on an average of twelve
years per head, would be somewhere in the 6th U,
St. Jnana Sambandar always called himself Tami] Joana
Sambandan and Mutthamil Viragan, and never prided himself
as an Aryan or on his Aryan oult. His hymns are known for
their metrical variety and abound with beauties of nature
appealing to the ear and the eye. Tho diffieuity of the Thovara
hymners was the sameness of subject, and the profusion af
harmonious diction and ever fresh imagery was often availed
of to relieve the monotony of subject and treatment.
The Thevara hymns of our saint illustrate 22 pans (modes of
singing) and almost all his hymns close with a s'anza pointing
out the benefits of reading his pathikame (thlrut-kadai-kappa),
The virattans of our saint are not the viruttams of Iysl-Tamil,
Vice Nachinarkiniar's commentary on sutrs 248, Seyyul lyal,
Tolkappiam. Some of the cust>ms and usaces of olden
times find their oxpression in our saint’s hymns ‘The
loya'ists bore banners and marks to denote the extent
of the royal domains and the power of the sovereign. There
were registration offices in various places for registering
deeds or *ஆவணங்களைச்‌ காப்பிட 3, Some of the communal
deeds were engraved on the stone wails cf village temples,
The ‘mportant temple decuments were signed by the
writers and kept im the custody of the sabahs or assemblies,
Commentators consulted the customs of the people eto before
they annotated poems The Adangal (assessment register),
Avavakalari (registration offices) tirakkaikotti (offices for regis-
ration of bocks) eto were the ancient prototypes of their
modern equivalents ‘ Yal-muri’ or Lute-breaker is a poom
மரக்‌. TAMIL LITERATURE

composed by our saint to teach humility to his companion-lutist,

Tho twelve names of Shiyali are Kalumalam, Kali, Kochal-
yayam, Shan-pai, Sirapuram, Thonipuram, Brahmapuram,
Pukali, Puravam, Puntharai, Venkuru, and Venupuram, and
there are 67 hymns numbering 655 stanzas in honour of this one
sacred place,
The word ‘Thevaram’ is differently interpreted. It meang
செய்வம்‌-டடூ,சனடை, தெய்வம்‌-[-உரு, செய்வம்‌--பாடல்‌, தெய்‌
ஓம்‌-- பற்று, செய்வம்‌-|-மாலை, செய்வம்‌-]-உரியது.
To quote from my lecture on the saint, * Hach pathikam
consists of 11 or 12 instead of 10 stanzas as the name signifies,
and the iast is always a benedictory one bearing the name
and seal of the saint. A careful reader of the hymns will see
that stanzas 8, 9 ani 10 refer invariably to Siva’s Grace, to the
melodious Ravanain agony, to the par exceltence of Siva over
Brahma and Vishnu, and to the malediction on the heretic
Buddhists and Jains respectively. In the first seven stanzas
no definite arrsngement of topics is discernible, and there seems
to be ringing the changes on the nomenclature of Siva with
special reference to tho traditions and the scenery of the
locality, A‘ the hymns are said to con'ain the distilied essence
ofthe Vedas or marais and are militant in spirit, contradistin-
guished from the hymns of St Appar breathing high philosophy
and humanity in avery line, Further, almost every hymna of
the boy-saint is instinct with the supremacy and well-being
of his own clan unlike the hymns of St- Appar, in whioh he
makes no distinction between man and man or between clasg
‘and class, but applies the touchstone of sincere devotion to
detect the pinchheck and discriminate it from the true gold.
About a dozen miracles were performed by the saint in
the brief span of his lifer All of them imply the intervention
of the supernatural. Whether a dangerous disease is cured,
or & cobra-bi'ten person is restored to life, or the visitation of
famine is averted. or a deformity isxemoved, or as long-shut
 Sec I. THE FOUR SAIVA ACHARYAS 175

temple door is opened, or the Yaga demand is met, or the

ficoded stream is crossed on its waters making a safe passage.
or heterodory Is put down, or a sterile palmyra tree is made
fruitful. or the bones and ashes of a girl dead months ago,
safely preserved, are metamorphosed into a bashful virgin—in
euch of these cases the operator 1s Gods the man of extra-
ordinary sanctity is the supplicating medium, and tha hallowed
mantra uttered by the suppliant serves to move the operator
to work out what the saint prays for. All this was possible in
an age of absolute credulity or unreasoning faith,
Both Buddhism and Juinism were the offspriug of Brab-
minic bigotry and exclusiveness, The ethics of these religions
reacted on their parent and toned dowa its arrogarce and
superciliouaness, They fell when their best things wera
absorbed and assimilated by Hinduism and whcn Hinduism
in tts modified or qualified form reared its head, The boy—
saint and the veteran saint appeared at this favorable turn of
the tide. in the overthrow of Buddhism and Jainism argu-
ment was not the weapon ofeither combstant; both trusted
to their magic and witchcraft for is. The Brahmins hated
the Jains more than Buddhists, because the Juins were great
temple-buiiders and cultivators of Tamil learning. St. Jnana
Samnandar denied this merit of theirs."
For a specimen cf the Saint's verse, the first quatrain
sung by the inspired sage is quoted below with an Eaglish
translation
* தோடுடைய செவியன்‌ விடையேறி யோர்‌ தாவெண்‌ மதிசூடி
காடுடைய சுட$லைப்பொடிபூசி யென்னுள்ளவ சவர்கள்வன்‌
ஏடுடைய மலரான்‌ முன்காட்‌ பணிந்தேச்‌,ச வருள்செய்த
பீடுடைய பிரமா புரமேவிய பெம்மா னிவனன்றே. 3!
He hath the plam-leaf roll in his eats: He i¢ mounted upona steer
and crowned with the pure white crescent moon ;
Ho is smeared with the ashes of the burning ground in the Jungle;
Hoe is the thief who steals away my son),
 176 TAMIL LITERATURE
He in garlanded with full-blown flowers 3 "tis He who, in former
deys when they worshipped and praised him, bestowed grace,
And came to the glorious ‘rshmapuram ; Our mighty one is Hel
is it not se?
5. St. Sundarar. Ae was born of Salsiyanar and
Isai-Jnaniar of Brahmin extraction and was named by them
Nambi-Arur, He bore another name, Van-Thondar; for his per
sistent devotion toGod, When as a child he was playing with
a toy-cart, the prince of Thiru-munaippadi was so enamoured of
him that he tock him home with his father's permission and
brought him up in his palsce, In spite of hia non-Brahmin
bringing up, he had the investiture of the sacred cord and had
regular Vedic educa'ion, When he grew up, his father arranged
for his marriage with a daughter of Sadangili Sivachsryar of
Thanthuvoy Patthur and took him thither decked as a bride-
groom. The young man had no sooner taken his seat than
Siva appeared in the marriage pandal in the form of an aged
Brabmin and claimed him as his sieve according to his contract
ina former birth, All piesent remonstrated with the old
Brabmin, but be proved bis contract. The marriege came to
an untimely end, and the young man, who saw the vision of
God, became a staznch devo'ee. He visited the Siva shrines at
Thiruvatbikai, Chidambaram, Thiruvidai-maruthur, Thiruva-
vadutburai, Kumbakonam, and other places and composed
pathikems 10 each and every piace visited. Besides these in
the Chola country, he visited the shrines in the Pandya and
Chera nadus. As the bosom friend of Cheramanperumal
Kalarittarivar, he accompanied bim to Rameswram and passed
thence to Ceylon. On his return, be stayed at Thiruppukkoli
in the Kongunadu, when he porformed the miracle of bringing
back to life a Brabm'n dovoured by an alligator He
married in succession Paravat born and brought up in a
dancing girl’s house, and Sankili born and bred as 2 Vellala
girl, His marriage with non-Brahmio girls shows that in
 Sec, I. THE FOUR SALVA ACHARYAS 177

times gone by inter-dining and inter-marriage wore based on the

social position of the parties and not restricted by the caste
system based on birth, In his eighteenth year, when he was
at Thiru-Vancbik-ka'am, he departed this life for Keilas on &.
white elephant,
37,000 pathikams are ascribed to him, but about &
hundred only remain, The humorous hymns now extant
make up the seventh collection of Thirumurat. His poeme
are sweet and musical and are calculated to inspire piety and
devotion.
“அப்பருச்செண்‌ us gner moans aIGeGF
செப்பியகா லெட்டினிஜ்‌ றெய்வீகம்‌-இப்புவியிற்‌
சக்தரர்க்கு மூவாறு சொன்ஞான சம்பக்தர்ச்‌
கந்தம்‌ பதினா ஐநி.
St. Sundrar had the gift of personal heauty which charmed
the fair sex and lived always on the muvificence of patrons, The
Thiruppugaloor pathikam has an often quoted stanza (2) which
demonsiretes his life-long pepury*
*(மிடுச்லொதானை வீமனேவிறல்‌ விசயனேவில்லுச்‌ வெனென்று
கோடுக்கிலாதானைப்‌ பரியே யன்று கூறினு௩ கோடுப்பாரிலைப்‌
பொடிச்கொள்‌ மேனியெம்‌ புண்ணியன்புச ூரைப்பாடுமின்‌ புல
- [வீர்காள்‌.
அடுச்குமேலம ருலசமாள்வதந்‌ யொ துமையுத வில்லையே?
Be was a contemporary of Pallava Thanthivarman, a Siva
bbakta * who ruled between 780 and 830 and who on account
* Among the fajiava kings, some from Mabendran | to Narasimban
11, were civa bhoktes, ond sramesworem II and hie successors were
Vishnu devotees. Whether Saiva or Vaishnava, they were no haters of
either religion but friends of both and encouraged and helped them with-
out distinction. ‘he Siva temple, called Kailasanatbar koil, at Alam-
pakkam alies Thenthivarmasmangalam, was built by him and the lingam
in it is known ag thanthi-lingum after the name of the king.
12-12
178 TAMIL LITERATURE

of tumult could notievy tributes from the feudatories with a

*%$லாற 8௨௦0 (பல்லவர்க்கு,ச்‌ இழைகொடா மன்னவரை சாமறுக்கும்‌)
in Chidambra hymn and also of Narasingamunai-arayan and
Oberamanperumal (825). In all his 100 hymns there are echoes
of the thoughts and express.ons of the Sangam poets. “பொதி
வாயிவிவை யைந்தணையுமவிய 59 (Tirunel-voil st, 2), ‘2 pi@
வீழித்தா லொக்கு மிப்பிறவி (do. St. 4) garqed Gorge ssrA
st. 7, reminisceut of Kural, * wewaGarauCs SewsGera
ward Spe , of N.ladi ote. {n his Tirathonda-thokai his list
of saints includes the names of Sambandar and Vagiser and
shows that he lived at least a century later,
“கற்றமிழ்‌ வல்ல ஞானசம்பநீதள்‌ ந௩வினுக& கரையன்‌ ?9
(Thiruppuo-kur, st, 4), 151s plain that Buddhism end Jainism
survived the onslaught of Jnana Sambsendar and that Sundarar
speaks of them in his days with con'emp:,
சமணநந்தியுல்‌ கருமவிரனுக்‌ சருமசேனனு மென்றிவர்‌.
குமணமாமலஃலக்‌ குன்றுபோல்‌ நின்று சங்கள்‌ கூறை யொன்றின்‌ நியே
குமண ஜதாகண ஞஜாண தோண மென்றோதி யாரையு காணிலா
அமணராத்‌ பழிப்புடையரோ நமக்கடிகளாயெ வடிகளே!?.
(Hymn 33 St. 9).
Many of his stanz.s are popular and on the lips of othu-
yars and other singers, such as ॥ பித்தா பிறைசூடி ?, (11௦. 1),
பொன்னார்‌ மேனியனே (1௦, 24) * பண்ணிடை,ச்‌ ,சமிழொப்பாய்‌?
(0௦. 29), *மத் அப்‌ பற்றெனசூள்றி ? (No. 48), * வாழ்வாவது
மாயம்‌? (11௦. 78), *சொன்றுசெய்ச கொடுமையாத்‌ ? (110, 81).
Was slavery prevalent in the days of this Saint? God pro-
yed his contract and took him as hiz slave, “Sesraupeno ynéGe
வாளாய்‌? (110. 96, 84, 1). Slavery existed in the middie ages: the
feudal serfs were bound to their lord to serve and obey him in
every respect. The Tamil jand in ancient times had only free-
men, and the idea of slavery was altogether foreign. There is
 Sec. I. THE FOUR SALIVA ACHARYAS 119

every reason to think that it was introduced into the country by

the Aryan immigrants, *அசச்சடிமை யக்‌ சணர்‌ were also ps
649.00, 2s ip the case of St. Sundarar. Among the Four Paths,
Oharyy, Kiria, Jnana, Yoga or Dasa, Satputra, Saba and Ssn-
marga, i,e., master and servant, parent and child, friend and
friend, and lover and loved, the dasa marga is one, which meana
loving service and obedience and reverence to God and hig
bhaktas and the bhakta loses his identity in the master The
relation of parent and child implies obedience and service, and
reverence and love in excess, The bond of friend and friend
signifies the non-existence of muum and tuum, avd, when the
ideal of friendship is fully comprehended, all the episodes in he
life of St, Sundara will bo easily explicable « eyan.pumis @ensds
பயனாய்‌ இன்னமுதரய்‌ என்னுடைய தோழனுமாய்‌ யான்செய்யும்‌
தரிசு களுக்குடனாஇி. 33 The lives of the four saints represent
this fourfold relationship. The four margas are four sta,es in
the pilgimage of man's life. Asone reaches the higher path,
life has a frosh meaning and beauty, and as his mtelligence and
love ripen, be ascends the l.dder and reaches the top fey
Sanmarga. The duties of this highest mirga are thus defined
by St, Tirumular.
“பதபாசம்‌ நீல்டப்‌ பதியுடன்‌ கூட்டிச்‌
சியா சகெஞ்சம்‌ சரியச்‌ கடவித்‌.ஐ.ச்‌
தெரியாத வுண்மைச்‌ சொரூபோ சயத்துத்து
அசைவான தில்லாமை யானசன்‌ மார்ச்சமே?:...

The miracles of St. Sundarar are a few only, They are tha
disgorging of a boy swallowed by an ailigator ; the lord’s grant
of mounts of paddy grains which the demons carried to the
house of Paravayar, and which they spread all over the town
of Arur, the transformation of bricks into gold plates in the
morning {hymn 34), the loss and reaovery of his sight, and the
appearance in Kamalaiaya tank in Arur of the gold coins
 180 TAMIL LITERATURE

thrown into the river Manimuttham (hymn 25). The last

miracle has given rise to a proverbial saying ‘ 96 @9a%_Od
குளத்திலே சேடல்‌. The stanza, composed by the saint
when heokled by his wife,
ஏத்தா இருக்கறியே னிமையோர்‌, சனி நாயகனே
மூ,திசா யுலகுக்கெல்லா மதுதன்ற மமர்ந்சவனே.
பூ.தீசா ருங்குழலாள்‌ பரவையிவள்‌ சன்முசப்பே
கூத்தா தந்தருளாய்‌ கொடியேனிட்‌ டஎங்கெடவே??,
refers to this incident.
The age of itlas or miracles, it is said, has gone and is
followed by the age of reason and conviction. “ All history shows
that in exact proportion to the intollectnal progress of nations,
the accounts of miracles taking place among them become rarer
and rarer until at last they entirely cease.” But as science
progresses, it enacts miracles of a different kind, and the
possibility of their final cessation seems to he remote. Prof
Huxley writes: “{f a dead man did come to life, the facb
would be evidence, not that any law of nature had been violut-
ed, but that these laws, even when they expross the results of
avery long and uniform experience, are necessarily based on
incomplete knowledge and are to be held only on grounds of
more or Jess justifiable expectation." Like this eminent
thinker and scientist, the creat speculative metaphysician,
Letze, expiains the possibility of miracles as follows: “ The
whole ccurse of nature becomes intelligible only by supposing
the co-working of God, who alone carries forward the regipra-
eal action of the different paris of the world. But that view
which admits a life of God which is not benumbed in an un-
changeable sameness wil! be able to understand his eternal
co-working as a variabie quantity, the transforming influence
of which comes forth at particular moments and attests that
the course of nature is not shut up within itself, And this being
the case, the complete conditioning causes of the miracle will
 Sec. I, THE TWELVE ALWARS 181

bo found in God and nature together, and én that external

action and reaction between them which perbaps, although not
ordered simply according to general laws; is not void of
regulative principles. This vital, as opposed to mechanical,
constitution of nature, together with the conception of nature
as nos complete in itself—as if it were dissevered from the
Divine energy—shows bow a miracle may take place without
any distance elsewhere of the constancy of nature, all whose
forees are affected sympathetically, with the consequence that
its orderly movement goes on ‘unbindered.” In the light of
the opinions of the great scientist and the great philosopher,
the performance of miracles is still an open question, and
minds of ordinary calibre have yet to ‘ accept a miracle, instead
of wit,’ as the poet says.
The lives of these poot-saints wiil be found in greater
detail in Setkilar's Peria-puranam,

SECTION 11,
The Twelve Alwars
1. Intreduetion. The worship of Vishnu is claimed
to be as old as the Vedas and passed through the two stages,
Vedic and Puranic. In the Vedic stage Vishnu was a solar
deity and held a lower rank to Indra’s friend or companion,
In the puranic stage Vishnu became one of the triad and
assumed the function 0! protector, The Vishnu cult was
developed in Sonth India by the Alwars, who sang his praises
and spread his worship. The Ramayana and the Mahabharata,
the Bhagavatha and the Vishnu Puranas, describing the
wonderful feats of the various incarnations of Vishnu, as
Rama and Krishna, were founts of inspiration for the works of
the Alirays or ‘men of deep wisdom’. The hymns sung by
 399 TAMIL LITERATURE

them were collected and ordered and put together by St. Na-
thamuni into one volume, entitled the Nalayira-Prabandham
or the ‘ Book of Four Thousand Hymns’, which came to be
regarded by the Tamil Vaishnavas as sacred as the Vedas.
Nathamuni was a contemporary of Nambi-andar-nambi, and
he was inspired by the latter to doa like service to the Vaish-
pava hymns. The Alwars or the Vaishnava saints are twelve
in number, though they were only ten at first and had an
accession of Andal and Mathurakavi in later times. The
twelve Alwars have been classified in different ways by
different classifiers, as Amuthanar, Para-sara Pattar, Perumal
Jeeyar, Vedanta Desikar, Mana-vala-mamuni, and Nathamuni.
The orthodox Vaishnavas hold that the Alwars were the in-
carnations of the sacred weapons and vehicles of Vishnu’.
The lives of the Vaishnava saints are found in G@uruparam-
purut or the genealogy of the Gurus and in dlwar Vaipavam
or the chronicles of Alwars relating the events and occur-
rences connected with these saints. Very little is known of
the biographies of Poikayar, Peyar and Puthatthar. The
names of the Alwars, the number of hymns sung by each,
their birth place, and the number of shrenes celebrated by
them are given below.
(4. Poikayar 100 Conjeeveram 7
Pallava | 2, Puthatthar 100 Mahabalipuram 14
nadu + 3. Peyar 100 Mailapur 13
{ 4. Tirumalisaiyar 216 Tirumalisai 20
( 5. Tiruppap Alwar 10 Urayur 2
Chole 6. Thondaradippodi 55 Thirumandankudi1
7. Thirumangaiyar 135 Thirukkurayalur 88
Chera nadu 8, Kulasekhara 305 Quiloa 8
(9. Periyalvar 473 Srivilliputtur 16
Pandia 10. Andal “173 do 8
nadu 11, Nammalwar 1296 Alwar Tirunagari 36
12. Madhura Kavi 11 Tirukolur
 Si . IL, THE TWELVE ALWARS 183

From this list it will be seen that the largest number of

hymns contributed to the Prabandbam have been by Tiruman-
gai and Nammalwar and, next to them, by Periyalwar and
Tirumalisai, Of the 4,000 making up the Vaishnava Cerip-
tures, the first thousand (really 947) is known as Tiru-mols,
which comprises the hymns of Periyalwar, Andal, Kulasek-
hara, Tirumalisai, Thondaradippodi, Thiruppan, and Madura-
avi ; the second thousand (really 1134) known as Peria-thiru-
oli was the work of Thirumangai; the ‘hird thousand
(correctly 817) was the contribution of-the first three Alwars,
called Iyat-pa, and of Thirumali-sai, Nammalwar, and Thiru.
mangai ; and the fourth thousind (strictly 1102), called Phiru-
vot-moli, was entirely the work of Nammalwar.
The first Alwars witnessed no jarring alien faiths in their
time Tirumalisai, Tirumangai and Thondar-adi-podi had
enough of them and opposed Saivaism, Jainism and Buddhism
alike, Tirumalisai, Nammalwar, and Kaliyan were the greatest
of the Alwars or Vaishnava saints ;and Nammalwar lived at
atime when the land was almost free from alien religious
jnfluences and when the Vaishnavas and Saivas were at peace.
2. The Four-thousand Psalms.—The first ten
Alwars are named in the following venba:
“டபாய்கையார்‌ பூ.௪,த்சார்‌ பேயார்‌ திருமழிசை
ஐய னருள்மாதன்‌. சேரலர்சோன்‌- அய்யப்பட்ட
கரசனன்பர்‌ தாட்டூளி ௩த்பான ஈற்சலீயன்‌
ஈதிவர்சோத்‌ றத சடவா மிங்கு??,
These with Andal and Thirumangai are the dozen
Alwars worshipped as so many incarnations of Vishnu,
Their contributions of hymns and prayers in praise of Vishnu
make up the Nalayivap-prabondham To this sacred wok
esteemed by the Vaishnavas as the second Veda, Thirumangat
 184 TAMIL LITERATURE

and Nammalwar have made the largest contributions of 1,351

and 1,296 respectively, that is, 2,647 stanzas, more than half
the work.

3. The First Aiwars, Potkaiyar was born in

Conjeevaram, Puthaithar in Mahabaleshvaram, and Peydr in
Mylapore. All of them were pious adherents to their faith
and once proceeded, each without the knowledge of the other,
to worship Vishnu at Thiruk«covalur near Thiruvannamalai.
At sunset, they offered their evening prayers and sought
houses to sleepin, Poikaiyar found shelter for the night in
asongster’s house. Then Puthatthar came by the way and
asked Poikaiyar whether he could allow him to pass_ the night
with him. He answered in the affirmative and, at the same
time, observed that one could take bed and two sit there.
Scarcely had he finished his observation when Peyar put in
his appearance and requested the sojourners to accommodate
him for the night. Both readily consented but remarked that
one could lie down, two could sit, and three could stand there
conveniently. Thus the three were standing the whole night
and felt, at dead of night, the pressure of an invisible soul
in their midst, discommoding them and struggling to crush
them. Poikaiyar composed an anthathi with the Sun as his
Lamp, and Puthatthar with Love as his Lamp. At the
sight of these two lamps the gloom that had prevailed in the
house vanished, and Thirumal was seen among them. At
once Peyar broke out in an anthatha of praise to Vishnu,
The opening stanzas of their anthathis are as follow:

வையம்‌ சகளியா வார்கடலே நெய்யாக

வெய்ய கதிரோன்‌ விளக்காகச்‌--செய்ய
சுடராழி யானடிக்கே கூட்டினேன்‌ சொன்மாலை
இடராழி நீககுகவே யென்று.
 8௦, II, THE TWELVE ALWARS 185

அன்பே தகளியா யார்வமே நெய்யாக

வின்புருகுஞ்‌ சிந்தை யிடு.திரியாய்‌-ஈன்பு௬9.
ஞானச்‌ சுடர்விளச்‌ சே.ற்நினேன்‌ காரணத்கு
ஞானத்‌ தமிழ்புரிக்ச கான்‌.
திருச்‌ சண்டேன்‌ பொன்மேனி சண்டேன்‌ நிகழும்‌
அருக்க னணிரிறமூல்‌ சண்டேன்‌--செருச்ளெரும்‌
பொன்னாழி கண்டேன்‌ புரிசங்கல்‌ கைச்சண்டேன்‌
என்னாழி வண்ணன்பா வின்று,
These three make no allusion i» Buddbiem in their verses.
Their verses are in Ven-pa metre and make up the Iyal-pa,
St, Poikniyar was not the anthor of ' Kalavali,’ and the
two authors were different men. The famous bard was a courh
poet of the Chera ruler, Kedai Marpan and eulogised Tamil
kings (Puram 48—9) and thereby eked out his live'thood. The
saint respected no man but Vishnu. * மாயவனை யல்லால்‌ இறை
யேனு மேத்தா தெந்கா.? நட்‌ 11884 and Pey have celebrated
Vinnagaram or Vishnu Nagar in Conjeeveram, built probably
by Paramesvara Varma II, a Pallava Kings about A. D. 690,
The hymns of the first three seints sing of the miraculous sports
and feats of Vishnu as Vamana, Narasimha, Rama and Krishna,
and are said to have visited the shrines of Srirangam and
Kumbakonam in the Chola country, and of Thirumal—Irum.
solai and Thiruk-kottiyur in the Pandian dominion Some
soem to doubt his visit to the Pandya shrines,
4, Thirumalisai, so called from the name of hig
native village, Thsrumalisat, was an unccmpromising Vaishnava
and passed bis life, incessantly combating the professors of
Saivaism and converting as many of them as he could to his
faith, In making verses he did not fall short of his contem-
porarles. His Nan-mukhan Lhiru Anthathi is one of the con-
tributions to the Four Thousand Psalms. His patron was
186 TAMIL LITERATURE

Manikannan, When he fell out with the Pallava king, * the

latter tendered an apology and pacified the angry poet. Accord-
ing to a tradition, Thirumalisai was the iconociast Saiva sage
Siva-Vakiyar turned into a Vaishnava and hence his rancour
against his old faith, In his Anthatht, he spits his venom
againet the Saivas, Jains and Buddhists as follows:

Cg Sunt sent guts srt vey set

சிறியார்‌ வெட்பட்டார்‌ கள்‌??.

Another work of this poet, philosopher and Yogi is Thiru-

chanda-virutiam, admired for its melody. In this poem he
alludes to his birth as the scn of a rishi and io his nurture by a
hunter ன்‌
குலக்களாய வீரிரண்டி லொன்றிலும்‌ பிறந்‌ திலேன்‌
கலங்களாய ௩ற்கலைகள்‌ நாவிலும்‌ ஈவின்றிலேன்‌ 73,

The latter line expresses his modesty and solf-disparacement;

he knew Sanskrit and Tamil classies very well. He was a
monotheist, and called his god Vishnu, who, though ubiquitous
could be seen or cognised cnly by pious souls, He belonged to
the age of religious revival, which was the 7th 0, The expreg.
sion ‘Gunabara’ in § géee Qsr@ssoflgs கோனே, குண
பரனே ? 0068 not refer to the Pellava King, Mahendra Varma I
but seems descriptive of Vishnu himself. Though there are
verses in the Chanda Viruttem quite similar to Siva Vakkiar’s
(cempare 1, 2, 3, 4,17, 79 etc.,of the Viruttam and 308, 237,
266, 265, 264, 268 etc.), Siva Vakkiar was a Siddbar and-a
theist of the iconoclastic type, whereas Thirumalisai was a sage
and a gaint, and a monothoist
© The Pallava dynasty flourished about the 7th C. Mahendra
Varma I and Narasimha Varma 1 (A D 678) were saivites and built Siva
temples, as Gunabhareavram, so called after the latter Gunabhara held
by Varma I,
 Ssc. I, THE TWELVE ALWARS 187

5, Nammatvar alias Satagopan, ‘the Lord’s

Chosen,’ a Vellals by caste, was born at Tbirukkurukai, called
ab presoct Alwarthironakari on the banks of the river Tamira-
parni. He was also known a8 Pardnkusar His parents were
Kari and Usbaya-mantai, Tbe child neither sucked nor cried
and yet w-s alive and growing, His parents lefs bim in the
loeal temple, when he took his, seat unter a tamarind tree as
a yosi, In this manner he passed hig 14௨ 601 be was sixtesn
summers) When Mathbura-Kavi who passed by the way saw
the young yo i, be opened his lips and, seeing Vishnu apyear,
poured fo.th bymns in his praise. Marhurai Kavi committed
them to wrist:g. His preescieus genius maze his parents
believe that he had been called on in this birth to perform some
higher, duties He was, therefore, brought up by his parents
with greater aitention and more eager ioves The spontaneous
flow of postry from his lips won him the title ‘ Mabakavi.’
His flowing verses form more than a third of the Pirsbandham-
They are Thiru-virutham, Thiru-Asirium, Peria-Thiru-Antha-
thi and Phiruvoi-molt, giving the essence of the four Vedas
The firs; numbers 100, the secoal 7, the third 87, and the
last 1000, stanzas in 100 pathikams, In ail of them, he
addresses Vishru as a humble pstitione) free his soul from
the dirty prison and show the wey to sa'vation, In Thiruyoi-
moli st, 40, there is a referance to the jarring sects:
* இவிங்கச்திட்ட புசாணச்திருஞ்‌ சமணகுஞ்‌ சாக்யெரும்‌
மவிக்து வா செய்வீர்களு மற்றும்‌ செய்வருமாஇ சின்றான்‌.??
His poems make no reference to any historical personage
or eventst they show that be set vo vatue on caste distinc-
tions:
குலந்தாங்கு சாஇசள்‌ காலிலும்‌ இழிழிக்‌த எத்தனை
நலக்தானிலா,ச சண்டாள சண்டாளர்‌ சளாஇலும்‌
வலந்சாஐகு சக்கரச்‌ சண்ணல்‌ மணிவண்ணம்‌ சாளென்றுள்‌
சலந்தார்‌ அடியார்‌ ,சம்‌ மடியா ரெம்மடிகளே.!-
188 TAMIL LITERATURE
Nammalwar was 8 good student of Rural and his poems centain
many references t» or snippets from. it. Vide Tiruvoimoli
Viii4i V vii-4 He was not the last of the Alwars and the first
of the Acharyars, as has been alleged, and bad enough of
puranic knowledre,
ஞான விதி பிழையாமே
பூவில்‌ புகையும்‌ விளக்கும்‌ சாந்தரும்‌ நீரும்‌ மலிர்‌அக
மேவிச்சொழு மடியாரும்‌ பகவர மீஃகதுலகே.??
Betel-leaf, introduced in the 6th C was wuch in vogue in
the days of this saint, Voitilai, Vellilai, adaikai, Hai-«mirthu,
betel-ieaf-roli or thirayal occur in his hymns, Sriviilipatthur
was not a prominent Vaishnava sbrine in his days end had na
hymn from his pene His pathikams bear no marks of the
persecution of the Jains and Buddhists nor do they contain
any bitter invectives against them, if it were true that
Nathamuni and Mathura-Kavi were his disciples and that
he taught ¢bem his Thiru-voi-moli and other works, it would
stand to reason that 10 sage came into the world in the early
part of the 9th C aad lived: for about a century. Thus the
result of the அவனை is that he lived either in the 7th O
when differen’ religious sects warred against one another or in
the 9b O, when there was no bickering among the sects,
6. Mathurakavi, native of Thirukka'ur, was bred up
by a wealthy landlord. His natural prociivities directed him to
visit foreign places, and he went t. Ayodbya. He visited all
the Vishnu temples on his way and took his way home. On his
homeward journey, he received anew, by the grace of Nammalvar,
the olden contributions to the Prabandham unhappily preyed
upon by white ants without a relic. In this new work; the long
and religiously hoped-for emendation of
சரண மாகுக்சன்‌ சாளடைக்‌ தார்ச்செலாம்‌
மரணமாக? வைகுந்தம்‌ கொடுக்கும்‌ பிரான்‌
 Sec. If, THE TWELVE ALWARS 189

1௦4௦ மரணமானால்‌ 606,, finds its proper place, But for this
correction, there can, in fact, be no distinction between the lives
of & devotee and a debaucheo if both of them meet death alike;
and but for it there can be no stimulus to a hopeful, active,
religious life. According to the new versicn, it is nothing but
right that the pious soul 18 given considerable latitude to avoid
the Valley of the Shadow offDenth and attain bliss, pure and
unstinted, His quota to Nalayira Prabandham consists of
eleven stanzas in praise of Nammalwar, his spiritual teacher,
1 மிச்ச வேதியர்‌ வேதத்தி னுட்பொருள்‌
கிழ்சப்‌ பாடியென்‌ கெஞ்சுள்‌ நிறு,த்தினான்‌
,சக்க2ர்‌ ச௪டகோப ஜென்மம்‌ பிக்கு
புச்சகா,த லடிமைப்பய னன்தே.!?

2, Kulasekara Perumal, son of Thirithirashtran,

king of Matayalem, was born in the purple and known ag
Pandya, He abdicated bis throne and turned a Vaishnava
fanatic, He visited Srirangam, Conjeeveram and Thiruppathi—
the three sacred places of pilgrimage to the Vaishnavas of all
degrees, He never returned home. He lost his life at Mannargudi
in the Tanjore District or, as Vaishnavas put; is, was absorbed
into the soul of Vishnu. Je bad an ex'ensive knowledge of
Tamil and Sinskrit. His firss work was in Sanskrit Mukundamalaa
which he himself rendcred into Tam | in ong hundred and five
stanzas. This work too is embodied in the Prabandhame

This saint lived probably in the 11th C, The expression,

© @gci_@eSps? used in the inseription in the 18th year of
Knlottunga’s reign i ¢. 1088 on the walls of the Srirangam
temple, occurs in the second decad of our saint's hymns on
Srirangam Manavala-perumal, and makes some people incline
to think that he lived in the 11th C. *சொல்வி காவலன்‌ கூடல்‌
wre ser Campa Carer @wCrarer.” In this passage Kollé ig
mistaken for Quilon while it refers to Kolli, a billy place. ‘ Koli*
 190 TAMIG LITERATURE
is Urayur. It was customary for the Chera King to say that
they were \ictors over Pandyas and Oholas. Kulasekhara has
not sung of Trivandram or Anandha-Sayanam cr any shrine on
the west coast. Thiru-Arangam, Thiru-Venkstam, Vidbvak-
kodu, Thiru-k-kannapuram and Thiru-Chitra-Kutam are the
cnly places honoured by the saint 18 Nathamuni, the
compiler, lived Jater than the Alwars, our conjectural date
might obtain confirmation,
8. Periyalvar, aias Vishnu Chittan, cr Pattar-Piran,
a Brabmin of Snvilliputhur, which was then a rew settlement
(புதுவை, புத்தூர்‌). His verses describe the life-adventures of
Krishns. Qsra@ea @rséensys’ occurring in JI, vi, 2 refers
to the annexation cf Koneu natu about 890 A. D. hy the Chola
king Aditya 1, whrse eon bold his capital at Kumbal:onam or
Kudanthai, The saint iived in ibe days of Na:dbi Bodba
Varman end Nedu maren; kirg of Madura or Knda', krown also
as Nedum-chadayan, or Maran-chydayan who wes Victor at
Nelvoli, and bis priest was a favcurite of the ruler end went by
the name of Abimana Thungan As a contemporary of these
men, Periya'var should have lived somewhere in the 9ihe.
Our knowledge of Per:yalyay does not extend beyond the
triumph that he won over the court-poeta of the king Vallapa-
theva-Pandiyan and that bis fcur hundred and odd stanzas
form a portion of the Prabandham. His pooms show no hatred
of other religions
9.4111 4, 4 pretty, boanio lassie, was disecvered at ihe
foot of a twlast plant by a staunch Vaishcava, Periyalwar,
Bome say that Kothai wis his daughter, ‘Quilwrpant Oup
9048 பெண்பிள்ளை? Whatever the truth, he brought her
tpin his humble lodge and, as she grew in years, she took
especial delight in making flower garlands for Vishnu. She
bore another name Sudik-koduttha Nachiyar from the incident
of the acceptance by Vishnu of the garland used by her, Her
 Sec, li. THE TWELVE ALWARS 191

* growing affection for Thirumal, her love-embassy through a

cloud, and ber passionate ravings for the nuptial bliss—all these
things she has expressed in an earnest and pathetie lyric of one
hundred ana forty-three stanzas called Nachiyar Tiru-molé and
in Thiru-Pavai.
*இருவாடிப்பூரத்துச்‌ செகத்து இத்தாள்‌ வாழியே,
திநப்பாவை ழப்பதுத்‌ செப்பினான்‌ வ।ழீயேடி
பெரியாழ்வார்‌ பெற்றெடுச்‌.ச பெண்பிள்ளை வாழியே,
பெரும்பு சார்‌ மாமூனிக்குப்‌ பின்னானாள்‌ வாழியே
ஒருநாற்று நாற்பத்‌ தொரழன்றுரைத்தாள்‌ வாழீயேடி
'உயரரவகர்ச்கே சண்ணி யுகக்களித்தாள்‌ வாழியே,
மருவாரும்‌ 'திருமல்வி வளகாடி வாழியே,
வண்புதுவை ஈகர்ச்கோதை மலர்ப்பசல்கள்‌ வாழியே??.
Hor song, Varanim-ayiram VI, is recited ot ali marriages in
Vaishnava homes, and is interpreted «liegorically as the union
of the atman with Paramatman (the individual soul with the
world-soul] or God and final absorption in the Godhead, All
the important fessivals at Sriviiliputthur are cetebrated cbicfly
in honour of this Isdy-saint.
10. Thondaradippodi, alias Vippiva Narayansr,
was a native cf Thiru-mindan-gudi. He devoted his early yearg
to the recitation cf the Vedas and, in after life, was thoroughly
conversant with them, He ahandones his seeu ar tsfe and took
toareligious one He retired to Srirangam and composed a
milai in 45 stanzas and Thiruppalli Hluchi, a song daily sung
by the priests to awaken the God Thirumal, especially during a
festival of ten days in December, and by the people to rouse one
another to their religious duties during tha‘ period. Thie sing
of ‘Awakening God* is on the m del ef Minickavasakar's,
and vontains a line ‘ebQuGurer udrefl Quapsag a7Gu,
[stanza 5] which oseurs in Thira-vasakam ag the refrain of
almost every one of the ten stanzas maging his Thiru E.uchi.
192 TAMIL LITERATURE

The story of Deva-Devi, a» dancing girl, associated with the

name of the saint reminds the reader of St, Sundarar's life,
He was a contemporary of Thiru-mangai whom he thanked in
person for spsring his flower-garden when he built a thiru-
mathil at Srirangam. He has condemned the Buddbists and
Jaing in his poems
* புலேயறமாஓ நின்ற பு,ச்தொடு சமணமெல்லாம்‌
கலையறச்‌ சற்றமாந்தர்‌ காண்பரோ கேட்பசோ ?---(இருமாலை),
11. Thiruppan Alwar was a low caste bard or
minstrel and nota tailor, as generally be'ieved, either by caste
or by profession. A tailor discovered him, when a baby, in
the open fields at Urayur and brought him up in his house.
This too is doubtful. We know that he was an excellent player
on the yal and a pious devotee over singing hymns and doing
other duties to Vishou. His description of Thirumal from
top to tos, beautiful in itself, displays more the skit! of an
arvist than the profusion of a rhetorician.
This Alwar bore the name ‘Muni-Vaban; because he
was carried by the sage Lokasiiranga in’o the temple at
Stirangam at the command of the local deity,as Nandan
Samban was taken into the temple at Chidambaram under
similar circumstances by the Tillai 3000, The superiority of
bhakti in either cass to the superiority or sanctity by birth is
We'l-established. The only deed of his is named ‘Amalan
fidhippiran,’ The following quatrain by Thirumalai Nambi
summarises the saint's l’'e:
காட்டவே சண்ட. பாசம்‌ கமலகல்‌ லாடை யுக்தி
சேட்டரு மூ;தரபந்தம்‌ திருமார்பு சண்டஞ்‌ செவ்வாய்‌
வாட்டமில்‌ சண்கள்‌ மேனி மூனியேறிச்‌ சனிபுகுந்து
பாட்டினால்‌ கண்வொழும்‌ பாணர்தாள்‌ UTA
ey Gin.”
12. Thirumangai Alwar or Thirumangai-
mannan, the last of the Alwars, and one of the most erudite,
 Seo, II. THE TWELVE ALWARS 193

was decidedly superior to all the other Alwars in the knack of

composing verses, Ho was a thorough master in the com-
position of extemporaneoue, melodious, picturesque and desorip-
tive poems and, therefore, bore the title Narkavi Perumal,
though Lord Sambandha disputed his claim to this high title.

In religion, he was an obdurate Vaishnava and always

rose superior to the Srivaites in theological contentions,
‘Where words had not the requisite effect, he resorted freely to
argumentum ad baculinum, He plundered the refractory Saivas
and lived a free and easy life with his ill-gotten wealth, To
this depredatory life Thrumangai was forced as he, a tributary
prince to Chola, had refused to pay him the legitimate homage
and, to beot, maltreated Chola’s emissaries, the tax-gatherers,

His father was one Ni/an, a Kalla general under the Chola
king and a native of Thirukuraya'ur in the District of Tanjore.
His real name was Kalian or ‘Kal'kanti', He had the reward
for his militsry services of a group cf villages called Alt Nadu,
and his capital was Thiru-mangai, which, on all sides, had
spacious buildings, He married a Vaishnava medico’s daugbter
and became a bhakta under her mfluence, He visited 88 out of
108 Vishnu shrines, and three of the unvisited places of
pilgrimge wero Srivilliputtur, Kurukur or Alwar Thirunagari,
and Trivandram. His name is bound up with tha building of
the third prakaram or wail at Srirangam at great cost by
demolishing a golden image cf Buddha at Negapatar. He
preached against ponanees and warmly advocated bhakti ag
an important passport !o the atlainment of salvation, His six
poems are said to he the six Angas of the four poems of
Nemwmalwar—the Tamii Vaishrava Vedas. Thirumaneai’s
1௦808 ௨௨ பெரியதிருமொழி, Leés@Epesran od, இருகெடுக்‌
,சாண்டகம்‌, சறியதிருமடல்‌, பெரியதிரு.2டல்‌, ௨௦4 இருவெழுகூழ்‌
திருக்கை,
130
 194 TAMIL LITERATURE

‘There are references in his pooms to Pallava and Chola kings.

The battles won over the Pandyans at Mannaikudi and Nel-meli
were fought by the Pallava king, Nandivarman, AD 720—
60 AD. Vaira—Mehaus * சொண்டையர்‌ கோன்‌ வணங்கு நீண்‌
மடிமாலை வயிரமேகண்டி £ ௬௨8 & title cf Thanthi Varman. Ko-
Chengannan, praised alike by the Saiva and Vaishnava Saints,
is celebrated in his poems. A'l these facts tend to show that’he
lived about the age of St, Appar ie. 7—8th C, rather in the
second half of the 8th C. ‘
Evidently Thondar-Adippodi, Thiruppan and Thirn-mangat
Were c.ntemporaries. His onslanght on the alien faiths deter-
mines his age,
“& வெள்ளியார்‌ பிண்டியார்‌ போதியாரென்‌ Sarr
g Bor p
கள்ளழரல்‌ sorter. 9— (பெரியதிருமொழி).
A word in conclusion about the Pallava kings, They were
known as Pottharasar and cla:med Kshatriya descent, They
were either Saivites or Vishnavites, Their influence was strong
at first at Kanchi in the fourth century, and, when defeated
by the Chatukyass they extended the:r dominion in the south
amid great turmoils. Their opponents weré Chalukyas in the
north and Chola and Pandya kings in the south, and their
only and staucsch supporters were Ham scvereigns: Their
government endured tili the ninth century. Their southern
capital, besides Kanchi, was Ma malia-puram (not Mahabali-
puram), and their principality comprised twelve nadus and
seventy-two kottams between the Krishna aud the Cauveri
rivers: As at an earlier timo, Thondaimandaiam had been in+
undated by the Chola kings with Volla‘ars or cultivators from
the Tuluva nadu, so the Pallava rulers filled it w:th Brahmin
followers and patronised them with offices in the temples»
Siva and Vishnu, builé by them or under their auspices A
section of the Pailavas went by the name of Ganga-pallavase
 Szo Il. THE TWELVE ALWARS 195

The Pallis or Vanniyars are said to be their descendants

The chief kings of the Pallava dynasty were
1. Ugrsthandan alias Loko-athitthan 5th century
2. Baja Singan alias Simba-Vishnu, his son, builder of
Kailasanath-temple at Kanchi, 6 h century.
8. Kunabharan alias Mahendravarman I his son, builder
of four hill-fortresses in the south and of the Pillayar temple
on the summit of the Rook at Trichy about 640 A. D. and
convert to Ssivaism from Vishnuyaism and Jainism 7th
century in the days of St Appar.
4. Narasimhavarman, his son, and conqueror of Vatapi,
with Strut-thondar as hs Genera! from the Chalukya king;
Pulikesin 610-044),
5. Mahendra-Varman 11, his son,
6 Paramesvara-Varman, bls son, who defea‘ed the
Valiabha king V-kramathttthan
7, Narasimhavarman II a staunch saivite and persecutor
of Thirumalisai Alwar,
8. Paramesvra-Varm-n IJ; his son a Vaishnavite, builder
of Paramesvra-Vinnakaram, who made many an oudowment
9. Nandbi-Varman, bis son, a weak-ruler and loser of
Kanchi and many shrines.
10. Nandbi-varma-pallava-rayan, a descendant of H ran-
ya-varme-pallava-rayan, great bero, and Vira V+ sh.avas
praised in tha Nandbi-Kalamhakam, and in the Phata ba-
Venba. He ascended the tarone in 710 A. D,, St- Tirumangai
Alwar has panegyrised him in his patikem, entitled Para-
mesvra Vinnakaram.
After his death, for about half-u-sen‘ury, the Pallava
principality was over-run b,; the southorn kings and the
Vallabha sovereigns and desola.cd by them n the ninth
eentury it ceased to exist, and the tezritory oame to be called
Jayamkonda-Chola-mandalam after the Guola canguet of ite
 196 TAMIL LITERATURE

SECTION ILk
1. Cheraman peruman was «4 king, a literatus, and
& devotee. Tradition would bave him ag the son of a Chera
king or Chengol-Poraiyan, His carly years were spent in pay-
ing visits to Siva shriness Ma-kothayar was his name
According to Peria puranam, he wa3 born at Kodunkaluy
Chengol-Poraiyan abdicated his thro-e out of pious devotion
and his ministers pitched upon the young devotee for the ruler.
Cheraman consented and ruled the kingdom for a few years,
His political affairs did not interfere with his devotional life.
He patronised posts in his court and was liberal in looking to
the wen's of the Siva devotees. He accompanied St, Sundarar
to all p'aces of pilgrimage, and the places visited are named
in his compositions. Thiruvarur Mummini Kovit was com-
posed at Luiruvarur; Thiru Vannatihu Anthathi. at Cbidam-
beram3 Tharu-Anthathi at Vetharaniam i and Thoru-Kustlai-
Jnanz Ula ot Kailaimalai.
2. Thiru-Isaippa, The authors of this collection
noted for its adaptation to music were nine Nayanmars or
pious Siva worshivpers, viz, Thirumalikai Thevar, Senthanar,
Karur Thevar, Pum-thuruthi-Nambikada Namhi, Kantha-
xathitthar, Venattadikal, Thiru-Valiyamuthanar, Purushotha
Nambi, and Sethi-Royer,
These poet saints have composed pathikams for Thiru-
Vili-Milalai Thiru-va.vadu thurai, Thiru: kali, Thiruk-kalan-
thai, Athithachuram, Thiru-kil-kottur Mani-Ambalam, Thiru-
muka-thalai, Thirulokxia Sundaram, Thiru-puvanam, Thiru.
chathia kudi, Thanjai Thiru Raja Rajesvram, Thiruvidai-
maruthur, Thiru-Arur, in all, fourteen temples, Twenty-nine
sacred poems contain 301 stanzas, of which 103 were Karuvuru
Thevar’s in 10 pathikams, He was known as Karuvur Chitthar,
who wrought miracles in the temples at Tinnevelly, Tanjore
Kuruhoor etc,
 SEOTION III, 197

The word Thiru-Isai-pa means ‘laudatory poem of God,"

or ‘ sweet strains about God.’ Kandar Athitthar was a prince,
PABANTAKAN I
(Para-kesari: Conqueror of Madura)
906-907 &. 0,
|
I I
Rajathitthan Kandar-Athitthan Avinjayan
1
Madurantakan Parantakan IT
I
Kandar-Athitthon Rajarajan I
(a poet of Thirn Issaippa) 985 A, D.
Sethi-Royar, a descendant of Meipporul Nayanar and
Narasingamunai-Araiyar, was a prince of Thiru-munai-Nadu,
Senthanar,a singer of Thiru-veeli-milalai, “as a native
of the place. He belonged to the Gowndinia Gotra and had
an alias Eran. Vide the Inscription on the wall of the
western Gopura of Thiru-veeli-milalai. இவ்கூர்‌ சவிணியன்‌
ஏறஞ்‌ சேந்தன்‌ பச்சல்‌?, 1 Sanskrit he bore the name Jayan-
than, and was called‘ Siva Jnani’, Some identify him with
Thiru-malikai-Thevar, though they are reckoned as two
separate poet-saints, Pattinatthar praises Siva for releasing
a Senthan in the following verse :
“Qeigsters Pgoraa hs Crk ster Cas sof
கைத்தளை நீக்டுச்‌ சண்முன்‌ சாட்டுவெண்‌ காட்ளொனே??.

It is said that an account of the Thiru-Isaippa writers is given

in a Sthalapuranam preserved in Thiruvavaduthurai mutt.

3. Pattinatthar, Aaa native of Kaverip-pum-pattinam,

he was called Pattinatthar, and was a fervid worshipo>r st
Siva at Thiru-ven-kadu, He bore the nicknameThiru-ven-kadar.
 198. TAMIL LITERATURE

His real name was Thiru-venkata Chettiar. He was a rich

merchant and owned many boats. Once the news spread
abroad that his boats had foundered and it plunged him in
melancholy. Suddenly they were sighted off the shore laden
with gold. Heran to the beach to see them. His joy was
immense indeed. During his absence, a Siva sannyasi went
to his house and beggedalms. His wife requested him to wait
until her husband’s return. Put out with the delay, he gave
her an earless needle tied up in a rag with a note bearing the
lines :

*: திது.ற்ற செல்வமும்‌ Cayiiosss ArSugew

காதற்ற வூசியும்‌ வாராது சாணுங்‌ கடைவழிக்கே
(ill-gotten wealth, the miser’s hidden treasure and even an
earless needle will not serve one in his last) and went his’ way
asking her to give them io her husband on his return. She did
accordingly. He perused the lines and looked like one inspired
with the light of wisdom. He freely distributed his long
accumulated riches as alms, renounced his hearth and home,
and lived his life from door to door. ‘ihis mendicant way of
dragging his existence provoked his sister to do away with his
life by giving him a hot sugared rice cake, mixed with poison,
but all was in vain. Another version of the story of his renun-
ciation is as follows: When Pattinatthar wasa pious house-
holder and was feeding sumptuously all saiva devotees, ap
Athi-saiva brought a boy tohim for sale asa slave, and the
princely merchant, guessing that he had some divinity about
him, treated him as a son and taught him the arts and ways of
the Vaisya. The boy went to different trade centres andreturned
home with immense profitsevery time he went. At one time
he spent all the treasure in an island in building a temple and
in the way of alms giving, When he turned home he filled his
boat with cowdung discs and took them into the treasury.
 SECTION Lil 199

When he was asked about it, he said that each disc had golden
dust mixed with it and proved it by dissolving one in water,
He was shut up in prison for his fault. In prison were miracles
performed, and the merchant prince was struck with them, He
came to know that the prisoner was siva incarnate and released
him at once. He sat at the feet of the incarnate siva and had
his spiritual illumination, illustrated by an ear-less needle,
Immediately he turned an ascetic, went from shrine to shrine,
worked miracles, and composed spiritual songs. Later on, he
passed his days at Thiru-Vottiyur near Madras in company
with silly sheplierd lads tending flocks. They often dug pits
in the sandy soil and put him in them up to the neck. It was
usual for them to do so and to take him out after a few hours.
One occasion, they ran away homeward to avoid a heavy
shower, leaving the victim of their sports in the pit. Next
morning he was found dead.
Asan ascetic, he spent his time in the meditation of God
and His attributes, prayed fervently to cast off his fleshly
ynould and thirsted for the irradiance of the heavenly presence,
His compositions form a handsome volume, and are pessi-
mistic in tone.
*: பூற்பு,சச்‌ செவ்வியின்‌ மக்களி யாக்கைக்கு
கினைப்பினுங்‌ சடிசே யிளமை நீச்சம்‌,
அசனினும்‌ கடிசே மூப்பின்‌ ரொடர்ச்9,
யசனினுங்‌ கடி.தே சதுமெனு மாரணம்‌,
வாணாள்‌ பருக யுடம்பை வறிதாச்‌இ,
மாணாள்‌ பயின்ற ஈல்காச்‌ கூற்றம்‌
இளைய தன்ய சன்மைய திதுவே.!?
(Koil-nan-mani-malai, st. 33).
‘Women were especially abhorrent tohim. Thiru-Ekamba-
Thsru-Anthathi, Thiru-Ottsvur-Orupa-Orupathu, Thiruk.
Kalumala-Mummani-Kovat, Thir-Vidai-Maruthur-Mummans-
800. TAM!L LITERATURE

Kovas, aud Kotl-Nan-Mani-Maiai, are the long pieces in the

volume, and contain happy comparisons. Besides, he wrote
many occasional verses, and his improp:u lines on his mother’s
corpse, when it was on the pyre and about to be set on fire, aré
truly pathetic :
ஈமுன்னையிட்ட இ முப்புரச்திலே.
பின்னையிட்ட நீ தென்னிலங்கையில்‌
அன்னையிட்ட £ அடிவயிற்றிலே
யானுமிட்ட இ மூழ்சமூழ்கவே.
அள்ளி யிடுவ சரிசியோ சாய்‌ சலைமேழ்‌
கொள்ளிதனை வைப்பேனோ கூசாமல்‌--மெள்ள
மூகமேன்‌ முகம்வைச்து மூ.த்தாடி Quer per
மகனே யெனவழைத்ச வாய்க்கு. ??
4, Patthira-Ghiriar. Pattinatthar’s pupil and
companion was Pathira-Ghsriar, said to have been a King;
but, of what country and what antecedents, tradition gives. us
no account. Like his masters he too abindoned his worldly
wealth ana dear kindred and turned a Sannyasi. Like bim, he
lived his life by begging from house to house and spending his
hours in silent meditation and in disinterested devotion to
Sive. His spirited ravings, songs of sorrow, or pulambal,
consist of about three hundred and forty disticbes and are of a
nature to thaw the minds of even the stiff-necked, crue!-mindeds
and hard-hearted mortals.
The following is a translation of afew of his laments over
the social and religious corrup'ions introduced by the Aryans:-
48 When may I know the bidden things of life
And thus attain perfection? { would show
How false the Vedas are with errors rife?
And burn the Sasters, so the truthe might know?
When shall our race be one great brotherhood
Unbroken by the tyranny of Caste,
Which Kapila in early days withstood
And taught that men were une in times now past’'r
—O, E, Gover.
 SECTION 117 80%

5. Nambi Andar Nambi, of Thiru-Narayor jo

Ohola nadu, was the Tamil Vyasa who compiled the Saiva
hymns and grouped them into eleven thiru-murais, The last
ten pathikams of the last collection were his own. His
Thiru-Thondar-Thiru-Anthathi formed the basis of Peria-
Puranam:
He was a Brahmin pupil of Poila-Pillayar. His ten poems are-
Thiru-Irattai-mani-malai, Koil-Thirup-panniar-viruttam, Thiru-
thondar-thiru-anthathi, Thiru-Jnana Sambandbar-Thiru-anthae
thi, Thiru-Jnana-Sambandhar-Thiruchampai, Thiru-Jnana-Sam-
bandhar--Thfru--Mummani-Kovai, Thiru--Jnana Sambandbar-
Thiru-Ula-Malai, Thiruk-Kalambakam, Thiru-Jnana-Samban-
dhar-Thiru-thokai, and Thiru-Navukkarasar-Thira-Ekatha-
malai, These lines are from the last poem :

* பதிக மேழெழு நா௮ பகருமா கவியோட

பரசு நாவரைசான பரமகாரண வீசன்‌
அ.இகை மாககர்‌ மேவியருளினா லமண்மூடர்‌
அவர்‌ செய்‌ வாதைகள்‌ தீரு மனகன்வார்‌ கழல்சூடின்‌
நிதியராகுவர்‌, சர்மையுடைய ராகுவர்‌, வாய்மை
கெறியராகுவர்‌, பாவம்‌ வெறியராகுவர்‌, சால
மதியராகுவர்‌, ஈசனடிபராகுவர்‌, மானம்‌
உடையராகுவர்‌, பாறின்‌ மனிச ரானவர்‌ தாமே, 73

From the names or titles of his poems it will be seen that

he was a great admirer of the Dravida Sisu, and that he eternized
him in his anthatbi, kovai, ula, thokai eto.

6. Sekkilar. His actual name was Arul-Moli-Thevar,

His birthplace was Kuatrathoor, He bore the title Sékkilar
as the distingue of the Sekkilar section of Vellaizs He achiev-
ed distincvion in bis early years and secured the prime
ministership under Ava-Paya-Chola or Kulothunga Chola
(secording to an insoription in the Tiruvarur temple), who
 202 TAMIL LITERATURE

reigned between 1064 and 1118A D, He proved a capital

hand at the ministerial duties and won the good graces of the
sovereign. He was dubbed as Uththama Chola Pallava-royar.
On the expiry of a few months, he observed the king's passio-
nate devouring of the Jaina work, Jivaka Chintamani, and
his loving indulgence in hearing it read, Further, he saw
that the king, Jike bis subjects, was diametrically opposed to
his traditional faith and loved Jainism. To avert this evil
and save the country from falling a prey toit, he felt,
devolved on him and roused his energies to their full play,
With steadfastness, he broached to the king that his passio-
nate indulgence in a Jaina work was quite injurious to the
steady upkeep of their own religion, The king, with great
equanimity, asked his prime minister to show him a better
work than Chintamant, Sekkilar at once gave him Nambi
Andar Nambi's Thiru-Thondar-Anthatht founded on Sundara-
rourthi Nayanar’s eleven stanzas of Thiru-thonda thokai and
read and explained to him, at length, the importance of the
subject and the beauties of its style and diction.

The king, moved by the eloquent discourse of Sekkélar,

requested him to expand Thiru-thonda-thokas into a voluminous
work, a purana. Sekkilar went to Chidambaram, collected
and arranged the legends, and, when he thought of versifying
them, a voice in the air cried, to begin the composition with
உலகெலா மூணர்க்‌ கோ,ச.ழ்‌ eiuaer (he who is hard to be under
stood by the world and expressed in words), He took up the
hint and completed the zemarkable and composite hagiology or
lives of sixty-three Saiva saints in seventy-two cantos, count.
ing 4286 stanzas and named it Thiru-Thondar Puranam or
Peria Puranam, The impatient king came to the sacred place
and bowed before his poet-laureate and minister, He sent
epistles to all parts of the Tamil country, to the saiva devotees
in particular, and several sages and ascetics responded,
 SECTION III. 203

Ponnambalam or the Golden Hall was neatly decorated and

overcrowded, The bard, seated on a pedestal, began to read
the poem and expound the truths, and took one year from
Chithrai to Chithrai (April to April). Hosts of visitors
were the guests of the king. When the reading
was over, the precious work was wrapt in laced
silk, deposited in a golden casket, placed in a howdah
along with the bard, and taken to the royal abode.
The king, in appreciation of his labours. is said to have
granted him Thondaimandalam, Umapatht Sivacharyar
distilled the essence of this huge work in seventy stanzas
of his Thiru-Thondar-Purana-Saram. After the completion
of the rehearsal of the versified history of the Saiva saints,
the Tamil Plutarch resigned his office and turned an ascetic.
The grateful king appointed his brother Palarra-voyar in his
place and conferred on him the title Phondiman, ‘ihe life
of Sekkilar was written by Umapathi ina puranam.
The importance of Peria-puranam must ve noted. It
was not only a check to the spread of alien faiths but facilit-
ated the propagation of the saiva faith, The sixty-three
saints whose lives are told with all embellishments were of
different castes and ranks: Authi Saiva 4, Brahmins 13, Kings
6, Chieftains 5, Vanikar
5, Vellalas 13, Shepherds 2, Potter
1, Minstrel 1, Fisherman 1, Hunter1, Sanar (now called
Nadar) 1, Weaver (saliyar) 1, Oilman (oil press man or
sekkar) I, Washerman (ekaliyar) 1, Pulaya or pariah 1 and
caste unknown6, Among these saints these who attained
moksha by the grace of guru were 12, by worshipping siva-
lingam 30, and by doing service to the saiva devotees 19. The
first lesson inculcated by this hagiography is that, all men
being equals in the eyes of God, caste is nought to one who
has renounced the world and that sivabhaxtas should be
honoured, irrespective of caste, or colour. Self-sacrifice and
204 TAMIL LITERATURE

sacrifice of everything near and dear to a householder will

ensure a holy life and divine favour. Of the sixty-three lives
the longest is St, Jnana Sambandhar’s which is told in 1256
stanzas ; next to his comes Appart’s in 429; mext to Appar’s
Kalikkama Nayanar’s in 409; next to his, Cheraman’s in
175 stanzas, and the lives of the rest are briefly told. These
saints performed services in temples and in their precincts
(25 9G 4 OsterOGsis), wore white ashes and were pure-
நூப்றப9ம்‌ (பூசுநீறுபோலுள்ளும்‌ புனிதர்‌), never forgot the Lord’s
௦௦ (மாதொர்பாசர்‌ மலர்த சாண்‌ மறப்பிலார்‌), 1௦0161 upon a
potshred and bright gold alike (g@@QeaQuray GurésCa
நோக்குவார்‌), 810 had on them rags and rosaries, and were
merciful-kind and spent their time in doing service to God.
ஆரங்கண்டிகை, யாடையுங்கக்சையே, பாரமீசன்‌ பணியல சொன்றி.
லார்‌, ஈரவன்பினர்‌)..

Apart from the flowing character of the verse, and from

the bhakti rasa which fiows in every line, Periapuranam isa
running commentary on the Devara hymns and elucidates
the subtle truths and high dogmas embodied in them which are
otherwise not easy to understand. It is an encyclopedia of in-
formation of the different tribes and castes in the Tamil coun-
try and of their customs, manners, practices, modes of living,
occupations, pastimes, ornaments, etc.

The types of womanly piety found in this purana deserve

to be specially noted. The virtues of Iayankudi-mata-naya-
navs wlfe exhibited in bitter penury ; of Thiru-nila-kanda-
Nayanar’s sweet partner who would not touch her husband tor
having lain with a prostitute but who was most dutiful to him;
of Kunkilia-kalaya-nayanar’s wife who parted with her tals for
buying paddy to treat a sannyasi, of Siru-thonda-nayanar’s
wife who, at the bidding of her husband, wouTl hack her
darling for preparing a meat-dish : of Apputhi Adigal’s wife
 SECTION II 205
who, though her son lay cobra-bitten and dead, came forward
tofeast St. Appar, and of Iyal-pakai-Nayanars partner who,
without demur, agreed to live with a devotee as his dear wife,
are beyond all praise. The names of these noble souls are
unknown tofame, The stories of Thilaka-Vathiar, Punitha-
vathiar, and Mangaiarkku Arasiyar who were respectively St.
Appnr’s sister, the lady of Karaikal, and the Pandyan Queen
are narrated in Periapuranam most graphically and with
enough of detail.

7, Machieppa Sivachariar, 2 native of Conjee-

veram, was the son of a respectable authi saiva Brahmin,
Kalathiappa Sivachariar. He mastered Tamil and Sanscrit
in his early years and was a perfect scholar in grammar,
literature, and vedic lore, He undertook to act the holy
priest in Kumara Kottam Siva Temple. His well-known
Kandagzuranam, * based on the Sanscrit Siva Sankara San-
githas im six cantos, consists of 10346 stanzas and has a
tradition connected with it. The first line of the first stanza
of this puranam is believed to have been given by the god
Kandaswamy, who is said to have corrected, during night, the
hundred stanzas which the author had composed by day.
Kachiappar took the complete work to Kumarakottam and
rehearsed it, before a conclave of learned men, They asked.
Kachiappar to explain the exceptional combmation fap +
sea = Heisésc and to quote chapter and verse from
any gramatical authority to justify it. Kachiappa defended
himself by saying that the first line was not his but
Subramaniyam’s. This explanation was not accepted. Kachi-
appa was at sixes and sevens, and, to the suprise of alJ, was
helped out of the difficulty by a genius from the Chola king,

* Ono of the 18 puranas, with six Sangithais, known as Sanarkumata,

Sutha, Brshma, Vishnu, Sankara and Surya and containing Afty cantos.
206 TAMIL LITERATURE

who easily justified the combination by making reference to.

Fira Soitum. The author took one full year to rehearse all his
stanzas, and the learned men, who had attended the rehearsal,
were entertained by the Vellala section of the twenty-four
Kottams.
Kandapuranam comprises six cantos, Urpatthi, Asura,
Mahendra, Uththa, Théva. and Thateha omitting the Upadesa
canto of the original Siva-rakasia-Kandam, and describes
the story of Subramania and his feats and abounds in
profundity of thought, beautiful imagery, and difficult passages
intelligible only to the readers of Sangam works, Chintamani,
puranas, Siddhanta Sastras, darsanas, and alankaras. Lately,
@ prose version of the puranam was made by one Parasurama
Mudaliar. The following verses give the date of its
composition ;—

** மதிமலிமாடம்‌ புடைகுழ்‌ குமா கோட்டச்‌

தேதம௫ சகாப்‌ச மெழநூற்‌ நின்மேலாய்‌
இலகுகந்த புசாண மரங்கேற்றினானே- ??
Kandapuranam is a favourite study of the Tamil people of
dafioa, and every Jaffaee has many stanzas by heart and at his
fingers' ends. Besides coutaminz choice classical Tamil words
used by Sangam poots and figures of speech in hundreds, it
illustrates the thurais of Aham and Puram and discusses the
different religions and systems of philosophy.
“Qu gier பொருளுக்‌ ச௪த்சம்‌ விளைவது 2?
'பல்லுயிர்ச்‌ கருளைப்பூச.சப்‌ பவகெறிலாய்‌ தட்டு
ஈன்னலமாசரை ஈண்ணுமின்பமே யுன்னருமு,தஇி?
₹சந்தமம்‌ திதந்திடன்‌ முத)
It is fall of wild legends and stories in Virutta metre, and
this repertory has given rise to the saying *இந்சப்‌ புழுகு கந்த
புமாணசத்திலுமில்லை?, A oritio has remarked: ‘lf Kural and
 SECTION IIL 207

Naladiar teach by precept and Periyapuranam by example,

Kandapuranam mainly influences by the magnetic power of the
author, It attracts all those who come in glose contact with it
and makes them move in the right psth, Words and thoughts
make bim feel rather than know, The main current in it is the
Siddhanta religion, the réligion of Bhakti and Jnana. Kasipar
Upadesapadalam is the text on which the whole poem- ig
founded. Sukra’s materialism is pooh-poohed by the poet, and
Manmata himself condemns the Lokayatham,
The roligion of karma, professed by the rishis of Taraka-
vanam, is discoursed on by Tathesi, and both Sambandhar and
Manickavasakar have taught that in retiglon too the proof of the
pudding is the eating of it and astion or putting the precept
into practice is csmmended by Kachiappar. Atheists or
aceptics succumb to a phantom (a female), ‘An atheist by night is
half a believer in God’, Dhaksha, the founder of Vaish-
navaism, approximates Vishnu to Siva as supreme Brahman
or the highest Gd, The method of attainment of mukti ig
treated in the beautiful and sustained allegory of Valli-ammai-
thiru-mana-padalam, Surapadma’s tragi-comedy (for he died
and attained bliss) is the central piece, round which revolve
tragedies and comedies, the former condemaing vices and the
latter upholding virtues,
The prem is an ethical and religious tonic which keeps
man in a healthy state for steady growth, While most
other poems make the reader know, this makes the reader act.
Two stanzas from the poem ate subjoined as specimens
with translation.

மசண்டேன்‌ தளிக்குக்‌ சருகிழற்‌ இழ்‌ வாழ்ச்சைவெஃச்‌

சொண்டேன்‌ பெருந்துயரம்‌ வான்பசமுங்‌ கோசென்றே.
ஈண்டேன்‌ பிதர்சம்‌ ப,சத்சொலைவுங்‌ சண்டனனால்‌
தொண்டேன்‌ வெனே நின்றொல்பதமே வேண்டுெவனே.!?
208 TAMIL LITERATURE

Indra’s son says: Desiring to enjoy life under bhe shade of

the honey-dripping Kalpaka tree, I have incurred great suffer-
ings. Thus I see that even swarga life is holiow, I bave a'so
seen the transiteriness of other places of enjoyment (as Vai-
kunta and-Satyaloka), I, your servant, pray only for your
everlasting home of mukti".
“ஞானம்‌ தானுரு வா௫ிய காயக னியல்பை
யானு நீயுமா யுரைத்து மென்றா லஃ செளிதோ
மோனாநீர்கலா மூனிவருக்‌ தேற்றிலர்‌ மூழு அம்‌
சானுங்காண்டலெ னின்னமும்‌ தன்பெருக்‌ தலைமை?!.
Simhas says: ‘Is it an easy affair for you and me if we say
that we can state the nature of God whose form is Jnana
Even the munivars who are continually in the mona state
{of silence) have not understood him, He himself has not yet
discovered fully his great supremacy”.
His pupil Konertppa Mudaliar added Upadesa Kandam
(in 41 sarkkas counting 4,350 stanzas) to bis master's masterly
work It teaches many good princlples and contains useful
maxims,

SECTION 1V
1. Narkaviraja Nambi «ics Nambi Nayinar,
wrote Ahapporul Iakkanam, which is an abridgemend
of Thoikappiar's on matter-subjective, Vide the Payiram or
Preface ,
*சசொல்காப்பிய னருள்‌ gevers und Durga
அசப்பொரு ஸிலச்சண மசப்படத்‌ இரட்டி?
Tt has five chapters in 252 sutras, vie,, Abath'nai ரவி, Para
thinai Iyat, Kava Iyal, Varai-Iyal, Olipu-fyal) The
author, a native of Pulinkudi, Pundi-nadu,was a Jain‘in
the time of Kulasekara Pandyan and waa famous for compos-
ing Asu, Mathuram, Sttthsram, and Vistharam,
 SECTION IV. 209

உத்தமன்‌ புளிக்குடி யுய்யவந்‌ சானெனும்‌

மே.ததமி ழாசான்‌ மைந்த னித தலச்‌
'திருபெருக சலைச்கு மொருபெருக்‌ குறி9ிற்‌
பாரற்கடத்‌ பல்புகழ்‌ பாப்பிய
நாற்கவி ராச நம்பியென்‌ பவனே.!?
If illustrated Thanjai-Vanan-Kovai of Poyya-moli-pulavary It
has two commentaries—an old one by an unknow author,
which quotes stanzas from Chintamani, Silappathikaram, Aha-
nanuru, Aiyc-Kuru-nuru, etc., and the recent commentary was
written by Pandit Vaithialingam Piilai of Jaffoa,
2, Kuna Sakarar: Amirtha Sakarar; Yappu-
Arunkalam, Yappu-Arunkala-Karikai, | The former
by Kunasakarar treats of prosody In 95 sutras and has an
excellent commentary, and the latter by Amirtha Sakara Muni-
var gives the grammar cf poetry in three chapters called
Uruppu Iyal, Seyyui-Iyel, and Olipu-Iyal and was annotated
by the former.. Both were Jains. The reader is warned net to
mistake Kali and Kalippa as one,
© ஆறிய மென்னும்‌ பாரிரும்‌ பெஎத்தைக்‌
கபரிகை யாகச்‌ கொடுத்த தபோசனர்‌
யாரினும்‌ பெரிய வமிர்க சாகரரே, 99
This Karikat describes briefly 100 vannams under the five
நக ௦1 தூங்கு, ஏந்து, அடுக்கல்‌, பிரிதல்‌ ௦8 மயக்கு.
தூங்கேநீதடுக்கல்‌ பிரிதன்‌ ம பங்கிசை சொத்றவற்தைப்‌
பாங்கே யகவலொழுகல்‌ வலிமெவிப்‌ பா.ற்படுச்தி
ங்கேர்‌ கு.றினெடில்‌ வல்லின மெல்லின மோடிடையைச்‌
(தால்சா வுறம்‌சர வண்ணங்கணூறுந்‌ சலைப்படுமே.
The first Isai is likened to the walk of an old female ele-
phan: and to that of a lizard;the second Isai, to that of a rat
elephant and to the dance of a cebra with its hood epreadwide,
the third Isai to the rolling of a cartwheel on an undulating
ground and tothe repeating sound of Sarasam (Kuruku, white
1215
 210 TAMIL LITERATURE

heron) ete, the fourth Isai to the gallop of a big horse and to
the sound of the cymbal ; and the fifth Is:i to the buzzing of
the drone and to the croaking of the frog. It must be
remembered that each Isai falls into 20 subdlvislons, when
ahav:l and the other metres have an accession of short, long,
soft, hard, and medial letters, and the five Isai's make 5x20
=100 Vannams, Vannam, peculiar to Tami, results from the
surgence of letters, and it differs from Sanskrit chandam which
arises from the measure or quantity of letters. This book of
one hundred Vannams was probably based on the Yappu of
Avinayar. Tolkappiam meniions only 20 Vannams and these
do not taily with the vannama of this treatisa
This Karikai was annotated by Guna Sakarar, which
annotation was published some years ago by scholars like
Chandrasekhara Kavirsyar of Tillai Ambur, Kalashur Vedaghiri
Madaliar and others. Sivasambu Pulayar wrote a new com-
mentary laters Both these books are out of print, and a
third, enlarging and clarifying Guna Sakarar's, has been publish-
ed under the name of Viruttbi by Pandit Kumarasami Pi!Jai
of Sunnakam,
3. St. Pavananthi. Si. Pavananthi, a Jain ascetic
of Janakapuram, in the vicinity of Conjeeveram, and the
author of Nannul, lived abous A D 1205 and was the gon of
Sanmathi Munivar. He composed a grammar at the instance
of Sia-Ganga Amarabhovana, kirg of Klar in Mysore. Nanna
treats of Letters and Words, and, though ostensibly based on
Tholkappiam, it closely follows the arrangement of Pani-niyam.
Phe exordium to this popular treatise contains cauons of
criticism and pedagogies, derived from Tholkappiam, The
saint has in many places misunderstood Tholkappiar and
thereby spoiled the logiosi treatment of his work. In the firsb
section on Orthography Tholkappiar takes care to qualify his
statement that thirty letters make up the Tamil alphabet, in
the absence of short 2 and @ and ayudham. ‘ gperped
 SECTION IV. 911

கடையே, But Si Pavananthi omits the qualifying phrase

altogether and makes out the letters to be on'y thirty, The
philologica! importance of these three letters has been ignored,
Again, in the second division on Etymology he has made a
jumble of உயர்திணை ௨௦% அஃறிணை. The distinction of thinat,
according to Thoikappiam, is due to man’s appreciation or
depreciation of a thing or person} he says that it is ‘ makkal-
obuttu’ that makes ths difference, ‘uwdscr, Csat, scat owt
(இணை, மற்றவை யெல்லாம்‌ அஃறிணை? 15 ௬004608108], For
instance, a man or a God mag be of the high or of the low
elass acerrding as the speaker refers to it honorahly or dis-
honorably. Further, St Pavananthi has not understood the
significance of ax Gerd. He has given SanséQere, which
includes words derived from the north or words used by the
northern peoples and writers. Why should there be a sepzrate
Vada-sol? Tholkappiar means words used vy devotees or
tapasis, 88 ax_é@@ Sse signifies ‘to retire to the north for
penance or tapas’. The word ‘jathi' for deno!ing male and
female does rot occur in Tholkappiam in that sense. It
denotes the different orders of creation, endowéi with senses
from one to six, and is used in the old grammar with reference
to the things living in water ag contradistinguished from things
creeping or moying on land, These are but a few of the
discrepancies. This Jain work was annotated by ‘he author's
disciple, Samana Munivar, Sankara-nama-chivayar of later
times wrote an elaborate commentary on it) St Pavananthi
is said to have been a contemporary of Adjyarku-nallar-

4, Puttha-Mithirar : Vira Solium, called after

the Raja Vira-Chola of Pon-pattiyur, was the work of Puttha-
mitthirar, a Jain poet and chief. It contains chapters on
Letters, Words, Porul, Prosody, and Rhetoric the five-fold
division of grammar. In allthere are only 181 stanzas, The
grammariao has differed in some points from his predecessors:
212 TAMIL LITERATURE

திசழ்‌ -- ,சசச்சரம்‌ -- இசடசச்கரம்‌ ) Fp + Par = Fryar

These combinations find their explanation in this book’ It hag
been rightly doubted if Virasolium is not a later work, and if
the rules framed by the author to justify such unusual come
binations were not made in later times,
நாமே வெழு,ச்‌அச்சொ னற்பொருள்‌ யாப்பலல்‌ காரமேனும்‌
பாமேவு பஞ்சவதிசார மாம்பரப்பைச்‌ சுருக௫ச்‌
தெமேவிய தொங்கதந்தேர்‌ வீரசோழன்‌ நிருப்பெயராத்‌
பூமேதுரைப்பன்‌ வடநான்‌ மரபும்‌ புகன்றுகோண்டே?!.
Manya Chola King has borne the titte Vira Chola: as Vishnu
Varthan of the Kastern Chaiukya dynasty, and Parantakan
I, the Jain, must bave lived in the latter half of the 11th 0,
5. Kuna-Vira-pandithar. Nemi-natham, by Kana-
Vire, Pandithar, treats of Letters and Words, in 96 stanzas, and
the Etymology section contains nine sub-sections. The author
was a Jain, ‘Vacchanauthimalai,’ alias ‘Venba Pattu Zyal,’
dedicated to Prince Vacchananthi, another work by him, con-
tains 100 stanzis. It is said to be a float to cross the ocean of
Tholkappiam,
₹ தொல்காப்‌ பியச்சடலிற்‌ சொத்தீபச்‌ சூ.ற்றளக்கப்‌
பல்கார்கொண்‌ டாடும்‌ படவென்ப-பல்கோட்டுச்‌
கோமிகா மற்புலனை வெல்லுக்‌ குணவீரன்‌
தேமித। தத்தி னெறி, 7?
126088 % native of Kalathur in Thondai nadu, ‘Neminatham’
is also called ‘Sinnool’, Venba-pattu-Iyal tells us of the opening
auspicious words of a treatise, of the differert kinds of litsrary
works, ec. Neminuthan' is one of the names of Arukane
A pattu-Tyal treats of பொருத்தம்‌, எம்ப is of ten kinds-mangae
lam. sol, pi!, vzrunam, undi (e.einp), thanam, acham: nal, kathi,
ganam, and which is looked for in the first foot or @¢, Besides
the Panniru-pattiyal and Venbspattiyal, we have Ilakkans
Vilekka-partiyal, Nava-nectha-pattiyal, ete,
 PART IV

The Age of Literary

Revival

(800 to 1400 A. D.)

 IV. THE AGE OF LITERARY REVIVAL
800 to 1,400 A. D,
Introduction.—
Wheu tho religious persecutions took
place and famine desolated the land, literary culture was at a
low ebb, and there was a dearth of litersry productions. The
Brahminical influence began to bear sway, and the old classical
mcdels were forgotten, When the Sangam sge set, thera
follewed a night of literary darkness, which the dawn ofreligious
enthusiasm dispelled to some extent. When the religious
movement had worked itself out, there sueceeded another
period of prucity of original productions, During this long
period of two centuries the encyclopecic collections were made
and olessifiel. The literary activity that eet in in the way of
collections and compilations led to the translation of Sanskrit
works. Puranams ard Muhatmiams were rendered into Tamil,
and hyperbolical conceits, false metrical ornaments, and super-
stitious lore supplanted tha accurate descriptions of life and
nature and the poetic effusions of religious enthusiasm,
Riotcus imagination took the place of poetic commonsense and
religious fervour, and poetry of more words and less sense was
the result. The diffusion of Aryan ideas and Aryan literature
was at no time more respected and followed up with greater
avidity than in this age, The religious literature in Sanskrit
exercised an immense influence on the Tamilian religion and
philosophy, and a host of writers with a knowledge of the
foreign cult produced religious poems with a dash of the new
spirit, Besides the puranic ond the coloured religious literature
rendered in Tamil, there issued a series of medical and astro-
logical treatises, for the most part in colloquial or unliterary
Tamil, which brought debasement and degradation to the
noble literature of the past,
 THE AGE OF LITERARY REVIVAL 215

வெண்பாவிற்‌ புகழேந்தி பரணிக்கோர்‌ சயங்கொண்டான்‌

வீருத்சமென்னு, மொண்பாவி ஓயர்கம்பன்‌ கோவையுலா வந்தா.இிக்‌
சொட்டக்கூத் தன்‌, கண்பாய கலம்பகத்திற்‌ இரட்டையர்கள்‌ வசை
பாடக்‌ காளமேகம்‌, பண்பாகப்‌ பகர்சந்தம்‌ படிக்கா சலாலொருவர்‌.
பசரொளுசே ??,

SECTION I
The Great Trio
885 A. D,
Introduction,—Sir William Hunter remarks on the
unknowability of great men's names in every country and adda:
' Indeed,’ it is worthy of remark that several of the best Indian
authors, whether sanskrit or vernacular, have left no indication
of their names, As it was the chief desire of an Indian sage
$o merge his individual existence in the universal existence; so
it appears to have been the wish of many Indian men of letsers
of the highest types to lose their individuality in the school or
oycle of literature to which they belonged’. The Tamil poeta
are known alter their places of nativity cr after their composi-
tions, or they bear names of renown. The three great poets
who form the subject matter of this section are of this class,
and they were contemporaries.

1. Kamban, the poet of poets and the renowned author

of the immortal Tamil epic, Ramayanam, was, lika Shakespeare,
fancy's child. His Ramayanam takes a rank in Tamil litera-
ture equal to that of the Zliad of Homer in the litedature af
Greece. In Kamban’s poetry, thought and expression go band
in hand, His peculiar felicity lies in the ready and easy supply
of choice diction adapted to express the many-coioured woot
and shifting hues of thoughts and fancies. His work, especi-
ally Ramayanam, dieplays the full swing of his imaginatica
and the euriosa feltoitas of his diction, Grave moral reflectiong
 916 TAMIL LITHRATURE

‘on appropriate ovcasions, often in ‘ jewels five words long, on

the fore-finger of Time’ meet the reader at every turn Tho
melodious stream of his verse and the conscious harmony of
sound and sense, like # horse's ear and eye, keep tha reader
from ennui and tempt him to be ravenous. His wonderful
powers of desoription and narra‘ion coupled with his word-and-
epithet play to which the flexfh'e nature of the grammatical
structure of the Tami! lenguage lends aids are unrivalled,
Metaphors and similes and other choice poetic ornaments are 86
thick-strewn that balf a dozen of them may be found on
a single page taken at random, Passages on passages
from his epic iliustrative of these peculiarities will start into tha
memory of one who has rummaned over its pages.
Who ever read the padalam of Vati's sufferings, with.
out being touched by the sub‘ime and ¢rephic descriptions of
the cloud-capped trees with star-b'ossoms, the fiery combat of
the herole Va'i, the deep agonies of his unsuspecting soul, the
woeful lamentations of his aggrieved partner and, lastly, hig
own fulminations against Rama's cowardly and unjustifiable
course cf action ‘shooting at bim from behind)? Who ever
read the padalam on winter that was not impressed with
the
variations of. metre harmonising with the formation, passage
and mutations of clouds, the flash of lightning and tho roll
of
thunder, the down-pouring of rain and the Up-sprouting of
plants covering the earth with vegetation and feeding the eyes
and nourishing the mind with the one vast expanse of green
and
with the beauties of mountain, lake or river scenery and
what
not? Who ever read the pathetic lines describing the
seduction of Sité by Révana, her tribulations on her way to
Lanka, the day-dreems and ni,ht-visions of Rama and hig
musings on the separation of each other, and not deeply sym-
pathised with the wrench of their sorrows and appreciated the
poetic genius by means of which Kamban has made the object
of nature sizh wth the melodivus sigh of the parted
lovers?
 Sec, I, THE GREAT TRIO 217

Who ever reai the vivid description of the heaven-reaching

Henumén and his diminutive satellites and their passage to
Ceylon and was not pleased with the conflagration of Ravana's
capital and the utter desolation of his regions or not elated
with the happy deliverance of Sita rnd her bliss in her lover's
arms once more?
Homer's Iliad and Kamban’s Ramayanam have women
at the bottom of the trouble—in she oi ¢ case the elopement
of Helen of Menelaus with Paris of Troy and in the other,
Site of Bama forced away by Ravena, the ien-faced and
twenty-shouldered Rulercf Lanka. The two sublime epies have
one great end~ the recovery of the lost wives) To obtain their
release, old Troy, on the one hand, and Lanka, on the other,
were laid in ashes.
Kamban's Ramayanam is an adaptation of Valmiki's.
According as the occasion required abridgement or elaboration,
Kamban sut off portions from the original and dilated where
the author had treated the subject inadequately. He expanded
the succinct account of Rama‘s marriage over five chapters, by
describing the nrkrch of the imperial army and the revelry on the
way; he cut off the tedious account given by Valmiki of Rama’s
departure to the desert and made it more dramatice Furtber,
he «dded something of his own to the plot, to wit, the Iranya-
padaiam, and showed the masterly hand of a great epie poet in
its execution as be was free and unfe-tered by the trammels of
his original Anent this, the Rev. Bower wrote; “ We hava
read roth Valmiki and Kamban, and at times we were ata loss
to know to which of the poets the pa'm of victory was to be
assigned. Valmiki is diffuse and simple, Kamban abridges
but elaborates: There is a profusion of ornament at times, here
and there, abounding in beautiful toushes of expression. "
Kamban's indebtedness to hia predecessors in the poetic
Hine might be easily traced. He had drunk deep in the founts
பப்‌ TAMIL LITERATURE

of Kurral, Chintamani, Kandapuranam, and Sekktlar’s Peria

Purenam, (Kurral—vide 62, 66 Khish Kinda 6-10, 82 Manthira,
10 Kuka, 8 Agasthya, 16,29, 34 Velvi 215, Oor-thedu; Chinta-
mani—4, 10,14, Nakarapadalam; Kandapuranam—31, 22 of
Attuppadalam 6, 14 of Thiru Nakarappadalam 3 Perta-Puranam
—15, 17 of Nattuppadalam é&o-
₹ சரைசெறி சாண்டமேழு கசைசளாயிர,ச்‌ ெண்னூறு,
பரவுறு சமாம்பத்து படலா த்‌. ரப, தெ்டே,
யுரைசெய்‌ு விறு,ச்சம்‌ பன்னி ராயிர,ச்‌ தொருபச்சாறு,
வரமிகுசம்பன்‌ சொன்ன வண்ணமும்‌ தொண்னூ ற்ரறே.?)
The history of the composition of Kamban’s Ramayanam
and of its formal sanction by the Vaishnava Brahmins of Sri-
rangam takes us to a brief sketch of its author's life and works,
The very name Kamban has an interesting history of its
own. One account of it gives us that Kamban was the son of
aking of Kombanadu, His father was put to the sword by a
party of insurgents against his dceminions, and his mother,
then big with the child (Kamban himself}, fled in horror to
Tiruvalundur, took refuge in a Kamban's (otchan) house and,
while there, delivered the future poet. A second story denies
his royal birth and puts him down as @ caste kamban. A third
tradition traces his name to the flag-staff or the kambam or a
Yong pole in front of a Hinuu temple, in front of which the
child was given birth to by a Brahmin adulteress and to hig
having been taken in that forlorn state and brought up by the
holy priest of the temp.e, by caste, a Kamban. A fourth one
felis us that be had a stick in his hand when he watched a field
of Kambu, a grain, A filth states that he was a devotes of
Ekamban, the presidiag dei*y of Conjeaveram. How far these
accounts are fuunded on facts, it is not possible for us to say:
but we can vouchsefe this much that, whatever the story of hig
birth, he was at any rate bred »p by a oaste Kambaz till his
 Sec. I. THE GREAT TRIO 219

seventh yeat, Then Sadayappa Mudaliar, a rich and generous

landlord of the fertile Vonnainaliur, took compassion on the
mother and her child, invited them to his village and supplied
them with the nesessaries of life, The child grew into a boy
and began to kill time with the neighbouring shepherd lads,
His mother, aggrieved et the useless life led by her son, told
him to xccompany Sadsyapps’s children to school with their
books- Accordingly, the boy Kamban followed his patron's
sons fo school aud was learning his lessons properly. 0௦5
day, the schoolmaster sent Kamban to watch his field of
kambu at Vairavapuram; The boy fatigued by the noon-day
heat, fell asleep in a Kali temple adjoining it and dreams that a
horse had destroyed the crop. Suddenly, he awoke and ran to
the field where he found that his dream was a reatity ; he
cried at the top of his voice to seare away the horse but cou'd
not doit. In terrible fear of the schoolmaster's rod, the boy
wept bitterly, when the neighbouring Kali appeared to him and
impressed his tongue with the gift of learaiage The boy broke
out in a song at which the horse fell down dead. When the
seboolmaster saw that the dead horss belongei to Kailnga-
royan: the ruler of the country, he was beside his senses with
the probably terrible soassquences of his death, Observing
the distracted condition of his master, Kamban made a slight
alteration in the last line of his stanza and the dead horse got
up. The news of this vivification reached Kulo-Tungan, a
Chola king, who immediately sent for this gifted boy. The boy
with
a stick in hand appoard before the king who wondered
whether that boy (with a stick in hand = kamban) had wrought
the miracle. This circumstance coupled with his watch over
the kambu fiald formed the basis of a fourth account of the
origin of his name, The Maharajah heard the story of the
young Kamban from the lips of his patron Sadayappa and urged
him to bring him up with more care and attention, The Maba-
rajah’s son appreciated the boy’s worth, took him to Uraiyur
 220 TAMIL LITERATURE

and xegistered bim as one of the Samasthana vidvans. Young

Kamban reached manhood, when Sadsyappa duly celebrated
his marriage.
At this time a thought flashed on the mind cf Sadayappa
that a translation of Ramayana in Tamil wes a long-felt want,
avd that no other than Kamban was equal to the task. He
communicated his idea to his protege, who applauded his suz-
gestion and promised to execute the work as desired. But ibe
execution of the work was pnt off Sadayapps, displeased with
his postpouemest, suggested to the King that a Tamil Rama-
yanam was indispensable that Ksmban was the on’y one who
could answer their expectations, and that, but for competition,
Kambin would not gird himself in earnest to the work, The
King, therefore, ordered both Kamban and Ottakkutthan, the
poet liureate, to begin the translation Ottakkutthan set to
work at once and finished six cantos in about six months,
whereas Kamban had not made even the invocation until then.
Both were sent for and questioned by the King as to how far
they had gone on with their work, Otta replied that be had
finished five cantos and begun the padalam entitled the Sight
of the Sea in the sixth canto Whereupon Kamban, thinking
that be should not fall back of Otta, answered that be had been
somposing the padulam entitled Setw Bandhanam The Chola
King asked Kamban to rehearse one of his stanzas: upon which
be gave out impromptu:

குமு,சனிட்ட குலவரை கூத்தரிழ்‌.

திமித மிட்டு,ள்‌ இரியும்‌ இிரைகடத்‌
ots மூர்புக வானவர்‌ துள்ளினார்‌
அமுத மின்னு மெழுமெனு மாசையால்‌.

In this quatrain, Osta took objection to the word Tumé in

line three, a pure coinage of Kamban’s brain, for Tulé (a drop)
and challenged Kamban to show bim the use of that word
 8zc. I. THE GREAT TRIO 221

either in books or as a collequialsm. நீறு this strait Kamban,

firmly relying on the opportune help of the Goddess of
Learning, took Otta and Kulotunga Chola, the next morning,
along the shepherd-street, when Namagal appeared in a ruined
cottage and, churning milk, told her little ones to be at a
dictance, lest Tumi (drop) should fall on them: Otta was
astonished to see that the said cottage hitherto in ruins, bad
a denizen to help out Kamban and then accepted his superior
worth. Discountenanged by this circumstance and the way
in which the people lauded him [Kamban], and his verses to
the skies and himself convinced of his excellent pest-c power,
Otta destroyed the first few cantos of h's Ramayanam, the
fruit of his hard labour during six or seven months, and had
juot taken on hand the seventh canto when Kamban, chancing
to pass by the street, put in bis appearance avd arrested hig
work of destruction with the idea that Otta’s seventh canto. if
added to his first six oantos, might be a set-off to his own pro-
ductions, Thus securing Otta's seventh canto, Kamban listened
all night to the translations glven by the Brahmin Zealots of the
stery of Rama by Valmiki, Vasisbta an? Bodhayana, and exeou-
ted the first six cantos in a fortnight at the rate of seven hundred
stanzas aday. On the corpietion of the work Kamban took
his epic to Stirangam with the permission of Kulotunga Chola
and his patron Sadayappa to show it 10 the orthodox Vaishnava
Brahmins of the locality. The Brabmins, whose pride knew
ne bounds, told Kamban that, before they would reecgnise big
work, he must take tothem the commendatory verses of tha
three-thousand saints at Dillat or Chidambarm. Accordingly,
Kamban visited tbe sagea who told mth , unless the three-
thousand sages assembied in a poricular place. the formal
ganction for ‘his work would be impossibe, This bard task
Gisheartened him and he knew not what todo, Happily the
very next days the son of a certain colleague of the sages died
of the bite ofa venomous cobra and all the three-thcusand
222 TAMIL LITERATURE

sages met to condole with the bereaved father, At this

jancture, Kamban appeared on the spot and read some stanzag
from the Ndgapdsa-padalam of bis epic, when the boy gradual+
ly recovered his life. The sages, deeply impressed with the
divine grace of his production, gave their united consent and
their encomiastio verses for it and bade him a happy farewell.
On his retutn to Srirangam, the Aiyangars, still bent
upon heaping Ossa upon Pelion before Kamban: sent him to
Liru-Narunguntam to receive eulogistic verses from tha reputed
Jain Pandits there To satisfy those refractory Brabmins,
Kamban visited them too and apprised them of the object of
his visit. They appreciated the supreme excellence of
Kamban’s valuable work, received him with great enthusiasm
and bestowed on bim tokens of their recognition and approval.

Not satisfied with it, the Vaishnavites still demanded from

Kamban the formal acknowledgements of the merits of hig
epic by Karuman of Mavandoor, by Anjanaksbi, a learned
danomg-girl of Tanjore, ond by Ambikopati. his dear son,
Kemban obtained their laudatory verses and returned once
more to Srirangam- There in the thousend-pillared mantapa
were assembled Kings, Vedie Scholars, Sanskrit and Tamil
Pandits, In the midst of them, Kamban set his work and
rehearsed his stanzas with appropriate o:mments at intervals,
The Pandits interposed with their objections and roceived
eatisfactory answers from him.

One of these oritios was Sri Natha Muni, He objected to

the intersporsion of panegyrio stanzas on Sadayappa, a mortal,
in the sacred epic of the divine Rama, to which Kamban
adduced the following two reasons in reply. Ftrst, Sadayappa
was big patron-lord. Secondly, when Sadayappa came to wit-
ness Ambikspati's marriage the nobiity and the gentry had
thronged the hall and no room could be found for him, Fearing
 Sec. I. THE GREAT TRIO 223

to incoyenience the assembly be took hig humble seat in the

bathing-pit. Kamban’s wife noticed this and asked him if he
could not find a better place for their generous benefactor.
Kamban’s reply was that he would surely do it and, im
accordanea with his promise, Kamban introduced the name
Sadayappan once 'n every hundred stanzas. Pleased with the
gratefulness of the poet but tickled by vanity, the Muni urged
that the insertion of the patron’s name once in every thousand
sianzas might amply repay hls debt of gratitude to him,
Kamban agreeing to do so, all present se’ their seal to the
importance of the work and took leave cf Kamban-
Kamban was a native of Thiru-Valunthur and son of
Athithar and had Sadayappa as his patron. He lived sixty
years and left the King’s court for the cruel capital punishment
inflicted on his son Ambikapathi, He visited Kongu Nada
and died in Madura. ¢ கல்வியிற்‌ பெரியன்‌ கம்பன்‌,? *சம்பன்‌
சட்டுத்தறியுல்‌ சவி சொல்லும்‌,! * கவிச்சக்கரவர்‌.தீஇ? 11௦௦௦ கவஷர்மத5
refer to his poetic genuis and to his eminence asa poet of
poets. He wasevidently a Saiva and took up the story of
Ramayana to please his patron, All his invocations are to
the primal Divinity, and the expressions fonnd in the body of
the work are more in favour of Siva. His indebtedness to his
patron finds expression in many places. Here area few of
them}
* மண்ணவர்‌ வறுமை நோய்க்கு மருந்‌ சன சடையன்‌ ?.
* மழை யென்றா சக்கை சொண்ட கொடை மீளி.
These express his munificence, He has sung the praises of
Vellalas whom he admired so much in Ereiupathu (@@oaptigs)
and Thirukkai-Vilakkam. ‘Sadagopar anthathi’ is another
work of his. He found the Ramayana narrative in the
Sanskrit epic originals but the morality is that of the epic
in the Tamil Nadu. “Wherever Valmiki related un ugly fact
 224 TAMIL LITERATURE

Kamban improved it and made it acceptable to the Tamil

world. For instance, the manner in which Ravana abducted
Sita and the words uttered by Sita on the information received
of her husbard’s exile would convince the reader of the
difference in treatment by the two epicists. | Wherever
Valmiki was J'ffuse and simple, Kamban abridged but
elaborated, and instances of such abridgement and elaboration
will occur to the reader.

The story of Ramayana is well-known. It is said to

symbolize the Aryan conquest of South India. The mutilation
of Surpanaka in her own dominions of Janasthana and
Dandaka as Vicerene of Ravana, the alliance made with
Sugriva the usurper and Vibishna the treacherous brother or
deserter of Ravana, who desired to be king by “ook or by
crook, bespeak the low morality of the Aryans and the
cowardice and covetousness of unnatural brothers, The re-
Presentation of the people of Kishkinda as monkeys, whose
aid and counsels were nevertheless sought by the noble
Aryan heroes, is typical of the audacious Aryan haughtiness,
and Kamban merely followed it, probably not to wound the
feelings or susceptibilities of the Vaishnavites. The alleged
monkeys were vegetarians in the main, and Siva worshippers,
like the Rakshas or ‘ protectors ’ of peoples who were addicted
to meat and drink, ‘he ten-faced and twenty-armed Ravana
was apparently a very intelligent and valiant lero, a cultured
and highly civilised ruler, knew the Vedas and
was an expert musician, He took away Sita according
to the Tamilian mode of warfare, had her in the Asoka
woods companioned by his own niece, and would not touch
her unless she consented. The exile of Rama and the installa.
tion of Bharata are often condemned, but those who would
vead the original and find out the fact that, when Dasaratha
 xo. I. THE GREAT TRIO 225

married the war-like king, Kekayan’s daughter. it was on the

distinct understanding that she should be treated as ‘@uss#
and that her own son should succeed to the throne. Kuni or
Mantharai merely reminded the queen of Dasaratha’s original
promise and was anxious that a princess of the first quality
who had married a king of equal rank and status should lose
her high station and be merely a co-wife without the para-
phernalia due to her while she had an exemplary son.
R. C. Dutt treats the epical story as a myth. “ Like the
Mahabharata, the Ramayana is utterly valueless as 4
narrative of historical events hnd incidents. As in the Maha-
bharata, so in the Ramayana the heroes are myths pure and
simple”. He adds that the carrying away of Sita, the
furrow-goddess, to the south, means but an extension of
agriculture to the southern regions.
There are two phrases associated with the name of
Kamban, and they are, ‘Kamba sutram’ and ‘ Kamba-
chitram,’ Mr. Chelyakesavaroya Mudaliar interprets the
former as the bad syntax of Kamban involving entanglement
of sense and needing subtle exposition. Others take it as
meaning passages embodying subtle sentiments and thoughts
which are hard nuts to crack. A third set of his readers
explains it as meaning his careful use of the same epithets and
phrases descriptive of persons and places in different parts of
the poem, which only the careful reader can discern and
admire. The other, ‘ Kamba-chitram,’ is used to denote the
beauty, suggestiveness, and ornamentation of his stately
verse:
“பஞ்சி யொளிர்‌ விஞ்சு குளிர்‌ பல்லவ மனுங்கச
செஞ்‌ செவிய சஞ்சசிமிர்‌ நேடி யளாஏ
அஞ்சொ விள மஞ்ஞையென வன்னமெனு மின்னும்‌
வஞ்சி யென ஈஞ்சமென வஞ்சமகள்‌ வந்தாள்‌.)
IDS
226 TAMIL LITERATURE

This verse describes Surpanakai’s beauty and gait. What

follows is uttered by Sita in her desperate state in Lanka
about Rama and Lakshmana, who had not come to rescue her,
வல்வியன்‌ மறவர்‌ வடுவிழ்‌ நீர்பவர்‌
வெல்விலும்‌ வெல்க, விளிந்து வீடுக.2?:
Sita, however, consoles herself that her curse will not
take effect as she had left her husband’s home and been in the
bands of a ravisher :
ஈஇல்லிய லற.த்தை யானிழக்.து வாழ்தலின்‌.
சொல்லிய வென்மொழி யவரைச்‌ சகூற்றுமோ.!?.
A critic has observed of Indian poetry. ‘“ Pathos and 877266.
ness, rather than vigour, are the characteristics of Indian
poetry. They are not thoughts that breathe and words that
burn so much as thoughts that ple»se and words that ch im.”
The grandeur of Kamban’s sintls has alrady been
adverted to. The Ganges, ,+72q in the Himalayas, ramifying
and then entering the sea, is likened to one God, spoken of
as different deities and worshiped in different places, but ali
tending to the one self-same cause. (gpmnnend, 19), The
water of the tank Pampai was as deep and clear to the exiles
as the thoughts embodied in the numbers of great poets.
Kamban’s paronomasias are charming,
* உள்ளமே துப்பெனில்‌ துப்புடையாதைம்‌ Gare guCssir?
"FISD நாகா காண ஈடந்சான்‌ ?.
*ஸிலங்கானே ஞதவினால்‌ விலங்னேன்‌ ?
உன்‌ சழு,த்தின்‌ ஒணுன்‌ மகற்குக்‌ காப்பின்‌றணு மென்றான்‌ ?
Awordabout Kamhan’s licenses with words and names,
Rama is mentioned as Alakan, Ahalangan as Amalan,
Makkumanan as Ilakkuvan, Akaliaias Aliyai, NArayanan as
Narayanan, which last stirred up Kalamekam to satirize it in
this stanza :
 Sro, I. THE GREAT TRIO 2227

** நாராயணனை நராயண னென்றே கம்பன்‌

ஓராமற்‌ சொன்ன வு.று.தியால்‌--கேராக
லாரென்றால்‌ வர்சென்பேன்‌ வாளேன்னால்‌ வள்ளென்பேன்‌
நமனென்ருல்‌ நர்சென்பேன்‌ கான்‌.)
கக்குபு (0851 நலா1ம்0ரற16) is used in the sense of sés, an
infinitive; பிரசம்‌ 801 பிரேதம்‌ (13௧1118021, 133); மானுயர்‌ 102
worgyt (Ninthanai padalam) 50), தாய்‌ சக்தென்ன 101 சாய்‌
sit@sQuerer, (Kaikesi sul-vinai 29), Gourusr as verb from
Sanskrit, Wmgg tor Youu dg, etc.
Social distinctions rampant in these days were unknown in
the days of Rama, who was not apotheosized then, Rama
shook hands with Guha, performed funeral rites for Jatayu,
lived freely with the monkey allies, and feasted them and the
Raksha ally, Vibishana, as fellows, and bosom friends on his
return to Ayothia. With Kamban, the idyll of peasant life
and habits was more consonant with his tastes, and the story
of the water-drawer at the well counting the buckets and
crooning his ditty, ‘One hundred twenty and two on the leaf
of the bamboo’ illustrates it. The illustrious genius could
not make out the connection between the lines. He waited
till the next morning when the drawer resumed his work and
his ditty and said ‘sleeps the drop of dew’. Kamban, in a
flash, put the two lines together. ‘On the leaf of the bamboo
sleeps the drop of dew,’ and made out what he had meant,
In point of characterisation the Tamil epic is far superior to
the Sanskrit original. Sita is a caste lady faithfn! to her lord.
Rama, the deified Rama, has his specks. He has not the
courage of his conviction and falters in crises, Bharatha may
be said to bo Kamban’s ideal of a great man, anda collation
of lines in different parts of the epic as spoken by different
characters reveals this fact and confirms the statement, and
Rama pales before him into insignificance,
228 TAMIL LITERATURE

“சருமத்தின்‌ சேவை, செம்மையினாணியை? (18102)

ஆயிரம்‌ இசாமர்‌ சின்‌ கேழ்‌ ஆவரோ (Guha),
எண்ணில்‌ கோடி இர£மமர்க ளென்னினும்‌
அண்ணல்‌ கின்னருளுச்‌ கரு காவரோ
புண்ணியமேனு மன்னுயிர்‌ போயினல்‌
மண்ணும்‌ வானுமுயிர்களும்‌ வாழுமோ (108820).
+ சள்ளரிய பெரு நீதிச்‌, சனியாறு புசமண்டு
பள்ளமெனுச்‌ சகை யானை, பா,சனெனும்‌ பேரானை,
என்ளரிய குணத்சாலு மெழிலாலு மிவ்லிருக்‌,ச
வள்ளவையே யனையானை கேகயர்சோன்‌ மகள்‌ பயந்தாள்‌??'
(Marai Munivar).
The poet presents Hanuman as a great Dravidian
hero and admires Ravana, despite the disparagement
of the alleged seducation of Sita, not merely as a physical
and an intellectual giant, as a great administrator and leader
of men, but as a man of his word and an expert in Yal
performance, which he symbolised by inscribing a Veena on
his flag or banner.
Kamban was elevated into an Alwar by the orthodox and
his name is generally connected with his place, ‘ Kambanadan”
and ‘ Kambanattalwar ’ are the names by which the poet is
referred to byhis ad mirers.

Kamban’s Works. The st-ry of Remayanam is

so well-known that :t need not be related here. However, we
give its argument briefly:
Dasaratha, King of Oudh, offered in his ol] age a horse-
sacrifice for getting children, Me was given fcur sons at once,
the chief of whom was Rama, He vanquished demons with
eelestial weapons and won S.ta by snapping her father's long
strong bow which was drawn on an eight-wheeled oarriage by
 Src, I, THE GREAT TRIO 229

a team of 800 men. The time came for the installation of

Rama, when Kaikeyi, reminded by Kuni, asked for the twofold
boon promised by Dasaratha, To keep up his word, the mis-
guided Dasaratha sentenced Rama to four’een years’ exile.
Rama retired with Sita and Lakshmana to the Deccan forests,
where, after many adventures, he came in conflict with Ravana,
King of Lapka, cailed the Rakshasa Monirch of the earth, ‘at
whose name Heaven's armies flew.’ The Jatter had by sorcery
and stra'asem seized on Sita and carried her off in bis flower-car
through the sky to his island, Rama allied himself with Sukriva,
King of the monkeys, and, accompanied by his monkey-general
Hanuman ard forces, proceeded southward They bridged the
straits, overcame the Rabshasas, siew Ravana, recovered Sitay
and sent her through the ordeal of a blazing fire to ascertain
whether she bad preserved her purity. His fourteen years’ oxile
baving expired, Rama then returned home, where his throne was
placed at his dispusal, but be, keowsng himself to bea divine
incarnation of Vishnu, instead of sitting on it, returned to
heaven.
Kambau's other works are Sadagopar-anthathi and Saras-
wathi-anthathi, which show respectively the master and juvenile
hand of the author, and Erelupathu in praise of agriculture
and the lord of lands, viz., Thavalakiri Mudaliar or Sadayappa.
Sem-pon-silai—Elupatbu, Kanchi-Puranam, Kanchi-Pillaim
‘Tamil, Chola - Kurra - Vanji, and Thirukkai-Vilakkam assem to
be spurious,
A glossary of difficult and obsolete terms and a handbook
of peculiar ellipses, inversions, figures, and erroneous syntax
occurring in the epic will be useful guides to the Tamil reader,
A careful reading of it will discover that, though the epic
celebrates the life and exploits of an Aryan King and is there-
fore expected to present the bright side of the picture; it ix
full of side hints as to the superior civilieation of the Dravidiang
230 TAMIL LITERATURE

to that of the Aryans, Tho spirit of vengewace seems to have

been @ marked characteristic of the Aryans; whereas clemency,
kindliness, hospitality and toleration were the virtues of the
Drayidians. One may simply glance at the treatment of Thadaka
and Surpanakat by Rama and at that of Sita by Ravana; in
order to find out the contrast.
The chief of Kamban’s disciples was Ekambavanan. Hig
mame was compounded of Ekan, Kamban and Yanan, Vanan
was his father, a rich landlord; his wife died a few days after
Ekambavanan's birth When Vanan was at the point of death,
he appointed his faithful Adam, Ekan, by caste a Pariah, ag
kis son's guardian and entrus ed him to his cave, Ekam placed
the minor under the tuition of Kamban and the pupil in time
became a first rate scholar in Tamil. In honourable commemo-
ration of his guardian, tutor and his own father, the ward made
one name out of the three and was ever after known In the
world under that names
One day the three kings Chera, Chola and Pandia called
at Aikambavanen's house, when his wife tald them that he had
gone to the fields, They cracked « joke that perhaps Ekamba-
yanan had gono to plant the fields. His wife, a genius herself,
was inuensed at their ridicule of the agricultural operations and
despatched to "hem the following satiric ines t—
சேனை சழையாக்‌ரச்‌ செய்குருஇ ரீர்தேச்‌.
ஆனையிதிச்ச வருஞ்சேற்தில்‌--மானபரன்‌
பார்லேக்ச னேசம்ப வாணன்‌ பறி.தீதுஈட்டான்‌
மூவேந்தர்‌ தங்கண்‌ மூடி.
Ekambayanan returned from the fields and was apprised of
the Kings’ visis and of her words addressed to them He went
in pursuit of them and, with the help of a drudging gobiin,
incarcerated them, They paid him homage: and obtained their
release: Neither Ekambavanan nor his wife has left any literary
production:
 Sec. I. THE GREAT TRIO 231

This story of Ekambavana has been eeriously questioned

and declared incredible, He was not a contemporary or
studentof Kamban. He was probably a general of King Vid-
yatbara’s forces when they marched againet the Pandiyan King
Seevala Maran three centures and a half ago.
2. Ottak-kutthan, A contemporary of Kamban was
Ottak-kutthan, whose Uttarakandam w'nds up the Ramayanam
of Kamban This rival of our great poet derived bis name from
the following circumstance :—
A number of his caste men urged him to compose a poem
in praise of their-antiquity aud of their racial excellonces and
promised him a fortune for h's labour. He demanded the heads
of seventy of their first-bora and they accordngly brought
them in» basket and placed the basket at the holy entrance
of Chola’s palace. Otta took his seat on the heap of the dead
firstlings and composed Hety-Hlupathu (Spear Seventy). His
address to Sarasvati at the end of the poem brought about the
reunion of the heads to their respective bodies, and the dead
firstlings awoke as out of a trance.
If Kamban‘was strong in his stately viruttams and resem
bled Milton in his diotion and rhythm; Ottakutthan was a
severe oritio of poetry and an expert in making anthathi, Kovai
and Ula-
Otta was envicus of Kamban's genius. Though Kamban was
condescending to Pubalendi, he a'ways cherished a contempt
towards Otta, When be heard of Kamban's death, he broke outs
இன்றைச்கோ சம்ப னிறக்தகா ளிப்புவியில்‌
இன்றைக்கோ வென்சவிசை யேத்கு காள்‌--இன்றை.
பூ மடந்தைவாழப்‌ பொறைமடர்தை வீழ்திருச்ச
நர மடந்தை ஈாணிழக்த காள்‌!)
Thig shows bis inver appreciation of the merits of Kambau
as the Emperor of Pee's.
232 TAMIL LITERATURE

$3. Puhalendi A this stage, the history of Otta

merges into thatof Puhaléndi, and a brief account of their
rivalry will, we hope, do full justice to them both. When
Kulotiunga Chola's father was in bis desth-bed, he installed his
son as king and died laying on Otta the onus of contracting his
80n’s marriage with a princess of the lunar family. Agreeably
to his wishes, Oita proposed the hand of the Pandian’s daughter
and visited the King in Madura, The Pandian king. puffed
up with self-importance, asked the foreign court-poeb how his
prince deserved the hand of his princess, Otta expatiated on
the excellences of his Cho's country as follows :—

சோச்துச சொப்போ சனவட்ட மம்மானை

கூறுவதங்‌ சாவிரிச்கு வையயோ வம்மானை
ஆருக்கு வேம்புசிக ராகுோ வம்மானை
ABs னுக்குநிக ரம்புவியோ வம்மானே
வீரர்ச்சூள்‌ வீரனொரு மீனவனோ உம்மானை
Bars புவிச்சொடிர்கு மீன்கொடியோ வம்மானை
ஊர குறர்தைகிசர்‌ கொரழ்கையோ லம்மானே
ஓக்குமோ சோணூட்டுக்குப்‌ பாண்டிகா டம்மானை !

Whereupon Puhalendi, the poet-laureate of the Pandian

court, described his country and its virtues in the following
terms

தருநூனிவ னேரியிலோ வுரைசெளிக்த சம்மானை

ஓப்பரிய இருவிளையாட்‌ டஇறந்தசையிலோ வம்மானை
'திருநெடுமா லவதாரஞ்‌ சறுபுவியோ வம்மானை
இவன்முடியி லேமுவதுஞ்‌ செங்கதிரோ வம்மானை
கரையெதிரே வேதியது சாவிரியோ வம்மாளை
சடிப்பகைச்குச்‌ சா,சயெல்‌ கண்ணியோ வம்மானே
பரவைபடிட்‌ சதஞ்சோழன்‌ ப,க்சளனிலோ வம்மானை
பாண்டியனார்‌ பராச்சொமம்‌ பகர்வரிசே யம்மானை1
 80, 1, THE GREAT TRIO 233

Vexed at heart with the opposition of Pubalendi, Otta

returned home and told his master of the success of his mission
The king trusted Otta with the wise and just government of his
kingdom in Ins absence and set ou! for Madura for the consum-
mation of the marriage devoutly wished for, The marriage was
solemnized and the king, with his new partner, returned to bis
country. Tho Pandian king bestowed Pabalendi also as dowry
for his daughter. Pubhalendi’s presence in the palace of Chola
induced Otta to feed fat his ancient grudge againsthim Otta
informed the king of Puhalendi’s disparagement of the Chola
country during his mission to the Pandian Court. Kulottunga
kept Otta’s information confidential and called upon both the
posts to compose a stanza each. In this trial, Pubalendi
wroté in no praiseworthy terms of Chola and, like the elepbant
that throws dust on itself, gratuitously incurred the displeasare
of the king. Otta struck the iron while hot and managed to
incarcerate Puhalendi. One day while Pubalendi was upstairs
the prison-house, the king noticed kim and asked Oita of his
merits, Asa rival poet, Otta ran him down as follows :—
மானிற்கு மோவிர்‌ச வாளரி வேல்கைமுன்‌ வற்றிச்செத்த
காணிற்கு மோவிவ்‌ வெரியுக்‌ சழன்ரூன்‌ கனைகடலின்‌
மீணிற்கு மோவிந்‌ச வெங்சட்‌ ௬.றவமுன்‌ வீசுபனி'
சானித்கு மோவிச்‌ கதிசோ னு தய,த்‌இத்‌ ரூர்மன்னனே!
Bearing the gasconade of Otta, Pubalendi, according to
the wish of the sovereign, used nearly the same words and beat
him out:—
மானவ னானந்ச வாளரி வேங்கையும்‌ வத்திச்செத்ச
கானவ னானவ்‌ வெசியுந்‌ சழதுலவ்‌ சனை கடலி ௪ -
மீனவ னானந்த வெங்கட்‌ சு றவமும்‌ வீசபனி
தானவ னானச்‌ சுதிரோ னுதயருக்‌ சார்மன்னனே|,
The sovereign duly appreciated Puhalendi’s wonderful
poe ic talent in turning Otta’s verse into his own and impregnat-
 234 TAMIL LITERATURE

ing it with better significance Neverthe'ess, his admiration for

Otta was still unabated. Otta basked in the sunshine of royal
favour, and Puhalendi continued to be in prison. Bus
Puhalendi did not trifle his time in the prison-house. Like
Goldsmith's Vicar, he utilized it in educating his six fellow
prisoners of differing social ranks imprisoned long before him
for their failure to answer satisfac'orily the king's queries
during vhe past Navaratri festival. Besides, Puhalendi is said
to have embodied the chief incidents of Mahabharata in the
most simple and intelligible language in Alli Arasanimalat,
Pavalak-kodt-malai, Pulandhéran Kalavumalai, Subhadraimalat,
and Viduran Kuvam, and to have enlisted in his favour the
sympathies of the commonalty who, enamoured of his attractive
works, fed him with plenty and kept the wolf far from the door,
He allowed the guards their share and was treated by them
with respect and kindness, Thus, even in his ‘ durance vile .
Puhalendi passed his days otium cum dignétate.

The Navaratri festival recurred, and the king ordered the

six prizoners, to wit, a potter, & barber, 2 blacksmith, a geldsmith,
a carpenter, and an agrieulturist to be brought before him,
Puhalerdi sent them one after another headed by the potter.
On his arrival, Otta asked him rather arrogantly:
மோனை முத்தமிழ்‌ நூம்மதம்‌ பொழி
யானைமுன்வர்‌ தெதிர்‌ச்சவ னாரடா ?

To which the polter replied«

கூனையுக்‌ குடமும்‌ குண்டு சட்டியும்‌
பானையும்‌ வனையுல்‌ குசப்பயல்‌ யான்‌.
Though expressed in bumble lanynage, it hardly failed to
shatter Otta’s hopes. Next ceme the equint-eyed barber, who
answered Otta’s question.
 Szo. . THE GREAT TRIO 235

விண்பட்ட கொக்கு வல்லூரு சண்டென்ன விலவிலச்கப்‌

புண்பட்ட நெஞ்சொடு மிங்கு நின்றாய்‌ பொட்டையா புகல்வாய்‌?
with an air of haughtiness, thus;
சண்பொட்டை யாயினு மம்பட்டனான்‌ கவிவாணர்‌ முன்னே
பண்பட்ட செந்தமிழ்‌ நீயுக்‌ திலக்டெப்‌ பாவனே.
The third in the series was a blacksmith, whom Otta asked
as to his whereabouts, to which his answer was haughtier than
the barber's:
செல்வன்‌ பு,சல்வன்‌ றிருவேம்‌ கடவன்‌ செசச்குருவாம்‌
கொல்லன்‌ சவியைச்‌ குதைசொன்னபேசைச்‌ கு நடசொண்டு
பல்லைப்‌ பிடுக்இப்‌ பருந்தாட்ட மாட்டிப்‌ பசைவர்‌ முன்னே.
அல்லும்‌ பகல மடிப்பேன்‌ சவியிருப்‌ பாணிகொண்டே.
Disconcerted by this shuddering reply, Otta asked the
carpenter who followed him, who he was, and received the
following rep'y*
சொன்ன சர்தச்கவி யாவருஞ்‌ சொல்லுவர்‌ சொத்‌ சுவைசேர்‌
இன்ன சந்தச்சவி யேசென்ற போதி லெதர்‌,ச்‌ சவரை
வன்ன சந்தங்செட வாயைச்‌ இஜித்திந்த வாய்ச்சி யினா ற்‌
சன்ன சந்தங்‌ சளினிழ்‌ சவியாப்பைக்‌ சடா வுவனே |

Undaunted by this sharp reply, Otta still continued his

examination and asked the goldsmith of his history. He replied ;
தரி வட்டக்குடைச்‌ செல்கோலபயன்‌ செழுஞ்சிலம்பித்‌
பருதி யொட்டச்கூத்த பட்டனைகா னட்பணைக்‌ சவியின்‌
மிகு; வொட்டத்தட்டி விட்டகையோட்டி லுருச்சக்கு இப்‌.
புகு, வொட்டத்சட்டி மேலணுகா வண்ணம்‌ போர்செய்வனே,

This insulting reply out him to the quiok and made him
hold his peace. As the poet-taureate of the court, he was bound
fo proceed with it, and softly asked the agriculturist, who
236 TAMIL LITERATURE

¢ame next, whether he too was a poet and could make rhymes,
Hie reply was:
கோக்சண்டு மன்னர்‌ குரைகடற்‌ புச்‌லர்‌ கோகனசப்‌
பூச்கொண்டு கொட்டியும்‌:பூவாதொழிந்தில பூமூமு.துக்‌.
சாச்இன்‌2 மன்னன்‌ சவியொட்டக்‌ கூத்‌ சரின்‌ சட்டுரையாம்‌
பாக்கண்‌ டொளிப்பர்களோ ,தமிழ்பாடிய பாவலமே.
Otta w-s pow crest-fallen and released those prisoners
with presents, Pabalendi alone wus left in the cell, and on him,
Otta vowed to wreak his vengeance, as he had been the maine
spring of the tremendous poetic thunder hurled on his head a
little while ago The queen knew through ber abigails that her
favourite Pubalendi was not liberated on account of Otta’s
jealousy and, was, therefore, very sorry. Tbe winter of her
discontent brought on av early night, when tbe king repaired to
the zenana to enjoy the pleasures of the seraglio- The queen,
in # fit of melancholy, held the door fast and would not open it
fo all bis ‘ phylising the fair.’ The king oalled Otta in vain to
persuade her to opeu the door. She simply drew out the second
polt for bis song and was not moved. Then Puhbalendi under-
took the task, and was crowned with success, She threw the
door open, and immedia‘ely the differences of the royal pair
were made up, From this occasion, his influence with the king
began to grow like the crescent, and Puhalendi, to avoid the
unavailing tug of war with Otta, voluntarily removed himself to
the court of Sandiran Svarki, a tributary prince under the
Chola King. While there. the prince requested him to trans-
late (rom S.inskr.t the story of the emperor Nala, In compli-
ance wih bis request; Pahatendi rendered it into four hundred
and seventeen Venbas and called it Nalavenba, which he
rebearsed in bis! -rd's durbar- Each stanza of this immortal
poem isa potsheiem; itis rather » casket of gems, It
bes infiowe nebes 1 @ lithe room, and its melody is most
enchanting
 Sc, I. THE GREAT TRIO 284

‘The news of this composition and its rehearsal reached the

ears of the supreme Jord Chola, who wished it to be rehearsed
in his own assembly and its merits or otherwise diseussed by
the contemporaries of Kamban, Oitakkutthan and and others,
Kamban and the other poete appreciated the work, but Otta
was fixed in his resolve to detec; some flaw or other in it,
Accordingly he selected the stanza:

மல்லிகையே வெண்சங்காய்‌ வண்டு வான்சருப்பு

வில்லி கணைதெரிக்து மெய்காப்ப---முல்லைமலர்‌.
மென்மாலை சோளசைய மெல்ல ஈடந்தசே
புன்மாலை யந்திப்‌ பொழு.
and exposed the inaccurate observation of Nature in the com-
parison instituted between the jessam ne and the conch, bet ween
the bee and the blower of the conch, in as much as the bee hums
at tho top of the flower and the aanch-blower applies the bottom
of the conch ‘o his mouth, Ths Gord:an knot of inaccuracy
was cut in twain by Pubalendi’s apposite remark that to a drun-
kard, top snd bottom are indis'inguishab'e. Thus when
Puhalendi get out of the ordeal unscathed, his poetic wit was
noised abroad, and Ku!ottunga treated him with greater honour
and respect
In spite of his succese in the last literary tournament,
Puhalendi, irritated by the sharp contests into which Otta had
often drawn hm, was de‘ermined to deal him the ceath-blow.
and be dove witb him. ‘We bave seotched the snake but
not killed i’,' Bent upon this murderous scheme, Puhalendi,
one night, stole under the cov of Otta with a buge stone to break
his head while deep ia siumber. He saw Otta lying on his cot
without fond, without s‘eep, and !abouring under the thought
of his utter defea* in his con'entions with Pubalendi. His wife,
unable to gness what tbe cause of his melancholy was served
him with delicacies. but he wou'd touch none of them, At the
238 TAMIL LITERATURE

urgent entreaties of his wife, Otta, in a fume, observed that

neotared sweets conld not remove bis bad hnmour, nor could
the aggregated sweets of the sweetest stanzas of Puhalendi’s
Nalavenba. This explicit acknowledgment by Otta of the
excellence of his work, out off at a stroke all murderous thoughts
from the mind of Puhalendi, and in an eastacy of delight, he
confessed his dreadful devices, begged him pardon, and became
frends with him. Thenceforward; the two poets equally shared
the favours of the king, and Puhalend: remained in the Chola
Court.
On a certain day, Kulottunga, accompanied by Otta and
Puhalendi, took a walk in the street, and found Auvai IT (not
the famous sister of Thiruvalluvar) stretching her legs towards
them. At the sight of the King. she foided one leg, and drew
in the other when Puhaleadi approached her. When she saw
Otta, she stretched out her egs once again. Otta eould not make
out the rsason therefor, and asked her of it. She replied that she
folded her legs for Kulottunga and Puhalendi, as the former was
the sovereign of the land, and the latter the sovereign of letters;
and that she did not respect Otia as he was an ignoramas.
This cutting reply was more then he could bear. Again, she
challenged Otta. if he considered himself in no way icferior to
Pubalendi, to compose a stanza using Matht (nf?) thrice in it-
Otta’s stanza contained only two Mathis (wMaer), at which
Auvai laughed him to scorn, and told Puhalendi to try the same-
He did it successfully and fulfilled her expectations. The
stanzas of Otta and Puhalendi are given below :—

Ottak-kuttan:
வெள்ள,ச்‌ தடங்காச்‌ செவாளை வேலிக்சமுசன்‌ மிடறொடித்து,ச்‌
அள்ளிமுஇலைச்‌ இழித்துமழைச்‌ ஏளியோடிறக்குஞ்‌ சோனாட!
கள்சமறவர்‌ குறும்பகந்றுங்‌ கண்டாகண்டர்பெருமானே !
பிள்ளைேமதியாலென்மாது பேதைமதியு மிழந்தனளே !
 Seo. I, THE GREAT TRIO 239

Puhalendi:
பகைப்‌ பழனத்‌ அமுரூழவர்‌ பலவின்‌ சனியைப்‌ பதித்தசென்று
சல்‌கட்‌ டெறியச்‌ குரல்ளொரீர்‌சனைவிட்டெறியுக்‌ தமிழ்காட
கொல்கழ்சமரா பதியளித்‌ச கோவே யமரர்‌ குலதிபா (மிசவே.
வெங்கட்‌ பிழைக்குல்‌ சருப்பிறைச்கு மெவீ$தபிரைக்கும்‌ வீழி
Besides the works mentioned above, Puhalendi has been
credited with the authorship of Rattinachurukkam, Kalam-
bagam, and some minor works as Aravalli Suravalli, Kannan
Bandai, Katthavarayars Eniyetram, and Nallatangal Kathai.

His Rattinachurukkam describes, briefly but with a flourish

of poetic ‘ornaments, the features of womanly beauty in 71
stanzas. His Kalambagam is like Tennyson's Princess, a
medley; not in subject matter, but in respect of metre and poetic
subtlety.

Hardly amything is known of the latter end of Otta and

Puhalendi. From the silence of all chronicles of their ‘sere,
yellow leaf’ to the contrary,
we believe that'they must have had
a peaceful close.

Puhalendi, known as ‘ Venba—Puli’, for having exhausted

the possibilities of the ancient Venba metre, was born at
Kalatthur, near Chinglepet, in Thondai-nadu. distinguished as
‘gold-borne or பொன்‌ வீளைக்க, Tho Thondai-mandala-Satha-
gam speaks of him as * ஐயன்‌ களந்சைப்‌ புகழேக்தி யாண்டான்‌
5,
*காரார்‌ களத்தைப்‌ புகழேக்‌தி3; ₹மாணர்‌ களந்சைப்‌ புகழேர்தியுக்‌
சொண்டைமண்டலமே ?, The poet's invocations are to Ganesa
and Siva, bat in the body of the book he praises Narayana:

நரா யணாய ஈமவென்‌ தவனடியித்‌

சேராரை வெந்துயர்‌ சேர்ந்சாத்போல்‌??
 240 TAMIL LITERATURE

“மிக்சோனுலகளந்ச மெய்யடியே சார்வாக

யுக்கோ சருவீனைபோற்‌ போயித்றே?3.
These references terpt us to make him out as a Vaishnava,
and bis description of maruthu nilam which. is specially charming
leads the reader to think that he was a Tuluva Vellalah

Walavenba tells the story of Nala ag related in Nalopakiana

in the Mahabharata. Nala was king of Nidatha, He marries
Damayanthi, the princess of Vidharba, in a swayamvara-
Kali (0) grew jealous of the glowing account of the matriage
given by Indra, Yama, Agni, and Varuna on their way home,
and induced his kinsman Pushkara to play dice with Nalas
In the zame Nala | st all bis dominion, and he and his wife
sent their children to Bhima, their maternal grandfa+her, at Kun-
dinapuram nd themselves went to the forest as exiles. While
they were sleeping tn a mantapam in ruins, Kali tempted Nala
to desert his wife when asicep atn-ght. As she got up she saw
not her ‘ord and wept bitterly With the help of @ wayfarer
who was a merchant, she passed through Sethinaduand reached
her father's kingdom. She remained with her father and was
lost in lamentaticas Nala, the deserter, in the course of hig
wanderings saved Karkotaka from the flames and was bitten by
him and became metamorphosed. He was furnished with a seb
of olothes which he might wear whenever be wanted to slough
off the disguise. In the guise of a cook and charioteer he took
service under Rithu-parna, prince of Oude While he was
there, an andhana, sent in quest of Na‘a, found out Nala in
Gisguise and communicated the matter to Damayanthi. She
proclaimed a second swayamvara and sent a message only to
the King of Oude. This king arrived at Bhima's palace with
Nala, and the instinct of his cbildren led them to embrace
Nala as their parent. Nala then threw off his guise and lived
happily with his family after winning in the second dice- play
with Pushkara and recovering his lost dominion,
 Sec, 1 THE GREAT TRIO 241

This in brief is the substance of the famous poem, which

delineates the vicissitudes of princely life, the evils of gambling,
the good influence of love ‘and duty, ‘hamsa as messenger of
love, and the invincible fate and its working, and describes
enchanting flower gardens, Impid streams, and places ina
charmingly simple style- The carping criticism of Osta on this
poem has already been mentioned. Pubalendi was an erudite
scholar, and his poem bears unmistakable traces of his study
of Kural and the Panchakavyas and the hymns of Periyalvar,
Manikavasagar and other great poets.

“Cand SypsGsdad COs GAT

லேடலிழ்தார்‌ மன்னர்ச்‌ QudCustar—arips
சலங்கலைநீ யென்றுரைத்சான்‌ காமருவு காடத்‌
இலல்ஃலைதான்‌ மார்ப னெடுத்து 3.

ஈ உங்க எரசொருவ னாளநீ ரோடிப்போக்‌

Bas ணுறைத வீழுக்கன்றோ--செல்கை
வளவாசே யென்றுரைச்தான்‌ மாதவத்சாற்‌ பெந்த
விளவரசை கோகி யெடுச்‌.௪ 33.

From the Sankara Cholan Ula recently unearthed, wa see

that uzesfQsreim oBpGerer was Apayan alias Upaya Kulo-
thaman, that Otta cemposed not orly three Uias m honour of
his son Vikrama Chola snd his suecessor Kulothungan buta
Malai'and Pillai-Tamil, and thas be wea rewarded with one
thousand pons for each couplet, The phrase Kumara Kulothun-
gan is significant occurring in @CarggymeCereoa and refers
to the son of Sankararajan. The Sengunthar poet who made
காலாயிரக்‌ கோவை praising Kangey on of Puthuvai, evidently a
Gontemperary of the three Chola Kings—Vikramian, Kumara
Kulothungan and Rojarajan. The last king waa honoured with
one Ula called after the King's name.
12-16
242 TAMIL LITERATURE

Athitthan
Vira Narayana Kulothungan
(900—940 AD)
Apayan

Vikraman
(1118—1132)
Kumara Kulothungan
1
Raja Rajan (Akslangan}
(died 1200).
Puhalenghi composed a Kalembakam in honour of the king
of Senji called Kédavan after his olan. His rea: name was
probably Kotthan, as seen in the Kalambakam Otta alee
wrote Thakka-Yaga-Purani, and Arumpagai-Thollayiram, and
bore the name Kavi-chakra-varthi That be had a patron in
Soman, native of the village called Thiri-puvanam, is evident
from the Tamil-Navalar-Stories, That be was the author of
Thakka-Yaga-Parani is found in Akalanga Sarukam of Vira
Singathana Puranam, As the great poot has praised Thirujuana
Sambandhar as his tutelary deity at the commencement of his
Parani, he wae, in all likelihood, a native of Shiyali.

சம்பனென்றுக்‌ கும்பனென்றுக்‌ காளி (ழி)

'யொட்டக்‌ கூத்தனென்றும்‌
கும்பமுனி யென்‌.ரம்‌ பேர்‌ கொள்வாரோ.

SECTION 11.
Saiva Siddhanta Sastras
INTEODUCTION.—About the Saiva Siddhanta phita-
gophy various English scholars have expreased their opiuions.
The இள ர. Pope has said that ‘ it is the choicest product of the
 Szo. II. SAIVA SIDDHANTA SASTRAS 243

Dravidian intellect, and the most elaborate, influential, and un-

doubtedly the more intrinsically valuable of all the religions of
India’ The Rev. Mr- Goudie wrote; ‘‘ There is no school of
thought, and no system of faith or worship that comes to us
with anything like the claims of Saiva Siddhanta. The system
possesses the merits of great antiquity, In the religious world,
the Saiva system is the heir to all that is most ancient in South
India5 itis the religion of the Tamil people, by ths side of
which every other form 1s of comparatively foreign and recent
origin Asa system of religious thought, as an expression of
faith and hfe, the Saiva Siddhanta is by far the best that South
India possesses” The Rey- M. Macnicol is of opinion that this
system has ‘grasped and set forth in far broader outline than
elsewhere in Indian thought the basal eonception of Theism
that God is a moral Being, governed from first to last by a
purpose of compassion’s Equally appreciative is the opinion
of Prof. Maxmuller, who wrote, “In the south of India there
exists
a philosophical literature which, though it shows clear
traces of Sauscrit influence, contains also original indigenous
eleménts ot great beauty and, of great importance for historical
purposes.”
The siddhantam is summed up in the formula pati-pasu-
pasam ¢.e., (1) the Lord, the master of the herd, who is the
Bupreme Siva: (2) the eattle, the aggregate of souls bound in
the cycle of repeated birth and death, and (3) the bond, the
material influences which keep the souls bound in the series
of transmigrations and hold them back from their natural union
with Siva- These three are permanent or real entities. The
Soul takes its place like Buridan's ass. between God on
the one hand and Pasa or bond or matter on the other.
If is swings towards God, it becomes illuminated with
Divine Presence and beoomes purified and perfected, But it
it is attracted by pasa, it piunges in worldly things and be.
fomes more and more impure and least worthy of divine
244 TAMIG LITHRATURE

illumination Bhakti and Jnana are the modes of its purifion-

tion and perfection, ‘The whole credit of formulating Saivs
Siddhanta philosophy is due to Moikanda Deva.’ The religi-
ous revivaiistic movement led to the composition of fourteen
Saiva Siddhanta Sastras by the holy preceptors and apostles
of Saivaism. The following Venba gives their names :-—

“உந்தி களிறு உயர்போதஞ்‌ இத்தியார்‌.

பிந்திருபா உண்மை பிரகாசம்‌--வக்‌.தவருட்‌
பண்புவினு போற்றிகொடி பாசமிலா கெஞ்சுவிஓ
உண்மைகெதி -சல்கறத்ப முற்று.

They are as follow:—

Sastre, Author,
1 Thiru-Vunthiyar Wuyya Vantha Thevar
2, Thiruk-Kalittuppadiyar Do,
3, Sivajnana Bodbam Meikanda Thevar
4, Siva Joana Siddhiyar Arul Nanthi Thevar
5. மறக்‌ lropabthu De
6. Unmai Vilakkam Mana Vasakam Kadantha Thevar.
% Sivaprakasam Umapatbi Sivachariar
8. Thira-Aru!-Payan Do.
9, Vin&-Venpa Do.
10, Potri-Pabrodai Do
dl. Kodik-Kavi Do.
12. Nenju-Vida-Thatho Do.
18. Unmai-Nerri-Vilakkam Do
14, Sankalpa-Nira-baranem Do,

Before reviewing these works, we must caution the reader

that only three of the four Saxthana Kuravars or Achuariyss
 Seo. Il, SALIVA SIODHANTA SASTRAS 245

are named above, viz, Meikenda, Arul Nanthi, and Umapathi,

and that the fourth name, Marai-Jnana;Sambanthar, has been
omitted, These four names ocour in the verse recording the
days on which the Saiva religious philosophers ‘hrew off their
fleshly coil and became one with Siva; .
“த்திரை யத்சமுமாபதி யாவணித்தில்‌ கடனில்‌:
உத்திரஞ்‌ €ர்கொண்‌ மறைஞான சம்பக சோதுகன்னிச்‌
சு.த்சமேய்ப்‌ பூர மருணந்தி யைப்படச்‌ சோஇிதன்னில்‌
வி.த்சக மெய்சண்ட சேவர்‌ வெக. மேவினரே.!)
In the list of the Sastras given above two names, not
occurring in these lines, are found, and they are disposed of
first, before the four great Teachers are treated at some
length.
1. Wuyya-Vantha-Thevar was a native of Thiru-
Viyalur. His poem Thirw Vunthiyar containg 45 triplets,
each of which gives concisely some truth of the Saiva Siddhan-
tam, It is not a systematic treatise; it derives its title from
the same concluding feet of each triplet, vis Onthi-para,
girls’ pastime,’ or 25-4 $+up=eug GSmd upés, “ may
your evil nature fly.” The ‘author came south to the banks of
the Osuvery and rested for a night at Thiruk-Kadavur, when he
composed the poem in compliance with the request of
a local
gentleman, Aludiya-Thevar. 1t has a commentary by Chittam-
bala-Thambiran. Another poem, Thiruk-halitiup-padiyar, ig
ascribed tohim. It contains 100 quatraing and ig remarkable
for its beautiful sentiments and expressions. The commentary
en it is by Sivaprakasar. Tho opening triplet of Vunthiar, on
God the great Preceptor, runs as follows,
களமா யாருமதிவரி சப்பொருள்‌
சசளமாய்‌ வந்சசென்‌ றுக்‌” பற
தானாகச்‌ சந்ததென்‌ நந்தி பழ?)
 946 TAMIL LITERATURE

It may be rendered in English thus,

“ Ag the Absolate, unknowable by any, that
In Forme appeared —Rise and fly
He, to become, bleased—Rise and fly **
2. Mana-Vasakam- Kadantha-Thevar. Ee was
born iat Vathikai and was one of the 49 disciples of Meikanda
Thevar. He was the author of Unmat-Vélakkam, 9 short treatise
containing 54 quatrains. The name of its commentator is
unkown.
$3. Meikanda Thevar. He wasborn in the village of
Pennagadam, near Thiruvenkadu, in the Tanjore district, His
foster-father was Atchutain, noted for his learning and bhakti.
Long childiess, his father prayed for the gift of a child and
‘was informed in a dream that he wouid be blessed with one
Accordingly he found one on the steps <f the temple tank,
tock it home and gave it to his wife. His caste men mur-
mnred against the foundling One day Kangeya—pupathis
Archutan’s brother-in-law, came and fook the boy with bim
to Thiru-vennat-naliur, which became his home from hig
third year’ The child made Sivalingam of sand and became
absorbed in contemplation. One day Paranjothi saw him
at his play and was touched by his early ripeness, He
was known in his family circle as Swetha-Vanap-Perumaf,
At his feet he learned the Twelve Good Rules as given
in the padalam called Redemption of Sin, in the sixteenth
Saiva Agamum or Rauramam, When the disciple's know-
ledge in the Agamio studies widened, his master conferred
on him the title Meikanda-Thevar ‘one who saw the truth,”
It is also said that the child learned Siva Agemas from
Ganesa of Thiau-Vennai- nallur, who was called Poila-Pillayar,
Ale then rendered the rules, in twelve aphoristic Sutras and
preached them to his followers. His preaching attracted a large
body of disciples, who found him a better expounder Arul.
nandi, the type of anava-mulam,and famous as the sakala-
 8xe. Il. SAIVA SIDDHANTA SASTRAS 887

agama-pandithar, became his devoted disciple, and Meikanda

gavehim his Sivagnana Bodham. It is the greatest of the
Saiva scriptures in South India; and its leadmg thought is
thatthe Highest Love (Pars Bhakti) is based on the soul's
recognition of the non-duality and of its debt to the Lord;
that the Lord, standing non-dual with the soul. enables it
not only to know external objects but also to know itself and
Him", The oldest commentary on tbe work was by Pandi
Perumal, bn itis no longer read. The brief as. well as the
elaborate commentaries of the great logician and philosophers
Biva-Jaana Swamigal, have superseded it. The brief one is in
use, but the elaborate one, called Dravida Maha Bashyam, is
held ag & sacred treasure in the Thiruva-Vadu-Thurai Mutt.
“pei ste wo@er wader Muti
பலர்புகழ்‌ ஞாயிறு படரின்‌ ௮ல்லதைக்‌
காண்டல்‌ செல்லாக்‌ கண்போ லீண்டிய
பெரும்பெயர்‌ கடவுளித்‌ சண்செண்‌ டி.ுள்தர்ந்து.
அருக்துயர்ச்‌ ஞரம்பையில்‌ ஆன்மா காடி.
மயர்வற நந்தி மூனிகணச்‌ ,சளித்ச
உமரீ சவஞான போத மூறைத்தோன்‌
பெண்ணைப்‌ புனல்குழ்‌ வெண்ணைச்‌ சுவேதவனன்‌
பொய்கண்‌ டகன்ற மேய்கண்டதேவன்‌
பவானி வன்பசை கடந்த
,சவரடி. புனேக்த தலைமை யோனே.
The epithet e-wi is justified by the fact that, as it treats of
Jnana, it should be read by men whe have read the worke
dealing with Sarya, Kiria and Yoga. Its twelve sutras fall into
four divisions or Iyals, and the first six make one chapter, while
the rest form the se¢ond,
Those who deny this work as a translation believe that its
teachings had been scattered for ages, here and there, ussuown
fo the multitude and that they were collected, collated, and
248 TAMIL LITERATURE

codified when the author's felow-religionists were sunk in

ignorance and troubled by internal schisms and external in-
fluences. This theory is supported by the fact that, the nan»
marais of the ancient Tamihans having been lost in the
sea-floods, their tenets and doctrines were remembered by the
dispersed mortals and orally transmitted from generation to
generation till they were quite neglected and superseded by the
Vedic teachings and principles, which, in the absence of their
own, were accepted ag the next best. It is a welkknowz faet
that the Aryans, ever anxious to know new truths, embodted
them in Sanskrit and popularised them, The ignorant Tantilians
came in course of time ta believe that the truths of the Godhead
came to them from the Vedas, Vedangas, and Upanisheads
and that they were none of their anctent heritage. Meikanda
found out the fact and diligently set himself te give out the
truths as he found them. This Revealed Book has attracted
the attention of many European scholars, and been admired for
its logioal and systematic treatment Its anthor, the Tamil
Vyasa, lived in the closing years of the 12th0 and died in
1223 A.D, It is said that be was a descendant of Sanarkuma-
rar. His advent, ata time when the Témil world was disturbed
in its religious faith by the basbyams of Nilakands, Sankara,
BRamanuja and Madhva on Veda Vyasa’s Brabma Sutra, was
hailed as most opportune.

Be Sars Gotuyor Or @&s Bre her

பாடியமோர்‌ நான்தங்‌ கொண்ட
சொல்வாய்மை பொருள்வசய்மை செளிதலுத்த.
தேராது சோகமுந்றோ
ரெல்லாகு மத்துவிச சு.த்திகிலை.
யினிசெய்திச்‌ சோக மேயப்‌
பொல்லா,௪ சமயிகளு மதிசயிப்பப்‌
புவனிமிசைப்‌ போச மேத.
 Sec, II. SAIVA SiDDHANTA SASTRAS 249

4, Arul-Nanthi-Sivachariyar, a Brahmin, was

the first and best of Meikanda’s discip'es, on whom his master's
mantle fell. He was born at Thiruthuraiyur near the Pennai of
hereditary Siva parents- He was well versed In the Saiva
Agamss and in the grammatical lore. For his proficiency in
Pathi, Pasu, Pasam, he was called « Sakala-Agama-Panditbar *,
He turned en ascetic and preached the Saiva philosophy to hig
bachelor-scholars, Gradually they fell off in number, for
which he could not account At last he knew that they had
gone to Meikanda Thevar, whose philosophical lectures wera
remarkable for, ths numerous impressive illustrations and lucid
explanations of subtleties. Arul-Nanthi set out for Thiru.
vernai-nallur, where the famous lecturer was snd appeared
there before the lecturer. He was young in years: but had an
o'd head upon bis young shoulders, Shy and modest and
with downoast looks, the lecturar went on with his lectures on
theclegy and metaphysics and paid no heed to the visitor,
The old sage felt keenly the breach of decorum and was pacing
to und fro, The young preacher, noticing his blood-sbot eyes,
diseoursed on Anava malam or the evil principle of self-
importance, one of the three evil passions of the soul, the
other two being delusion and lust. Irritated beyond bounds,
Arul Nanthi asked the young sage to explain the term Anava
mala, in answer to which the Thevar simply stared him in
the face, Arul Nanthi appreciated the young sage, begged
him pardon for kis own humptiousness, and joined the ranka
of bis scholars. He composed Siva Jnana Siddhiar,
the buikiest and the most learned contribution to the Tamil
philosophy, on the model of his master's Siva-Jnana-Bodham.
Tt is described as an expansion, amplification and illustration
of Moikanda’s gom of highly ccndensed systematised thought,
At is the vali nool to the mutbal nool of concise apborisms,
It is a philesophical work in two parts, critical and expository,
contalniog 301 and 228 stanzas respectively, and enlarges on
250 TAMIL LITERATURE

the three eternal. uvereated principles, soul, deity, and illusion,

His olear and exhaustive handling of the subject in the double
light of self and enother has achieved for it broad and deep
fame; and it has become proverbial that ‘there are no Sastras
above Siva Jnana Siddhiar”,
The first part, Parapakaham, is a review of the fourteen
sys'ems of philosophy beginning with Lokayatha and ending
with Pancharathra in the manner of Sayana’s Sarva Darsana
Sangrahs, and contains a defence of his own doctrines. It wag
annotated by Joana-prakasar of Thiruvottiyur, by his scholar
Thathuva-prakasar, and by Veluppandaram The second part,
Subakshom, is an amplification of his master’s work. It was
commented on by Sivakira Yogiar, Marai Jaana Sambandhar,
Nirambavalakiar, Jnanaprakasar of Jaffna, Siva-jnana and
Ramalinga Thambiran respectively. This part is prefaced with
# chapter on Alawat or Logic, which must be studied closely
for a clear understanding of the different schools of Indian
philosophy,

The ten logical methods explained and elucidated in the

boek are 1, Prathi-ateha, [observation] snd experiment.
8, anumana [inference], 3, agama [testimony to authority},
4 abava [non-existence], 5, artha-pstthi {deduction},
6. upamansa [enalogy}, 7. parsisesha [inference by exception},
& sambava [oo-existence], 9- aitbikam [tradition] and : 10,
swaba linga [natural inference]. Al! these are included in the
first three. The Tamil equivalents of these ten pramana are
சாட்டி, கருதல்‌, உலர, இன்மை, பொருள்‌ ஒப்பு, ஒழிபு, உன்மை,
ஐதிசம்‌, கார்‌ இயல்பு, The Tamil logic is more inductive
than deductive and is concerned more with the proof of things
and the methods of discovering truth by the application of
human reagon and by the aid of the highest testimony.
Irupsa-Irupahthu is 4 short poem consisting of ten Venba
and ten Ahaval verses, and has & commentary published by
 Seo. II, SAIVA SIDDHANTA SASTRAS 251

Namachivaya Thambiran. It contains some of the mogt

puzzling problems in Indian philosophy in the form of leading
questions addressed to his master.
In is the author brings cut all bis vast learning and
erudition. Stanza 15 is a question to his master about Karmio
attachment and divine Grace.
‘© King with lotus hands which hold the deer,
Who dwellest in high-welled Vennai-nallur,
‘Will past kerma attach themselvesto me,
Aa I go out to unite with karma?
And thou doth not join me and karma both 9.
What need is there for thy Fure Grace, © Lord ?”
Bt. Meikandan points out that man and bis karma act and react,
attracted to each other as a piece of iron is by a magnet and
that both would be lifeless but for tha sugreme power of God
acting on them both.
5. Marrai Jnana Sambandhar, + Vellala of
Thirukalenchery, was a disciple of Arul-nanthi. He belonged
to the line of Parasara Muniver and mastered the mara s,
Henoe his name. He wrote tho Siva Tharumothram, in
twelve sections, counting in all twe've hundred stanzas He
initiated his pupil Om2pathi Sivachartir who did not scruple
to feed on the leavings of his guru, into the mysteries of his
religion end gave him regular lessons from bis work. (Siva
Tharumothram was edited with notes by the Tinnevelly
SaliVadiswara U.buvamur'hi Avereal-) He has heen cred ted
with the authorship of ‘Saiva Samaya Nervi,’ in three
parts, deating with the qualifications of the master and
disciple and with some misce!laneous things. A specimen stanza
ig subjoined,
₹: ஆதிகாச னமல னரன்றிருப்‌
பா மூன்னினர்‌ பாவம்‌ பயித்றினும்‌.
கேச னாார சச்குழி வீழ்வரோ
௩௭௪ ரேயவ ஸிக்சவர்‌ நாடினே. 13.
252 TAMIL LITERATURE

6. Umapathi Sivachariar, of Kottavanakudi near

Chidambaram, a bi,h class brabmin by birth, is said to haya
been a convert to Saivaism from his dissatisfaction with tha
doctrines and teachings of bis own Vaishuava religicn, His
first work was Sivapprakasam a religio-philosopbie work of one
hundred stanzas, cn the Agama philosophy exhibiting in @
condensed form the doctrines inculoated in Sivajnana Siddhiars
and Sivajnana Bodham.
Further, he extracted the eseence of Sekkilar’s magnum
opus, Pertyapuranam, and put it in seventy-five stanzas, which
he called Thirut-thondar-Purana-saram. He composed his
biography in a hundred stanzas and named it Sekkilar Puranam.
Hig next religicus poem was Koilpuranam, consist'og of four
hundred and ten stanzas describing the traditions and the
religious antiquities connected with Chidambaram, a famous
seat of the sacred Slva shrine :n Southern India. He kept his
work safe in his cellar without giving publicity to ity The
Swamy of the temple i1uformed the Thilai Brsbmins of it and
mado its merits known.

This work was followed by a host of minor works of the

game category. which are Thirw Arul Payan, Vina Vemba,
Potri Pahvodat, Kodsk-Kavi, Nenju Vidu Thuthu, Onnmairerré
Vilakkam and Sanka'pa Nirakaranam.
Thiravarul-Payan contains 10 couplets ard deals
with Moksha, 1t supplies what is wanting in Kurral Niramba
Alagia Desikar, author of Sethu Puranam, has written 8 com-
mentary on it,
Vina-Venba consists of 13 quatrains and deals with
Maya. It has a commentary by Namasivaya Thambiran.
‘The poem contains a number of philosophical paradoxes
and brings into prominence how Saiva Siddhanta reconciles our
 See, Il. SAIVA SIDDHANTA SASTRAS 258

yarious difficulties in philosophic investigation. |The last stanza,

with translation, is given as specimen of the work,
8 அருளா ஓணர்வார்க்மு அகலாத செம்மைப்‌:
பொருளாக நிற்கும்‌ பொருந்தி--செருளா
வினாவெண்பா வுண்மை வினாவாரே லூமன்‌
கனாவின்பா லெய்விக்கும்‌ காண்‌. 72

+€ With Grace one tries to know, its lasting truth

Will appear without doubt. If otherwise
They do not care to know the Poem’s Truth,
Tt will be like the fool in dream dzinking milk "a
Potri-pahrodai is short work on the same subject
for the easy comprehension of ordinary mortals.
Kodikkavi is about the conquest over Maya and the
trumph of nin-mslam.
Nenju-Vidu-Thuthu bas 258 verses, in which the
author sends his mind as an envoy to obtain the flowery Kontrai
by prostrating at the feet of Marrai-Jnana Sambandhar, with a
view to dispel illusion, and overwhelm the troubles arising from
the three foreign religions.
bas 24 lines, in which he
Unmai-Nerrt-Vilakkam
describes the rupa dharcane, and suddhi of tatwa, anma, and
siva respectively with a view to overcome illusion and obtain
bliss.
Sankalpa-Nirakaranam states and refutes the
philosophies of Maya, Taikkva, Padana, Petha, Sivasama, San-
Kirantha, Iswara Vavikara, Nimittha Karana Parrinama, and
Baiva philosophers, and establishes the excellence of the Bid-
dhanta philosophy.
Ais other works are:— Sivapurana Thelivu, Thirue
Murrat Kanda Puranam, and Thiruppatik-Kovat, Besides
 $54 TAMIL LITERATURE

hig Tamil works on philesophy and religion. his commentary on

Paushkara Agamam, one of the twenty-eight Agamas describ-
ing the religious rites pertaining to Siva and other abstruse
matter, displays his Sanserit erudition.

A Warning Noite
7. The Satvr Siddhanta System is the indigenous philo-
sophy of South India and the choicest product of the Tamilian
intellect. The system doés not recognise the Aryan limitation
of Siva as the destroyer, but considers Him (rather J¢) as the
author of tbe five functions, to wit, creation, protection, des-
truction, grace, and releases The Tamil sages have always sung
of Him as one far above the friad whioh includes Rudra, who
is not identical with Siva, According te the system, Siva is
an ideal of love and grace infinite, and Sivam and Sa‘thi aze
as the sun and its radiance. Sivam is the Supreme Divinity,
and Satthi is the spirit or his manifested onergye The Supreme
Divinity, Sivam, or Zove, sends forth Satthi, his spirit or
energy, which, like the sun’s ray, quickens, illumines, and
purifies all things. This high and noble system, based on the
Agamas or Saiva scriptures, was corrupted by the puranic
writers: whose sole object was to reconcile the Vedas and the
Agamas and, in so doing, to give the palm to the former
Henee the modern Saivaism or saiva philosophy is full of tbe
lovely creations cf the puranic faney and conbaing all the in-
onsistencies and improbabilities of the Aryan pantheism.
Lhe Tamilar, overborne by the political ascendancy of the
Aryans, accepted the system, which stained the white radianee
of their philosophical faith, and popularised it, though it wag
quite against their grain, Bhakti or loving piety, the root idea
of the Saiva system, ennobled the persons, whatever thefr
easte, colour or ereed, and enriched the Saiva calender -with
& number of saints and devotees from smong men of all
 8௭0, 111. COMMENTATORS 255

wastes. Such a widely tolerant, ennobling, rationalistic faith

has been made to assume the garb of a thoroughly intolerant,
fiotitious, and meanly selfish system. The Tamilar, therefore,
are in duty bound to throw off the purania veil which dims
their vision and to realise the old concsption of Him as
enshrined in the ancient Tamil poems based on the Tamilian
Agamas. A dip into the pages of Thirumantiram will discover
to the eager student of Saiva philosophy the pure pearls of the
Saiva system. He will find that “God is Love” and “ Leve
is God”, and that man is bound to Him by his sincere bhakti.

SECTION IIL
Commentators
Introduction, It is a peculiarity of the Oriental
literatures that they cannot be easily understood without com-
tmentaries. The deeper meaning enshrined in them requires the
skill of an annotator for its elue-dation, Commentaries in Tamil
have been divided from of old into Kandigat and Virutthi,
Compendious and elaborate, The former explains the text and
the latter, in addition to explanation, criticises it, supplements
it, and weighs the valua ef other commentaries on it, The
general complaint that Tamil hes no good prose is refuted by
the works of these commentators whose prose style is not only
dignified and noble but flowing and condensed and chaate
in diction,
1. Wampuranar was admittedly the first in point of
time to annotate Tholkappiam and is spoken of as ‘the
annotator,'
2. Perasiriyar was the suthor of a commentary on
Thiru-Chitt-Ambalak-kovaé, or, shortly, Thirukkovaiar, by
Manikkavasakar- From Nacchinarkinigr's commentaries we
 256 TAMIL LITERATURE

are led to infer that he wrote a commentary on Tholkappiam

and Kurunthokai. His style is high and condensed. He ig
quoted by Nacchinarkiniyar in his commentary on Tholkappiam,
Abam 36.
3. Sena-Varaiyar, 1 Brahmin, wrote 2 commentary
on Words in Tholkappiam, which was called Sena-Varaiyam
after the authcr, He was a great Sanskrit scholar and was
always dogmatic. He objected to Sutram 342 in Tholkeppiam,
for it could not be exemplified. © Nacchinarkiniyar showed one
from Chinthamani and put down his haughtiness-
4, Nacchinarkiniyar, He was the greatest and
most popalar of commentators. ‘a éA@ws@arcrems s4R@pia
இனணியர்‌.? His commentaries are always Véruthis or elaborate
ones, In his commentaries good prose writing is found. He
was the first to comment on the whole of Tholkappiam, and the
commentary bears his name Nachinarkintam. Besides Thol-
kappiam, Patthup-Pattw, Kalitthokai, Jivaka, Chinthamans,
and twenty stanzas of Kurwnthokai were ennotated and com-
mented on by Nacchinarkiniar, who always brought to bear on
the great works he had chosen to annotate his clear and
impartis! mind, hig yast erudition and his minute and critical
observation, To quote the Rev, Dr. Bower: ‘ His {Nicchinar-
kiniar's) comments are very much on the plan of Europsan
annotations. He paraphrases the text, and points out gramma-
tical peculixrities; be quotes Tholkappia sutrams throughout,
explains obsolete terms, and gives the various readings which
existed in his day: but his style is condensed and his Janguage
pedantic. Hig productions, however, show groat powers of
analysis,””
“பார, ச்சொல்‌ சாப்பியரும்‌ பத்துப்பாட்‌ டஃ்சலியு
மாரக்குறுக்‌ தொகையு ளைஞ்ஞான்குஞ்‌--சாசத்‌
திரு,ச்சகு மாமூனிசெய்‌ சந்தா மணியும்‌
விருத்‌.இகச்சி ஞார்செி யமே. 29
 Sec, III. COMMENTATORS 257

The tradition that he wrote commentaries cn Kural and

Phirukkovat is baseless. From his choice chiefly of Saiva works
for commentary, it may be inferred that be was a Saiva brahmin
(of the Madura District). Some say, but without any foundation,
that he was a Jain by birth and a coxvert to the siva faith, He
lived to a ripe old age, even a fall century:
நான்மறை துணிந்த ௩த்பொரு ளாயெ
தூய ஞான நிறைந்த வெச்சுடர்‌
,சானே யாய தன்மை யாளன்‌, ??
Nachar, a commentator of Kural, was uot Nachinarkiniar,
He lived in the eighth century.
5. Adiyarkunaliar is known to us as the commen-
tator cf Stlappathtkaram, He lived later than Nacchinarkiniar,
fe, sbout the latter half of the 12th century after Jayamkondan
from whose Parani he has often quoted in his commentary He
Was ௨ preai auchority on tbe ancient Tamil classics,
He was a native of Niramb: His patron was Boppanna
Kangeysn,a Jain. and son o' Kangarajan, He lived in a Jaina
settlement called Theepam-Kudi near Thiru-Arur. It is clear
that the Cansress King was a favourite of Temil authors and
patronised them. ட
6. Pari-mel-Alakar. Trad'tion has it that he was a
native of Kadayam in the Tinnevelly D.strict, that bis master
was Jenana Vira lyer, and that be was dubbed with this name
when the master made his pupila Guru to the Nadar sect.
But Thondsimandala Sathakarc, st 26, would make him a
native of Kanchipuram.
“வடழாற்‌ முறையும்‌ தென்றிசைச்‌ தமிழும்‌
விதிமுறை பயின்ற நெறியறி புலவன்‌ ??
He has been desoribed as 'Okkai Kavaian', He was probably
a native of Okkur in the Madura district: He seems to have
lived in the city of Madura.
1217
 258 TAMIL LITERATURE

முன்னூற்‌ புரிமே லழயெ கோப்‌ போத்று தமீழ்க்‌ கூடற்‌

மரிமே லழயே னென்‌ பான்‌?

He was a famous comment-tor of ‘Thiruk-Kurral,’ and os

he was a great Sanskrit scholar, bis commentary is very valuable
for its wealth of illustration and paraliel quotaticns, His style
is lucid and very sugyestive:

*₹பாலெல்லா ஈல்லாவின்‌ பாலாமோ பாரிலுள்ள

தலெல்லாம்‌ வள்ளுவர்செய்‌ தாலாமோ--£விற்‌:
பசித்த வுரையெல்லாம்‌ பரிமே லழகன்‌
தெரித்சவுமை யாமோ செளி, 99
We pass over the stupid traditicn that he was a contem-
porary of Nacchinarkiniar, and was congratulated by the latter
for his thoughtful notes on the couple 338, as we koow from
his annotation that he lived later than King Bhoja, who reigned
in the latter half of the eleventh century.
7. A Comparative Estimate, Nakkirar wrote an
excellent commentary on the Iraiyanar Ahapporul, [lampuranar
and Senavaraiyar wrote commentaries on portions of the Tolkap-
piam, and Perasiriyar, a vrief commentary on the Tirukkovayar
Hampuranar's system of insufficient annotation was considorobly
improved, Sena-Varaiyar's ultra-grammatical phraceology made
way for s flawless natural style; and Porasiriyar's condensed
and difficult form of writing was replaced by Nachinarkiniar’s
lucidity of expression and wealth of quotations and illustrations,
Among the latest, Sivagnana Yogi resembles Nachinarkiniar to
some extent, Mailerumperumal Pillai has provided us
with an incomplete commentary on Kalladam and Sankara
Namasivayar with a commentary on the Nannul, Nachinar-
kiniar was always impartial and serious and critical and seldom
distorted things, He was mistaken for a Jaip, because he wag
able to supply full information of the Jain system. Adiyarku-
 Src, IV, PARANI 259

nallar, whose commentary on Silappsthikaram is a mine of in-

formation on the Kutthus of the day, was a whoily well-read
scholar. Parimel-alakar, a commentator of Kural is distin-
guished as a critic whose judgments ara tinctured with Brabmi-
nism and who twisted texts in all ways to suit his
prejudices, Among the commentators on the Four Thousand
Psalms, the Vaishnava Charyas from lam Jiyar to Periya Jiyar
wrote elaborate commentaries in a difficult style, intelligible only
to the erudite oitbodox The style of Peria-vacchan Pillai is
mixed . it is ful! of mani-prava am

SECTION 1V
Parani
1. Jayam Kondan lived in the time of Ku‘otthunga
Chola I, fe, tetween A. D, 1070 to A. D. 1118 and deser.bed
the Emperor’s conquest of Kalinga-nadu in Kalingatthup-
Parani. ‘Parazi’ is a species of poetic composition which bas
for its hero a warricr who bas killed in the fied of battea
thousand male clephants and describes his exploits with the
help of the demnize machirery. ‘Kaltingatthup-parani’ was
falsely aecribed to Ottakkutthan, There is # tradition that the
Chola King was co b’gbty »mpreseed with its excelence that, af
its rehearsel, Le amply rewarded the poet ty rolling a golden
cocoanut at the end of every stanza. “UsesféGert Qeuss
கொண்டான்‌? by Pala-pattadai-Chokkanatha Pulavar, points to
the autbor's cleverness in this species of composition. In bis
Commentary on‘Silappathkeram, Adiyarku-naliar has cited a
few stanzas from this poem, and hepce we infer that the date
of its composition must be anterior to his time, to wit, the 12th
sentury.
This parani isin 13 parts, The first, which is Invooatory,
praises Umapathi, the sun. rain, king, anthanar, ete , pointing
260 TAMIL LITERATURE

out the resemblance between the hers and these. The second,
Gate-Opentng, or ‘ Bolt-drawing ’ makes o request to the sulky
lovers to draw out the bolt and cpen the doors so that they
may listen to the song of the Kalinga war. It describes the
personal virtues and graces of the ladies The third, Palask-
kadu, gives an account of this thinai, with its blazing heat af
neon, The fourth depicts the Kalé Koil and the triumphs of
the Chola king at different times: It also describes the heroes
of the war praying for the boma sacrifice, the offering of their
Jimbs for the sacrifice, the wanderings of demons or evil spirits,
ste. The fifth pives a vivid picture cf the goddeas Kali The
sixth portrays the form, features, Imbs and acticns of the
demons attendant on the goddess. The seventh, entitled Indra-
Jalam; tells us how the guardian spirit of the Kali temple
appeara before the goddess and announces the arrival of a-spirit
that bad run away tothe Himalayas out of foar of the gcdcess
ans ; rays for its pardon. It is followed by an exhibition of the
legerdemain tricks learnt by the demon during its exile wth a
view to please the goddess and ges into her good graces
‘The eighth traces the history of the Chola kings according to
the sage Narathar and the greatness achieved by them.
It is told by the same demon whose narration delights the god-
deas. The ninth describes the starvation of the demons con-
sequent on the peace prevalent in the country due to the
punctual payment of tributes under the good influence of
Vijayathara Chola, The Himalayan demon prophesies war in
Kalinga, and ati the demons shout for joy of the imminent
War. In the tenth Bbagavati traces the descent of Vijaya
from Thiru-mal. Raja raja Chola bad an ouly daughter and
gave her in marriage to a Pandyan king. She hada son, who
w 8 Vijaya and the hero of this song, The Chola sovereign
adopted him and brought him up as his heir-apparent. The
post indulges in descriptions of his growth, thread investiture,
war training and arts-education: Vijaya was installed as Yuva
 Sac. IV. PARANI 261

raja, He won a viotory at Chakrakottam and proceeded north-

ward: During bis absence Gangai-Konda-Ghola died and
chaos ensued, Immediately Vijaya returned to the sou-h and
restored order and peace to his own country. One day Vijaya
went a-hunting to the adjoining parts of the Palar and marched,
after the hunt, to Kanchi, This was said by tbe goddess Kali,
A demon, an eye-witness to the war in Kalinga, desoribed it,
The eleventh gives the reasons for the war, Vijaya sat in state
at Kanchi, surrounded by tbe feudatory prinees, ministers and
minstrels, when if was announced that the tributary princes
were waiting with their tributes.

Here follows a desoription of the different princes, Then

Jayathunga Chola received them. It was reported that the ruler
of the northern Kalinga was still in default. He ordered Karu-
nakera Thondaiman to confiscate his estate. The march of the
army is beautifully described. The Kalinga spies saw the army
and the ruler had his own evil omens. Yet he exclaimed ‘Iam
subject to Apaya, but am I subject to hia tax-co!llector ?* and
declared war. The twelfth contains what the demon said to tha
goddess about the war between Thondaiman and the ruler of
Kalinga. The description of the war is vivid ; Thondaiman des-
troyed thousands of his enemy's elephants and overthrew the
seven Kalingas and carried on an exterminating war, He
yeturned with the spoils of victory and with immense treasures
and placed them at the feet of Apaya alas Vijaya. The lash
depicts the seene of the war. The narrating demon begged of
the goddess to witness the scene. She went thither with her
retinue of demons and showed them the whole scene. Here
the poet's imaginative and descriptive powers are fully shown,
She bade the demons to have their fill of the carnage and
to sing and dance in honour of their Thondaiman. Thera
similes, hyperboles, and other poetic ornaments abound. Tae
poet looks upon Vijaya as Thirumal in accordance with
263 TAMIL LITERALURE

the saying in Thiruvoymoli; (திருவுடை மன்னரைச்‌ சாணித்‌

திருமாலைச்‌ சண்டேனே?.
2 Kutthan Kavi Sakravarthi He was the
autbor of Thakka-yaka-parans, like the one preced ng in its
poetic mould = The hero here is Thakkan, and his exploit is the
perf: rmance of a great Yagv, or Velvs or sacrificial ceremony,
It is noted for its excellent diation and sentiments. It speaks in
high terms of the excellent Siva faith and of the good deeds of
the Saivite saints It isin 890 stanzis or thal¢sats. There is
@ cowmentary extant, whose authorship is unknown, but which
contains citations from the good old class cs.
3. Thandi-Asiriyar. Some say that he was one of
the nine court-poets of King Bhejsand that he composed in
Tamil the Alankaram.or Rhetoric, which eoes by his name, as
atravs'ation of the Sanskrit original. Others are of opinion
that the euthor was the son of Ambikapathi and grandson of
Kamban, and was 6 saivay At any rate, the work is an excellent
one on the subject- It is in three Iyals or parts, v2., General,
Porul, and Verbal, containing 123 sutrams. 1t was anvotated
by Subram-nia Desikar Thandi, who makes references to
Avapaya or Kulot'bunga Cbola» must have lived in the twelfth
century,

SECTION V
The Eighteen Siddhars.
Introduction, The Siddhirs are yogis endowed with
and practising miraculous powers of eight kinds. The eight
Siddbis are anima (atom), which enables ‘one to make his
way into solid rooks, lahima (lightness), with which one can
ascend to the sun’s sphere upon a sunbeam, mahima (bigness),
 880, 7, THE EIGHTEEN SIDDHARS 263

with which one can swell himself to any aize to occupy all space,
jprapti (reach), with which one can tpuch the moon witb hig
finger-tip, prakamia (getting freely whatever wished), with
which one can float or dive under earth as in water, Vasita
(conquering nature), the power over the elements and
elemental beings, #s1ta (power), with which one can command
inanimate objects: and yatra-kama-vasaysta. with which
one can transform or do anything, Their powers are des-
eribed in Thayumanavars Siddar Kanam, The nine famous
Siddhers are Sathya pathar, Sakotha nithar, Athi nathar,
Anathi nathar. Vakuli nathar, Mathanka nathar, Macchendra
nathar, Kadenthra nathar, and Korakka nathar. These
were experts in medicine and alchemy, and their medical
works area mine of information on the healing of various
diseases. The transmutation cf base metals into gold was the
acme of their perfection, From a literary point of view, their
writings, though they are verse in form, are as simple as prose
in their vocabulary and syntax, and their colloquial Tamil has
done great injustice to the classical Tamil. They are most
popular works in Tamil and there is no pure Tamilian, educated
or uneducated, who has not committed to memory at Icast a
few star zas from ove or other of them. In respect of religion,
the Siddhars or sages were pure theists, and while retaining
Biva as the name of the One God, rejected everything in Siva
worship inconsistent with pure theism. They professed to base
their creed upon the true original teachings of the Rshis and
indeed assumed to themselves the names of those ancient ins-
pired teachers of mankind. Their aim was to get at the eternal
light or vetta-veli, They were the haters of the Aryan social
fabric, religious rites: and the Vedic authority and were addic-
ted to opium eating. As Thayumanavar would say, they formed
the noblest order who viewed the Vedanta and Siddbanta alike.
Usually the Siddbars sre counted eighteen, caea
Pathi-nenn-Siddhar. Besides the nine mentioned above, the
264 TAMIL LITERATURE

other pepular Siddbars are Karur Siddhar, Pulippani Siddhar,

P&mbatti Siddbar, Kuthambai Siddbar, and Abappei Siddhar.
Agasthiyar, Pulastbiyar, Theraiyar, Yukimuni, Maccha-muni,
Baddai-muni, Nandhi-Mular, Cbandikesar, !daikkadar, Kapilar,
Pusundai-muni, Roma Rishi—these wore of ancient times.
1. Korakkar was the first to make use of kanja plant
for medicinal purposes, and hence it bears the name ‘ Korakkar
mooli’. ‘' Korakkar Vaippw’ is his chief work, comprising
100 stanzas:
2. Konkanar, probably native of Kovkanadu, [the
vaddern Coimbatore], wrote a theistic work called ' Konkanar
சாபா

3. Pirama-muni was the author of the medical treatise

known after him as ‘Piramamuni Vaithiam' contaming 380
viruttams,
4. Pokar was a sage and physician. His works are a
medioal lexicon called ‘Pokar Nikendu' and philosophical
works called ‘Pogar Yoga Markkem,’ ‘Pckar Eiunurrn’ and
‘ Pokar Thirumanthiram ',

5. Siva Vakkiar was born uttering ‘Siva, Siva’

and was a rigid monotheist His chief theistic work is ‘ Siva-
vakkiam’.
6 Than-vanthiri was the son of Thirkka Tharman.
Ot his works the lexicon called after him contains 302 stanzas»
‘ Vaithia Chinthamanas’ comprises 1200, ‘ Simitiu Surukkam'
860, and Kalat-Jnanam 500,
2. Pulippani. » disciple of Pokar, was an expert doctor
and a master of legerdemain and an‘illusionist, His‘ Asynnuru’
stanzas form his principal work.
 Sc, V. THE ERIGHTEEN S{DDHARS 265

8, The Siddha School. This school traces its

descent from Sivanar as the author of seven lakhs of verses on
medicine alchemy, mantra, Kalpa and Yoga, Nandbi, Sanakar,
Sanather, Sananthauar, Sanarkumarar, Tirumular, Pathanjali,
Agathiar, Pulatthiar, Pusundar, Kalangi, Pokar, Konganar,
Karuvurar, Thenvanthiri, Sattaimuni, Theraiyar, Yugimuni
and othor Siddhars filled the Tamil land with multitudes of
their medical and scientific works based on Sivanar's. The
Siddbars used meroury solidified {rasa mani), mantra, (aiynthe-
lutthu) medicine as prophylactic, curative, and ouperative, St.
Thirumular speaks of preventives as simples, salts, acids, poisons,
metallic substances, essences, mercurial pills, ete, The curatives
are powders, lekia, oils, surgical operation, ointment, liniment,
and sublimated powders, chenthura, sunna, etc, This school
makes use of hemopathy, allopathy and misc-pathy in com-
plicated cases, The English dootors adopt allopathic treat-
ment in cettalu cases, the French and Germans homopathic,
the soi-disant Ayul Veda physicians make much of herbs and
extracts, while the Siddha School uses all and cures every
manner of malady, In point of time the Ayur Vedic Medical
Science and practice began with Thanvanthiri (an Aryan who
bore the title) and Susruta in 500 A. D. according to R, G.
Dutt, Charaka belonged to an earlier time. Wakpadar wrote
Ashtanga Hirndhaya in the Sta C. The North Indian or
Aryan doctors learned something here and there of the
Siddhar's works and wrote a few treatises on nadi and on
some sublimated powders, Sarangadhar of the 13th CG: hag
described in his Sangitha some ot his borrowed knowledge.
His preparations were not as effective as Siddha medicines,
ard the modes adopted by them were different. In one of
his lectures Vaidyaratna Pandit T, Gopalachariar confessed
the truth of the Sanskrit medical science being of later
origin. The ways in which the Aryan physicians examined
patients were seeing: touching and hearing them: In still
266 TAMIL LITERATURE

later times, Athiman, Nithia Natban, Santhira Senan, Soma-

devan, Govindan. Nagarjunanan. and others studied the Tamil
medical works and learned the Siddha practice and wrote
elaborate treatises, Rdsarathina Samuohayam or anthology
came to be written years after. Now that the Aryans have
in course of time enriched their medical science in the way
pointed out above, they have come forward to assert the
Ayul Vaithiam as their own and to look upon their ancient
Tamil masters with contempt. The followers of the Siddha
School have begun to expose the Aryan indebtedness and prove
its comparative modernness to the vexation of the ungrateful,
 PART V

The Age of Mutts

or Matams

(1350-1600 A. D)
 V. The Age of Mutts or Matams
1350--1600 A. D.
Introduction, In this age a few literary luminaries
shone in the courts of minor Rajahs and many distinguished
Nhomselves in monasteries. The monasteries were the repositor-
ies of learning. Founded by the pious-minded five or six centuries
ago, for the diffusion of Tamil learning and Saiva faith, they
made a vigorous attempt to preserve old cadjan volumes againah
the ravages of time and the wild and ruthless persecutions of
the Muhammadan invaders dvring three or four centuries. Of
the works that had survived the two great deluges and tha
Madura fire and the malignity of the Sanskrit purana- and
agama-making Aryans who corrupted, interpolated,
or destroyed
the originals after extracting their essence, and of the poems
composed subsequently; many fell a prey to the Muhammaden
zealots and many more to the hungry white ants. Had there
been the printing press then, such havoe could not have been
made, and our Tamil literature would be vast and voluminous,
The works that have survived by lurking in the nooks and
corners of the zealous mutts and pandits’ homes are our only
heritage, for which we thank thom heartily.

SEOTION I

The Lesser Trio, 1450—1600

1. Kalamekam, Like a drenched cloud which pours
down a heavy shower, Kalamekam alias Varathar of _Kumba+
konam has flooded Tamil with the torrents of his extempora
verses. He was by birth a Vaishnava Brahmin and by
Profession @ cook in the Srirangam Vaishnava temple, Under
 Sec. 1. THE LESSER TRIO 269

the magio spell of Hohanangé, a dangiag woman (prostitute) of

the looal Jambukeswarar Temple, he embraced Saivaism and
became a cook in the Siva temple. One night he fell asleep in
the temple and dreamt Saraswati spitting her chewed betel into
his mouth and thereby endowing him with the gift of poetie
improvisation. Thenceforward, he wrote without let or hindrance,
Verses extempore, melodious, picturesque, or descriptive,
“ஆசு கவி மாரி யல வுலகெல்லாம்‌, வீசு சவி காள மேகமே,
Riis first production was Thiru Anaika Vula, He started ona
religious tour and visited Alamkudi, Thiru Annamalai,
Chirushenkede, Conjesvaram, Chidambaram, and Thiruvaroor
where he eulogised Siva or paid an indirect, ironical homage to
him,

To Siva at Thiruchepkode
சரலணையுங்‌ சரமனையுல்‌ சாட்டுசிறு,ச்‌ சொண்டர் தரும்‌
பாலனையுல்‌ கொன்‌. ற பழிபோமோ--சலமூடன்‌
காட்டிலே வாழ்ந்திருக்கும்‌ மாதர நீர்‌ திருச்செல்‌
காட்டிலே வந்திருக்கக்‌ கால்‌.

To Siva at Chidambaram during the

Mendicant Festival
நச்சசவம்‌ பூண்டஇல்லை காசே தேவரீர்‌.
பிச்சையெடுச்‌ துண்ணப்‌ புறப்பட்டும்‌--உச்செமாக்‌
காஎமேன்‌ குஞ்சரமேன்‌ சார்ச்சடலே போன்முழங்கும்‌.
மேஎமேன்‌ இராசக்க மேன்‌.
To Vishnu
பெருமாளு கல்ல பெருமா எவர்தம்‌
இருகாளு நல்ல இருகாள்‌--பெருமாள்‌
இருந்தஇடச்‌ இற்சும்மா விராமைமினா லையோ
பருந்தெடுச்துப்‌ போஜெெசே பார்‌.
370 TAMIL LITERATURE
Besides the Vula, he was the author of Chitra-madal, and
Para-Brahma-Vilakkam. ‘ene ovt.é sror Gweid.?

Kalamekam met with a buffoon Ramaien, a government

Official riding on a lean, worthless horse moved on by five men;
three pulling the reins before and two pushing it from behind
end gave ont the ludicrous lines,

முன்னே சடிவாள மூன்றுபேர்‌ போட்டிழுக்கப்‌

பின்னே யிருந்தாரண்டு பேர்‌.சள்‌எ--எக்கேரம்‌
வேதம்போம்‌ வாயான்‌ விகடரா மன்கு திரை
மாதம்போம்‌ கா,௪ வழி.

At length, he came to the capital of Thitu Malai Royan

and heard of Athimathurakavi and his sixty-four haughty
disciples.
2. Athi-mathura-kavi. [ntending to subdue their
pride, Kelamekam saw, by chance, Athi-mathura-kavi going to
the palace in o state howdah surrounded by the ivory palanquing
of his disciples. Kalamekam mingled among tha palanquin
bearers and was told by the herald to shout the praise of the
lordly poet. Kalamekam, slighly irritated in mind, punned
upon the name athimathuram, signifying the wild liquorice,
This venba fell into the ears of the poet-laureate who, on
reaching the court, sent a messenger to know the whereabouts
of the Vaishnava Brahmin. Kalamekam'’s reply to tha
messenger is the following caustic lines, which loudly proclaim
the objest of his mission and make a broad display of his
astonishing poetic inpetuosity as wall.

ஜாதைந்து காழிகையி லாறுகா SJenssefis Ger ps’ sort

சொல்லத்‌, துகளரவர்‌ தா.இிஏழு நாழிகை,சனிற்‌ ஜொகைபட Sis
Passat, பாதஞ்செய்‌ மடல்கோவை பத்துநா ழிகைதனித்‌ பரணி
யொரு காண்மூழு௮மே, பாரகா வியமெலா மோரிரு Her sata
 Sec. I. THE LESSER TRIO 971

பகரக்கொடிச்‌ கட்டினேன்‌, 8,சஞ்செயும்‌ தில்கள்மாபினா னீபெகழ்‌

செய்யதிரு மலைராயன்றுன்‌, €றுமா. ருசவே.சாறுமா அகள்சொத்‌
,திருட்டுச்சவிப்‌ புலவரைச்‌, கா,சல்‌ கறுத்துச்‌ செறுப்பிட்‌ டடி,ச௮ச்‌
கதுப்பிற்‌ புடைத்து வெத்திச்‌, சல்லணையி னொடுகொடிய கடிவாஎ.
மிட்டே௮ சவிகான மேககானே.
Athi-mathura-kavé read this most insulting reply and
ordered four peons to catch the fellow and take him to the royal
presence. Kalamekam read their minds in their faces and made
haste to the durbar, Meanwhile, Athi-mathurg-kavi had pre-
arranged with the king to put the insolent newcomer to painful
disgrace. Kalamekam came off and quickly perceived, as by an
act of intuition, the laureate's devices. His fertile brain hit on
an expedient and he put forth his hands towards the king to
offer him a lime which, according to the courtly etiquette, none
but the sovereign could receive. The court rabble at once made
way for him, and he stood before the king who offered him no
seat, Porturbed in mind, he invoked Saraswati in thirty stanzas
impromptu, now known as Saraswati Malas. One of them
which follows is often repeated by schoolmasters in Tamil
schools when they begin a new book for their pupi!s :—
வெள்ளைக்‌ கலையு6௪.௪ வெள்ளைப்‌ பணிபூண்டு
வெள்ளைச்‌ சமல)்து வீத்றிருப்பாள்‌--வெள்ளை
ரியா சனத்தி னஏரசரோ டென்னைச்‌
சரியா சனத்து வைச்ச சாய்‌.
At the close of this outrush of poetic effusion, the royal seat
expanded itself and Kalamekam occupied it, The court posts,
maddened with shame, asked him whether he could, like a
watery cloud, pour forth verses. He replied in the sffirmative
and heard the braggadochso, Athi-mathura-kavi praising his own
poetic talents as follows :—
FROME முன்னே மூக்தூறு காலூறும்‌
ஆச்சென்றா mig go மாகாசா--பேச்சென்ன
 272 TAMIL LITERATURE

வெள்ளைச்‌ சவிச்சாள மேசமே யுன்னுடைய

சள்ளக்‌ கவிச்சடையைச்‌ சட்ட.
Kalamekam, cutto the quick by this sharp invective,
Igunched forth, io a still higher strain, his wonderful knack
of rapid verse-making.
இம்மென்னு மூன்னே யெழு.நாறு மெண்ணாலும்‌
ஓம்மென்றா லாயிசம்பாட்‌ டாகாதா--கம்மா
இருக்சா விருப்பே னெழுந்தேனே யானாத்‌.
பெருந்தாரை மேகம்‌ பிளாய்‌.
Snuffed out by Kalamekam, the laureate in his wounded
Pride asked him whether he could compose ‘ Arikandam'
verses, f.¢., verses on the theme suggested by an adversary to
an aspirant for poetic pre-eminence who, in case of his failure
fo cope with the task, must fall a victim to the swords which
he wears about his neck. Kalamekam scoffed at it and challeng-
ed his rival to compose ' Yamakandam’ verses described in the
following words :—
‘Let the reader imagine to bimeclf a square pit of sixteen oubio feet with an
iron pillar 16 ft, long at each corner, The four pillars support an iron frame on their
tops This frame has a cross bar from which an won chain with a termnal boop is
suspended. The poet enger for eminence takes ius seat in the hoop and is gist with
four swords round his neck and four more ound his loins. The upper and lower
swords are linked together by a thin iron chain and this cham prolonged is bound to
the proboscis of-an clephant placed at each pillar. Underneath him ant over the pit
Will be a cauldron of Oil boiling like the Merry Yen ot May, into which such in-
flammatory substances as sulphur and camphor will be constantly thrown, Ta this dreade
ful predicament, the ambitious poet should earn fame by answermng all questions proposed
to him by his adversaries or by the spectators crowding on the scene. If he fails to satisfy
any the clepasnts will be pricked and the poot’s head and body; out off to pieces, will
@rop into the hot off cauldron below,”
The laureate, thinking that Kalamekam was gloating over
an impossible feat, told him to take up the challenge himself
and prove his skill in it. Accordingly, he prepared the above
 Sze. I, THE LESSER TRIO 278

mechanism and took his seat in the, iron hoop over the sulphur-
ous fire. Many tried him with very whimsical questions, One
asked him to introduce in one venba the ten incarnations of
Visbnu; another to use the names of all tho signs of the
Zodiac within that compass, # third to insert the names of the
holy trinity with those of their residence, food, &c., a fourth
to express a mountain shaken at the ascent of a fly; a filth
one to render plausible the meaning of a water vessel contain-
ing the Ganges et hoe per genus omne. All these questions,
Kalamekam answered satisfactorily and acquitted himself very
creditably in all those risky trials. Neither the hard-hearted
Poet-laureate nor his haughty satellites nor the king himself
showed their appreciation. Their refractoriness—cold, unsym-
pathetic end unappreciative—induced him to denounce. ag
Scipio did Carthage, the ruin of the city by a rain of mui. His
denunciation, it is said, subsequently redueed the beautiful city
into one huge mountain of earth,
Instances of his miracuious feats are many. Suffice it to
say that when Kalamekam was forbidden to enter the Vishnu
temple st Kennapuram, he fulminated a couplet and, by its
Cccult power, made the idol falt down He gave out another
distich and raised it as before. Like the Pied Piper of Hamelin
who engeged himselt to free the city of its posts, the tate,
Kslamekam is said to have drivea the serpents out of a village
with the magic of his verses.
He visited the Thiruvarur Siva temple and saw on one of
ita walls the line,—
காணென்றா: னஞ்ூருக்கு ஈற்சாபக்‌ கத்சாபம்‌.
Kalathekam wrote under it the following three lines and
went his way,
பாணக்தான்‌ மண்டின்‌ற பாணமே-சாணுவே
சீராரூர்மேவுஞ்‌ கவெனே ரீ யெப்படியோ
மோர்‌ புரமெரித்த கேர்‌.
13%
 274 TAMIL LITERATURE

The author ef the first line read the complete stanza on the
wall on his noxt visit and was not a little pleased with it-

The rest of his life is obscure. When and where he

breathed his last is not known. But tradition preserves a stanza
somposed by a poet as a funeral oration when the dead Kala-
mekam was ablaze on the funeral pyre.

ஆசு சவியா லஇலவுல கெங்கும்‌

வீசுபுகழ்ச்‌ காள மேகமே-பூசுரா.
விண்கொண்டை செந்தழல்வாய்‌ வேகுசே யையையோ
மண்டின்ற பாணமென்ற வாய்‌.
3. Irattayar, This stanza has been fathered on
Irattaiyar, ‘the Dioscuri' ‘the Twios’ of Amilanthurai in
the Obola country, who lived in the fifteenth century: The
elder was lame and the younger blind. Both were Senkunthar
or weavers by caste and born with a wolf in their stomach and
took to begging to keep it away. The lame got on the shoulders
of the blind and Jed the way» ~Providentially, tbey sobtained
poetic inspiration and turned it to the best account whenever
they needed the necessaries of life. One day they went to
Thiruvenkadesan, a rich man of a bcunteous nature. He took
Sompassion on the deformed and went to contribute his mite
and relieve their want. His brother stopped him. At once the
blind man ‘said.—

சேன்மொழியும்‌ வாயான்‌ திருவேங்க டேசனுடன்‌

ஏன்பிறந்தா னிர்‌ச வினியான்சாண்‌.
which was immediately followed up by the lame with

- யரன்‌ சொல்லக்சேள்‌
சசேவி யார்பிறந்ச செய்யதிருப்‌ பார்கடலுள்‌
மூசேவி யேன்‌ பிறக்சாள்‌ முன்‌.
 Sec, I. THE LESSER TRIO 975.
Beggars as they were born, they died as beggars too. The
two were known as two Suns, Old and Young, and the Dioscurl,
*பண்மசய கலம்பகத்திற்‌ இொட்டையர்‌,? 1118 two famous Kalam-
bakams are of Thilai and Amithur, He sang of Varapathi
Alkondan, the Chera King, and was amply rewarded.
Isolated stanzas, composed by the Twing to meet emergen-
eles, are out of number. Ekambranadharula is their sustained
production, The excerpt hereunder given is from the Ula.
மன்னு மொருலெந்திசோணாுக்‌ சாவிரியும்‌
மன்னியா சாளவைச்‌ சவரார்‌--பன்னெடகாள்‌
சேடி யிருவர்‌ இரியச்‌ ெசரியாமல்‌
நீ9 சுடர்வடிவாய்‌ der parnt—
gc Qover
உம்காரசூ செய்தே யுலகுண்ட மாயவனை௪
சல்காரஞ்‌ செய்‌ ௯யின்னுர்‌ தக்‌ சவரார்‌--பங்கயன்மால்‌
வீந்த சுடலை விபூதி தரி.த்திருவர்‌
ஆர்க்ச தலை மாலை யணிக்தவரார்‌.??

Ammanat Padal, the panegyric poem on Pandya, is ascribed

by some to the Twins, while equally good authorities attribute it
to the flowing pen of Pukatenthi.

These two posts were patronized by Al-Kondan, King of

Kongu Nadu and by Samba Rayan of Kanchipuram, and were
famous as makers of Kalambakam. ‘soiusg Ab @rlenwiee?
They were contemporaries of Villiputturar.
4. Tholkappia Thevar was the author of Tiru-
pathiri-puliyoor (Cuddalore N. 1.) Kalambakam, which was
eulogised by Irattayar in this strain,
“sre sriSug Csat Generar sips urea SD
நல்கா திருச்‌ செவிக்கு காருரைப்ப தேறுமோ.!?
976. TAMIL LITERATURE

SECTION IL
King—Poets
1, Niramba-Alakia-Thesikar was born ஷ்‌
Vetharaniem, He was a Saiva Vellalah who lived in the 16th o,
at Madura, He was by nature very sharp and intelligent
and attained a high proficiency in Sanskrit and Tamil,
He composed Sethu-puranam in 51 sarkkas containing 3438
Virutta stanzas, in praise of Sethu and Rameswaram, Its
original was the Sanskrit Skanda puranam. His Sethu-puranam
ig a magazine of new or unwonted word-coinages and peculiar
grammatical forms and usages. He used Anai for Sethu, Parithi-
alanthei, for Sakkara-thirtha, pinnal-ilanji for Jata-thirtha, and
Peripbrases, as 01086: (வெல்கையா ரென்னுஞ்‌ சொல்லின்‌ மென்‌
மையை வன்மை செய்யும்‌? 1௦5 1/8]22/0ழ்‌- 61200௧, enriching a person,
*சிலேமொழி தன்னை நீத்தான்‌ பூச னென்று சொச்ச புணர்‌ மொழி
விரண்டு சம்மில்‌3 for the apotheosis of a Brahmin ete.
*4 இல்லமென்‌ கிளவியக்காட்‌ டிருப்பவ ரிசைக்குங்‌ சாலை
வெல்லரும்‌ கேள்விமேலோர்‌ வி.தி.த்திட Masso sg
சொல்லிடும்‌ பெயரேயேனைச்‌ சொழித்குதிப்‌ பிரண்டி னுள்ளும்‌.
நல்லசோர்‌ பெயரேயன்றி ஈவின்‌றிட காடிடாரே.??
In this verse from Sethu-puranam the word ‘illam’ is used in
the double sense of house’ and ‘we have nothing,’ and the
poet repudiates the second meaning as the people of Rameswaram
are all rich or, well-to-do, He wrote commentaries on the
Supaksham of Siva Jnana Siddbiar and on Thiru-Arul-payan.
He was & Saiva, and is said to have composed another puranam,
called Thirupparankirt Puranam. His disciples were the two
princes—Athi-Vira-Rama-Pardyan, and Vara-thunka-Pandyan.
2. Athivira Rama Pandiyan. He was the raler
of Madura with Korkai and Tenkasi in Tinnevelly as his capitals.
He lived in the fifteenth century. He belonged to the lunar
 Sec. II. KING—POETS 277

family and was a steady literary worker while be wore the

purple on his back. He was a close student of Chintamani,
Kamban’s Ramayanam etc- His works are Naidatham, Kast-
kandum, Ilingapuvanam snd Kurmapuranam. The first,
which is called ‘yeast gen_sid? or ‘the Poets’ Elixir,
is about the lunar king Nale, his love Damagandhi, the gambl-
ing with Putkara, the loss of his dominions at the s'ake, their
exile, separation, and reunion, and their reinstallation, It is a
rendering m Tamil of the story in Vyasa Bharatham in
Sanskrit, It contains twenty-nine padalams with 1,176 Virut-
thames ard overflows as much with poetic as sensuous beautieg,
vide swayam-varaspadalam. Saravanaiperumal Aiyer of Thiru.
thanikai and Vedschala Mudaliar of Kalattur have annotated
this ero'ie poom. His Thiruk Karwvat pathittu patthu and
Anthathies in Kalitturai and Venba metres, are two ef hig
works, and his Vetréverkkat, or Narum-thokai, a series of pract.
eal and use!ul maxims, has found much favour with the public
and isin the hands f slmost every Temil pupil of ten yearg,
Kasikandam is in ¢wo cantos, Purva and Utthara, and containg
2:265 stanzas It is translation of Kasikandam in Skandam.
It desoribes very vividly Benares andthe Ganges and their
importance and dilates on the bachelcr life, married life, yogic
life, the virtues of women, and the religious observances of the
pious devotees) Kazma-Puranam is also in two cantos—Purya
and Uttbara- It is also a trans!ation of Vyasa’s * Kurma
Puranam' in Sanskrit. It contains 97 chapters and 3,717
stanzas. The title suggests the subject-matter. Vayu Sangithal
also is said to be his, but it is ascribed to cne Kunasekbara
Pandian. Thiruk-karuvai, in melting strains, desoribing pasu-
pathiepaga, has been called ‘Kutti-Thiruvasakom’ or ‘ Thiru-
vasakam ia Brief’.

3. Vara-ihunka-Pandiyan. He was the elder

brother of Athi-Vira-Rama Pandyan. His fame rests on Pira
 278 TAMIL LITERATURE

mothra Kandam and Kokkokam, The fermer contains 22

chapters with 1,323 virutthams and describes the sacredness of
the Saiva religion. It contains the mythologies connected with
the Five Letters, the Holy Ashes, Sivarathri, Prathosham,
Somavaram, Maheswara Puja, ete Kokkokam is a rendering
of the Sanskrit work of the same name, called after its author
Kokkokar It is in six chapters; containing 335 stanzas. [tis a
guide to a young man who enters married life, and the numerous
pictorial illustrations its appendix contains of the modes of
sexual union have led to this work being condemned ag
immoral,

4, Criticism. The two brothers were evidently twins,

the fruits of their parents’ devotion and prayer to the God at
Rameswaram, Athi-Vira-Raman bore other honorific namey
as Vallaba-Thevan, Pillai-pandian, Kulasekaran, Kunasekhara+
Valuthi, and Tamil-Valartha Thenoavan. Their masters wore
Veppattur Isana Munivar, Swaminatha Thevar, and Akora
Sivaohariar of Chidambaram. There is a proverbial saying:
*பாண்டியிலிரண்டு, பட்டரிவிரண்டு,? of which the firet phrase
refers to these royal brothers and the sec-nd to Sivajnana-yogi
and his first pupil Kachiappar. When Athi-Vira translated
Linga-purana, his elder brother said that the poem waa ‘pearl-
like,’ and, when he showed his Kast Kanda, he said that it waa
‘ike sugarcane’ and encouraged the author by his appreciations,
Une day Athi-Vira called his master Niramba-Alukiar * gecnuik
காச்சைக்குப்‌ பிறந்தவரே? 01 ‘one born of the black raven’ or
‘one born to protect the world-’ This anecdote seems spurious,
and the master’s help is nowhere invoked in his poems,
 Sxo, II, VILLI AND ARUNAGHIRI 279

SECTION II
Villi and Arunaghiri.
1. Villiputthurar was born at Sanyor in Thiru.
munai-padi-nadu, and Viraraghava Chariar was his father and
guru, “வீரராகவ சருள்பெறு வில்லிபுச்‌.எ.ரன்‌,? Villi’s son
was Varaatharuvar. He was an expert in Chandam, and waa
held ia great estimation by the three southern kings. He
composed Bharatham at the instance of the Chera ruler,
Alkondan, The poem praises some heroic Chera Kings and
their victories, and also Vishnu and Siva alike. Whatever the
merits of this poem, itis notorious for its prefusa use of Sana-
x's words and chandams. One or two instances of this may
be given, மாதவ யாதவ வாசவ சேசவ,? ₹கபோல விகட கடனி
அகம்‌ பகாதி யிரதம்‌.3 For ite wealth of legends and stories, it
was indebted to the sanskrit aceretional epic of Mahabharata
Nacchu-Poikai-padalam may be read with profit and pleasure,
Villiputthurar was a decided Vaishnava, worshipped as one of
the Alvars. He wasa perfect scholar in Tanil grammar and
literature,
குறும்பி யளவாச்‌ சாசைச்‌ குடைந்து சோண்டி
எட்டினமட்‌ டறுப்பச.ற்கோ வில்லியில்லை.!3
These lines are in praise ef his poetic censorship, As உ கன
otthe various arts and sciences, he made himself master
ofthe entire ancestral property without allowing his brother
a share. The latter complained to Varapathi Alkondan
of his brother's usurpation and prayed for the restoration to
him of bis own share, The king reserved the complaint
to himself and asked the post to compose Bharatham. In
obedience’to the royal mandate, Villiputthurar executed the work
and brought it before the king for rebearsal. (The sacred epia,
sometimes called the fifth Veda, it is needless to tell, narrates ine
exploits-of the Pandavas and Kurus, the descendants of king
 280 TAMIL LITERATURE

Bharatha). His brother renewed his partition suit before the

sovereign. In the course of the rehearsal, the poet came upon
that part of the story which condemned the unjustifiable
usurpation of the Pandavas’ dominions by the mighty Duryyo-
dbana, and the tragic consequences attenéant therecn, At this
point the king put in and asked the poet bow that story
differed from his own experience, Vexed at the king’s bome-
thrust argument, Villiputthurar made over the whole estate
to his brother and retired to Srirangam. He did not stop there
but once more commenced his peregrinations. In all the places
of his visit, he called on the poets to wage literary warfare with
him and ‘thereby establish their fame as poets, He wert to
Arunaghiri and challenged the local poots to prove their
worth in the literary arena. They immediately carried his
haughty challenge to their leader, Arunaghiri Nathar.

2. Arunaghirj. He came down from the gopura or

temple tower and accepted it- Then they came to an agree-
ment that each should compose an anthathi to be interpreted
by his adversary and that fhe successful interpreter should be
boneured as victor. First, Villiputthurar composed Alakar
Anthathi, which Arunakiri Nathar interpreted and explained
without any difficulty, Arumaghiri Nathar, in bis turn, wrote
Kandar Anthaihi spd gave it to Villiputthurar for interpretation,
Villiputthurar proceeded with the work in hot haste, but was
piked at the fifty-fourth stanza containing thithatha (@e5s)
all through it—really a hard nut for him to crack, Failing in it,
he gave up the attempt and ‘struck sail’ before tho enemy,
He quit the place sullen and, az a staunch Vaishnava, told his
devout followers to avoid the sight of a Siva temple hard by,
For this contempt of Siva, Arunaghiri Nathar sang,

புரித்தைகா இக்கத்தைப்‌ போர்வேளைக்‌ கத்தை.

அதிர்த்சவர்க்கு.ச்‌ சாச னெதிரே--சிரைச்சபுகழ்‌
 Ssc. III, VILLI AND ARUNAGHIRI 281

சேன்சாட்டுஞ்‌ சோணகரி,ச்‌ தேகெனைப்‌ போற்றாமல்‌,

ஏன்கெட்டுப்‌ போரா னிவன்‌.
and suddenly one eye of Villiputthurar grew dim. He hastened
to Arunaghiri Nathar to remit this hard punishment, when the
Intter told him to compose a poem in praise of Siva. To steer
clear of the opposition of Vaishnava fanatics, he undertook the
composition of Baratham intermingled with the legends of Siva.
மன்னு மாவன்‌ சசி.தமூ மிடையிடை வழங்கு
மென்னு மாசையால்‌ யானுமீ தியம்பு,தற்‌ சொக்சேன்‌.
These verses confirm this tradition. However traditions
might differ as to the origin of this epio, there is no question ag
to its excellence. It has a peculiar sésu. The verses are
flowing as water ;there is no rub. The author's rhetorical
exuberance is discernible everywhere in all the ten paruvams or
sections (3372 virut!hems) of his famous epic. His son, Varam
Pharuvan, furnished it wth a special preface of twenty-three
virutthams. The epic was based on the Baratham of Vyasa
and Balais Ssnskrit and on that of Perum Thevanar in Tamil,

Arunaghiri’s works, besides Kenthar-Anthathi, are

Kanthar-Alankeram, Kantbar-Anu-poothi, and ‘hira-pukal,
The last desaribes the name and fame of Kumara, Subramania,
and those who rearte the verses will, it is said, be relieved from
their fear and sufferings and will held fast to him in their faith.
The total number of verses making up the poem was ten-
thousand, but a tenth of the same has survived the ravages of
time: This poem; though full of sanskrit terms, is admired for
its rush of verses and chandam and is on the lips of all saivites,
as it sings of their God in ail his famous abodes, as Thirup-
param-kuntram, Pa!ni, Thiruchendur; Swami Malai etc, Its
importance is embodied in the following lines,‘ @@uuysp
படிக்குமவர்‌ சந்சை வலுவாலே, ஒருத்தரை மதப்பதிலே உன்றன்‌.
 282 TAMIL LITERATURE

அருளாலே. Tbe expression of the author is so forcible and

impressive that the saying ‘aré@s eq@ewG' bas become
popular, Of Chidambram the poet writes :—~
இருவினையின்‌ மதிமயம்‌இத்‌ இரியாசே
எழு5ர9 தூழலு கெஞ்சச்‌ தலையாமே.
பரமகுரு வருணினைந்திட்‌ இணர்வாலே.
பரவ,தரி சனையை யென்றெத்‌ கருள்வாயே
தெரிசமிழை யு.தவுசல்கப்‌ புலவோனே
இவனருளு மூருக செம்பொ,த்‌ கதமலோனே
கருணை நெறி புரியு மன்பர்ச்‌ செளியோனே
சனக சபை மருவுகந்தப்‌ பெருமாளே.??

SECTION 1V

Minor Poets

1, Param Jothi. Paranjothi was born at Vetharani-

am, and was an Athi-Ssiva. He was a Thambiran in a Madura
mutt, He was well-posted in Sanskrit and Tamil. His know-
ledge of Ahama Sastras was great. He translated Vedharania-
manmiam in Tamil and called 1¢ Vedarania-puranam:
“Ga serusCer Cur pA Saireirait stevar Cun op
மாதொருபாகா போற்றி மறுசமயங்கள்‌ மாள
பேசகஞ்செய்வாய்‌ போத்றி பிஞ்ஞசா போத்றி யான்செய்‌,
பாதமனை த்தும்‌ இர்ச்கும்‌ பராபரா போத்தி போத்தி 3,
He composed the lilas of S'vain his famous work Thiru-Vilat-
Adal, which con‘ains 4 cantos comprising 68 padalame and
numbering 3363 starzas. Ha based it on the Sanskrit
Skandam- A brief analysis of the couteuts cf each padalam ig
given below.
 Sec. IV, MINOR POETS 283

The first miracle is the killing of Viruthirasursn by Indra

armed with the back bone of Tathesimuni changed into a swords
The second tells us how Duruvasa cursed Indra for dishonouring
a garland of Siva by putting it on his elephant’s head, and
punished the elephant by oxiling it to the woods for 20 years
and how they obtained Siva’s Grace. The thtrd miracle is about
the formation of the city out of the Kadamba forest in the time
of Kulasekbara Pandya who lived at Manalur, his capital, and
who was told by the merchant Dananjayan of what he had
witnessed, i. @,, an aerial car and the gods worshipping a linga
in the forest. Tha fourth describes the Yaga of king Malaya
Thnvajan, son of Kulasekhara Pandyan, for a child and the
birth of Thada-thakai Piratti as daughter of Kanchanamalai
‘The fifth narrates the story of the coronation of the Piretti and
her career of conquest and of her marriage at Madura to Somar
sundara Pandya, The sigth describes Siva's dance at Velli-
“ambalam tor Pathanjali and Vyagra-pathar. The seventh
miracle is about Kundetharan, who, having devoured all food
prepared for the Pirattisr's marriage, cried for more and pub
her in an awkward plight, The eighth describes the Food-Pit
and the Vaigat for appeasing his hunger and slaking his thirste
The ninth is about the seas for Kancharamalai’s bathing. The
tenth describes the miracle of the sea-bath by Kanchanamalai
along with her dead husband, Malays Thuvajan. The eleventh
refers to the birth of Ugra Varma as son of Thada-thakai, The
tweljth describes the marriage of Ugra and Kanthimathi and the
three boons granted to Ugra by Siva, The thérteenth relates the
story of 96 aswamedba Yagas and Indra’s jealousy and the sea-
deluge over Pandi-nadu in a single night whieb he with Siva’s
grace, dried atonce- The fourteenth deals with drought and famine
and Pandya's capturing the clouds and imprisoning them and
the Vellalahs reheasing them on their pledge or bail- The fifteenth
relates the birth of Vira Pandya and the sufferings from famine
and the mode of relief suggested. The sixteenth tells us of
 284 TAMIO LITERATURE

Biva's teaching the Vedas to Kanwa and other rishis, The

seventeenth relates the death of Vira Pandya by a tiger and the
coronation of his son ‘Abisheka Pandya: In this canto, Siva
appears as a seller of gems to the illegitimate sons of Vira. The
eighteenth deals with the cure of Varuna's stomach-ache. The
nineteenth describes the rain-deluge brought about by Varuna,
The twentieth contains the mirecles of metamorphoses and
rejuvenescences by Siddhars, The 2ist relates the miracle of
the stone elephant eating a sugarcane leaf at “he hands of tha
king. The 22nd is about the death of Abisheka and the installa-
tion of his son Vikrama and thu Gbola’s conspiracy with 8,000
Jains on the eight hilis to kill the Pandya, and the failure of the
attempt. The 23rd relates the story of Gowri and her marriage
in a Vaishnava family. The 24th treats of Karikala’s proficisncy
jn the arts; the 25th of the Brahmin and his thirsty wife
kilied accidentally by the fa'ling of an arrow and final! justice
dove to the hunter wrongly charged with the crime; the
96th of the sinful Brahmin reformed; the 27+h of Sitthan’s
attempt to commit sdultery with his master's wife and
his mutilation by Siva; the 28:h of the death of a serpent
which caused o panic in Madura in the days of Anantha
Guna Pandya; the 29th of the Jain cow; the 30th of pious
Sowndra Samanthan, and his use of tha royal treasury
intended for the recruitment of forces in building Siva temples;
the 31st of the gift of the golden parrot to mest the famine; the
32nd of Siva as a seller of bangles; the 33rd of the six Virgins
turned into stones and their restoration; the 34th of Siva’s
blessing the Chola king with a fish mark; the 35th of the
alliance between the Chola and Pandyan kings and the pardon
of the latter’s usurping brother ; the 36th of the pious lady of
Thiruppuyensm and the alchemic ert; the 37th of the rule of
his son Rajessn, Raja Gambiran, bis son, and Purandra Chit
and of the Chola expedition to Madura; the 38th of Adiyar-
kunallan, a Vellalah, and his wife Dharma-seclai and their
 Sec. IV, MINOR POETS 285

Mahesvrapuja; the 39th of the story of the childlesa Danapathi,

his adoption, his penance, etc; the 40th of Varaguna Pandya
who desired to visit Sivaloka in bis mortal frame; the 41st of
the story of Bana-bhadra and Ema-natha asd Siva appearing
as a fuel-seller and putting down the arrogance of the latter;
the 42nd of Bhadra taking Siva’s message to Cheramanperumal;
the 43rd of Bana-bhadra blessed with a golden seat lest his ya?
should be wetted; the 44th of Rajaraja Pandya, successor
to
Varaguna, in whose time there was a harp-match between
Bhadran’s wife aud a woman harper of Ceylon; the 45th of the
miracle of suckling young pigs, the 46th of the young pigs
turned inte ministers for Pandya, the 47th of the upadesa
to the blackbird; the 48th of the moksha to narrai or herons}
the 49th of the demarcation of Thiru-Alavoy; the 50th of Siva
as Pandya’s military helper, and his shooting the arrow ins
scribed ‘Sundaram’; the 5ist of the Sanga-palakai or seat;
the 52nd of Siva's help to Tharumi to get the golden parrot;
the 53rd of Nakkirar’s fault-finding and punishment and redem-
ptions the 54th of Nakkirar's learning grammar from Agastya;
the 55th of the dumb Child settling the dispute among the
Academicians; the 56th of Idaikkadar whose difference with
the Pandya disregardfal of Tamil was settled; the 57th of
Siva’s marrying Minalochana, « fisherman's daughter; the 58th
ef Manicka Vasakat’s mission to buy studs of horses and his
meeting with his Guru ; the 59th of the miracle of Jackals 41௨0௯.
formed into horses; the 60th of the miracle of their re-trans
formation; the 6184 of the King’s persecution of the saint-mi+
nister, the Vaikai-bank breach, and of Siva appearing asa
wage-earner for an cold woman, Vanthi, selling puddiags the
62nd of Jnana Sambbanda, Mangayarkarasi and Kulachirai who
reconverted Kun Pandya from Jainism to Saivaism} the 63rd of
the miracie of Sambandha’s cadjan leaves being unbarnt against
the Jains’ burnt ; and the 64th of the Vanni tree, the liaga and
the well, the three witnesses of a merchant-daughter’s marriage
286 TAMIL LITERATURE

and of the dispute between her and her fellow-wives, and their
iuvitation to Madura. This avalysis of the poem shows the
Pandyan guocession, partly imaginary, and Siva helping all sorts
and conditions of Sivs devotees without distinction of birth or
status. The padalams describing the sale of bangles and gems
and alchemy aro full of interest, not only economical and mer-
eantile, but literary. Puns or plays upon words appear in avery
stanza.
“தறு.த்சதை மயெவன்கொலைய சந்தரமென்றார்‌ வேளை
வெதுத்தவன்‌ மாரிபெய்தற்‌ சென்றனன்‌ விழியால்‌ வேலை
ஓ௫.தசவர்‌ யாவதென்திரு த்தா மென்றார்‌ கற்றைச்‌
செறுத்‌ தவன்‌ ஜென்பானின்று கோக்னொத்‌ நெரிவ
சென்ருன்‌?%
The words ‘Kantharam’ and ‘ Uttharam’ have two
meanings each, (1) letter and cloud, and (2) reply and north.
Another Thiru-vilayadal by Perwm-patra-pulliyurur of Sellinagar
alias Vembathurar Thiru-vilayadal, is said to be a rendering of
the Sanskrit Uttara Mahapuranam and to be more ancient and
valuable. Between Paranjothi’s and this work there are many
differences in the order and treatment of the various divine
sports. Pandit Swaminatha Aiyer has published it with Intro-
duction; lexicon and appendices and places the author in the
12th century Potrt-Kalt-Venba, which gives the essence of hig
Puranam, and Mathurat-Pathittwp-Patihu-Anthathi are his
other compositions,

2 Poyya-Moli-Pulavar. He has been given a

freater antiquity than he deserves, He was born at Thura-
yur in Qbola-mandalam. He was a Vollalab; His erudition
was as great ag Siva’s grace to him. He was a great poet, and
his Thanjat Vanan Kovat is remarkable for its happy illustration
of Narkaviraja Nembi's Ahapporul Vilakkam. ‘Kovai’ is a
species of poetic composition in which there is a medley of
 Szc IV. MINOR POETS 287

metres. The hero of the piece is Vanan, a Veilalah of Thanjak-

kur and the minister and commander-in-chief of a Pandyan
King. Anexcellentcommentary on it has been written by
Chokkappa Navalar.
*பொதியி wag Bugyiss Quriuse QromPasmiss
செைவில்‌ புலவர்‌ கொமணியாய்‌த---து இசேரும்‌
செக்காட்டல்‌ சோட்டச்‌ துறையு ரெனுக்தல)த்திர்‌
,அல்சாட்டங்‌ கொண்டிருப்பாய்‌ சான்‌.)
He is said to have made an at‘empt to revive the Tamil Sangam.
It seems that he went to Madura and made his proposal to
Vananka-mudi Pandyan who was at the temple for worship,
The King tested his ability by asking bim to make the images
of the Sangam poets nod by his verses.
“ உங்களிலே யானொருவ னொவ்வேனோ வல்லேஷே
இங்கட்‌ குலனதியச்‌ செப்புலகள்‌--சங்கதீஅப்‌
பாடுன்ற மூச்‌தமிழ்ச்‌ கென்பைர்தமிமு மொக்குமோ
எடவிழ்சா ரேழெழு வீமே.
As these numbers were uttered, the images are said to hava
nodded, The King still ignored his request, and the poet got
vexed with him. When he turned to the Chola country, the
Pandyan queen 8 ‘cogntto' was one of his palanquin bearers.
The poet came to know it and told ker that he would not curse
her roya! partner for his neglec:, and sent hor away with this
eulogy*
1 உமையாளு நீயு மொருங்கொப்பே யொப்பே
உமைய௰ாளுச்‌ கக்குண்டோ ரூனம்‌--உமையாடன்‌.
பாகந்சோய்க்‌ சாண்டான்‌ பலிக்குழன்றுன்‌ பாண்டியனின்‌
Bee srs grea arte”
The poet was an intimate friend of Sinakka, a minister of
tho Chola king. Both used to while away their time in literary
matters. The minister went to supper and the bard to sleep in
 288 TAMIL LITERATURE

the royal cot. Not knowing that the bard was asleep there and
taking the sleeper for ber husband, Sinakka’s wife slept by his
Bide’ At midnight her husband repaired thither and saw the
bard and his wife on the cot and slept by his wife's side. In
the early hours of the morning the bard got up und saw his
patron's wife by his side and shivered. The lady jumped down
and went inside. The patron restored peace to his mind by
observing that the bard was so good and innocent that he
looked upon all women as his sisters. Since that day their
intimacy increased; and, when the patron died, the bard
would ascend the funeral pile.

“வாழி சோழ, வென்வாய்மொழி சேண்மோ,

அஜி சிலலெ.ஜி மானிலசயின்‌ வயின்‌
கட்டிளம்‌ சணவன்‌ சகவின்பெறு சேக்கை
என்றறி மனைவி நெடி அயில்‌ கொளச்‌
செல்லச்‌ டெமி னெனச்‌ இடந்‌ தருகெனைச்‌
சொல்லிய ஈண்பன்‌ ,சனிச்செல்‌ பவனோ
கானு மேகுவன்‌ ஈற்றுணை யவர்க்கே??
அன்று நீ செல்லச்‌ டெ வென்ற யாயிழையோ
டின்று நீ வானுலக மேறினாய்‌--மன்‌ தல்சமழ்‌
மானனக்கும்‌ வேல்‌ விழியார்‌ மாரனே சண்டியூர்ச்‌
இஃ்கா செல்லக்‌ டட.

Arrunacbiri-nathar refers to an incident in the life of the

bard during fie wanderings in the Pandya-nadu, Muruga
appeared to the bard like a hunter in a desert and menaced him
and told him to use his name « muttai’ in a song ‘sung, as if
were, by his mother. Muruga criticised the stanza, gbserving
that, in the blazing beat of the sun in the desert, it was
impossible for a thorn to be unburnt and to run into one’s sole,
“@puce wrlOd yor
மூட்டைப்பெயர்‌ செப்பிக்‌ சவிபெறு பெருமாளே,!!
 Sec. IV. MINOR POETS 289

The bard's stanza ran as follows :—

“பொன்‌ போலுங்‌ கள்ளிப்‌ போறிபறக்தங்‌ கானவிலே
என்‌ பேசை செல்லத்‌ ெயந்தனளே..-மின்போதும்‌
மானவேன்‌ முட்டைக்கு மாருய செவ்வர்போல்‌
கானவேன்‌ ழட்டைச்குங்‌ கர்‌ 2?
Maruga gave a stanza off-hand :—
லிழுக்ததுளி யர்சாத்தே வேமென்மும்‌ வீழின்‌
எழுக்த சுடர்‌ சடுமென்‌ றேல்ச்‌--செழுல்கொண்டல்‌,
பெய்யாத சானகச்சே பெய்வளையும்‌ போயினாள்‌
பெரய்யாமொழிப்‌ பகைஞர்‌ போல்‌...)
Padikkasu Pulvar alludes t> it in his verses;
௭சையா நிரண்டுடைச்‌ சாளை தன்வாயிற்‌ சவிதைகொண்ட
பொய்யாமொழி;??
3. Virak-Kaviroyar woes a native of Nallur, Tinne-
velly District and distinguished himself in Madura as a post of
no mean order. He composed Harichandra-puranam in 12
090008 [ற 8௭661, simple, flowing verse, and putlished it in the
temple of Vishou at Pullani, about 400 years ago. It gives the
story of King Harischandra snd Chendramathi, and the vicisei+
tudes of their life consequent on the King’s refusing to speak
anything but truth—pure and simplee Mayanakandam, ‘which
is pathetic in its subject-matter, moves the feelings of the reader
to an intense degree as the poet has chosen an appropriate
diction for it. Hewasa Kals devotee.

4. Mandala Purudar wos a contemporary of Krish-

na Royar, ruler of Vijaiyanagar.* செடிமன்ன வணல்குக்‌ சாஎன்‌
இருட்டின்ராயன்‌ கைபோல்‌ » testifies to it. He lived at Veorai
and wasa Jain. “Sag dic uper@G@ pes Serr wedn_eveis
He was Guna-bhadra’s pupil. His lexicon, called Sudamant
Nikandu, based on ‘Thivakaram' and ‘Pinkalanthai’ con-
tains 12 groups or thokuthi’s.
1219
290 TAMIL LITERATURE

௭ விரவிய சேவர்‌ மச்சள்‌ விலல்கொல மரமிடம்பல்‌,

பொருள்‌ செய்யும்‌ வடிவுபண்பு போற்றிய செயலொவிப்பே
சொருசொற்பல்‌ பொருளினோ9 முரைத்தபல்‌ பெயர்ச்கூட்‌.
டந்தான்‌,
வருமூறை திவாகரம்போல்‌ வை,ச்அப்பில்‌ சலக்சை சன்னில்‌.
ஈஒருங்குள பொருளுமோர்க்‌ இட்‌ த சனன்‌ விருத்சந்தன்னி.
விருந்சவை நல்லோர்‌ கு.த்த மியம்பிடா ரென்பசெண்ணிச்‌
இருந்திய கமலஞர்தி திருப்புகழ்‌ புராணஞ்‌ செய்சோன்‌,
பரக்தசர்‌ குணபத்‌ இரன்றாள்‌ பணிர் சமண்‌ டலவன்றானே.!?
The second stanzs cited above refers to his puranam on
the Jain deity.

5. Avasakesari was « great Sanskrit scholar and

translated Kalidasa’s Raku Vamsam into Tamil verse. It is in
26 padalams, counting 2404 stanzas. It is about the Maharajak
Rabu of the Solar race, The stanzas are well-turned and embody
deep thoughts, and are hard nuts for Tamil pandits to crack, The
author was a contemporary and cousin of Para-Raja-Sekaran,
ruler of Jaffoa, The poem was published at Thiru-Arur. He
‘wag a pupil of Ash*avathana-Ramanuja-Kaviroyarof Alwarthira-
nagari, who had lived three centuries azo. This stanza is from
Rahu-vamsam

“Qc. Ons Au வெய்யவ ரிடுச்சண்வர்‌ இறுத்தான்‌

மேட்டவச் லைப்‌ பகைவ.ரா குவரென முன்னோர்‌
பட்டுமைச்சன காட்டுமா பானுவாத்‌ பரியுல
கட்ட கட்டலைக கொட்டைவான்‌ சரோருசச்‌ களையே,
*Barorugam’ means lotus,

6, Vira-Rahava-Mudaliar, the blind bard of

Ohingleput, was a tourist and distinguished himself ag a poet
even in the distant Jaffna. He wrote numerous occasional
verses and vidu-kavis, and among his substantial works may
 Ssc. V, THIRUVAVADUTHURAL 291

be mentioned ‘Kalukkunta Puranam, (Kalukkunta Malai,’

and 'Seyyur Pillai Tamil’.
He was a native of Poothoor vear Kanchi and son of
Vaduganatha Mudaliar. He went to Ranchi when his ‘kith aud
kin left the village for Pon-kalantbai. He composed a pillai-
Tamil in bon-ur of Ammayappa Mudaliar of Seyyur. His wife
one day remarked half in jest if he returned with the dower of
flourishing villages and a young elepbant- At once he quit the
place, stayed some time in the Chola country, and ultimately
went to Jaffna, He obtained mavy gifts from king Para-raja-
Singan and returned home. On his way home he composad
an Ula in praise of the ruler of Kaittar in the Tinnevelly
District. After bis return he passed his days happily with his
wife. Some scholars assign him to the close of the 17th C.
This is contradicted by h’s pillai-Tamil in which {Sma'l Car,
Bt. 6| he refers to the rebuilding of the local Muruzan temple
in 1521 A. D. (Sakaptham 1443), At his patron was Para-raja-
Singan, be must have lived in the first half of the 16th 0.

SECTION V

Thiruvavaduthurai
This is the oldest mutt that cultivated Tamil .earn‘ng,
particulary Tamil Philosophy and religion It reached ita
genith in the time of Isana Thesikar. [t bas its branches in the
Tamil districts where, in the days of old, treatises on Saiva
religion aid philosophy were composed and disciples were
initiated into the mysteries of Saiva cult by the Thamturans-

1. Namacchivaya Thesikar wrote commentaries

on Arul Nanthi Sivacharyar's Irupa Irupahthu and Umapathis
Vina Venbas He livad about the close of the 16th century,
 292 TAMIL LITERATURE

He taugh! Meikanda sastras to Maraignana Desikar, Dhakshana-

murthi and Ambalayana Desikar and wrote Thasakariyam,
ealled after his name.

2. Dhacchanamurthy, 2 disciple of bis, was an

adept in Pathi-Sastras, who wrote Thasakariyam and Upathesa-
pah-odai.

3. Ambalavana Thesikar, the 15th Matathi-patbi,

was another disciple of Namacchivaya whom he initiated into
the mysteries of the Siva religion. The ten works of
Ambalavanar ara:—
Thasakeriyam. 6. Upaya Nishtai Venbs,
wo Dt

Sanmarkka Siddhiar, 7 Upathesa Venba,

oom

Sivacchirama Thelivu, 8. Nishtai Vilakkam.

Siddbantha Pabrodai. a Adhisaya Malai.
Siddbontha Sikamani. 10, Namacchivaya Malai,

11. Poopillai Attavanai, .

Be bad a Vaishnava Brahmin pupil by name Ulakudaiya
Nayanar, who praised his Guru in ten thiru-viruttams.
His philosophical work, called Pupillai Attavanai or Uyur
Attavanai, is im prose: His disciple was—

4, Isana Thesikar clics Swaminatha Thesi-

Kar. He vecams a Sunnyasi in his early years and took to
theological learning in the mutt He had the rare fortune of
being tusvred by the excellent scholar and philosopher Mailerum
Perumal Pilial, son of Thandavamurthi Pillai, a Vellala of
Tionevelly, and the great commentator of Kalladam, Thol
kappiam, Kurral, and the Jain classics. For Sanskrit he was
placed under Kanak«sabapathi Aiyar. Having attained profi-
ciency in both languages, he was wade a Thambiran. He then
learned Siva Jnana Bhodham and Siva Jnana Siddhiar. His
 So, V. THIRUVAVADUTBURAL 293

Takkanakkosthu contains the subtle and disputed points of

grammar he had discussed with his venerable master Once he
m-t with Vaitbianatha Nayalar of Thiruvarur. author of
Llakkana Vilakkm, and won his admiration His grammar
comprises 151 sutras and is in three Iyals, vie., Vettwmas, Vinas,
and Olepu. He was honored with the title Isana Thestkar and
sent to isana mutt in Tinnevelly. He also wrote a phil. sophical
work called Phisa Kiriyam, and Ttru-chenthil-Kalambakam
besides others A fellow student of his was Subramacia Thee-
obathar, author of Pira-yoka-vivekam, the distilled essence of
the Sanskrit originals. in 4 padalams and 51 Kalit'hurais. Ho
was a native af Thiruk-kurukur, who lived in the 18th C, His
work shows ‘he forms and usages in common between Sanskrit
and Tamil.

5, Sankara Namacchivayar, Isava's disciple,

wrote an elaborate commentary on Pavananthi's Nanoul at the
instance of Uthuma'ai Maruthappa. This commentary surpas-
ses Samana Munivar's in clear exposition and illustration.

6. Velappa Thesikar. ‘There wers two authors

bearing ‘he same name, and both were pupils of the same
master. The first Velappa, after he became madathipathi, com-
posed Perialur Puranam and died at Thirupperumtburai. The
second Ve:appa was the vice-president of the mutt aud turned
out a good poet, He composed Panchakkara Pahrodat, a great
work on Saiva phiosophy, He died at Perur, By the great men
of his line were written Jnana Puja Vidbi according to Vathula
Abamam, Kiria Puja Vidhi according to the Pachatbi of Varu-
na Stva charyar, Marapu Attavanai,and Anupokaventa. His
disciple was

7, Siva-Jnana-Munivar clos Siva -Jnans-

Yokiswarar, « Vella‘a of Vikrama Singapuram in the Tinne-
 294 TAMIL LITERATURE

yelly District, who was the son of the highly cultured and pious
Ananda Kutthar and the chaste Mailammai, His parents called
him Mukkalalingar. When he was hardly five, he chaneed to
meet in the street certain Thambirans of Thiruvavadu-thurai
and invited them to his house, He accompanied them to the
mutt, where be sat at the feet of Velappa I- and magtered Saiva
Siddhantha ond Pandara Sastras and became a Thambiran. He
mastered both Tami! and Sanskrit and wrote masterly treatises
on giammar, logic, religion, and philosophy, His commentary
on Siva Jnana Siddhiar shows his keen insight and logical
precision, and his vast learning. His chief werks ate Tholkap-
pia-Sutra-Virutthi, Lakkana Vilakka Suravalé, (a counter.
blast to Vaithiantha Navalar's), Tharukka Sangrham or
Annampatiyam (rendered from Sanskrit in 350 stanzas),
Puttham Putthurai (a new commentary oriticising Sankara
Namacchivayar's Nannul annotation), Kancht-puranam,
(first canto), rendered into Tamil {from Sanskrit, Somesar
Muthumoli-venba, Thiravida Maha Bashyam, ete. The
Dravida Maha Bashya, which is a monument of the Yogi's
scholarehip, was brought out a few years ago by Pandit Subra-
mania Pillai of Madura with the entire commentary on Sutras
§—12 and with introductions and portions of the commexts on
other sutras,and contains an introduction in English by
Mr, Nallasami Piliai, reviewing the author's life and works,
Besides these works, he translated Arathattha Sivacharyar’s
Panchakam, which established Siva as the Lord by adducing
twenty-two reasons, and Siva-thathwa-Viveka, [only the text
portion] by Appaya Dikshithar. Fucther, his controversial works
are many, among which the chief are Marapu-Attavanaé
Maruppin Maruppu in connection with his controversy with
Dharmapura Mutt, VaytraKuppayam on the word ‘Eduttha’
on his controversy with Thiru-Anna-malai Mutt, and Sivas
Sama-Vatha-Vurai-Maruppu. His painted portrait was set up
in front of his puja mata by the sixteenth revered head of the
 Szc, V. THIRBUVAVADUTHURAL 295

mutt, Subramania Desikar: a liberal patron of poets and men

of letters,as Mahavidvan Minakshigundaram Pillai, whose pupils
became famous in course of time as great scholars and Pandita.
Among his minor pieces may be mentioned Thiru-Ekambar
Ananda Kalippu and Anthath:, Sepparat Ahilanda Iswaré
Pathikam, Thirut-Thondar.Thiru-Namak-Kovai and Panshake
kaya malai, Thus Siva-Jnana Monivar was 6 great thinker,
commentator, philosopher, poet, grammarians and controver-
sialist. His retorts to Jnana Prakasar's commentary on Siva
Joana Siddbiar are well known. He died about 1766 A, D,

“wer gpd Seatas agi மேடமதி

யுன்னிரவி காட்பகலோ தாயிவியம்‌--பன்னும்‌
'இிருவாள னெங்கோன்‌ வஞான தேவன்‌
திருமேனி நீங்கு இனம்‌,?3

He had a number of disciples, of whom the following

were the chief —

{a] Kachiappa Munivar, a native of Thiratthanikai,

died in 1799 A, D. Hoe was a great traveller, While at Madras,
be composed Vinayaka Puranam and Vinayokar Pillui- Tamil;
at Conjeevaram, Rudresar Vanduudu Thuthu, பப்ப]
Patthu Anthathi, end Panchakkara Anthathi, and at Thi-
ratthanikai. Thantkat Puranam, in order to put down the
hanghtiness of those who had set a high value on Jivaka Chin-
thamani. In the last mentioned place he taught Kandappa
Aiyer, father of Visakapperumal and Saravanapperumal Aiyers,
It is said that he wrote Thantkat-Altup-Padat witha view to
cure the painful colic that had afflicted his pupil-

[b] Chidambaranatha muntvar, styled the Grammarian,

was the author of ' Thiruppathiriyue Puranam’s This munives
proved beyond cavil Mahesvara Puja as more important than
296 TAMIL LITERATURE

Brahmans Posana [feeding Brahmins], anda souvenir of the

gteat disputation is the parikala-well, which exists and for keep-
ing which neat and clear a Tanjore prince has giver a rent-free
land- Again, his marvellous Sakti was manifested in Ramnad
during his pilgrimage tour, when there was a severe drought.
There was a heavy downpour when he pronounced the five
letters and satin Nishtai. The Zamindar, out of gratitude,
made over to the mutta large village, Thirup-Pon-Kotiai,
and inscribed the gift in a copper-plate, which is still preserved
in the mutt, At the foot of the plate is seen
கயாம்‌ விரிசலை ஈன்னகர்‌ பொற்கோட்டை
பதியாம்‌ துறைசைப்‌ பதிக்கு--விதியாகச்‌
தானமிட்டான்‌ சேதுபதி சாரணிதா னுள்‌எளவு
மீனமில்லை யென்றெக்‌ கானும்‌.
A Kalampakam was composed in his honour by Santhu-puravar,
the author of Mayurakiri kovai,
[2] Thottikkalat Subramanya munivar wrote Thuraisai-
kovai, Kalaisai kovai, Pencha-rathna-malai, Sitthira Sabai
Viruttham, Thirutthanika: Viruttham, Subramaniar Thiru-
viruttham, ete,

[8] Ramanad Somasundaram Pillai composed ‘ Thiruk-

kalu Kuntra Kovai'’,

8. Pandara Sastras. These are the ten works of

Ambalavana Theslkar, the two poems of Thakshanamurthi, the
Thasakariyam of Swaminatha Thesikar, and the Panchakkara
Pahrodai of Velappa Thesikar. Thus they are fourteen in
number and they have been recently published by Mr. Sathasiva
Mudéeliar of Shiyali with an Introduction by Mr.K.Subramania
Pillai M.A,M.L,
 Seo. VI. DHARMAPUBAM 297

SECTION VI
Dharmapuram
Introduction, This mutt is memorable, as its beads
were great expositore and expounders of the Sidihanta Sastras,
and though it did not have many authors of repute or comment-
ators of great distinction.
1. Mumara Kuruparar was born at Srivaikuntam
of Saiva parests. He was born dumb and got the use of his
tongue by the grace of Subramania at Thirucbendore- He lived
in the days of the Emperor Akbar and Tirumalai Naicker of
Madura, to wit, nearly three centuries ago. He was the disciple
of Masilamani Thesikar at the Dbharmapuram mutt and turned
an ascetic. Precocious he was in bis early years, and he took to
the poetic vein early in life. His juvenile productions were
Kandhar Kali Venba, Meenatcht Pillat Tamil, Meenatcht
Eurram, Meenatchi Irattai Moni Malai and Pandara
Mummani Kovei. He mada a tour to the northern India and
had an interview with the Delhi Pacha He built a mutt and
temyle ab Benares and found a premature grave. Among his
other works those that have attracted attention are ‘ Muthu-
kumaraswamy Pillai Tamil, 'Cbidambara Mummani Kovai*‘
and ‘Chidambara, Seyyul Kovai Nidhi Nerri Vilakkam,
Mathuratk-kalambakam, and Kasi Kalambakam ara the most
popular and widely read poems, Of these the first contains
-192 Venbas containing the essence of Kurral. Nithi-Neri-
Vilakkam is ‘the lamp in the path of righteousness.’ The first
quatrain is rendered thus:
§ Youth is a bubble on the water ; wealth’s plenitude
Is a6 long waves that roll on its aurface;
‘This well-knit frame is writing traced on the water, my friends,
Why bow we not within the courts of Him, our Lord p™
During the last two hundied years it has become a classic of
the language. ‘ Kalambakam’ is a medley in verse, and ought
208 TAMIL LITERATURE
to embody eighteen distinctive obaracteristics. It contains
100 stanzas respecting the gods, 95 about the Anthanar, 90 of
Kings, 50 of Vaisiyar, and 8 of Sudras. Wo have two specimens
bf this pootic species treating of Madura and Kasi respectively.
He knew Sanskrit and Hindustani. He wrought miracles and
won the admiration of Akbar by converting meat into fruits, ag
the legend has it,
2. Velli Ambala Thambiran, 8ce section viii- His
eompositions are tame and jejune. His verses aro known ag
vellai or easy verses though pregnant with ideas,
3. Sambantha Saranalaya Swami is known to
us only by his work, Kandha Purana Surukkam, an abridgement
of Kachiyeppa Sivacharyar's magnum opus.
4 Vaithianadha Navalar was born at Thiruvarur
in en ancient family of Sivacharyars. He was a friend and
admirer of Swaminatha Thosikar, author of ‘ Ilakkanak-Kotthu,’
His own work was Iinkkana Vilakkam, a refinement on
Pavananthi’s Nannul, and it was cut up by Siva Jnana Swami
in his ‘Ilakkana Vilakka Suravali.' With the help of
YVaithianatha Navalar, Thiruvenkaia Mannan composed
‘Prabodha Chandredhayam’ or ‘The Rising of the Moon of
Intelleot’ based on Krishna Misran's drama. It is in 48 Oantos
or Sarkkas, counting 2012 Virutvhas, Manathan, sen of Maya,
marries Pravarthi and Nivarthi, The former begets Moban ete,
and the latter Vivekan &¢, Mohan is installed and Vivekan -
exiled. A war is waged between Mohan and his brothers on
the one hand and Vivekan and his host on the other, till tha
perishable-imporishable Vivekan appears victorious on the
80006.
5 Arumuka Thambiran, 4distinguished poet of
tho mutt, became its head ond travelled from Kathirkamam to
Jaganath. He became a Obristian convert in 1836 and composed
* Ajnana Kummi.'
 Sec. VIL THIRU-ANNAMALAI 299

SECTION Vil

Thiru-Annamalai
Introduction. This mutt too, like Dharmapuram,
made its name by its exposition of the Siddhanta Sastras,

1. Kukai-Namacchivayar. He was 2 Vedantin

and renounced the worldly life, and livedin acave. He went
to Thiruvannamalai and dwelt there ina cave. He was the
author of Arunakiri Anthathi, a philosophical work, acceptable
to all. It celebrates Siva, and the author addresses the soul
as his conscience or ‘the inner man’ and holds a series of
dialogues with it, It isin 100 venbas. Namacochivayar then
repaired to Chidambaram, where he settled for good and
breathed his last. His disciple was—

2. Arumuka Swami, the author of Nisktanuputhi,

‘Tamil rendering in 90 stanzas with 410 illustrative verses,
of the Sanskrit original, It has an excellent comme::tary ab
the hands of Mutthu Krishna Piramum. He wrote » commen-
tary on Siva Jnana Siddhiar, supaksham.

$. Siva Jnana Swami, « native of Jaffaa, left bis

birthplace early in his teens and proceeded to India, where he
dwelt at Chidambaram He was a great Sanskrit scholar and
author of -‘Siddhantha Sikamani’ and ‘ Pramana Theepika
in Sanskrit, In Tamil, he wrote an excellent and thoughiful
commentary on ‘Siva Jnana Siddhiar, Supaksham .
‘Vacchira Thandam’ 1s a severe critique by one ot his pupils
on the criticiams of his commentary. The ‘ Jnanaprakacam’
tank owed its existence to him.
300 TAMIL LITERATURE

SECTION VIII
Suriyanar Koil
The heads of this mutt too were great scholars who
devoted their time to the expounding of the Saiva Siddbanta
Sastres, Among them was Stvajnana Yogigal, a great Tamil
and Sanskrit scholar, who wrote a commentary on Siddbiar
Supaksham, in Tamil and Sanskrit, which is held in great
repute. Once he passed a week in Tanjore as the guest of the
Tanjore prince when a controversy raged with the Vaishnavas.
The Vaicbnavas were met in every point till they accepted Siva
as the Lord of all-

SECTION IX
Thiru-mangalam
This is a Vira-Saiva mutt. Its literary fame rests on the
three great poets Sivaprakasar, Karunatprakasar and Velaya
Destkar who were the three sons of Kumaraswamy Pandaram,
a Vira Saiva or Lingavite of Conjeeveram- The distinctive
characteristic of the Vira Saiva religion, which is said to be
as old as the Vedas, Ahamas, Upanishads, Smirtis, Puranas,
and Ithibasas, is the Lingadbarana. It was reformed by
Basaveevra of Kalyan, Among the 63 Nayanars Iyarpagai,
Birutbondar, Gananathar, Murka, Idankudi, Mayankudi,
Cbandesvrar, and Tirumular are mentioned as some of the
Vira Saiva Purathanas. Thus the birthplace of Vira Saivaism
Was the Tamil country, and it was also developed there, The
text of the Vira Snivas consists of three things—to wit—
Shatsthala (six steps to salvation), Ashtavarna (eight pro-
tections) and Panchashara (five religious obseryances), which
are nc‘ really separate from each other. The Asbtavarnas are
Gurv. Linga, Jangama, Vibbutis Rudraksha, Padodaka,
Prasada and Panchakshara,
 Sec, IX, THIRU-MANGALAM 901

1. Sivaprakasar’s panogyric stanzas on Palaya-

Swamy of Pommayapalayam show that he was his Guru
Sivaprakasar lost his father when he was a student. He,
therefore, took his mother and brothers to Tiruvannamalai and
settled there for some time. Intent on perfecting his know.
ledge in grammar and literature, he started for Tinnevelly and
was entreated at Thirumangalam in the Madura Distriat by
Annamalai Reddy, » moneyed man and landlord to settle in a
Mantapam, a work of charity, raised at his expense, Hoe
stayed there a while, bat, induced by his thirst for advancement
in learning, left the mantapam with tbe permission of the
Reddiar, who generously offered bim Rs. 500 for his expendi-
ture. He went to Tinnevelly and informed Velli Ambala
Thambiran of the Sinthupoonthurai mutt of the object of his
advent thither. He examined Styaprakasar and told him
to compose a stanza beginning and ending with and containing
519௨ ௦6 ஊருடையான்‌.

குட்ச்கோு வானெயிு கொண்டார்க்குச்சேழன்‌

மேட்ச்சோ௦ முன்னமணி வார்க்கு-வடச்சோ.
'சேருடையான்‌ றெங்வுக்குத்‌ இல்லைச்சோன்‌ மேற்கொள்ளல்‌.
ஊருடையா சென்னு முலகு.
The Thambiran was impressed with his extracrdinary glevernesa
and thought that he was an overmatoh for him, He, therefore,
told Sivaprakasar that be needed no tuition and that he would
gladly educate his brothers and make them good scholars, He
kept bis word and Sivaprakesar, as remuneration for his labour
and care, offered him Rs. 600, The Thambiran rejected it and
told bim that he would be much obliged if Sivaprakasar would
defeat his enemy at Tiruchendora who was always soribbling
satires and libels againet him, Sivaprakasar went thither and
was looking for Valaithalaiman, hig adversary Getting
Scent of Sivaprakasar’s arrival, Valaithalsiman visited bias
302 TAMIL LITRRATURE

and proposed that he who could compose first thirty yamugams

within the specified hour, must be entitled to take the other aa
a slave. With this compact, Sivaprakasar executed
Thiruchendsl-Nivetta Yamuga Anthatht in Kalstturat metre
before Valaithalaiman composed one. Valaithalaiman, therefore,
followed Sivaprakasar to Velli-Ambala-Thambiran as bonds-
man, The Thambiran, flattered with the victory, desired him
to take the lead in the matam, bat Sivaprakasar did not like the
trammels of superintending and managing a large establishment
and its concerns. He took leave of the Thambiran and returned
to the Reddiar's mantapam, There he lived, widely spreading
hig name end reputation and attracted to himself a host of
followers. Hia patron, Annamalai Reddy, suggested wedded
life to him ; but his suggestion was not taken up- He lived his
life as a celibate and as a literary man; issuing one work after
another tending to ameliorate the ¢ondition of mankind, The
following is a list of his works+
Pirabu Linga-Lcelat Thurratsai kovat
Thirkkuva-puranam Pétchadana navamané malas
Siddhantha Stkamans Periya nayoki kalitturas
Vedantha-sudamant Thiruchendil unthathas
Sivaprakasa Viyasam Sathamant malas
Sivanama Mahimat Niranjana malat
Tharka Paripashat Nalvay-nanmani-malas
Sona-satla-malat Apisheka malas
Venkat kalambakam Kaithala malat
Venkat Ula Ishtalinga viruttham
Venkat-kovat Nanneri
Venkat Alankaram
Of these, the first, a gem-like kaviyam, is about, Allama
Pivabu (the sout) and his sports with and victory over Mays,
(delusion) and his preachings to Vira Saiva Maheswarer. 1t is
in 25 Kathis or cantos, couating 1097 stanzas, It dignifies the
 Szc. IX. THIRU-MANGALAM 308

Bower of Siva at the cost of Satthi, Ite original was a Canarese

volume. Nanneré or The Good Way isa eode of moral rules
for the woll-being of individuals. This poem consists of 40
quatrains and has become classical. Each verse containg an
apt and often very Ingenious simile,
“ Tho fricad:hip of she good will dally increase in aweetnons5
Others” friendship will ever more and more beeome worthless!
Hert, O beloved!
If the tender fruit ripen, it booomes sweet to the tute;
Tf the twig grow mature, what fleasure’s there?”
Both have mede a name, but the others are known only to
special readers in the departments of religion and metaphysics,
Nalvar Nanmant Malas is the history in verse of the apostles
of Saivaism and contains forty stanzas in four different metres.
He took in hand his brother's unfinished’ Kalatti-Puranam,
composed two Sarkams and was himself obliged to leave it
imperfect, as he too was snatched away at the age of thirty-
two.
2. Velaya Desikar was the younger brother of Siva
Prakagar and a disciple of Velli Ambala Thambiran- He com-
pleted Kalatthi Puranam and was the author of Nallur
Puranam, Virasingadhana Puranam, Ishtalinga Kat-
thalamulat, Namacchivayamalat, Mailathtu-Irattat.
malai and Parisatha-Leelat. Hoe died xt Perumatthursi
ab tbe age of thirty-two-
3. Karumaip-Prakasar, the beginner of Kalathé
Puyranam, was cut off at eighteen like Chatterton. A disciple
of Velli Ambala Thambiran, he composed Ithtalinga Ahaval
in praise of the lingam worn by the Lingayets about their neck,
He truly deserved his elder brother's encomium :
* ஆண்டதனா லெனையொவ்வாய்‌
வி,ச்தையினிற்‌ றமையனிலு மதிகமென்றா த்‌?
304 TAMIL LITERATURE

BECTION X
Philosophers
1. Thatthuvaroyer was a Brabmin of the village of
Virai in the Chola kingdom. He mastered Sanskrit and Tamil
before he came of age, and, accompanied by his fellow-student,
Sortpa Ananthar, sought fora Guru elsewhere. Dissatisfied
with their literary acquisition and longing for inspiration from a
great Teacher, they went in quest of him and pledged between
themselves that he who should come across the Teacher first
must be accepted as the other's Guru- While his fellow-
student went south, Thatthuvaroyer went north, The former
met with Sivaprakassr and found in him all that they had
wanted, Thatthuvaroyer could not find one in the north and
returned home, He accepted his fellow as his Guru, to kesp
up bis word, All his acquisitions in vedic philosophy and
metaphysics, be turned te account in composing original
poems, This excellent poet and subtle metaphysician gave
lessons to Sasivarnan or ‘one with spots of white leprosy ' and
his lessons form ‘Sasivarnam’, He was an adept at the
various metrical compositions: venba, enthathi, malal, kovai,
kalambakam, parani, madal, ula, thuthu, and thalatto As @
pure vedantin, his Thatthuvamirtham is his excellent work,

Venba—Sivaprakasar venba, Sinnappu venba, Amirthasara

venba,
Anthathi—Venba anthathi, Kalitthurai anthathi,
Malai—irattaimanit majlai, Nanmani malai, Thiruvadi
malai, Thiru Arul Kalan malai, Potri malsi, Pubalchi matai,
Xovci—Mummani kovai.
Kalambakam—Jnans vinodhan Kalambakam.
Parani—Aguai vathai parani, Moka vathai parani.
Madal—Kali madal,
Ula—Uls, Siledai ula,
 Seo, X PHILOSOPHERS 305

Phuthu—Nenchu-vidu-thuthu,
Thalattu—Thiru-Thalattu.
Thasankam, Perumthiratiu, Korum tbirattu, Iswara Gita.
Brabma Gita,—these are his other works.
2. Thayumanavar. Kediliappa Pillai was his father,
who was « native of Vetharaniam in the Tanjore District, He
was the accountant and general superintendent of the local
femple. In his double capacity, he showed his wonderful tact
in management and lifted himself into fame. His first son, Siva
Chidambaram Pillai, was adopted by bis childless brother.
Having heard of his reputation as an honest, persevering and
skiful man, Vijaiya Rahunatha Chokkalinga Naick, the ruler
of Trichinopoly (1704--31.) in the first quarter of the eighteenth
century, appointed Kediliappa Pillai as his manager or steward.
While at Trichi, the devout manager prayed to the local deity
Thayamanavar for a son, and his prayers were heard.
Thayumanavar was born. ‘This son commenced his studies
early in life and became well-versed in Tamil and Sanskrit
works. A taste for theology which he had of his father induced
him to sit at the feet of ‘Mauns’ or gilent Guru, a sage of
exalted piety and profound wisdom. From his master he derived
his knowledge of God and the spiritual life. On the death
of his father, he was called on to take up his father’s position,
which he accepted out of courtesy to the ruler. Always centred
in the Lord, be could not give up his high holy life nor be untrue
to his master. Years passed, and the ruler died in 1731, His
widow, onamoured of the charming young man, fell irretriev-
ably in love with him and offered him the whole state if he
would step into her husband’s shoes, The righteous steward
foresaw the danger that was looming in the distance and quietly
departed the city one night. His goal was Devanager, where
he lived with his elder brother, Pressed by him to marry and
live a domestic life, the young sage consented, and married a
1231
306 TAMIL LITERATURE

girl there, The birth of the first child, Kanakasabapathy Pillai,

ended in the death of the mother, whereupon the father
renounced the household and took to the life of » naked wander-
ing sage, He went from one holy place to another and
composed sweet flowing hymns in every one of them. At
Bamesvram, where there was famine, the poet-sage sang, and
it rained in abundance.

“Tf the trua religion is the Saiva religion and the lord of
that religion is the moon-decked God, and if the goal is to over-
come the five senses and to be absorbed in the Blissful Peace,
ob, ye, clouds, pour forth in torrents." He passed the closing
days of his life at Ramnad in spiritual communion and attained
Samadhi in 1742 A. D. Thero is a mutt in his name in the Rock
Fort, South Street. Trichinopoly, where his picture is kept and
worshipped and his anniversary is celebrated with eciat.
Thayumanavar pined for the Grace of God and evolved into a
great bhakts, He conceived God as the Absolute Existence,
Consciousness and Bliss, as the scurce of all Power and Light.
Hs God bas Sakti in inseparable union and acts through his
consort. Soul is not God, nor God soul, but a relation exista
between the two, as between the letter oj — the root of all
sounds — and the other letters of the alphabet. Worship the
manifestations of the Lord and visit shrines and bathe in holy
waters—these prepare one to receive the Aoly work from the
master. Not merely learn but live, above all the desires of the
Slesh; if you care for Peace and Bliss. As Love is the Being of
God Himself, cultivate tolerance, and the ambrosia of siva-
bhogam can be tasted here and now, in any stage of life’ You
can bein the world and be out of it. Aaa poet, he is un-
rivalled for sweetness blended with simplicity, as a philosopher
ந்‌ olearly grasped abstruse doctrines and expressed them in
Popular language; as a yogi, he practised all the stages; and
asa Jnané, ho saw and lived in the Light of Wisdom, By
 880. KX. PHILOSOPHERS 806

precept and example he proved that religion must be lived:

Bis poems contain diverse soul-stirring hymns on Loves
and melt even refractoriness into zeal and devotion to the
Almighty. “Everything transpires by the Grace of God and
man is but a too! in the hands of the great Prime-mover”, It
is said of his hymns that he taught sastras through them.
*சாயுமரனவர்‌ சோத்திரல்சால்‌ சாஸ்‌இரஞ்‌ சாத்தினார்‌? பிடி
Parapara-Kanni, Painglik-kanni, Enoal Kaoni, and Anandak-
Kalippu are specimens of such a type. Arulaya Pillai was hia
disciple.

The Swami condemns the Bkanmavada and toe Aham

Parama Jnana.

பன்முசுச்‌ சமயநெறி படைச்‌ தவரு

மியாங்களே கடவு ளென்றிடும்‌ பாதகத்‌ தவரும்‌”*
and praises Saiva Siddbantam. fis great mission was to
redeem Saiva Religion from the crude Siddhantis who would
drag it into dualism and from the erring Vedantists who would
push it into monism, This great saint. poet and philosopher
called on the whole world to lose no time in the lower stages of
thought but to come straight away into the path of the Saiva
religion and partake of the cverflowing bliss of Sivasayujjia
€சாகழூ றவு சலந்துண்ணக்‌ எண்டீர்‌ சேரவாருஞு சகத்தரே3.. 8ஷ்௩
religion is universal and catholic and rings the clarion—note of
toleration.
“சைவ சமயமே சமயஞ்‌ சமயாதசப்‌ பழம்‌ பொழுளைச்‌
சைவந்திடவே மன்றுள்வெளிச்‌ காட்டுமி்‌2க்‌ சற, ச்சைவிட்டுப்‌
பொய்வந்லுழதூஞ்‌ சமயகெறி புகு, சவேஷ்டா முத்திதரும்‌
செய்வசபையைச்‌ கரண்பதற்குச்‌ சேரவாரும்‌ சக,த்தீரே.!)

Bt Thayumanavar 8ற௦8]28 01 'சாரக்கொண்ட சைவ (திசாந்தம்‌' 8

Samarasa Jnanam and Vedanta-Siddhanta-Samarasa-Nanneri.
308 TAMIL LITERATURE

3. Hannudaya Vallal. This iconoclast was a past

master in the Vedas and Agamas, and his Olsvtl-odukkam,
which isin ten Tyals or divisions beginning with upadesa and
closing with Nilai Iyalpu, counting 253 Venbas, is am endless
mine of intellectual similes and contains merciless ssrcasms
on all kinds of idolatry, It helpsa man to extricate himself
from the clutches of pasam and galn Arul or grace and
thereby purify himself. It reconaiies the Vedentam—and
Biddbantam,
உள்ளத்‌.
சழிவி லுக்கும்‌ மேனை யன்பரெல்லா மண்ண
ஒழிவி லொடுச்சதா லோர்ந்து?3.
This quotation from the Sirappu—Payiram was profusely
elucidated by Ramatinga Swamigal. It has a commentary by
Chidambara Swami of Porur. It is said that he wrote also
Maya pralapam.
4 Santhalinga Thesikar was « Vira Saiva ascetic
of Thirutburayur. To his sect belong Siva Prakass Munivar
and Siva Prakasa Thesikar- His knowledge of Vedanta and
Siddbanta philosophy was really profound, and bia five works
aim at reconciling conflicting doctrines and asserting that the
same Grand Unity pervades all. To name his poems, they
are—Vatrakkia Sathakam ond Vairakkia Thipam,
with 100 stanzas each, annotated by Chidambara Swami of
Porur, Avirotha Wunthiyor in 100 triplets with the refrain
‘ab$us, Nenchy Vidu thuthu, and Kolai Marutthal. He
lived in the mutt at Porur, or Chidambram west, built by
himself,
*ஈவிஸி வீம்மனை மர்சளுச்‌ சொறு, ணை
ஈரமலா திஸ யென்தே.
சவவையுற்‌ ஊன்றான்மறந்‌தனே யுனைச்‌
காலஞர்‌ மொடுபோயிழ்‌.
 See. XI. 1%2m & 18rq CENTURIES 308

குவல ய.த்‌,சடைர்‌ திவரைரா டொழும்புரம்‌

திவையேத்‌ குறிம்கும்சாத்‌.
சவலை கெஞ்சமே செவெனலா ஆயிர்ச்சூயிம்‌
sr gpGwont
gy tear wGir—(Vairakia Sathakam):

SECTION XI

17th and 18th Centuries

1. Pillai Perumal Atyengar of Thiru-mangai
belonged to the 17th century. Asa devout Vaishnave, ha
composed hymns on the 108 Vishnu ‘shrines as anthathis,
which are collectively known as Ashta Prabandam. He
wrote, besides, ‘ Venkada matai’ and ‘ Ranganaigar-unjal-Thiru«
namum’. He prophesied that his death would be brought
about by a cow. Accordingly, a lame cow went to Srirangam
temple and, when the Aiyengar was absorbed in his worship,
fell down on him and crushed him to death,

*துளவ துளவ வெனுஞ்சொல்றும்‌ போச்சே

அளவி னெடுமச்சு மாச்சே--மூளரிக்‌
சரல்கால்‌ குளிர்ந்சசே கண்ணும்‌ பஞ்சாச்சே
இசங்கா யாம்சா வினி.”

2. Ellappar, Ellappa navalar. Gis birthplace

was Thalai Nakar or Radbanallur, This Vellala poet wag
the author of three puranams and one kalambakam, vig,
Arunachala Puranam in 12 sarkkas counting 56 virat-
thams, Sevvanthi Puranam, Thiru Venkata Paranam,
and Arunatkalambakam. ‘The first Puranam itself would
entitle him to be styled a prince of posts, He had his education
at Dharmapuram, He annotated Sowndria Lahiri, which
 310 TAMIL LITERATURE

shows his vast learning. It seems that he made his Kalamba-

kam when he saw Aiyengar’s:
**ஐயல்கார்‌ ௮ம்மானையில்‌ அடிச.ரக்ினொர்‌?,
3. Hari Thasar was tho author மரீ ரீ Samaya
Velakkam in 2000 stanzas, which oriticises Saiva, Vaishnava
and Vedanta philosophies,
4. Apirami Pattar, » mester of Tamil and Sanskrit,
is krown to us hy the Aptramt Anthathi, noted for its
flowing metre and pregnant significance, Many commit to
memory every dey the hundred stanzas comprising this poem.
Though a Brabmin of Thirakkadavur in the Chola country, he
freely took in spiritucus liquors and was a worshipper of றட
rami, ademon. The anthathi named above is in praise of
Parvathi. Its raisson de etve was the contest between him and
the Tanjore king who ssid ‘ to-night is moonless ‘ in oggosition
to Pattar who calied it the ‘full mcon night’ by over-sight,
‘The full moon appeared but to disappear in « trice,
5. Padikkasu Palavar wos born at Thenkalunthai
to adorn the Senguntha sommanity. He was thecourt poet at
Rammed in the days of Raghynatha Sethupathi between 1647—
72, His chief work ccmposed st the instance of Karuppa
Mudaliar, son of Kasthuy. Mudaliar, was Thondat Mandala
Sathakam remarkable for its metrical excellence and he was
amply rewarded. Thiru Malai Thevar of Madura shut him up
in prison once and released him at the instance of Pala Pattadai
Chokkanatha Pulavar.
போட்டிழ்‌ சிறந்த படிக்சாச னென்றொரு பைங்ளியைக்‌
கூட்டி லடைத்து வைச்சா யிரைதா வென்௮ கூப்பி,
His master was Vaidyenatha Desikar, author of Ilakkana
Vilakkam. He was patronised by Kalatthi—Pupathi of Vallam,
“பகர்‌ சந்தம்‌ படிக்சா சலா லொருவர்‌ பசரொணாதே?ஃஃ is &
Panegyric on him. Every body knows the reason for the
 Suc, Xi. Mou & 18ra CENTURIES 312

pre-nomen ‘uipéers?; for he had five gold coins every day on

the Panchakshara steps of Sivakami Ammai. His occasional
verses on Kala-bupathi, Seethakkathi of Kayal-pattinam, ete.
are still cited by old pandits, Velur Kalambakam is
another of his poems. Thandalayar Sathakem is still another
works His verse on Ragunatha Sethupathi, his patron, is
subjoined:
*மூவேந்தரு மத்றுச்‌ சக்சமூம்‌ போய்‌ பதின்மூன்றோடெட்டுச்‌
கோவேந்தருமத்து மற்றொ.கு வேந்தன்‌ கொடையுமத்றுப்‌
பரவேந்தர்‌ சாத்தி விலவம்‌ பஞ்சாகப்‌ பறச்கையிலே
சேவந்சர தாருவொத்தாய்‌ ரகுகாச செயதுங்கனே)??.
His differences with Kumban,a poot, are found in his occasional
verses cn Mala-Arangan, etc. and they were set at rest by
Raghunatha Sethupathi,

6. Nalla Piilai, native of Mahathalampet in-Thondai-

nadu; and a Veilalah of the Karnike or Kanakka sect, knew
Tamil, Telugu and Sanskrit and amplified Villi’s Bharatham
by adding legends and episodes selected from the Sanskrit
Mahebharatham, “Naila Pillai Bharatham’ counts 14,728
stanzas 4,¢,, ten thousand stanzas more then Villi’s epic. He
was twenty years old when he composed it. Besides this, he
was the author of Thevayanat Puranam, which comprises
2,000 stanzas. Hoe lived about 180 years ago,
4. Kadikai Mutthu Polavar. He was the bard
at the court of Ettiapuram in Tinnevelly, His poems are full
of postic embellishments: Samutthira Vilasam, in 100
stanzas which compares the Zemindar to the ocean, Thikkw
Vijayam.in 320 stanzas in praise of the Zemindar of Sivagtri,
and Thiruvidat Marudur Anthathé aro his chief composi-
tions His word-plays are famous, His play upon ‘steef Baisib?
is will-known, It means ‘the anviversary of his wifc’ und
312 TAMIL LITERATURE

‘the way of fate’, His praise of Venkatesvra Ettappa in

Samudra Vilasam is as follows:
“உள்ள இருக்சை காணீரே யுநங்காதிருக்கை சாணீரே
லசச்‌-டலைப்‌ பொருமலையே யொழியேன்‌ விரகப்‌ பொருமலையே
கள்ளறா,சாங்‌ குவளைகளே சழலுள்‌ கரர்‌ சால்‌ குவளைகலே
கரையித்படாாச்‌.ஜப்பிரே கலந்‌ச தடல,த்தப்பீரே
௮ள்சாவளையுங்‌ எளிச்சரையே யழைப்பார்‌ மா.ஏர்களிச்சரையே
ஆஅவகுப்புச்‌ எ.ற்ேனே யாழிபுடைப்புச்‌ கா.ற்ேனே
வெள்ளமூரும்‌ பானத்சே விரும்பா திருந்தேன்‌ பானச்மே.
கெக்கடேசு ரெட்டனையே மேவத்தடுச்கு மெட்டனை யே??,
* Here porumal’ means ‘pain,’ peer or pasalai, Kali or serra;
palnatthu or white conch, and Ettanai or eight mothers.
8 Kalimutthu, 2 prostitute, was famous as the author
of Varuna Ulathitthan madal.
9. Rajappa Kaviroyar, 4 native of Melabaram
near Tenkasi in the Tinnevelly District, was a great Vellala poet
and a kinsman and disciple of Subramania Thesikar and distin-
guished himself by his puwranam and vanchi called respectively
‘Kuttala Stha!apuranam’ and + Kuttala Kuravanchi,’ both in
praise of Siva at the Kuttalam sanitarium. The former is in
two cantos comprising 32 sarkkas and counting 2,700 stanzas,
*Vanchi medu° refers to the grant of land to him in apprecia-
tion of his verse,
The poet jg known as Thirikuda Rajappa-Kaviroyar,
₹ இரிகூடராசப்ப னெனு காமச்‌ சிறப்புடையோன்‌,? in the words of
Alakia-Chokkanatba Pillai of Tachanxitur. The poet deseribes
the waterfall at Courtallum thus:
பாவமொடு புண்ணியத்தின்‌ வகை பிரிஃ்௪
மாட்டாவாம்‌ பலவாம்‌ தீர்த்தம்‌.
பூவையும்‌ இன்ளையும்‌ பாலின்புனல்‌ பிரிச்சு
மாட்டாமை போல மேலாம்‌
 Sec. XL 17H & 18rax CENTURIES 313

தூவியனம்‌ பிரிப்ப துபோத்‌ சுர்‌ சமெலும்‌ பால்பிரிச்௮ுச்‌

Bass riggs
நிவினையைச்‌ கழுரீராப்‌ பிரி ச்தெறியு
திமிகூடத்‌ தெய்வக்‌ ௧௨கை,
மேலேறிச்‌ சுவர்‌4சபதம்‌ புகுவார்க்கும்‌.
பீசமபத மேவுவார்ச்கு.
மாலேது வைகுந்தம்‌ பரமபசஞ்‌ சேர்வார்க்கும்‌
வரம்பில்‌ காலல்‌:
காலேறிச்‌ செலவரிய பசந்சோறுஞ்‌ செலுத்து தலாதழ்‌
கதிகட்‌ கெல்லா
நூலேணி நீறுத்தியதாத்‌ திரிகூட வடவருலி
ுவலூல காலை.
The poet lived about 200 years ago and was en older contem-
porary of Thayumanavar, The Kura vanchi medu was a gift
made by Muttha Vijaya Chckkalinga Naicker, ruler of Madura,
in Kollam 891. His Kura Veuchi refers to the roof of Chitra
Sabai in Knttalam temple having been copper-plated by the Chok-
kanpatti Zamindar, Cninnananja Thevar, four years prior to the
said grant, The popular saying is «No Kuravanchi like
Kuttala Kuravanchi, no Pal like Mukkudat. Pal, and no madal
like Varunaku'athitthan madal’. The names of the author's
fourteen works including the puranam and the Vanchi are
subjoined. 1, Kuttala Kuravanchi, 9, Kuttala Thala Pura.
nam, 3. K, Malai, 4, K Siledai Venba, 5. Yamaka Antha-
thi, 6. K.Ua, 7 K. Udal, 8, K.Paramporul Malai, 9. Ke
Kovai, 16, K, Kulal-voi-moli Kalippa, 11. &. Komala-Malai,
12. K,Venba Anthathi, 13. K. Pitlei-Tamil K. Nannakar
Venba, The last twelve works are still in manuscript. Thig
list shows that be was a capital hand, in what we may call,
“ yappu-adi-Viddbai’ i.e. a pasi master or an expert in the
manipulation of varied metres, Among the distant descend-
ants of the poet are Mr. Subramania Kaviroyar, Head Tamil
914 TAMIL LITERATURE

Pandit, Hindu College, Tinnevelly, whose scholarship was

honoured in January 1922 by the Prince of Wales with a
Kbilat, a gold medal and other prizes, and Mr. 8, K«rpaga-
vinayakam Pillai B.a,, Deputy Superintendent of Police,
whose services were rewarded with the title of Rao Sahib.

10, Vadamalaiyappa Pillayan, « great landlord of

Tinneveliy in the 18:b century, immortalised hig name as the
author of ‘Macchs Puranam;' a free rendering of one of the 18
Sanskrit Puranas, and the ‘Apugrahamani’ or preface gives
the gist of it ina few stanzas. Those who are anxious to
lesrn the raison d'etre of some of the festivals and ceremonies
observed now may profitably advert to its pages. Besides this
@reat work, he had a smal didaatie poem, oalled ‘ Vadamalai
yenha,’ inscribed to him in which some of the coup!ete contain
illustrative examples from South Indian history or mythology,
He is said to bave been the author of
*கானூத்றுச்‌ கோவையும்‌ கா.ற்சவி வண்ணமும்‌
பலர்‌ புகழ்‌ நீடூர்த்தல புராணமும்‌
இருசிலம்‌ புகழுமொரு கலம்பகமும்‌ 32.
and a liberal patron of letters: Ost sd ps @ sais PursanhSs.
His birthplace was a village near Srirangam: and he was &
stern tax-collector of the Nabobs-
“Cal sremow GhIOb CadersCu
கோரமின்திச்‌ குலலிடும்‌ வேங்கையே
சாரவெங்குஞ்‌ சரிக்கு மா.சங்சமே
பாரின்‌ மன்னிப்‌ பரம்புமா ,சங்சமே??,
He lived about two hundred and fifty years ago, and the title
“ Alyan, a great man, conferred on him is still borne by some
of his descevdants, Some of the grants made by him in 827
829, and 849 Kollam Era are carved or engraved on plates
and stones and are still preserved by his posterity and in the
western wall of the north Mandapam at Thiruchendore
 Sec. XII, MISCELLANEOUS 315

The Maccbs Puranam was published thirty years ago by

Messrs. Thompson & Co,, at their own cost, at the request
of the late Mr. இ. Subramania Pillayan ஐ, மடி Joint Sub-
Registrar, Madura,
11, Arunachala Kaviroyar, 1712—1779, lost his
parents before he was twelve and left bis birthplace, Thillal
Adi, for Dharmapuram mutt: He mastered Tamil, Telugu.
and Sanskrit, and renounced the world after a few years of
household life. He settled at Shiyali, and during his residence
there, composed ‘ Asomuki Natakam,’ ¢ Sikali Kova,’ ‘ Sikali
Puranam, ‘Hanumar Pillai Tamil," and ‘Rama Natakem's
The last is most popular on the stage and is often quoted,
It was given to the world in the assembly of {Manaii Muthu-
krisho’ Mudaliar, who rewarded him amply ‘ serséséswer>.

SECTION XII

Miscellaneous
1. Ashtavathaniar, of Srirangam, was the author of
Virals Vidu Thuthu in 1144 couplets, addressed to bis wife
ag a pacificatory offering. It is musical and replete with
sensuoug imagery.
2 Andi Pulavar was boro at Uttankal, and hada
knack of composing verses in asiria metre, Besides his
commentary on the first two Jyals of Napnul, which be
called ‘ Ural-ari-Nannul, be was the author of Astria
Nikandu.
3 Aryappulavar, of Kumbakovam, translated
*Baghavatba puranam,' in 12 cantos numbering nearly 5.000
stanzas in Viruttha metre,
 316 TAMIL LITERATURE

4. Alavandhar, a great Vedantin and Sanskrit scholar

of Virai-ougar, translated « Jnana Vasisbtam ‘ in 2055 stanzas.
which contains numerous stories franght with moral lessons,
5. Rama Bharathi composed Atthi.Sudt-Venba,
of which each stanza contains a maximof இடறும்‌ Sudi* as the
last line and a story iustrative of it. 1s has about a century
of stories.
6. Ravenatthiar wos the author of » Nikapcu or
lexicon, called Ravenatthiar Sutthiram.
7. Upenthrasiryar, ® Jain, ccmposed Sinenthra
malat, in praise of Arha, which contains
23 c:ntos number-
ing 464 stanzas,
8. Ulaganadhan, 4 barber, wrote Ulaka Nithi,
full of practical wisdom, much used in our primary schools,
and Jathi Betha Vilakkam.
9. Kadval Maha Munivar was a contemporary of
Kachiappa Munivar acd composed Vatha Vurar Pura.
nam st bis instance
10. Ganapathi Thasar composed Nenchari Viia-
kkam in 100 stanzas, each of which containing Nagai
Nathar or Siva in it,
li. Kanthappa Aiyer, native of Thirutthanikai,
was a disciple of Kachiappa Munivar, and a profuse writer,
He was a Vira Saiva,and his sons were Visakaperumal and
Saravanaiperumal Aiyet.
Venba—Malai Venba, Sileshai Venba.
Malait—Thayanithi malai, Abisheka malai,
UTla—Ula.
Kalambakam—Kalambakam,
Anthathi—Venba anthathi, Sileshai anthathi,
Pillat Tamil—Pillai Tamil.
 Szo, XII. MISOEBLLANEOUS 317

Puranam—Sthala Puranam.
Commentary—Pala malai anthathi urai, Thirn-
Senthil Nirottaka yamaka anthathi urai..
Sathakam—Velayudha Sathakam.
Pathikam—Vel-Patthu,
Thalattu—Murugan thalattu.
32. Haviraja Pandithar, of Virai, translated
Sankaracharya’s ‘ Saundhriya Lakiri” in 104 stanzas, which
qwas annotated by Ellappa Navalar.
13, Kumara Kurupara Thesikar of the line of
Parimelalakar, was the author of ‘Atma Ramayanam’ and
«Jnana Kuravanchi.’
14, Kumaraswami Thesikar, native of Viravanal.
Juz, Tinnevelly, composed an astrological poem, called
* Kumaraswamiyam,’ after the author’s name, in four cantos
counting 54 padalams and 4312 stanzas,
15. Kurupatha Thasar composed ‘Kumaresa
Sathakam ' in 100 virutthams in praise of the local deity at
Pulvayal. Each stanza is flowing and musical and contains
good practical maxims worthy of being memorized by our
young men,
16, Santha Kaviroyar wrote ‘Jrangesar Venba’
or ‘ Nithi Sudamani’ in praise of the god at Srirangam,
Every stanza in it contains a kurral and an illustrative story,
17. Santhalinga MWaviroyar was the author of
Thandalaiyar Sathakam in praise of the local god at
‘Thandalaiccheri. It bears another significant name, vie.,
* Pala-moli-Vilakkam;? for each of the 100 virutthams in it
Hlustrates a proverb,
18. Sivakkira Yokiar was a contemporary of
Manavalamamuni and held a long and hot controversy with
318 TAMIG LITERATURE
him before Sarabhodi Raja of Tanjore. He composed
Siddhanta Theepikai, Vedanta Theepikai, and Thatthuva
Tharisanam, besides ‘ Mani-Pravala-Viyakkianam’ and a
commentary on Siva-Jnana-Siddhiar Supaksham,
19. Jnana Kutthar, a Saiva sannyasi, lived at
Sivan Pakkam, and composed Verusthasala Puranam
in 435 virutthams,
20. Thandava Murthi or Thandavaroya
Swami, an ascetic well-versed in Saiva philosophy, handed
down his name to posterity by his ‘ Kaivallia Navanitham,’
a philosophical work in two chapters counting 293 stanzas, in
which a Guru and his disciple discuss in dialogues the great
problems of ‘ pasu, pathi, and pasam.”
21 Thevaraya Swami made a song, Kantha-
Sashti-Kavasam, in praise of Kanthasami.
22. Narayana Thasar is known to us by his
Narayana Sathakam.
28. Narayana’ Bharathi, a Bralimin of Vennai,
composed ‘Thiruvenkata Sathakam’ alias ‘‘Manavala
Narayana Sathakam.’ It is noted for its musical verses.
24 Pillai Lokacharyar wrote many milais
and anthathis, and a kalamcakam in praise of Thiru-Aran-
gam and Thiru-Venkadam.
25. Marimuthu Pillai, native of Thillai Vidan.
gan village, wrote ‘Puliyur Venba’ and ‘Chidambara
Isyrar Virali Vidu Thuthu.’
26. Manavalamamuni composed 9 Artthi
Prabandam, Upadesa Rathenamalai, Thiru-voi-moli,
Nutru Anthatht, ete.
22. Mikaman, native of Valankai, near Kumba-
konam, composed Arijvanantha Sittha in 326 viruthams.
 Src. XII. MISCELLANEOUS 379

28. Mutthanantha Swami is remembered by

us for his ‘ Mathi Ullan,’
29. Venti Malai Kaviroyar, a Brahmin cook
of the Thiruchendore temple, obtained divine grace, resigned
his mean employment, and turned a poet. His famous work
is a sthalapuranam ef the place. ‘Thiruchendur Sthala
Puranam’ is in 10 chapters counting nearly 900 stanzas in
viruttham metre.
1 ஆன்‌ மிக்கமென்‌ மதுரமாய்ச்‌ தரச்‌ சளவி
ஒசைபெற்று வித்தாரமா யைந்திணே யுடன்று
காசு மாண்மலர்‌ பிறப்புடன்‌ காட்டி மெய்க்சலசப்‌
ye ரன்தமி ழொச்தது வித,சகப்‌ பொருரை,!)
30. Paia Pattadai Chokkanatha Pillai
is known as the author of ‘ Thevai Ula,’ a poem on Rames-
waram, and ‘Vinchai Kovai’ in honour of Deva Kanai, a
Sethu minister, who died on the seventh day of its public
recital.
31. Sakkarai, Santha, Savathu were three
Hindu poets, Sakkarai Pulavar, author of Tiruchendoor-Kovai,
ebtained grants of Sirukambaiyur, Konthalamkulam, Kootik-
kudi, etc. and Savathu Pulavar, who wrote Rujarayesvari
Pancharatnam, were patronized by the rulers of Ramnad,
_ Santhu Polavar, a Vellalah of Sirukambaiyur,
near Thiruppunavoyil, composed if yuraghiri Kovai, dis-
tinguished for its rich word-plays.
போடாத ம்பி யணியா,ச மாதங்கம்‌ பட்டு யொன்றித்‌
கோடாத காகஞ்‌ சுடாத கரிகொடி யோர்‌ எறைக்கு்‌
சேடாச விலக்கு குகன்மயில்‌ வெத்பித்‌ தெரித்த கொம்பு
வாடாத மாவென்‌ பதுகாலமேவி வரிற்‌ சொல்லூமே??.
Here thumbi, mathangam, nagam, kari, vilangu, ma, mean
the elephant. Sakkarai wrote a commentary called: Vedanta
320 TAMIL LITHRATURE

Sudamani Siddhanta Urai at the request of Thamotharar,

minister of the then Sethupathi, and honoured the minister
with a poem entitled ‘ Velu-Kovai’. “ Sakkarai, the
younger, was the author of Milalai-Sathakam, Vanduvana
Perumal Oosal, and Thiru-Vadanai Chitra Kavi Manjari. To
this family belonged Seent Pulavar, author of Thirucher-
door Parani and Thuraisa: Kalambakam; Sakkirat Aruna-
chala Pulavar, who sangan Qosal in praise of Ponpatri
Selvi Ammai; avd Sakxarat Muthukuruppa Pulavar,
author of a pathikam on God Vairava.
32. Avirothi Nathar, a jain, wrote a poem in
flowing Kattalai-Kalithurai metre, called Thiru-Nutru-
Anthatht.
33. Thiru-munai-Padiyar, 2'so 2 jain, was
the author of ‘ Ara-nerri-Saram’ of moral maxims.
34. Nar-Kaviraja-Nambi, a/,as ‘Nambi-
Nayanar,’ resided at Pulinkudi and wrote a grammar on
Ahapporul, published with annotation by T. T. Kanahka
Sundram Pillai z..a, and Kumarasamy Pulavar of Sunnakam.
He was also of the jain persuasion.
35. Uthees'-Thevar of Thondai mandalam
composed Tiru Kalambakam, in which the jain faith has
found expression. He had a crusade against Buddhism.
36, Aru-marunthu-Thesikar of Tiruchen-
dore was a devout worshipper of God Subramaniam and
brought out a lexicon of rare words in 700 virutthams, which
saw the light of day at Thillai mantam or in the temple at
Chidambaram. It bore the name ‘ Arumporul-Vilakkam,’
37, Revana Siddhar, a Vellalah of Chidamba-
ram, lived about two centuries and a half ago, compileda
 Sec. XU. MISCELLANKOUS 321

lexicon called ‘ Aharathi-Nikandu’ in sutra metre, and was

the author of Sivajnana Dipam, Patteechara Puranam etc,
38. Kulam-kai-Thambiran, 2 vellalah of
Conjeevaram, made a tour in Jaffna, settled for a time at
‘Vannar-pannai, and taught grammar to Nellainatha Mudaliar.
He composed ‘Siddhi Vinayagar Thiru-Irattai-mani-malai ’.
He was a Siddhantin about 140 yearsago. His arm was by
nature too short, and hence the nickname,
39. HKaviraja Pillai of Serai in the Chola country
was a Kanakar by caste anda great poetic genius. He was
kmown as Asu-Kaviroyar. His works were Kalathinathar
Ula, Annamalayar Vannam, Seyur Murugan Ula, Valpokki-
nathar Ula, etc. .n‘Seyur Murughan Pillai Tamil’ a eulogy
of him occurs:
**கவிராச னிப்பிரான்‌ மிசை செய்த திருவுலா.
கவிவெள்ளை கழ்‌ ுருகலாம்‌??.
40. Alakia-Sittambala Kaviroyar of
Mithilaipatti in Sivaganga composed the poem of linked
sweetness called ‘ Thalasinga Malai’ in praise of Thalavoi
Raghunatha Sethupati, who ruled Ramnad in the middle of
the 17th century. He got Mithilai rent-free. One of his
descendants, Mangai-paka-Kaviroyar, wrote Kodum-kunta
Puranam.
41. Thiru-venkata-nathar, a Vaishnava
Brahmin of Thiru-Amathur, wrote a poem, called ‘ Pana-
vidu-Thuthw’ and encovraged the author of Ilakkana Vilak-
kam. His Prabotha Chandroshayam is aiso called Mei-
jnana-Vilakkam,
42, Nel-Kunta-Vanar, a Vellalah of Conjee-
veram, left his town and made pilgrimages to siva shrines
and composed an anthathi in raise of Thiru-Pukalur temple.
1221
328 TAMIL LITERATURE

43, Perum-paira - puliyur-nambi,

Brahmin of Sellinagar, and the renowned author of Palaya
or Old Thiru-Vilayadal, called Thiruvala-vayar Thiru-vilaya-
dai, sang also of the rivers and Mt. Samanoli in Ceylon in
his great work.
44, Namasivaya Kaviroyar, «4 Vellalah
of Vikramasingapuram, Tinnevelly, lived about 159 years ago
and is remembered for his anthathi on Ulakudai-Ammai and
Singai-Siledai.”
45. Minakshi Sundra Kaviroyar of
Mukavoor was a poet attached to Ettaiyapuram Raja and
composed verses to illustrate ‘Kuvalayanandam’ rendered
into Tamil at the instance of the Raja himself. He died
about 1895.
46. Perumal Kaviroyar of Thiru-Kurakur
was @ Vaisya and a Vaishnava, His works are ‘ Maran-
Alankaram'; a rhetorical treatise, ‘Maran Ahapporul,”
* Maran Kilavi-mani-malai,’ ‘ Kuruka Manmiam’ etc.
பூமா மன்னும்‌ புகழ்க்குருகூர வாழ்புலவர்‌.
கோமா ணியற்பெயராழ்‌ கூ முமணிப்‌--பாமாலைச்‌
காரணனாஞ்‌ செஞ்சொ லலக்காரன்‌ சோலைமலைச்‌
சாரணனா காரணனே ரப்பு 3!
47. Thalai Malai Kanda Thevar of
Kattdntha Kudi, Sankaranainarkoil talug, was a Marava by
caste and a devotee. During his life spent in contemplation,
he wrote Yamuga-anthathi on Siva of | hirup-pudai-maruthur,
48. Kandasami Pulavar of Thiru-puvanam
in the Madura District was a clever hand at twists and turns
of verse. His chief poems are Appanur Purana, Puvana
Puranam, Puvana Ula,etc. He lived about 140 years ago.
 Sec. XI, MAHOMEDAN POBTS 323

49. Ramachandra Kaviroyar of Baja-

nallur lived in Madras and wrote a few plays, as Sakuntala
Vilasam, Bharatha Vilasam, Tharuka Vilasam etc.
50. Athi-Varaka-Kavii of Chola nadu trans-
lated ‘Kathambri’ from sanskrit, which relates the love
Story of the Ghandarva lady Kathambri and Chandropeeda,
King of Avanti.
51. Anathari-appar, of Vayal in Thondai-
nadu, rendered the legendary story of Madura in Sanskrit into
Tamil under the title of Sundrupandiam on the suggestion of a
Jandlord of Kallur. His oft quoted stanza is
கம்பனென்றும்‌ கும்பனென்‌௮ங்‌ காழியொட்டச்‌ கச்சனென் றும்‌.
கும்பமுனி யென்றும்‌ பேர்‌ கொள்வாரோ-- அம்புவியில்‌
மன்னா வலர்பரவும்‌ வாயலந தாரியப்பன்‌.
அக்காளிலே யிருந்தக்கால்‌.?
The author of Thondai-mandala Sathakam praises him thus:
*வண்டமிழ்ச்‌ கும்ப னநதாரியுந்‌
சொண்டை மண்டலமே.

801108 XI
Mahomedan Poets.
1. Introduction, Malik Cafur was the first to make a
march on South India and his invasion took place in 1300 A. D.
Tt took nearly four centuries for the Mahomedans to make a
peaceable settlement. It is indeed highly creditable that
the converts to Islamism have achieved fame in the world of
324 TAMIL LITERATURE

fami] literature, The principle of association or close contact is

s wiracle worker, What is foreign or alien to us becomes our
own and loses its novelty, and what is common and natural to
us gets encrusted with new ideas and fresh images that'lit
appears a thing quite new. Of the Mahomedan poets that we
are to speak of here, some were Tuluks and some Mahomedansy
but all converts to Islamism,
2. Sakkarai Pulavar, @ villager, was by birth a Tuluk
apd embraced Islamism. He was a Pulavar in Tami] and
possessed a larce fund of witticisms. One day, while he was in
the mosque offering prayers to Alla, his brother-in-law, Savathu
Pulavar, appeared in it and was received very respectfully by
the officiating priests and high priests. Then Sakkarat Pulavar
wanted to raise a genial laugh by punning on his name and
expressed his sucprise how they ‘had permitted Savathu, a spice
forbidden by their mosque. Hoe retorted that sugar is taken in
and Savatbu rubhed all over the body and said that he who
could nct make this out had better hold his peace. His work is
an Anthathi «n Medina, an imp-rtant city of Mehomedan
pilgrimage in Arabia, Savathu Pulavar, a native of Yemanee-
charam, produced Andavar Pstiat Tamil on Mahomed, besides
a few isolated stanzas,

3. Mahomed Ibrahim elias Vannakkalahji Pulavar,

very skilful in composing vannams, was born at Meesal, near
Madura. He sat at the feet: of a Thambiran of the Madura
monastery, studied Tamil, Sanskrit and Malayalam, and wag
the author of many works. His Mukattheen Puranam is the
chief of them. When he took it to Nagoor mosque to be
published, many critics arose to cut up his production, He
silenced them ali with very satisfactory answers to their
objections. A rich man of the place, who was present on the
ovcasion, took a fancy for him and gave him his daughter in
marriage. He lived in his fatber-in-law's house until big
 Sro, X11]. MAHOMEDAN POETS 325

eighty-ninth year, when, like an over-ripe fruit, be dropped

nto the lap of his mother earth.

4. The accounts of Aliyar Pulavar and Mahomed

Hussain ®re very obscure. Indirayan Padaippore and [puns
Anthan Padaippore, a description of a terrible Rakshasa fight
of the former and Pen Putthimalat; containing two hundred
and fifty-eight couplets by the latter, enable them to speak
from their urng-

5. Nayina Mahomed Pulayar wrote one Munkrin-

malat, and Matharw Sahib Pulavar is known to us by his
poem called Mithiruse: nama,

6, Umaru Pulavar, of Keelai-Karai, by birth a Sonagar

and a convert io Islamism, was a good scholar in Tamil, whose
Seerapuranam, recounting the life and adventures of Mahomed,
is held in great estimation by the Mabomadans. This great
work he took to Seethakhathi or Peria Thambi Marakkayar, a
reputed Macenas and pet of Aurangzeb, and found it hard to
rehearse it in bis presence, Abdul Kasim Marakkayar, his
manager, g'adly took the chair on the oasasion and crowned
himself with the honour chereof. Afterwards, the patron of
letters, induced by his wife, tried in vain to have the Puranam
rehearsed under his presidency. It :s said to contain twelve
thousand stanzas,
7. Masthan Sahib wes a pvre Islumite and vendor of
attar in Trichinopoly His critique against Christianity heaped
opprobrium on his head, His !y. equal in pathos end depth
of feeling those of Thaywmenavar ameng the Hindus, Aiya-
samy Mudaliar’s Kunangudi-nathar Pathitru Paith-anthatihi
isan encomium on th's our modern author. The Subib’s
* Agatthesar Sathakam, * Nanihiser Sathakam,' and songs pre
highly appreciated-
326 TAMIL LITERATURE

8 Gulam Khadir Navalar, & young man of Nagur,

wrote a Pulavar Attuppadat and read it at the anniversary
celebration of the present Madura Tamil Sangam,
எகரும்கட வீத்செஞ்‌ ஞாயிமும்‌.
பொர.த்சலை மைசொளனச்‌ சகவிஏல்‌.
விரைப்பாண்‌ டி.ச்ுரைச்‌ தேவ
னாத்றல்சால்‌ தெப்பி னாங்குகிழ்‌ திருக்கும்‌
கரட்‌ கண்டனிர்‌ சளித்‌,
சனி ரண்மின்‌ 3? --]7, 19246.
 PART VI

The Age of European

Culture

(A, D. 1700 to 1929 A. D.)

 Vi. TRE AGE OF EUROPEAN CULTURE
A, D. 1700 to 1929 A. D.
Introduction. In the early years of the 18th century,
Danish missionaries like YZiegenbalg, Jesuit Missionaries like
Robert de Nobili and Constantius Beschi, Anglican Missionaries
Jike Dr. Rottler and Dr, Caldwell, Dissenters like Hosuington,
Bhenius, and Winslow, Civilians like Eilis and Stokes, military
officers hke G. W. Mabon and Colonels Brown, Pears and
Bell, directed theix attention to the study of Tamil grammar,
poetry and vocabulary. But the true European culture began
in Southern India only fifty years ago, ard in the last quarter
of the 19:b century if began to bear fruit in the shape of
poems and prose works written by the Hnglish-educated
Tamilar- The remarkable features of this period are the
mascence of Vernacular journalism, the renascence of Tamil
prose in translations the printing of old classics, and the
re-birth of the Tamil drama: The outstanding names of the
last century are noticed here.

I, Bartholomew Zeigenbalg (1663-1719) of Lusatia,

on the cull of Friederich IV of Depmark, arrived at Tranquebar
in 1706 and founded the Danish Mission and Colony there. He
wrote @ Tamil Grammar and a Tamil Bible and died at
Trarquebar in 1719,
2 Robert de Nobili bad arrived at Goa about a century
cawlier thun Beschi and established ths mission at Madura. He
adopted the oustems and clothes of the Brabmins. He
assumed the name of Fatwa Bodha Swami and onnverted
100,000 perscas to the Christian faith. This famous saint and
scholar engrafted an Cutward profession of Christianity upon,
the stock of Hinduism.
 THE AGE OF EUROPEAN CULTURE 329

3. Constantius Beschi 2/ias Virama Munivar, 1680—

1746, was a native of Castiglione in Mantua, He became an S J.
in 1698 and arrived at Goa in 1708. He began his missionary
work in the Tinnevelly District and prospered in it at Vadakan-
kulam and Kamaya-Nayakanpatti between 1714—6. As he
assumed the garb of Hindu Gurus, wore white turbang, sandals
on his feet, bore » steff in bis hand, went in palanquins, sat
cross-legged on tiger skins) and employed caste servants, bis
work did not svffer much. In 1716 he went to Madura, and in
1720 he was at Trichy. The Tamil learning he hed commenced
in Tinnevelly advanced year by year, until in 1724 there
appeared his great work Thembavani, a work of considerable
merit vying with Jivaka Chinthamani. It lay as manuscript
for 120 years with Mr, Walter Elliot till it was taken from bim
and printed in 1853 at Pondicheri, Itis in 30 cantos, relating
the incidents, bistorical and traditional: connected with the
Old and New Testaments. In beauty of diction, in sweep of
imagination and in intensity of religious faith, it is usually
compared with the Ramayana, In 1727 he wrote his great
prose work, Vethtar Olukkam for the use of Catechists, In
1729, while at Avar, he wrote the commentary on it, Then
followed a series of writings, lexicons and grammars, Sathura
Akaraths is the most known and almost the first of the Tamil
Gictionaries after the English model. Besides his Shen Tamil
and Kodun Tamil grammars written in Latin, he brought out
in 1738 the Thonnul Vilakkam, a comprehensive work treating
of the five parts of Tamil Grammar. His prose work, entitled
Avi-viveka-Purna-Guru-kathai or the ‘ Adventures of Guru
Simple’ is a satire on the Indian Guru. Beschi was sometime
Diven of Chanda Sahib, had a grant of four villages in the
Triehy District and fled to Ramnad when the Mabra:as
hesisged Trichinopoly in 1740. Then he went to Manappadu in
the Tinnevelly District, where he died in 1746. He wasa
great linguist, No tomb exists there, and the only monuments
330 TAMIL LITRRATURE

perpetuating his name are his enduring works. He waa also

known as Thatrya-natha-swamt and Ismathé Sanniyasé, His
other works are Thirukkavalur Kalambakem, Veda Vilakkam,
and Adaikala Malai, and specimens of his verse from Themba-
yvani are subjoined :
“மருடரு வலியுருவே மரு௪எறு சனவுருவே.
அருடரு தயையுருவே யளவறு இருவுருவே
செருடரு கஷஙுருவே செலிரறு மனுவுகுவே
பொருட்கு மணியுருவே பொழிமண வடிசொழுேன்‌?9
அற வீடுமிலா ரதி வீடுயிலார்‌.
(திற வீடுமிலா ரிடைசேர்‌ பயனா.
௮2 வீடுமிலா வுழை வீடுமிலாப்‌
ype வீடுமிலாப்‌ பிணி பூச்‌ சமுவாய்‌?3
In Konankuppam, a hamlet of Parur in Vriddachalam Taluk,
was the first place of worship erected by Beschi, in which he
set up an image of the Virgin, in native dress and bearing the
child Jeeus in her arma, fashioned in Manilla after model he
had made, In honour of it and the Church Beschi composed
his Tamil poem Tembavané “which vying in length with
the Iliad itself, is by “far the most celebrated and most
yolurainous of his works "+
4. Rev. C. T.E Rhenius, author of a “ Granemar of the
Tamil Language” (1853), found fault with Ziegenbalg, Beschi
and others that they mixed vulgarisms with grammatical
niceties and left usin want of a regularly digested syntax,
without remembering that they were pioneers. He payed the
way for scholars like Dr. Pope to rige and continue his labour,
 Sse. I. OLD SCHOOL 331

SECTION I
@LD SCHOOL
2 Oppilamani Palavar, of Thiruvarur, the incom-
parable poet, died 80 years ago, He resided in Putbu-Patthur.
He was a student of Vaithianathe Desikar of Jiskkana Vilakkam
fame. It is evident from his Kumbakonam Puranam, from hie
homage to his master. The pnlavar had well-known aléases, of
which Vidhi Videnga Peruman Vayil Vidhvan and Tamil-mcli
Pandaram sre two, His works were heard by Maharajah
Saraboji of Tanjore who ruled from 1711—28 A.D. His fame
rests on the great religious epic ‘Siva Rahasiyam’ It is in two
eantos, 101 Sarkkas, counting 4090 stanzas, It treats of Siva
worship, the five letters, the virtues of Bilva, Sariyai, Kiriyai,
Jnana, and Yoga, &c.,and gives examples of those whose
practicé enabled them to see the Lord.
“₹மன்னர்புசழ்‌ சரபோசி மகாராச. ராசன்‌ மாகிலங்‌ காத்திட
சாளித்தஞ்சை மாகசரித்‌, இனலுமே விளம்பியுத்ற மகரமதியைந்தித்‌
சோ.திசிவரகசிய மொப்பிலாமணி சொழ்றமிழை13.
2. Visaka Perumal Aiyer was tbe first son of
Kandappa Aiyer. Hoe distinguished himself as an eente thinker
and was the Head Tami! Pandit of the Presidency College,
Be edited a fow Tamil works with great care and annotated
briefly Pavananthi’s Nannul. He was of great help 90
Dr. Winslow im the preparation of the Tamil-English Dictionary
published by him,
3. Saravana Perumal Aiyer was the seeond son
of Kandappa Aiyer. a Vira Saiva of Thirutthanikai, or his
early proficiency in Tamil, he was elected President of Viveka
Vilakke Sala in Madras. In 1830 be edited Kurral with Pari-
| melalakar’s commentary. His annotation for Natdatham up to
| Kaikilei Padalam was completed by his son Kandappa Aiyer.
333 TAMIL LITERATURE

Among the works edited by him, Naladiyar, Thiruvilsiyadat

Poranam Thiru-Vacakam, are the principsi ones; and smong
his own annctations, those on Muthurai, Nalvali, Nannerl are
remarkable. His own compositions were Iyal-Tamil-Surukkam,
An'-Iyal-Vilakkam, Kola Theepikai, Nan-mani-malai, and
Kalatthur Puranam. His notes on Pirabu Linga Lelat up to
“Mayai urppatthi' are extant, He was cut off early in life.

4 Anantha Bharathi Aiyengar, 1786—1846,

was a native of Umayammatpuram, and was known as ‘ Ravi-
rajaswami ' for bis impromptu verses, His chief works are
Thesika Prabandam, Maruthur Venda, and Muppal Thirattu,

5. Meenakshi Sundaram Pillai, the reputed

Tamil poet of Trichinopoly, was a contemporary of Arumuka
Navalar. He bada number cf disciples. Some of them have
occupied the Tamil chair in the Presidency College, Madras.
Leaving his house and home; he settled sometime at Thiruva-
vaduthurai and learnt Saiva philosophy. He was a prolific
writer: be wrote 16 Puranas, 9 Pillai Tamils, 11 Anthathis. 2
Kalambekams, 4 Malais, 1 Kovai. 1 Ula, 1 Lilai, 1 Venba,
1 Kalippu, end Kasi Rahasiyam- Of thece 48 works, Thiru-
nakoi Karohuna -Puranam , is a typical specimen of a Puranam,
Tt is a rendering in Tamil of a Sanskrit original. It contains
61 Padalams, numbering 2506 Virutthams. In it the author
bas exhibited every teat of p. etic power—Yamukum, matakku,
komut-hiri, thiripengi, murasa pandham, mala! mattu, ate. ete.

Puranam—Thirunakai Karohana Puranam, Thiru-Varan-

thai P., Thira-Kudanthai P , Mayavaram P., Thirutthurutthi ந,
Thiru-Kurukkai-Viratta P., Thiru-Valoli-Puttur P., Vilatthotti
P, Attur P , Theviyur P., M:nipattikkarai P, Koilur P., Kanda
Dev P+, Suraikkudi P» Virai Vana P.. Thirn-mullai Ps Thani-
yur P.
 8௨௦, 1, 01ற SCHOOL 394
Anthatnis—Thillai emega Anthathi, Third-Thuraisai A.,
Thirucchira Palli A, Thirukkudanthai thiri A., Thiruvanaikkee
ibri A, Pattiswara Pathitta Pattha A, Puvalur P,P A,
Palai Vana P. P. A, Thiru Vurai P. P, A., Thandapani P.P. A,
Thirnjnana Sambandhar P. P, A.
Pilla Tamil—Thirovanaikka Ahilanda Nayaki P. B,
Thiruttbavatthurai Perum Theva-Piratti நி. உ Thiruvuranthal
Kanthi mathi Ammai P. T., Thiru-Pere-msaanallor-Thira-
nestammai P, T, Thirakkudanthai mankaiambikei P: T,,
Kannapura Pakam Prriyal P. T, Thiru-ven-katin-Periya-nayaki
Ammai P, T, bira-vidai Kali-Murugar P,T, Thiravada-
Tburai Ambalavana Thesikar P. T.
Kalambakam—Val-pokki K., Tharaisai K,
Moalut—Thiruvanaikka M,, Thirukkalaisai M., Thirava-
vaduthurai Subramania Thesikar M, Thirumailai-Sacchithanan-
tha Thesikar M.
Kovat—Kalikkovai,
Lslat—Thiruvarur Thiyaga Raja Le
Ola—Thiruvidaimaruthur ula.
Venba—Erumbiccharam venba-
Kalippu—Thirujnana Sambandar Ananda Kalippu. He
died about 45 years ago. He was respected as a Maha vidvan.
எம்மா வரு மிறைஞ்சுஞ்‌ சடாடவியார்‌.
செம்மா மணியான்‌ ரலம்பர்சா ஊம்மான
செம்மா மணிவான்‌ லம்ப ரெனினாய்கர்‌ பொருள்‌
அம்மா விரும்புவர்சா ஊற்றஙரோ வம்மானை
ஆசையுடையார்கா ணரியகே யம்மானை 33.
— Val-Pokki-Kalambakam.
Pandit Swaminatha Iyer has brought out a collection of ail the
minor works of his respected master and dedicated the volume
B36 TAMIL LITERATURE
to the memory of his old patron, Sri Subramania Desikar,
Pandarasannadhigal of Thiruvavaduthurai Matt,

6. Ramalinga Swamigal 1823—74, better known

as Kardnkuli R. Pillai, was an inspired poet and went abous
constructing temples and singing hymns. He claimed mira-
sulous powers and made many a disciple Arumuka Navalar
was his bitter antagonist. He turned an ascetic on account of
some domestic difference. The collection of his poetic composi-
tions goes by the name of Arwl-Pa,¢. ¢, verses dictated by
Divine Grace, which contains about a thousand pieces. In thie
enoyelopaedic collection will be found hymns, malais, pasurams,
kummis, kannis, Palli-oluechis, Anandakalippu’s etc. He de-
parted this world in the fifty-third year of his life, The poet
was an ardent student of Devara hymns, Kural, Olivilodukam,
Periapuranam, Thayumanavar and classics. The single song of
Pillas Peru Vinnappam or 'The Child's Great Appeal’ is
redolent of the various influences on the bard of Arul-pa and is
auto-biographic to boot St. 72 of the song refers to an episode
in his life spiritual, He has defined Arul as non-killing, non-
eating meat and non-lying and as the babe of Jove and as a
worker of miracles, These ideas form the warp and woof of
many 4 song or pathikam. The Drum song winding up the
eoilection of his hymns gives in a nutshell the sage’s aspiration
in life and ite fulfilment.

“அருட்சோதியானே னென்றறை யப்பா ௫27௪.

அருளாட் பெற்தேனென்‌. தறை யப்பா மூ.7௪.
மருட்சார்புீர்க்சே னென்றறை யப்பா மரக
மசணர்‌தவிர்க்ச சென்றறை யப்பா மூரசு 93.
His poems cover about 850 pages royal octavo. Thay are in
varied motres aad tunes. They are divided into six sectiens or
thiru-murais. The first five were, arranged and published by
his devoted disciple, Tholuvur Velayudha Mudaliar, and the
 ௫௧௦, 1, OLD SCHOOL 335

sixth was edited by the Sodasa Avathani and pandit of no

mean fame, Subroya Chettiar,a disciple and celebrated poet
Mimakshisundram Pillai: The chiefest virtue of the whole
collection is the melliffuousness of the verse and its facility to
be set to music. The thiru-murais vie with the hymns of the
four great Saivacharyars amd deseribe the littleness of man,
‘the transcience of the world and the greatness of god who is
fight and love and whose grace ensures salvation,
Besides his poems, he wrote ® soul stirring and heart.
melting essay, entitled the ways of merey or ‘Jiva Karunya
Olukkam’, which is a type of good, flowing prose.
At Metu-kuppam bard by Ksrunguii, be practised Yoga
and was ambitious of raising the dead to life,

“டத்தாரை யெல்லாக்‌ திரும்ப வெழுப்பு தலம்‌

செச்தால்‌ முடியு மெனி லெம்மவரே--9ச்சாம்‌.
அகுட்பெருஞ்‌ சோதி யதனான்முடியும்‌
தெருட்பெருஞ்‌ சத்திய மீதே 2.
fPransoending all differences of wordly rank and position, rising
tower-high above the crores of petty gods and goddesses in
whose name is shed the blood of various cattle, and being ever
guided by the pole—star of trath, the swami lived « life of
advaitism and Sama-rasa-sanmerkam and utter renunciation.
Ramalinga Swami had an indescribable talent for versification.
His poems dealt with religious matters; some of them like
those of the famous Saivaite ssints of old, were composed in
eulogy of the merits of ihe deities at certain shrines such as the
femptes at Tiruttaniai, North Arcot, and Tiravottiyur pesr
Madras; otbers took for their subject the beauties of the higher
life, It was these that led to his becoming gradually regarded
fe a spiritual guide «nd teacher. After visiting many of the
well-known saered places in the south he finally settled at
336 TAMIL LITERATURE

Karanguli, the next village to Parvatipuram. At its beight his

ieflaence must have been very real, as bis admrers and
disciptes, who included even level-headed G vernment officials,
are said to have obanged their residences and gone to live
where they ccuid be constantly near him:
About 1872 the curious octagon-shaped sabha w tb the
domed roof which is to be seen at Vadalur, a bamiet of Parvati-
puram, was erected by bim fr.m subscriptions. It is said that
the spot was chosen, because from it are visible the four great
towers of Chidambaram, It is not an ordinary temple, the
de‘ails of worship in 1t being unusual,

Ramalinga Swami seems to have persuaded his disciples

that they would rise again from the dead, and he consequently
urged that burial was preferable to cremation, Even Brahming
are said to have been buried in this belief, and people wha
died in other villages were in several cases brouzht to Vadalur
and interred there. In 1871 he locked himself in a room
(stili in existence) in Mottukuppam (hamlet of Karunguli)
which he used for samadhi or mystic meditation end instructed
his disciples not to open it. for some time ‘He h«s never been
seen since, and the room is still locked, 1t 1s beld by those
who still believe in him that be was miraculously made one
with his God and that in the fulness of time be wiil reappear
to the fsithful, Whatever may be thought of his claims to
be a religious leader, it is gonerally admitted by those who
are judges of such matters that his poems, many of which
lave been published, stand on a high plane.

2. Arumuka Navalar, 1822—76 born at Nallur

in Jaffna, was the last’ of the six sons of Kinda Pillai and
Bivagamiar, Hoe ‘earnt Sanskrit and English and became
Yamil tutor to the Rev. P. Percival, He helped his pupil in
fransiating the Bible into Tamil and accompanied him to
 85௦, 1, OLD SCHOOL 597

Madras. {n 1845 he returned home and devoted 32 years of

his life to deveiop2.and diffuse Saiva literature and religion by
establishing schools, and delivering lectures, He attacked
Saivas and Christians and impugned what he called their blind
faith or superstitions, He started » printing house in Madras
and edited carefully about 70 works, on good paper and in
clear print. Amonv them may be mentioned Kanda Puranam,
Sethu Poranam, Karral with Parmmeialakar’s commentary,
Tho!kappiam with Senavaraiyar’s commentary, Ilakkanakottha,
Takkanavilakka Suravali, ete, He wrote s me school-books
in prose. cf which Bala Badam in 3 parts has made a name for
itself, He rendere Periapuranam and Chidambara Manmiyam
into good Tamil vrose As poet, he wrote a few songs and
ocessional verses. It is said that when he was engaged in com-
posing Thevakottat Puronam ( { which 500 stanzas are extent)
he breathed his last, He was about 54 when he died. The
title of Navalar was conferred on him by that great scholar
and philantbropist, .Ponvuswami Thevar of Rampad for his
fervid eloquence, The one object of the Navatar's life was to
place his mother tongue in :ts pristine purity and restore the
Saiva Siddhant: to its place as one of the oldest of the religions
of the world. His scathing inveozive and tirade against the
several mutts as dens of iniquity made the matathipathis trem-
ble and think of reforming themselves,
8, Mahalinga Aiyer, known as Malavai M- Aiyer,
was @ great scbolar and probably tutor to Thandavaroya
Swamigal of Thiruvavaduthurai He carefully edited Tholkap-
piam with Nacchinurkiniyar’s commentary and was the author
of an snuotation on ‘Arunachala Puranam,’ Potha vachanam
was another of bis works, His‘Tamil Grammar’ is used in
ali our schools,
9. Thevaraja Pillai, of Veliur in Thondsimandalam,
was the son of Veerasawmi Pilai end sat at the feet of the great
12-22
338 TAMIL LITERATURE

scholar and poet Meenatchisundram Pillai: He composed poems

tnd subjected them to the correction of hia master. His Sutha
Songhichat in 4 cantos, counting 3000 stanzas, was published
seventy years ago. Auchelopakkiyanam, -of Kuchelar's 80௭
churning, going to Dwaraka and attaiament of wealth and
bliss, is very popular and full of proverbial philosophy. 714
eontains 726 stanzas Thantkachala malat, Sedamalat Malat,
Panchakkara Thesikar Pathikam and Paneha-ratthinam, are
his other posme.
10. Chandrasekara Kaviroyar, 4 court poot of
Bamnad, composed ‘ Varushathi Nul' and Thulukkanatham-
mai Pathikam.”

“41. Ramaaoja Kaviroyar died in 1853, His works

sre Nannul Kandikai, Parimoialakar Vilakka Vurai, Partha-
parathy Pamalai, Venkata-snuputhi and Varadharajaperumal
Pathittupatthu.

12. Ananda Kattar of Viravanallur in the Tinnevelly

District earned che title of ‘Parimata Kavirojar’ by the sweetness
of his poetry and’ made a metrical translations in 33 chapters of
ého sanskrit Swarna Muki (10 chaps), of suta sambita (3 chaps)
and of Vasishtalainga (12 chaps) and treats of Siva lingas,
panchakshara, Vibbuti, rudraksha, Omkara, and several other
important subjects, It bore the name of Mahatmya of Kalahasti,
13. H. A. Krishna Pillai, (1827—1900) the first
high casta Indian Christian of Palamcottah, was Head Tamil
Pandit, C. M- College. Tinnevelly and gave out in sweet and
stately Tamil verso Rakshanya Yatrikam or the Pilgrim’s Pro-
@ress in 1894. I¢ is in 5 books comprising 47 cantos and
counting 4000 stanzas, In his introduction to thig religious epic,
the Rav. T. Walker m.a., includes the following among its
excellences. [a] It is free from impure metaphors aad ques-
fionable similes, (b] It has no gross exaggeration and no
 Sec. I, OLD SCHOOL 333

puerile fondness for the wonderful and the inoredible, [o] It

has no ambiguity in style and language, (d] 1t contains splend-
led passages enunoiating the distinctive truths of the gospel,
[e] 1 has model sermonettes and exhortations interspersed
throughout, [f] It abounds in illustrations and quotations from
the gospel. The great verities of the gospel are presented in an
attractive and interesting form. The only blot, if blot it bes
is the free use of Sanskrit words in this great work. What
tollows is stanza 49 in Visuvasa Vilakka Padalam ",

*தாசகப்படு கள்வரோர்‌ மூவரும்‌.

urges ௪.இிபன்‌ படைச்‌ சேவகர்‌
கீதி மார்க்கத்‌.அ நின்று வழிப்பறி
ஏதஞ்செய்யு மிஓம்ப செக்காலுமே.

Siraippadu-padalam, st. 30, runs thus;—

*சண்மயக்குறிற்‌ பொருட்‌ காட்டு காண்லெ.

எண்மயக்குறி ெஇிர்‌ சேடி மெண்ணில
மண்மயச்குதி னவர்‌ மஓுமை மாச்சுத்தின்‌
உண்மையைத்‌ தெரிவசோ வுலங்கடோனினாய்‌!?,

Whe book was published by the C LS, Mr. Pillai, whose

father was a Vidbvan of Reddiapatsi, was by birth a Vaishnava
and breathed the atmosphere of Ramayanam and Nalayira
Prabandam in his early home As a young man he wasa
persecutor of Christians, aud be embraced Christianity in his
thirty-first yoar. His conversion bore ampla fruit; many Vellalas
became Obristians. Among bis Christian brethren he was
known as Christian Kamban and ‘Tamil Bunyan’. Besides
the Yatrikam, he put together the Thevarems in his epic and
added to them afew more melting strains of his own make
and published the whole under the name of ‘ Rakshanya Mano-
haram’ which eontains some autobiographic details.
840 TAMIL LITERATURE

“பிதவியித்‌ பிடிவா.௪ கோடிய வைணவனுய்ப்‌

பிதம்‌.த முப்பது வற்சசம்‌
பிரபஞ்ச மயல்சொண்டு மூடாத சாரப்‌:
பிழம்பி லடைபட்‌ ஒழன்று
மதவினைச்‌ காளாெெ நெறிகிலாச்‌ தூர்‌,த, சமன
வாஞ்சைச்‌ இடம்‌ கொடுத்து
வருளுற்று வறிதுகாட்‌ செலவிட்ட நீசனெனை
மலரடிச்‌ சாட்படு ததி:

The third of his works, entitled ‘Rakshanya Kural’ is still

in Mss aud unpublished. The Hon'ble Mr. Justice Devadoss,
his kineman, is trying to perpetuate his memory.

14. Somasundra Nayagar 1846-1901, was born

of Vaishnaye parents and bore the name Rangasami. Brought
up by his kinsman Ekatnbara sivayogi, he was cailed Sema+
sundra. He studied En,lish up to the matriculation standard
and turned a preacher. Though trained by a Vedantin he proved
@ strong advocate of Saiva Siddhantam, He was independent
and always appealed to reason asa sure and safe guide, A
famous Pandit, Maduranayaga Vatthiar, gave him a copy of his
edition of fourteen siddhanta works, and he took it as a treasure-
trove. He had mapy a tussle with hig Vecantn kinsman and
converted him into s Siddhantin. His t-ngue and his pen were
employed in replying to the Vaishnava crusades aguinst
Baivaism. Stva-thtkya Ratnavale, 1873, was his first fruit and
is a monument of masterly criticism. In 1878 be commenced ௨
series entitled Siddhanta Ratnakavam and ancther Siddhanta
Jnana Botham in the, name of a pupil of his. He took pleasure
in telling the Tamil world of the untversal nature of the Saiva
religion, His collected writings count more than 110 publi-
cations, It was he who first placed before the public in simple
prose style the great truths of the Saiva S.ddhanta. Over-work
brought on illness, to which he succumbed. Loved and respect
 Sec. II, NEW SCHOOL 941

ed by the beads of mutts, rajahs and zemiodars, and rating

Bumbug of all kindsin vehement terms: he wasa friend of
Vaishnavas and Vedentins alike. His Arehadipam supports
temple worship. He was a devotee of Jnana Sambandha,
and honoured all the saints and acharyas,
15. Pakali Katthar, son of Dharpathanar, a Vaish«
nava devotee of Sanniasi Ghramam in the Remnad Dt. was a
saivite convert and composed a “Pillai Tamil” in honour of the
Goa of Tiruchendore Thereby bangs a ta'e. The God's golden
necklace was seen on his neck one morning and it proved the
divineness of his works» That he was a Vaishnava at first is
testified to by the stanza.
ஈடசந்தமிழ்ச்கு வாய்த்‌. இருச்செர்திற்பதி வாழும்‌
கந்தனுக்கும்‌ பிள்ளைக்‌ சவிசெய்‌.தானங்சேர்‌
இருமாஅ சேர்மார்பன்‌ தேர்ப்பாகர்ச்‌ கள்பு
சருமால்‌ பகழிக்‌ கூ ச்தன்‌?..
He called himself wrepwrs in his Chintamani Surukkam
{(Vilakkam),
16. Vedaghiri Mudeliar, 2 Vollabh of Kalatthur
and a disciple of Ramanuja Kayirovar, wrove ‘Needhi Chintas
mani’ and ‘Manu Needhi Sathakam’ and supplied articles on
Grammar and Literature to Uthays Tharakaior the ‘ Morning
Star‘. He passed away about 70 years ago-

SECTION 11
NEW SCHOOL
1, Vedanayakam Pillai, 1824-89, the late Munsiff
of Mayaveram, opened this school with his Pea-mathi-malai,
Nithi-nul Sarva Samarasa Kirtbauai (poetry), Pirathapa
342 TAMIL LITBRATURE

Modaliar Charitram (# romance) and Sukuna Sunthari Charit-

yam (story). Though a Christian, his ideas are not sectarian,
All his writipgs are free from obscurity: they contain excellent
maxims calculated fo devalope good habits and instil sound
principles in young readers, boys and girls. Tbe style of the
Romance is a model for romance writers,
In his commendatory verse on Nidhi Nool, the Maha
Vidhvan of Trichinopoly has sung his praises in this strain:
“நீதிநா லென்னோர்‌ நிலவு பெயரிட்ட)
திருமா தந்த செள்ளமு. சொப்ப
யாவரு மூவவப்ப வினிதி னியத்தி
கற்றோர்‌ நட்பு கழலாக்‌ சனவா
னானில முவப்ப ஈட,சறு நீதியா
னரும்‌ பொருள்‌ செறியு மைந்‌தணைச்‌ கோவை.
நம்பாத்‌ சேட்ட ஈகுபுகழ்ப்‌ பெரியோன்‌!.
2. Ranganatha Mudeliar, M.A, Rai Baha-
dur, 1837-93, Professor of Mathematics, Presidency College,
Madras, was & good scholar in Tamil and wrote Kacoht Kalam-
bakam, much appreciated by the Tamil Pandits. He was
appointed Tamil Translator to Government in 1890 and sheriff
of Madras in 1892. He knew Kamba-Ramayanam and
Thiruvilayadal by heart. His Kalambakam did not enhance
his reputation as a scholar.

3. Thamotharam Pillai, B. A, B. L. Rai

Bahadur, 1832—1901, retired Judge of Pudukota, did
immense service to Tamil literature by editing Virasolium,
Irsiyanar’s Ahapporul, Tholkappiam, Uakkana Vilakkam, Sula
mani and other classics. The veteran Tamil scholar, a native
of Jaffna, encouraged rea! merit and put down with all hig
might every bogus Pandit that passed for a proficient, He
was a pioncer editor of Tamil classioal works. He died in
 Seo, 11, NEW SCHOOL 348

January 1901. His father was Vairavanathar of Siru-pitti and

‘his master er guru, Mutthukkumara Kaviroyar of Sunnakam,
In his edition of Varasolsum, Mr. Piliat refers to this master:
“எழு ச்சொ விழுச்சமிழ்‌ பழு.த,ச செர்காவினன்‌
முழுத்சசை யேற்சவை யழு.த்தியோன்‌ சுன்னா
கதிதுயர்‌ மாபினோன்‌ முத்துக்கு மார
வித்தக னடிதலை வைத வாழ்த்துவனே?..
He was an expert hand in Kattalai Kalitturai metre, He
frequented Keeri-mala: as a sanitarium and had an Oonjal
composed on the Nahulesamurti of the locality The Diatriot
Munsif Vedenayakam Pillai described him thus:
“நீடிய சீர்பெறு தாமோதர மன்ன சின்புவியில்‌:
வாடிய கூழ்சண்‌ மழைநூகவ சண்டேன்‌ மாண்பு மீ
பாடிய செய்யுளைப்‌ பார்‌.த்இன்ப வாரிபடிந்தனல்‌ யான்‌.
கோடி புலவர்கள்‌ கடடினு நின்புகழ்கூ றரிமே?).
4, Professor P. Sundram Pillai, M.A, Rai
Bahadur, 1855—97, Professor of Philosophy, Trivandrum
College, achieved distinction as a great philosopher and wrote
Manonmaniyam, a Tami! drama in five acts, of the Shakes-
pearian model,- Its plot is full of interest and in it many purple
patches are seen, embodying his philosophical notions. His
drama was based on Lord Lytton'’s The Secrst Way, one of the
Lost Ta'es of Miletus. Its dramatic beauty and its wealth of
scientific and philosophic ideas, its glamorous allegory and pure
teachings appeal to the hearts and minds of readers and elevate
their moral being. The Tamil Detva Vanakkam has become a
household word among the Tamils and is recited in every Tamil
Society. Manonmani, the Pandia King Jivaka’s daughter,
loves Purushothsms and garlands him after a series of trials
and turmoils and Sundra plays the role of the timery helper,
The drama is a closet study and not an acting drama. The storv
of the Hermit is charming. A purple patch is subjoimed+
 344 TAMIL LITERATURE

**எல்லா மவனரு எல்ல இல்லை.

என்னனு பவமிது, மன்னிய விவ்வரு:
டன்னிடை மூழ்கச்‌ சானென்‌ மறந்து
நெருப்பிடை மிமுசென கெக்குகெக்‌ ௬௬9.
யிருப்பவர்‌ பி.றர்க்சா யிராப்பச ஓழைப்பர்‌,
ஒருபயன்‌ கருதார்‌, அருள்கரு ஓுவதென்‌?.
அலமுக்‌ சாகு மருளிலோ ர்கமாச்‌
சகலமுஞ்‌ செய்வர்‌; ௮ஃ தவர்‌ சமாதி,
எங்கெலாக்‌ அக்கல்‌ காணினு மககெலா
மங்கவ்‌ சரையஙின்‌ நாத்தி, “ஐயோ
எம்மையும்‌ சாத்ச வின்னரு விவரையுஞ்‌
செம்ரையிற்‌ சாச்க!? எனமொழி குளறி
ug paren Gas waiA
Sopdu GsHyio Casino? swsGs.r
Big ¢ Nul-Thokai-Vilakkum,’ in sutras, contains a classification
of the sciences in imitation of Herbert Spencer's,
and ig an adm‘table introduction to the study of the sciences,
It is m good prose style and deserves to be better known,
He was born 185 at Aleppy. His father, Perumal Pillai was
a trader in piece goods) Under him young Sundram became
familiar with the Tamil sacred literature, He graduated in
1876 from the Maharajah's College, Trivandram. His profi-
ciency in Tamil and in Philosophy was remarkable. He
began his career as a teacher of history and philosophy in
the same college. In 1877 he was appointed Head Master
of the Ang o-Vernacular Schoo! Tinnevelly, which, under him,
rose to the status of a Second Grade College, since known ag
the Hindu Oolleze Tinnevelly. During his stay there he
came under.the influence cf Sundra Swamigal of Kodagae
nallur, and became an earnest student of Hindu philosophy.
This master appears in Manonmaniyam as the saintly
Sundrar- {n 1879 he returned to Trivandrem to act as Pro«
fessor of Phiics.phy in lieu of Dr. Harvey rotired. In 1880
 Seo, 1i NEW SCHOOL 345

he took bis M A.Degregin Phi-csophy and about the cose

of 1882 be beenme Purave ai Sheristadar or Commissioner of
Seperate B venue. In 1885 be went back ‘to the coliege ag
Professor a « contineed there for about «= dozen years till
he died in 18$7 He wasapast master n his subject and
his genial bumour aided to his ciear and masterly exposition
of it. He studied taw under Dr Ormsby Bs horae subsecsy3xe
were devoted to literary history and Tamil literature and gave
out his Manonmaniyam an4 his Nuttokai Vilakkam He wis
made a Fe!low of the Madras Universe ty in 1891 and became
an Examiner in Tamil, History acd Philosophy, The Early
Soveresgns of Travancore was the offsprng of his archaeological
researches) In May 1896 the Govt of Madras conferred
on b m the title of 46as Bahadur, and on the 26th April 1897,
ம்‌. உகம்‌ ‘be early age of 42, he succumbed to diabetic carbuncie
and passed away.
The story of the play runs thus: ‘“ Manonmani, the
only daughter of King Sivaka, sees in her sleep a form of
Divine and irresistible beauty, with which she falls desperate-
ly in love but though, with the coyness begotten of this
strange feeling, ‘the sunny bridge between the lip and the heart
which childhood builds, is broken,’ she keeps the secret all
to herself. As usual, the course of true love is disturbed,
for Kudila, her father’s wily minister, whose one great
concern in life is to strengthen his own influence, prevails on
the credulous king to give her in marriage to his dissolute
son, Paladeva. With heroic self-denial she conzents to
become Paladeva’s bride, but just when her weary hands are
raised at the call of duty to place the bridal garland on his
neck, her sad eyes are suddenly filled with light and joy,
for she sees among the guests the radiant form after which
she has in her heart been pining, and in an instant she is
locked in his sweet embrace, It is Purushottama Varma of
546 TAMIL LITERATURE

Travancore, this miraculously discovered bridegroom of

Manonmani., Explanations follow, and the play closes with
the blessings of the happy father on his beloved daughter
and her husband”.
5. Seshagiri Sastviar, M. A., Professor cf Sans-
krit and Comparative Philology, Presidency College, Madras,
opened the new field of Tamé! Philology for the inquiring
Tamilar. However people might differ im their views or
opinions, or theories, it may be safely asserted that he was the
pioneer in that line. He was a great linguist and was a
master of seventeen languages.
6. Rajam Aiyer, B A., the Editor of Awakened
Indta, a monthly journal devoted to religion and philosophy,
was snatched away in the prime of his life. His Kamalambal
is an excellent romance, containing vivid descriptions and
brilliant character-sketches. He wrote a critique on Professor
Renganatha Mudeliar’s Kalambakam.

7. Saravanai Pillai, B,A., 2 native of Jaffna, was

sometime Librarian at the Presidency College, Madras. His
Mohanangi based on Kingsley’s ‘ Hypatia,’ is a realistic
novel. A good friend and a sociable companion, he wns some-
what of a reformer and a promising young man. He too died
early.
8. Pranatharthihara Siva, B.A., of Pudukota,
was Head Master of the Thondaimandalam High School,
Madras, and a candidate for M.A. in Tamil. His drama
Dkam :yandhi is remarkable for its matter and music. He
wrote a few Tamil essays called Viyasa Manjare for the
school-going world. He bade fair to become a great author.
9. Sarasalochana Chetty was cut off in his
budding youthhood. Sarasang:, bis Tamil drama, exhibits
 Sec. Il, NEW SCHOOL 347

his dramatic genus, and a portion of it was prescribed for

the F, A, students of the Madras University.
10. Suriyanarayana Sastri, V.G.,B A, (1871
—1903) was the Head Tamil Pandit of the Madras Christian
College. He passed away on the 2nd November 1903. He
was hardly 33 when he died a martyr to Tamil. A pupil of
Sabapathi Mudaliar of Madura, his devotion to Tamil was un-
precedented. During the ten years after his graduation in
1892, not a moment passed without seeing him do something
or other to develope and diffuse Tamil language and literature,
His enthusiasm for Tamil knew no bounds; and he hada
number of * lyal-Tamil-Manavar’ about him. Two of these
were 8 and 9 supra, and others are doing useful works now.
He was a poet and dramatist of no mean order, and a
journalist to boot; for he was the joint editor of a leading
Tamil monthly, called Jn na Bodhins for a period of four
years. His dramas are three in nurhber—Rup vati, Kan-
vat, Mona Vejayom. Of these the first two contain five
Acts, with a judicious mixture of prose and poetry,. and
the last is in one Act based on the story related in
Kala-vali Narpathu.
_Nataka Iyal, a dramaturgy, is a grammar on the drama.
This alone will do to exhibit his poetic merit and comprehen-
sive power, It was prescribed for the B. A. Degree examina.
tion. Lhe Poets’ Feast or Pavalar Virunthu, is a collection
of his poetic pieces on various subjects, sucli as a walk on
the beach, the observations on the light-house, elegies, etc.
His sonnets, called Yhanip-paswra Thokot, dedicated to
His Excellency Lord Ampthill, were rendered into English
verse by the Rev. Dr. Pope, and both were published together
with a preface from the able pen of the octogenarian European
Tamil scholar, whose labours of love for yamil literature are
946 TAMIC LITERATURE

beyond praise. Muatht anan, a classic story, is a model of

Tamil prose in high style. ‘The ‘swan-song’ of this reputed
author, the cyacsure of Tamil scholars, was a ‘History of the
ami} language’, called ‘Tamil Moliyin Varalarru’, in ten
chapters. was dedicated to the grand old schoolmaster
Scuthern India, the Hon. Rev. Dr. Miller, .n the intro.
ion to it, written by the Rev. F. W. Kellett, u.a., Pro-
fessor of History, Madras Christian College, occurs the
following glowing tribute to Mr. Sastriar, which we quote
891 2ஐ ௨120 +
The patient work which I know he has devoted to the
ject for yeats and his mastery of the language, both as
holar and as poet, are a sufficient guarantee that his illus-
station of the principles is wide and sufficiently correct: In
study of Vamil in our colleges, the book will mark an
epoch, For it puts that study upon a better basis, and will
fegn to do for it what such writers as Trench and Morris
and Skeat did for English a generation or more ago.
‘the author has by 1t gained for himself the distinction
af being the pioneer in a field into which many will doubtless
follow him. 1 ut none of his successors are likely to excel
Sint in the real usefulness of their work or in their love of
the language whose past he here illumines "j

ii. VYairumaitai Sbanmukam Pillai was re-

vowned for his grammitical learning and for his facility in
postic compositions. His good prose style will be found in
his paraphrases of the Tamil epics. He has edited poems out
of cumber and was the first to publish the text of ‘ Mani.
mekalai’, The u-mulias-voyss Curcnam is his large sustained
yoetic out-turn.
{3 2uvai Kalyanasundra Mudeliar, 4» im-
moxsely prolific writer of verses, has done signal sevice to
 880 IL NEW SCHOOL 34g

the cause of Tamil by rescuing many @ Saiva religious poem:

and chant from the ravages of voracious white-ants and by
editing them for cheap markets,
14 Rev.G U Pope, M.A,D D, (1820—1907) of
Balliol College, has brought out excellent editions of Kurral,
Naladiyar, and Thiruvachakam, (1900) with English transla-
tious, introductions, lexicons and concordances. Due to his
untiring labours of love for half a century the British world has
begun to open its eyes to the extent and importance of the Tami?
language and literature, to the high civilisation of the Tamilar
nearly two thousand years ago, and totheir superb philosophy
and faith, We have already adverted to his English trans-
lation of Mr..V. G, Suriyanarayana Sastriar’s sonnets in
Tamil. His contributions on Tamil literature to the Royal
As:xtio Quarterly, the Indian Antiquary, the Indian Magazine
and Revirw and other periodicals are very valuable helps to
the buildiag-up of a History of Tami) Literature. Of these,
the ‘ Poets of the famil Lands,’ ‘ Extracts from Purananurre
and Purap Porul Venba* Malai,’ the Lives of Tamil Saints’
deserve perusal. He translated the whole of -Manimekalai
into English prose. His Elementary Tamil Grammar popu.
larised his name in the school world. In June 1906 the Royal
Asiatic Society presented to him its triennial gold medal fer
oriental scholarship, when Lord John Morley characherised
him as ‘a most industrious and sedulous scholar’. He had
prepared Dr. Winslow’s Tamil-English Dictionary with
numerous additions of words on interleaved sheets, and it was
handed over at the instance of the Secretary of State for India
to the Madras University Lexicon Committee to be revised and
supplemented and printed at the expense of the Madras
Government. The ripe scholar who was about eighty-eight
years old passed away smoothly to the great regret and sorrow
of the Tamil world,
350 TAMIL LITERATURE

Pope was horn in 1820 in Nova Scotia where his

family then resided. He completed his education at the
Hoxton College, being designed for the Wesleyan ministry
and went out to Southern India in 1839. He joined the
Church of England, and was employed under the auspices
of the S, P G. in Tinnevelly, where he first learned to know
and love the Tamil people, language and literature. On his
temporary return to England in 1849, he made his first
acquaintance with Oxford. On his return to India in 1851
he was appointed to Tanjore, where he saw a new phase of
native life and character and he founded the Tarjore College,
His tuitional experience in Tinnevelly developed Sawyer-
puram into the chief 5, P. G. Educational centre. He
afterwards laboured at Ootacamond and Bangalore and finally
left India in 1880, Oxford honoured him with the M. a.
degree and the Archbishop of Canherbury had conferred on
him D.D. He was Chaplain of Balliol College and taught
Tamil and Telugu to the I.C.S. Candidates. During his
twenty years’ service in that University, he wrote elementary
text-books in Tamil, and his translations of Kurral, Naladi-
yar, and Thiruvasakam are well-known. His recreation was
Tamil, and he was a frequent contributor to journals of trans-
lations of Tamil classics and dissertations thereon, His
mastery of English is seen in his sympythetic renderings of
some of the sonnets of Goethe, Victor Hugo and other famous
foreign authors,
15. Thandapani Swami (1840-99), a Vellalah of
Tinnevelly, was known to the world under different names,
as Vanna Sarapam, Tiruppukal sami, and Murugadasa sami
and died at Amathur, near Viluppuram. His son, Senthi-
nayagam Pillai, has pnblished his works in two volumes, viz.
Pulavar-puranam, and Tiruvaranga-Tiruvayiram. ‘The former,
a poetic biography of a host of Tamil poets, is a useful
 See i. NEW SCHOOL 81

repository of the legends comnected with each poet. The

latter, a collection of poems in different, verse-forms, Anthathi,
Sathakam, Kovai, Malai, etc., includes Teru-makzl-anthaths
in 100 stanzas.
16. A.K Amirtham Pillai, (1845—99) belonged to
a respectable family honoured by the Nabobs of Trichinopoly
and sat at the feet of Muthuvira Munivar of Urayur, a gold-
smith by caste and famous as the author of the well-known
Tamil grammar Mutthu Vértam. He learned Sanskrit,
Telugu, Canarese and Hindustani and wasa linguist. He
knew Pnglish and could converse fluently init. For long he
was Tamil Pandit, Government College, Salem; and since
1886 he held the chair of Tamil Lecturer at the S. P. G.
College, Trichy. Asareformer, he championed the emanci-
pation of women and wrote often on the subject in Tumil
Selvun conducted by him between 1889 and 1892. His chief
poems are Penmat-nerri-Vilakkam. in 20 sections, number-
ing 200 venbas and Jamil-idu thutihu, a message to his
bosom friend and patron Mr. Ratnam Pillai, in which he,
asaresearch scholar traces the antiquity of Tamil and the
Tamil people as the first language and the original inhabitants
of Tamilaham and the comparative modernness of Sanskrit
and the low morality and civilisation of the Aryan colonists.
Besides these works, he wrote a catechism of Tamil prosody
in prose, entilled Vappilakkana Vina Vidai, and helped
many a poetic juvenile to mature into correct poets.
17 Cheivakesavaroya Mudgeliar, M, A,, Tamil
Lecturer, Pachayappa’s College, published a study of
Kamban, a life of Thiruvalluvar, the story of Kuchela, a
prose version of Kannaki's story, an excellent edition of
Pal.moli, and a number of essays on different topics, He
died recently in 1921 in the midst of his labours of love.
352 TAMIL LITERATURE

18 Pandit Thorai Thevar, Zamindar, of Palava-

natham, founded the Madura Tamil Sangam and devoted his
life and purse to it. As a profound Tamil scholar, gifted
with a charming personality and melodious voice, his death
on the 2nd December 1911 was bemoaned by the whole of
Tamilaham, and the ‘lamil Sangams now flourishing in
many places owe their origin and inspiration to his philan-
thropic labours. His works are ‘Sivajnana Swamigal
Irattai-mani-malai’ and ‘ Rajarajesvari Pathikam,’ and the
anthologies, ‘*aiva Manjari’ and ‘ Pannul thirattu’. His
essays in Sen Tamil, the organ of the Sangam, based on
a few Kurals, and explaining the ‘conceits’ in Thanikai
Furanam, are brilliant and attractive. He was a patron of
letters and rewarded and encouraged Tamil Pandits who needed
his help.
*நற்பாலர்‌ வேண்டின்‌ மயிலம்மையார்‌ சவகாடுக நூல்‌
குத்பா னசையிற்‌ வெஞானசேவன்‌ ச$லையுணர்க
சொழ்‌ பாலறச்௮ற வுன்னிலன்‌ னானிஜழ்‌ ு.றக்சவிப்பா
ரி.த்போகம்‌ வேண்டித்‌ கவெயோகமே விரைஈசெய்‌.து கவே??
Trattae-mant malai.
19 8. Thya'lpskam Pillai (1852-1016) of
Srivillipattur was a District Court Pleader and Municipal
Councillor for a long time. In the intervals of his professional
work, he composed malais, anthathis, pathikams and a
puranam. ~The last, entitled ‘Madavar Vilakam’ «lias
‘Puthuvai’ contains 25 cantos and counts 1731 viruthams.
His ‘Nellai Anthathi’ has this stanza, which shows the
literary art and artifice of the poet :
“Ries sermon னககச்சிவிட்டுச்‌ இதக்குகர்‌ ரே
சக்க,ச்‌ தனங்சடி. னங்கொடுச்‌ சேனினிச்‌ சேர்ந்து தெரி
௫௧௧௪ சனங்கடி னஞ்சே £டிக்கஞ்சஞ்‌ செய்கெல்லை நே.
Ries சனங்கடி னஞ்செக, நிசசஞ்சே ஊனே.)
 Sec. II. NEW SCHOOL 353

20. A, Shanmukham Pillai, 1869—1914. of Chola-

vandan, was an exeeilent critic and ‘exposi or of Kural (first
chapter) and Th. lkappiam, Sirappu-Payiram and some sutras,
His first poems were Malai-mattu-malai in praise of God
Kumara, ang » kalambakam, both of which were published in
1903 and 1887 respectively. His other works are Ekopatha
Nuttanthatht on God Muruga, Panchatantra Venba, Inntsat
Venbu Iru-nuru (% moral reatise),a Nikandu in Kasitbursi
me're, and a ‘Nunporul-Kovat,’ a collection of his elabcrate
notes on some Thoikapp a sutras. The following stanza, from
his Maiai-matta-malai, shows his mastery of Tamil prosody.
“வேச மேச,தறி வாகழு angar
ors Gear Case Ssh
&s Sae Cass Ceger
ans asap at Se GorsCa.”
21, Sabapathi Navalar, of Jaffaa, was a great
controversianst aua ed tor, and a poet of Thiruvavadu-thurai
mutt and passed away in 1908. Among. his poems may be
mentioned bis Anthathis—Thiruchittambala Anthathi, Thirn-
vidi-marathor, Pathitruppatbu Anthathi, Mavai Anthathi;
his Kovat entitied Cuidsmbaranayaga Mummani Kovai, his
pathikams on God Subramania of Nailai, on God Thandapani
of Vatharinagar, «1 Goddess Puravammai of Puravar Panam-
kattur, bis Ivattai-mani malaé on Selva Vinayakar of Vada
Kovai, and bis puranam ov Ssbanathar of Chidambaram. His
prose wansintions from Sanskrit works include Siva Karma-
Amirtham, Sathurveda Tharpariya Sangraham, and Bharatha
acd Ramayana Tharparis Sangraha, and he was an admirer of
Appaya Dikshitar and bis works. Jnana Amirthan is an Essay
con the Primal Divinity which every religion presents in different
forms. His Ilakkana Vilakka controversy is a specimen of
his critical power, Last.y, his Dravida Praoitasskat (1899) ia
an attempt ar teliing the story of Tamil poets and their works.
354 TAMIL LITERATURE

The inveesbory verse in Chidambara Sabanatha Purapam

refers to Arul-nandhi-sivacharyar =
₹ தவமாகும்‌ திருச்‌ அறையூர்‌ சார்ர்தருளிப்‌ பொய்யினைமெய்‌,ச்‌
sured Oster Opa ye ups Hage சாய்ந்திரியச்‌
செவஞானபோ,ச நூ றமிமுலகக்‌ செளிர்‌ துய்யச்‌
வஞான சித்தியரு டேசெனைப்‌ பணிகுவாம்‌.!?

22. Karthikeya Mudeliar, of Mabaral, was 4

Panait in the Theologica: Oollegé at Guindy. He was a poet
and author of Kacht Ithalakal Anthathé, and his magnum opus
is Tamil Philology or ‘Moti Nool’. He knew no syllable of
English and was yet wet versed in the latest researches of
philology and anthropology. Ets articles on philology contri-
buted to Tamil journa's are instructive and interesting, though
Seshaghiri Sastriar, a linguist; and Sundram Puilei of Kuru-
malai, Etaiyapuram Estate. bad treated of the same in parts.
Mr. Mudeliar’s work is comprehensive and on an original line
altogether. He was cut off m the midst of his labours and in
the prime of his life in 1907.

23. Arumuganainar Pillai of Petts, Tinnevelly,

was a poet and a research scholar of repute and wrote
puranams, or masked histories, entitled Narkuds Velalar,
Maha Saivar Puranam, oud Saliyar Anthsns Puranam’ which
#ré monumente of his research work and felicitous poetic power.
The former contains accounts of the Tamtiahem based on the
ald eadj»n book obtained from the house of Irumko-vel, and it
Was given in prose in the form of a contiruous s‘ory by the
author bimseif. The second work includes the stories of
Ravanesvaraj and Dasavatbara, and descr:bes the marriage
modes of the Tamtis contrasted with those of the Aryans The
இ Jiyar Anthanar Puranam vives the history of the weaver caste
and ite gurus in 1800 stanzas. He was the Kditor of the Tamil
monthly, called Meskandin, every number of which briatied
 Sec. ll. NEW SCHOOL 555

with antiquorian research and philological inquiries, Hx» passed

away in January 1925, at the ripe age of three score years and
five.
24. Kanakasabai Pillai, B. A., B. L., Superinten-
dent of Post Offices, Madras, was a great research scbolar.
He wrote a series of papers on Tamil literature in the Madras
Review and presented them in a coilected form in The Taméls
1800 yeers ago. It was an eye-opener to many of the ancient-
ness of Tamil literature and Tamilian oivilisation ‘The
conquest of Bengal, end Burma by the Tamils’ snd Raja Raja
Chola are brochures of immense historical and antiquarian
interest. He died about 1903.

25. J.M. Nallasami Pillai, B. A., B.L., (1860—1920}

District Munsif, took to the study ofthe Saiva Siddbanta in
1891 and translated the Sivagnana Bodham with valuable votes
in 1895. Two years hence he did like service, to Tiru-Arul-
Payan and started the Stddhanta Deepika in 1897, which hag
irradiated the Tamil world with brilliant articies and transla-
tions, His contributions were collected in 1911 and published
as Studies in Satva Siddhania The Sivagnana Siidhiar was
republished in [913 with translation and exegetics. Under the
title of Siva Bhakta Vilas he wrote the lives of the Tamil
Saints in English, for the Indian Patriot, with expianatory
notes. The Vina Venba, Kodikkavi, Irru-ps-irra-pabthu, Unmai
Nerti Vilakkam and o'her poems appeared in their English
garb in the Deepika, with elucidations. His translations of
the Sivaprakasam and Pertyapuranam were le!t a3 manuscripts,
and his worthy son has published the latter in a handy form.
Hlis writings form a library on the subject of the Agamie
Beivaism of the Tamils and. in the opinion of orientul sebolars,
he was a thoroughly reliable interpreter of the Saiva Siddhanta
system. He took great interest in establishing or in helping to
establish Siddhanta Sabahs in the Tamil Districts. The late
£56 TAMIL LITERATURE

Prof. BR, W. Frazer admired the learning and labours of the

revered sebolar and commended the great work done by the
Deepika “ina noble spirit «f self-sacrifice to bring
to light
some of the great literary treasures of the Tamil land."
26. Alwarappa Pillai, Glas ‘Muragadss Swamigal’
(1839-1924) was a retired Revenue Inspector and a true siva
bhakta. He composed kirtbanams out of number and had
them set to music himself. He was an exce'lent bhajana per-
former, Among his works may be mentioned ‘ Vallivur Stbala
Poranam’ in 25 chapters numbering 410 stanzas and ¢ Valliyar
Kavadi Vaipavam' in differant chandams. His last work was
an Eseay on Grahasta Dharma in 136 pages defining the duties
of the members of a house-hold, and illustrating the same
from several classics. He had a samathi hke his father
Murugalinga Swamigal, and his tomb lie: at Kilakallur,
Tinnevelly District.
27. T-Lakshmana Pillai B A., (1864) retired Superin-
tendent of Stamps and a Member of the Legislative Council,
Travancore, is known aa the Tugore of Southern India for his
profundity of thought and beauty of lanyusge, for his melli-
fluous poems and musical compositions. Hs collected postical
works go by the name of Seyyul Kovas, 128 pages demi, and
the longest piece is Jnananthan-adi-mayai, or A Garland at the
Feet of God which is said to bear » remarkable resemblance
to Tagore’s Gitanjali. His poems anshrine the highest
philosophical and moral truths in the simplest and most melting
strains. His Kirthanas are numerous, and they are much in
yogue among the songsters in the state of Travancore. His
two dramas Vila Natakam and Ravi Varma, have excellent
plots and characters derived from the history of the State but the
‘verses are on a new model, An excellent player on the thumbur,
he is looked upon asa master of music. His first prose essay
on ‘ How to Develope Tamil’ is of perennial interest; and
 Sec. I. NEW SCHOOL 357

his dictionary of Tamil Idioms and Usage is a nobie attempt

to show the worth sod value and potentialities of the Tamil
language and literature His labours on behalf of the Tamil
people in the Malaya am-speaking souotry have begun to bear
fruit. Hoe is the Presiden. of the Humanitarian Society and
works heart and soul for eradicating the widely spread
practice of killing animsis for food s:d for extending
vegetarianism. ‘Pothu-Nalam’ or the Common weal, a Tamil
weekly, is growing apace under his auspices- His stanza on
equality in Jnananandhdi Mailaé is subjeined.
*இிதியஙவ ரென்றொரு சிலரைச்‌ ஈரியாமத்‌.
செல்வத்தாழ்‌ செருக்‌ செய்தாமல்‌.
வதியவ ரென்றொரு சிலரை வையாமல்‌
மனத்தழுச்கு மராவா மாண்பால்‌
கெதியவர்‌ மாட்‌ ளெ சாயின்‌, எவரேனும்‌
கேயரென நினை,ச.த.ச்‌ தோற்றம்‌
எதியவிஒ மூயர்நிலையி விருக்கு மன
மெனச்‌ கருள்வா மிணையில்‌ லானே 3,
Shakespeare's famous passage on music, He that hath no
ear for music etc. has been rendered in these lines?
** தன்னுள்ளே யிசையிலாதான்‌ paf QuriScauder
ga
scrar MeO ares GEO SOG eH Coat
பின்னிடான்‌, பிதர்ச்ெல்காப்‌ பீடு கெஞ்சனாவான்‌,
கொன்னரரொளே வாய்ந்த குணத்தினான்‌ ஈம்பொணாமே.3?
His translation of Longfel!ow's Psa:m of Life bas this stanza:
“(erpp_bser® வாழ்வெனும்‌ வெங்கடல்‌
யாத்திரைச்சண்‌ சலங்கவிழ்க்‌ சேறிப்பின்‌:
ற்‌ றமற்று,ச்‌ இிமைக்குஞ்‌ சகோதரர்க்‌.
கேற்ற நல்வழி, காட்டின பே இஞார்‌ 3...
Asa poet he combines the high poetic virtues of Thayuzaug-
var and Ramalinga Swamigai He is 66 yeais of age.
 958 TAMIL LITERATURE

28. Rev. J. Lazarus, B. A-,D. 0. 4 graduate of the

Madras University, has done yeoman service to the Mission to
which be belonged and to Tamil literature. The first work
published by him was Nannwl, with an English translation,
edited for the student word. His other works are the Kural,
with notes and an Haylish translation of the whole book, and
& Dictsonary of Tamil Proverbs. He was the first to render in-
to English chapters 64—138 of the former, and did it exceilent-
ly as an eminent scholar. The Dictionary is the most complete
coliection ever made and a valuable contribution to Tamil
literature. It contains wbout 10,000 proverbs arranged in the
bes: order possible. He revised the Béblieat and Theological
Dictionary by Dr. Bower and deserved the warmest thavks of
the Native Church. His Harmony of the Gospels gives in ‘Tamil
a list of the events in the Gospel narrative in their chronologi-
eal order with references to parallel eccounts in the four
gospels, besides parallel passages printed side by side, Ib
helps the Tamil readers to a complete, righty proportioned,
accurate knowledge of Christ. Further, he translated a
treatise on Prayer by the Rev, L P. Larsen and wrote a
commentary on the Hpistie to the Hebrews. He died in 1925
nearly eighty years old.
29. Virudai Sivagnana Yogigal, 4 Tamil and Sanskrit
Scholar and medico, is devoting his life to literature and
medicine. His poems aro ‘Vyasa Sutram’ alias Brahma
Sutram in 685 lines, Yoga Sutram in 200 verses, Koilpuri
Puranam in 18 cantos, Mudi Suttu Valthuppa in 400 lines
and Tamilaha Voluku in 4000 verses: Brahma Sutra, which
contains the essence of the Vedas and Upanishads, and which,
par excellence, is the best Aryan work with four eminent
commentaries by Sankara, Ramenuje, Sri Kanta and Madhva,
displays the poet's wonderful power of embodying the Sutras in
& way similar to those of the original and go as to be interpreted
in four or more different ways. The following line from
 880, 11, NEW SCHOOL 353

Ananda Mayo Adhikarsnam, to wit, ¢ananda mayo by » dasath’

bas been rendered in Pamil as ‘@eru dopa upsas Ger
capable of being conatrued torefer to avandy maya kosa,
(e829 = Vikara) jeva's p'eacure—destruction, (ea + ௮௮),
God's bliss in excess (ea + 997), His prose works are
many, of which, the following may be mentioned to show the
extent of Ine varied researeh, (1) Vibhuti Rudraksha Tharana
Nirvpansm, (2) Thevopasana Dipam, (3) Botham (Sivagnana)
a8 an Original Tamil work, (4; Siva Gana Vilakkam, (5} Vede-
Agama Unmai, and (6) Tamti Thonmai. His poetic introdue-
tion to Karuna Amurtba Sakaram gives the contents of the
gigentic work in 250 succinct verses and not only exhibi.s the
superiority of the Tamil Zsa+ Nool of the sangam age to the
Aryan, but clearly points out the defects of the latter (Vide Il
145—79} As a medico, he is the staunchest advocate of the
Biddba School of medicine, peouliar to the Tamil people and
comprehending homeopathy, allopathy and mixc-pathy, and
demonstrates the advancement of the ancient Tamil Ayul
system which was adopted in an imperfect manner by the
physicians of Nerth India, Charaka and others,
30. Pandit Swaminatha Aiyer, the retired Head
Tami) Pandit of the Presidency College, Madras, is a patient
worker in the old classic mires and has unearthed many a
literary nugget. He has edited Chinthamani, Silappadhikaram,
Manimekalai, Patthup Pattu, Pura Nanurru, Perumkathai, and
Purap Porul Venba Malai, and these reflect his profound
scholarship and dogged industry. The title Mahamahopathi-
yayar, was conferred on him by Government, in appreciation
of his labours. :
31. V. P Subramania Mudaliar, GB. V.C. (1857)
of Vollekal, Tinnevelly district, is a retired Deputy Superin-
Aent, Civil Veterinary department, Madras) He was Lorn
n the village of Vellakal on the 14th August 1857. He was
360 TAMIL LITERATURE

educated in the Hindu College, Tinnevolly, and subsquently

in the Chris’ian College, Madras. In 188i, he joined the old
Agricultura: College at Ssidapet, aad he obtained the diploma
in 1885. That very year he took service as Cattle Disease
Inspector, In 1894 he bad, st the cost of Government, his
traioing in the Bombay Veterinary College avd in the ensuing
year he passed in the first class carrying away three prizes and
a@ medal. Mr. Mndaliyar gradually rose by his merit till he
became a Deputy Superintendent of the Civil Veterinary
Department, Madras, or {our years he held the offive with
distinction till he retired on the 14th August 1915, after nearly
thirty years’ service. He was fifty-nine when he became a
pensioner and is in the year of Grace 1929, strong, healthy and
gpirited. Soon after his retirement, he became member, Vice-
President and President in succession of the Tinnevelly Taluk
Board and sat on the District Board and on the District Edu-
cation! Council. He is now nearer home as the President of the
Bench Court at Tenkast 1921, He presided over the deliberations
of the Madras Veterinary Graduates’ Conference, and his advice
was sound and practical. In appreciation of his public service
the Government conferred on him the title of Rao Sahib on
the 1st January 1926. He is enjoying his retired leisure at
home, amongss his kith and kin, advising and exhorting
agricu!turists and cattle breeders about him to love their
profession, and to keep it abreast of the times, so that
they may strive and thrive. As an ass‘duous worker in the
wide field of Tamil literature, his poetic and prose works ara
characterised by ‘heir originality and perfection His latest
out-turn was the beautiful poem ‘Akalikai Venba’, He
combines talent and industry, and his verses are well turned.
His firss publication was @ Tamil translation of Paradise
Lost, Bk. I im Viruttam metre, with a well-written
biography of Jobo Milton and a motrical introduction in Tamil
by Rao Babadur C. W. Damodaram Piliai, B A. B.L. treads
 Sec. I. NEW SCHOOL 361

easy aod clear like an original work, The next eut-turn

was Kombi Virutiam suggested by Merrick’s Chameleon ani
noted for its purity of diction and charming style: As a book of
similes it is a valuabie addition to modern Tamil literature (vide
stanzas 38—40). His third work, Nellai-chiledat-Venba, is
remarkable for about » hundred quillets of the brain on the
single word ‘Nellai', Akalkat Venba, his latest and maturest
verge, is in three osntos; entitled Indra, Akalikai, and
Gothama and contains 249 stanzas including the two invooa-
tory and one benedictory quatrains. A deft hand at Viruttam
and Venba metres, this fond sdminer ‘and student of Kamban
may be said to be Kamban and Puhalendi rolled into one in
respect of form and in the tone of his sweet verse,
Seeing that Akalika did not suscumb to his entreaties,
Indra made up his mind to take her by force and spoke these
verses :
“de wa sor BpGsrer SQuara
ere Arégr eye sro7 sI—am veer G
பத்தி வலிதிழ்‌ பறித்சாற்‌ கொடுக்கு மதன்‌.
பெத்தி யுடையாய்‌ பெரிது.) (171)
*: கருப்பிரச மாலையினித்‌ கா.ரஇவின்‌ அா£மம்‌.
கெருப்பதனி னெய்‌தல்‌ கெறியாம்‌--வீருப்பின்‌
மெவியா விரந்தும்‌ ஈல்கா மின்னார்‌ மின்பை
வலியா லு.றலே வழி. —(172)
A Critical View of Ramayana or South Indian Castes,
@neat little brochure, points oné the difference between
Valmiki and Kamban in the ethical treatment of the narra-
five and exposes the hollowness of the obarges brought
against Vali and Ravana aod the unnaturalness and perfidy
of Vibishna with an eye to the threne of Ravana, Mr, Muda-
liar bad a hand in the translation of the first two chapters of
Herbert Spencer on Education: and his translations, for
562 TAMIL LITERATURE

departmental aud public use, of Col. Mill’s Indian Stock

Owners’ Manual. Tho More Deadly Forms of Cattle Disease
in India, and Preventive Inoonlation and its uses, are in easy
Tamil and popular.
Besides thege writers, we have budding historical romancers
like Mr. Srinivasa Aiyengar, 3.4, author of Vidhisroniya
Nagaram, Prithula, etc., realistic novelists like Mr. Madbaviah,
இ. Ay Who has brought out Padmavati and Vijayamarthandam,
comic dramatists like Messrs. Sambandham Mudalisr, 2.a,BL-,
author of Lilavaté Sulochana and a host of comedies, Narayana
Sastri, B.4, BU, author of the ponderous Bhoja Raja
Charitram, and Balrama Aiyer, author of Dasarathan Thavaru,
ete., folklorists and tale-tellers like Mr. Natesa Sastri, B a,, and
biographers like Messrs. K. C. Duraisami Pillai, Thiruchittam-
balam Pillai, Barrister Soanmukbam Pillai, eto.
——

SECTION IIf
The Drama
The dramatic litarature in Tamil is very scanty, and most
of the dramas ara of recent origin. No dramas of either the
Agastian age or the Sangam period are extant to serve as
models. Hence our dramatists had to look to Sansorit and
English prototypes and to work on the lines laid by them.
The present stage of Tamil dramas is one of re-birth, The
most prominent: feature of the modern Tamil dramas is the
preponderance of the comic element. Love comedies are the
order of the day, Nota play issues out but has a fool in it,
Music and singing are very necessary accompaniments to the
action of every play. The stage too, which, in its origin,
possessed but one curtain and was a break-down wooden plat-
form, bas improved in the course of the past halfa century
 Sec. II. DRAMA 363

and contains a variety of curtains and other dramatic appurten-

ances in imitation of the English theatres. Nevertheless, few
dramas have issued out of the press on the lines of an English
drama divided info acts and scenes, that make a judicious use
of postry and prose, The Hindu theatres have borrowed some
elements of the histrionis art from the Western nations, and
the modern plays are still wanting in characterisation and in
the evolution of their plots,
Shakespeare derived the materials of his dramas chiefly
from such works as Holinshed's Chronicle and Plutarch's Lives,
Our playwrights find their plots ready to hand from Bhara-
tham and Ramayanam. Jaffna bas taken the lead in the
production of Tami! dramas. Swaminatha Pillai's Rama
Hatakam; Kandha Pillai’s Rama Vilaaom and Arunachala
Kavirayer's Rama Natakam are from Ramayana stories,
Ganapathy Aiyer's Apiman Natakam and Athi Rupavathi,
Vilasam; Arunachala Kavirayer's Asomuki Natakam; Nagesa
Alyer's Arjuna Natakam, Supathirat Natakam; Ramachan-
dra Kavirayer’s Baratha Vilasom, Tharukan Vilasam and
Sokuntalat Vilasam; Ramasamy Aiyer’s Alle Natakam,;
Swaminatha Pillai’s Tharumaputhiva Natokim; and Murugesa
Aiyer’s Kurukshetra Netakam;—ali these are from Boratham
legends. Malayakanthint Natakam by Ganapathy Aiyer is based
on Kasikandam, Mappena Mudeliar's Somakesart Natakam
and Parimalakasa Natakam represent philosophic virtues ag
chief interlocutors,; Chinnathamby's Nondi Natakam, Kovala
Natakam and Anivutha Natakam, savour more of fares.
Kanda Pillai's Kandi Natakam and Erothu Natakam
and Ramachandra Kavirayer's Rangoon Sandai Natakam
are historical. Muthukumara Polavar, an extempore writer,
was the author of Thevasahaya Natckam, Seemanthant
Natakam, and Puthumapatht Natakam, and Kathiresu
யிலான of Pathumapurani Natakam; Avanthabarathy
 364 TAMIL LITERATURE

Aiyengar's Bakavatha Samastha Kandha Natakam

is religious and about the god of Thiruvidaimaruthur.
The Atht Rupavatht Natakam is connected with the
sequestered life led by the Raja Vikkiramaditia while a hermit
in the woods, Alli Natakam describes the ways in which
Arjuna managed to wed Alli, and Barathavilasam not only
describes the palace made of arak, wax and cotton mixed with
oil, built with the set purpose of setting fire to it to destroy the
Pandaves at midnight but also celebrates Idumby’s marriage.
Sakunthalat Vilasam describes the happy reunion and
restoration of Sakuntala, the daughter of Viswamitra and
Monaka, to the King Dushyanta who had married her clandes-_
tinely swearing that he would give the crown to her sen.

Prof. Sundram Pillai’s Manonmantam, Lakshmana

Pillai's Veela Natakam after Sophocles, Sasyavati on the
model of Shakespeare’s Cymbeline and Ravi Varma, a
historical drama, in verse and prose combined, and Rac Sahib
P. Sambanda Mudelinr’s comedies and farces more than twenty
in number may be singled out for mention, Surianarayana
Sastri's Rupavati, Kalavati, and Mana Vijayan stand
out among the wultitude of dramas published in recent times-
His smali treatise on Dramaturgy or Nataka-Zyal deserves
perusal. Among the translators of Shakespeare’s plays, 5. V-
Kallappiran Pillai, s. a. has done The Merchant of Venice,
into Tamil blank verse and prose, and has set an example to
maoy ambitious young men endowed with dramatic and poetic
talents.
fhe purely Tamil Dramatic varieties that have survived
the havoo of time are vanché and pallu, Rajappa Kaviroyar's
ura vanchiy and Mukkudal pallu are good illustrations,
Sivasailapallu is 4 tame imitation. The peculiarities of the
 Seo. III. DRAMA 365

kuravanchi may be described thus, Kuravanji belongs to the

general class of street dramas, a style of performance which still
goes on, though unhappily fast dying out. Nature provides the
stage for it and most of the lighting effect. The players depend
for their livelihood on charitable endowments. The audience
is generally in a sweeter, cleaner and more receptive mood and
the philosophic pill, administered through the play, goes down
easily, though it cannot boast of much gilding. A free, ticketless
show secures a crowded audiense, and a love-tale captures its
imagination. The tale of the soul in quest of God and the tale
ofthe man in pursuit of a woman make the excellence of this
work, Its uniqueness consists in the introduction of the
Kuratthi and the duplication of the love-tbeme.

‘The heroine, a lovely and accomplished maiden, is playing

tennis (ball). While thus engaged, she sees Thirikoodanathar,
the deity of Kuttalam, come out in procession, She feels
strangely affected, without knowing the why and the wherefore
of it. The moonlight and the fins breeze which delighted the
hero before seem to torment her. She chides the moon and
Cupid for their cruelty to her, She consults her companions and
comes to know that she has fallen in love. Sha consults the
Kurathi whose advent then is opportune. She is a much
travelled woman and bas made a close study of varied human
nature. This mistress of the occult is questioned about the
lady's malady. She depicts not only the mysterious lover but
his country and his abode, She is rewarded and departs- This
Kuratthe gipsy (Singi) charms Singan, a snarer of birds, who
loves her and follows her. When he sees her attired in silk and
gold, be grows jealous, and she dispels his jealousy by dilating on
her varied feats and experiences in her wide travels, Here a
man falls in love with a woman, and there a woman ig
enamoured of God. Diviae love wins through the play,
‘Woman's love is superior to man’s: it is ‘purer and durable,
366 TAMIL LITERATURE

The human-divine love motif, common to all South Indian

devotional literature, is presented here. The soul sesking its
ereatgr is like the high-born lady who, having had a glimpse of
her royal lover, misses him, waits for him musing, and is too
unsophisticated and perplexed, and the individual soul, caged in
Shia care-worn meuld; is astir till it rejoins the universal soul.
Mukkudal Pallu, by Ennaiyina Pulavar alias
Velan Sinnathambi, pupil of Muthu Puiavar and Nacchimutthu
Panikkar, contains 273 stanzas in Kalipps, Abaval, Sindhu,
Viruttham, Sol, Pulambal, tharu, muduku etc. forms. Alaban,
&pallaof Mukkudal Alabar Pannais bas two wives, one a
Saivite and the other a Vaishnavite of Mukkadal and Maruthur
respectively, and, jeatousy arising between them, is charged by
the sonior wife before the lord of the pannai with theft and a
host of Jareenies and vices and laid up in the stocks, The
wrangle between the wives is vividly described. The younger
palli's appeal to the master takes no effect. Thereupon the
elder palli, after pointing out and reproving to her heart's
content the flaws and foibles of her husband and being much
distressed by the unenviable position of the pallan in the stocks
pleads his cause in a touching manner and obtains his realeasa.
The two wives thereafter come to terms and agree to live with
him harmoniously and enjoy the blessings of conjagal life.
The varieties of paddy and agricultural operations by pallis
whose names are legion are presented in a masterly manner,
There are historical references to Vadamalai Pillayan, Tira-
malai-Kolunthu mannan, Perianambi, and to the ruler of Chenji,
Kudal, and Tanjai, Kavai Ambalavana Nainar.
‘The other pallu natakam, vix., Sivasaile pallu, by Rama:
nathan Kaviroyar of Alwarkurrichi who lived about a century
and ahalf ago, was written in honour of Aarai Alahappa
Madeliar, the viceroy of the Nsick ruler at Trichi whose arbitra-
tion of the dispnte between the Maharaja Marthanda Varma and
 Skc. 1V. NOVEL 367

Pappu Thambi in favour of the former in 1730 is recorded in

Sankunni Menon’s Manual of Travancore, Saila Kudumban had
two life-partners—the senior of Puhalanpur and the junior of
Atthalanaliur, who are mutually jealous. The senior accuses the
junior of having drugged their husband for securing his whole
favour. The dispute between them is settled by the release of
the palla from the stocks or tholu-maram at the intercession of
his elder wife on condition that the two spouses live with their
Jord in peage and in full accord.
‘The pallu has been called Ulatthi-pattu, as the vanchi bag
been styled Kurratthi-pattu. The temple at Sivasailam faces
westward, and its festivals are celebrated in the month ot
Panguni at Alwarkurrichi, three miles off.
பாட்டுச்‌ கணக்கறியா ராமகாதன்‌ கவிராயன்மொழிம்‌
பள்ப்‌ பிரபந்தம்‌ வாழவே கூவாய்குயிலே (ற. 17).
A more refied pallu, called Puthuvat Pallu, by Ponnu
Chettiar of Pathuvai, near Srivillipuitur, is still in manuscript,
and abounds in witticisms and puns of a striking order,

SECTION IV
The Novel
This species of prose composition is a new thing to Tamil
Literature. It is generally a love tale. either purely fictitious or
imaginary or founded on some historical incident or personal
experience, It differs from the drama in its admission of
materials withaut selection. It bas a plot or plots and மங்கா.
acters, denouements and catastrophes, and dialogues and narra-
tions,. In it the author may appear in the first person and
express his opinions instead of speaking out his ideas and
Sentiments through characters as in the drama. Only English
educated men have entered the field and achleved success, The
368 TAMIL LITERATURE

firsb and the best novelist was Vedanayak«m Pillai, District

Munsif, Mayavaram. His Pirathapa Mudeltar’s Charit-
ram took the lead, and it was followed by two short stories of
the novel kind. Rejam Aiyer followed suit with his Kama.
lambal or ‘The Fatal Rumour.’ V. G. Surianarayana
Sastriar, 8, 4, enriched Tamil prose with Mathivanan in
classic style. A. Madbaviah ஐ, 4. came out with his Padma-
vati, Sarukkai Ramasamy Aiyengar, B.A. 3, உட with his
Kamalini, ond ©, B. Srinivasa Ayengar u- a, with his
'Vidyaranya Nagar,’ Pari Thulat or The Tiller’s Daughter,
‘The Ungrateful Son," etc. Rajavelu Chettiar intorested the
Tamil public with his Anbananthan and other novels, and
Arni Kuppusami Mudeliar has flooded the market with his novels
which are adaptations of Reynolds’ so popular in every country-
What was pure and instructive at first became lax and lewd,
and though the plots are well-knit, they cannot be placed in
the hands of boys and virgins with safety. However question-
able the morals of legions of novels and novel stories issued
from the press, month by month, prose works are multiplying,
in Tamil and the great want once felt is now being met,
through not in the desired form and manner, In most cases
the present day novelist cares less for style than for producing
impressions or tickling the readers.

SECTION V
The Journal
The Journal came into being after the introduction of the
printing press in South India. Weeklies and monthlies have in
the last ten or filteen years come out in large numbers; and
day by day they are on the increase, Some, like Jnana
Bodhini, supplied literary matter; some» like Siddkanta
 9௦, 47, JAFFNA SCHOOL 369

Deepika, philosophy and translations; a few, like Sen

Tamil Selvi, promote religion and literature; some like
Lokopakari, combine news and essays; some, like Kudt.
Arasu and Bharathi, aim at social reconstruction and
religious purification; anda few, hke Prasanda Vikadan,
present caricatures and enliven the mind of the run of mankind.
A few Tamil dailies lke Swedesa Mitran, Dravidan ond
Hindu Nesan are purveyors of world-news and educators of
the purely Tamil-knowing public in matters civic, commercial
and politioal

SECTION VI
The Jaffna School.
In times of yore Lanka was a portion of India and the
Tamil people occupied the land in large numbers. When ib
became an island, the frequent Chola invasions of the island
sre matters of history, That part of the island known as
Jafina was a gift toa Yalpanar, and came to be colonised by
the people of the Coromandel Coast, Colonised by the Tamils,
Jafina bas produced a number of scholars and men of letters
and contributed much :to Tamil Literature. Of the Jaffnees
confined to the Island itself, barring those that have made a
mark in India, the poets whose names are given under have
been illustrious as bards, and they include Hindus and Indien
Christians.
1. Muthu Rajar, son of Senthiappar of Uraiyur,
Trichinopoly, has given the history of the occupants of the
island in his poem + Kailaya-malai', in Kalivenba metre,
According to it the colonists from Madura, were introduced to
Nalior by Povanekavabu in 870 Salivabana era., and those
from Pon-palliyur were brought to Tinnevelly by Pandi,Malavan
1224
370 TAMIL LITERATURE

and his successors. Kaveriyur Vellalahs occupied Mayilitti;

Valinagar Vellalahs Nelli-Palai; Kovalur Vellalahs Inuvil;
Kachur Vellalahs Pachilaippalis Sigari-maanagar Vellalahg
Puloli; Kupaka-nattu Vellalahs Tholpuram$ Pallur Vellalabs
Kovilara Kandy; Obolia Vellalabs (Mudelis) Irupalai; Cheyur
Vellalshs Nedum Thivu etc:

2, Senathi Raja Mudeliar, son of Nollainatha

Mudeliar, of Iru-palai was a pupil of Kulankai Thambiran
and Chittambala Pulavar and master of Arumuka Navalar,
Saravanamuthu Pulavar: and Ambalavana Pandithar. It wag
be that spread grammatical knowledge in Jafiaa. His works
are Nallai Venba, Nallai Kuravanji, Nallai Anthatbi, Neeravi-
Kalivenba, and Unjal pathikams, He took a leading part in
the compilation of a Tamil Dictionary. One of his descend-
ants is Pandit Kanda Pillai of the Government Teachers’
College, Ceylon. .

3, Muthukumara Kaviroyar of Sunnakam was

Guru to Rao Babadur Damodharam Pillai and author of
‘SInanakummi,’ ‘fyanar Uojal’ ‘Natarajar Patikam' ete. He
lived till 1850.
4. Mayil-vahana Pulavar, 2 pupil of Kulankai
Thambiran, wrote a poem 'Puliyur Yamaka Anthathi’ and a
history of Yalpanam or Jaffna.
5. Peethambara Pulavar, « pupil of Senathi Raja
Mnodeliar, wrote a Kalambakam and 4 thirupukal to the glory
of Maraisai, and Neeravi Venba, in the name of his birth-
place Neer-veli.

6, Jaga Raja Sekhara Mannar, of Nallur in

Jaffna, was the second son of Kanaka Suriya Singai Arye
Mannar, the senior being Pararaja Sokhara Mannar, and did
much to improve Tamil School books, He established » Tamil
 Ske. VI. JAFFNA BCHOOL 971

Sangam and encouraged pandits and composed Dakkana

Kailasa Puranam. The Pandits who were his proteges eulogis-
ed him in Jagaraja Sekhara Malai. He lived in the first
quarter of the 16th C,
7 Kathiraivel Pillai, father of the Hon. Bala-
singam, compiled the ‘Tamil Sol Akaratht', published by the
Tamil Sangam at Madura till 's’, He was aJudge and an
aristocrat of Udupitti-
8. Chinnathambi Pulavar, son of Villavaroya
Madeliat of Nallur, was a poct of the 18th C., and his poems
are Maraisai anthathi on the God of Vedaraniam, Kal-valai
anthathi. Karuvei Velan Kovai etc,
9. Viswanatha Sastriar, of Arali, was an astrologer
and poet. His poems include Vaunai-Kuravanji and Nakula-
malai-kuravanji. Ho died about 1835.

10. Kanakasabai Pulavar, « Vellslab Christian

of Alavetti in Jaffna, was a facile versifier and wrote poems,
incloding Alakarsami madal, and Thiruvakku Puranam. He
died about 1874.
11. Kumarasinga Mudeliar o! Udupitti was the
father of Judge Kathiraivel Pillai, He made a Kovai, ‘ Arul-
ambala Kovai,’ and a drama called Indra-Kumara Natakam,
He lived till 1876,
12. Kumara Kulasinga Mudeliar ot Thelll
Palai was a follower of Christ and good English and Tamil
sebolar. His Pathivirathai Vilasam stands out among his works,
He died about 1884,

13. Sadhasiva Pillai, a Christian of Manippay,

was the Editor of Udaya Tharakai, and died at the beginning
of this 20th Century. His worksare Vellat Anthathi, Nannerl
 372 TAMIL LITERATURE

Malai, Nanneri Katha Sangraham, Thiru-Sathakam, and

Pavalar Charitra Dipakam,’ or The Galaxy of Tamil Poste,
14, Chidambaram Pillai, « Christian of Sankuveli,
compiled an Anglo-Tamil Dietionary and was a colleague
on the staff of Winslow's voluminous Dictionary. He was a
Tamil purist and substituted ‘Thondu’ for ‘Nine’ or
* Vonpathu’. He compiled an anthology of Tamil verse from
Ramayanam, Bharatham etc. and a Tamil Vyakarana out of
the grammatical rules found in the extant grammars. His
Logic in Tamil is a compilation of English Logic and Tamil
Alavai found in Siva-Jnana Siddhiar. He lived till 1889,
15. Ponanmbalam Pillai of Mavai or Mavittapuram
made Mavai-Anthathi and Chitra-kavi and died about 1891.
16, Ambikai Pakar of [nuvil was a good grammarian
and Siddhanta Scholar and wrote Inuvai-Anthathi and com-
mented on Thenikal Puranam up to Nagara padalam: His prose
rendering of Sulamani is well-known:

17. Muragesa Pandithar of Sunnakam passed

away at the opening of the 20th Century after having been a
Pandit at Kumbakonam, Chidambaram, Tiruppattur, Madras
eto. He was guru to Saravanamuthu Pulavar, a siddbante
lecturer, and to Muthu-tambi Pillai, » prolific writer. His
*100 moral maxims’ or ‘Neethi Nuru’ and his unjal and
pathikam are good in their kind. His Siledat Venba on Mai-
Jani near Sunnakem and his poem in venba metre on Kudan-
thai or Kumbakonam exhibit his verbal legerdemain.

18, Jnana Prakasa Swami wos on ascetic and

an agamic scholar and made the tank at Chidambsram known
as Jnana Prakasam- He annotated the Siddhiar- When he lived
is not known, He is said to have lived in the first quarter of
the 17th century. He was a great Sanskrit scholar to boot.
 Src. VI. JAFFNA SCHOOL 373

19. Saravana-Muthu-Pulavar of Nallor in Jaffna

was one of Senathi Rajah’s pupils atd distinguished himsolf as
& controversialist. Among his works may be mentioned Atma
Bodha Prakasikai, and Vedanta Swyam-Jotbi. He was a
contemporary of Vedaghiri Mudaliar and lived till 18512.

20. Vaithianadha Mudaliar was « contemporary

of Jnana Prakasa Munivar (No. 18) and passed his days af
Chidambram and made ‘ Vyagrapatha Puranam ' to immortalise
his name, He too was well-versed in Sanskrit,
 APPENDIX I.
Select Works,

1, இலக்கணம்‌ -—
1 தொல்காப்பியம்‌--தொல்காப்பியர்‌
2. கப்டொருள்‌
பகலில்‌] Benue ்‌

புறப்பொருள்‌ வெண்பாமரலை--ஐயனாரிசனார்‌.
அசப்பொருள்‌ விளக்கம்‌--நா.த்கவிராயாம்பி
சல்லாடம்‌--கல்லாடர்‌
யாப்பருங்சலம்‌--குணசாசமர்‌
யாப்பருங்கலக்காரிகை---
அமிர்‌ தசாகரரூனிவர்‌
Cader gun,
வெண்பாப்பாட்டியல்‌ } --குண்வீரபண்டி.தர்‌
வீரசோழியம்‌--பு,2சமி.2திரர்‌
கன்னூல்‌--பவணர்‌இிமுனிவர்‌
பீரயோசலிவேகம்‌-- சுப்பிரமணிய வேதியர்‌
இலக்சணவிளச்சம்‌--வை ததியகா சகாவலர்‌.
இலக்சணக்கொச்து--சுவரமிகாச தேசிகர்‌.
இலச்சணவிளச்சச்சுறுவளி--வஞான யோகள்‌.
11, இலக்கியம்‌ --
(i) திருமுறை 12:
1-8 தேவாரம்‌. ஆளுடைய பிள்ளையார்‌ 01 ஞானசம்பந்தர்‌
4-6. yy திருகாவுக்காசு 01 அப்பர்‌,
7. க சுந்தமமூர்தீதி 01 கம்பியாரூசர்‌
8. இருவாசகம்‌--மாணிச்சவாசகர்‌ 01 வாதவூரர்‌.
9 { இருவிசைப்பா--ஒன்பதன்மர்‌
இருப்பல்லாண்‌9--சேக்தனார்‌
10, 'இருமந்திரம்‌-- இருமூலர்‌
376 TAMIL LITERATURE

11, சனிப்பதிகங்சள்‌--கா.ம்பதின்மர்‌
19, [ீபெறிய புசாணம்‌ ௦: சேக்இிழார்‌ பா அறுண்‌.
" 1 இரு, ச்சொண்டர்‌ புராணம்‌: மொழித்சேவர்‌.
(11) காலாயிரப்பிரபக்தம்‌ :--
பெரியாழ்வார்‌
குடிச்கொடு 2௪ காச்மயொர்‌.
ம. மு;தலாயிரம்‌ 4) குலசேகரப்பெருமாள்‌
| தருமழிசையாழ்வார்‌.
( தொண்டரடிப்பொடி.
2 பெரிப திருமொழி இருமல்சையாழ்வார்‌
8. இயற்பா--பொய்சையார்‌,
Bassett,
பேயார்‌,
திருமழிசை,
கம்மாழ்வார்‌,
'இருமல்கையாழ்வார்‌,.
இருவரல்க்சமு? சனார்‌.
4... இருவாய்மொழி-டம்மாழ்வார்‌
பத்‌ அப்பாட்டு :-
1. இருமுருகாற்றுப்படை--கற்‌2ரர்‌
5. பொருஈராத்துப்படை--முட த சாமச்சண்ணியார்‌
$. எறுபாணாற்றுப்படை-கத்தததனார்‌.
4, பெகும்பாணா த்றுப்படை--உருச்‌இரன்சண்ணனார்‌.
5. மூல்லைப்பாட்டு-
ப்பூ சனார்‌
6. மதுரைக்காஞ்சி மாங்குடிமரு,சனார்‌
7. நெடகல்வாடை--ஈத்ேர்‌.
8. பட்டினப்பாலை--உருதீதிரன்சண்ணனார்‌
9. குதிஞ்சிப்பாட்டு--சபிலர்‌
10, மலைபசசெடாம்‌--கெளடகனார்‌.
(iv) எட்டுத்தொகை :--
1. கத்திணை
2. கு௮ந்சொகை
 Arp, 1, SELECT WORKS 378

3. BIGI oH
4 upppiuss
5. பரிபாடல்‌,
6. சலித்தொகை
a sar gor
8. 4p aor.

(5) பதினெண்டழ்க்சணக்கு :—
1, காலடியார்‌-.-அகேகர்‌
2. கான்மணிக்கடிகை--விளம்பியகாகனார்‌
5. கார்காத்பது--கண்ணன்‌ கூச சனார்‌
&.. சளவழிகாத்பத- பொய்கையார்‌.
5. இனிய அகாத்பது--பூ சஞ்சேக்சனார்‌.
6. இன்னாகாத்பது--கபிலர்‌
{ஐம்ப௮--மாதன்பொறையனார்‌
| எழுபத-மூவாதியர்‌
TLL, gitar ட. தின மொழிஜம்பது] சண்ணன்‌
ஞர்‌
சேக்ச
Breer wre நாற்றைம்பது--சணிமே.
சாவியார்‌..
18. திருக்கு தள்‌--இருவள்ளுவர்‌
12. இரிசகம்‌--சல்லாசனார்‌
34. தசாரக்கோவை--பெருவாயின்‌ முள்ளியார்‌
15. பழமொழி--மூன்றுரை அலையனார்‌
16. சிறுபஞ்சமூலம்‌ மாமூலனார்‌
17. மு.துமொழிக்காஞ்ட-
௦ புரிசைக்ெவனார்‌
18. ஏலாதி--சணிமேதாவியார்‌.

(vi) * 1.இகொசம்‌--
இராமாயணம்‌
2. பாரதம்‌
8. இவரசசியம்‌.
378 TAMIL LITBRATURE

(எ) காவியம்‌:--
[சர்சாமணி-திருசசச்சதேவர்‌
| லப்பதிசாரம்‌--இளங்கோவடிகள்‌
1. பஞ்சகாவியம்‌ 4 மணிமேசலை-கூலவாணிகன்‌ சாத்தனார்‌
வளையாபதி. .
sen wise: } தெரியவில்லை.
2. சூளாமணி தோலாமொழித்சேவர்‌
3 இரகுவமிசம்‌--அரசகேசறி
he casts இவீராரவாண்டியன்‌.
5. நளவெண்பா. புகழேந்தி.
6. ெடர்யாத்திரை-- அரி9ற்கிழார்‌, பொன்முடியார்‌ 64௦.
(viii) புராணம்‌;
சுந்தபுராணம்‌--சச்சியப்பர்‌.
2. உபசேசகாண்டம்‌--சோனேரியப்ப ரு௦,சவியார்‌
வாயுசல்சிை--வரகுணபாண்டியன்‌
பிரமோத்தரகாண்டம்‌--வர தும்கராமபாண்டி௰ன்‌
கரசகொண்டம்‌
கூர்மபுராணம்‌ } ௮.இவீரராமபாண்டியன்‌
இவிய்கபு. ராணம்‌
கோயித்புராணம்‌-- உமாப.திவொசாரியர்‌:
காஞ்சிப்புராணம்‌ வெஞானயோஇ
பிரபுலிங்கலீலை--சிவப்பிரசாசர்‌
சேதுபுராணம்‌--நிரம்பவழயெதேசகர்‌
திருவிளையாடல்புராணம்‌--பரஞ்சோ .இிரூனி-- வேம்‌.
திருத்‌ சணிகைப்புராணம்‌--சச்சயப்ப மூனிவர்‌ [பத்தர்‌
விருத்சாசலபுராணம்‌--ஞானக்கடத்தர்‌
சருபுராணம்‌--உமாறுப்புலவர்‌
வாசவூரர்புராணம்‌--கடவுள்மகாமூனிவர்‌.
'இிருவானை ச்சாபுராணம்‌--சச்சியப்பமுனிவர்‌
கழுக்குன்‌ ஐபுராணம்‌--அக்தகக்கவிராயர்‌
பாசவசபு.ராணம்‌--ஆரியப்புலவர்‌.
குற்றால சலபுசாணம்‌---இராசப்பக்சவிராயர்‌
 Are, I, SELECT WORKS

இருவாய்ப்பாடிபுராணம்‌--இராமகவிரசயச்‌
கொழிப்புமாணம்‌-- அருணாசல கவிராயர்‌
அருணாசலபுாணம்‌.
செவ்வக்‌இபுராணம்‌ --எல்லப்பநாவலர்‌
இருவெண்காட்டுப்புராணம்‌
'இருமுறைகண்டபுசாணம்‌--உமாபஇவொசரரியர்‌
செய்வாணை புசாணம்‌-கல்லாப்பிள்னை
கருணிப்புசரணம்‌--ஈத்‌ரர்‌
சாள,ச்இிபுராணம்‌--சருணைப்பிரசாசதே௫கர்‌
யோசேப்பு புராணம்‌--கூழங்கைத்தம்பிரான்‌
'இருக்கவபுராணம்‌-வெப்பிரகாசர்‌
களத்தார்புராணம்‌--சரவணப்பெருமாளேயர்‌.
திருவ. நந்த புமாணம்‌”)
'இருக்குடச்தைப்‌ 2”
com gg oct ஓ
திருச்தருத்தப்‌ ”
இருக்கு௮ச்சை வீரட்டப்‌ ,,
'இருவாளொளிப்புத்தார்‌ ,,
Sor sO srg 3.
ஆத்அர்ப்‌ ” மீனாட்சசக்‌சரம்பிள்ளை.
சனியூர்ப்‌ 2
மணிப்பட்டிச்சரைப்‌ »
கோயிலார்ப்‌ ig
சண்டதேவிப்‌ 3
குரைக்குடிப்‌ »
46. வீரைவனப்‌
47. இருமயிலைப்‌ ஜு
48. இருமாகைச்சாரோண 4,
49. பெரியபுராணம்‌--சேக்‌இழார்‌
(20) வேதாக்தசாத்திரம்‌ :--
3. சைவல்யாவரீ சம்‌-- சாண்டவரூசர்‌,த.இ
2. வேசாக்‌சசூடாமணி--வெப்பிரகாசர்‌
 TAMIL LITERATURE

வாடிட்டம்‌--விரை யாளவக்தார்‌.

omens} தத்துவராயர்‌
உமம ய Bg NOTED
Be ம்‌ .

பசவ.த்ை--பேட்டர்‌
பிரபோதசந்திரோ,சயம்‌---இருவேம்‌டகமி.
(x) க்கெவாத சைவசாத்திரம்‌ :--
வைராக்கெ சதகம்‌.
வைராக்ய Find சார்‌, சவிக்க3,ச9கர்‌
அவிரோசவுக்தி

Race Bt | garisrers road

2458 sQaemur இவப்பிரசாச சேகர்‌
சஜ

ஒழிவிலொடுச்கம்‌--கண்‌.ணுடையவள்ளல்‌
(xi) சரியை, இரியை, யோகம்‌ :--
1, ஞானாமிர்தம்‌--வாசசர்‌.
2. a
3.
Bee
e GEE? 1 மனைஞான சம்பர்தர்‌
மோத்திரம்‌ பலன்‌

(xii) ரல சைவசாத்திரம்‌ 14;--

இருவுர்‌தியார்‌--இிருவியலூர்‌ உய்யவக்‌ தசேவகாயனார்‌
we ஹம

இருச்சளிற்றுப்படி--இருக்கடவூர்‌
AgeoR

சவெஞானபோதம்‌--மெய்சண்டசேவர்‌
சவஞான(த்தியார்‌--அருணர்‌
திதேவர்‌
இகுபாஇருப& ௮--- ஷை
உண்மைவிளச்சம்‌--மனவாசகங்கடந்தரர்‌
சிவப்பிரகாசம்‌:
'இருவருட்பயன்‌
Ps

வினாவெண்பா
30. போற்திப்பஃறொடை
li. ௦. es ‘a ய்‌ t உமாபதிசிவம்‌.
32. Orgs SOs 8
உண்மைகெறிவிளக்கம்‌
14 சங்க. த்பநிராகரணம்‌
 Are. II, POETS ALPHABETICALLY ARRANGED 3681

1210) பண்டாரசாத்திரம்‌ 14:

1, சசகாசியம்‌
2. சன்மார்க்க? 7ியார்‌
சிவாச்சாம,க்தெளிவு
சித்சாக்தப்பகறொடை
ச.த்தாக்த கொமணி ம்பலவாண தேசிகர்‌.
உபாயநிட்டைவெண்பா
நிட்டைவிளக்சம்‌
உபசேசவெண்பா.
அ.திசயமாலை
கமச்வொயமாலை. J
See unde} AACOCA Ontat
சசகாரியம்‌--சுவாமிகா ததேசர்‌ (ஈசான ேசகர்‌)
பஞ்சாக்கரப்பஃொடை--
பேரூர்‌ வேலப்ப தே௫கர்‌

APPENDIX It.
Poets Alphabetically Arranged
பாவலர்‌ அட்டவணை

%, அகஸ்‌இயர்‌ பூர்ணசுத்இரம்‌
வைத்தியக்கும்மி sage 58
கலத்தின்‌ 2. அஷ்டாவதானியார்‌
கோயின்சாரம்‌ வலயக்‌.
அவிழ்தசாரம்‌ 8. அதிவி ரராமபாண்டி௰ன்‌
அழு, தசலைக்யொனம்‌. ene gi
பஞ்சகாவிய நிகண்டு காகொண்டம்‌.
சன்மசாண்டம்‌ இலிங்கபுசாணம்‌
382 TAMIL LITERATURE

கூர்மபுமாணம்‌ [யந்தாதி கிட்டைவிளக்கம்‌

'இருக்கருவை sli gop அதிசயமாலை
ஷூ பதித்தப்பத்தந்தாதி கமச்சிவரயமா$ல
ஷூ வெண்பாவந்தாதி. உயிரட்டவணை
வெற்திவேற்கை 11, அரசகேசரி
4, 9655558 விரராகவ இசகுவமிசம்‌
முதலியார்‌.
மமுக்முன்‌றபுராணம்‌. 12, அரிதரசர்‌
சமுக்குன்‌தமாலை இருசமயவிளச்கம்‌
செய்பூர்பிள்ளைம,சமிழ்‌ 18, அருணடரிகாதர்‌
$. ஓயிராமிப்பட்டர்‌ கந்தரனுபூதி
ஓமபிராமியந்தாதி கந்தரலங்காரம்‌
சந்தாந்தாதி
6. ௮ப்பாவையர்‌
வேசவிருச்தம்‌.
தரண்டவமாலை.
திருவகுப்பு
7. அமிர்தகவிராயர்‌ திருப்புகழ்‌
இரகுகாத சேதுபதி ஒரு உடற்கூற்று
[.தறைக்கோவை
3க்‌, அருணந்திவொசாரியர்‌
8. அமிர்தசாகாமுனிவர்‌ சவெஞானடத்தியார்‌
மாரிசை இருபாஇருபஃது.
9, ௮ம்பலவாணகவிராயர்‌ 15, அருணாசல கவிராயர்‌
றப்பளீ கூரர்ச,சகம்‌. அசோழுகொடகம்‌
30. ௮ம்பலவாணதேசிகர்‌ கோழிக்கோவை
சசசாரியம்‌ சொழிப்புராணம்‌:
சன்மார்க்கஏத்தியார்‌ அதுமார்பிள்ளை 2சமிழ்‌.
சவொச்ரமத்தெளிவு 'இசாமநாடகம்‌
இத்தாக்தபக்றொடை 16. அருணாசலமுதலியார்‌
சத்தார்‌ தகொமணி இதம்பரம்‌ வெகாமியம்மை
உபாயகிட்டைவெண்பா. [பதிகம்‌
உபதேச வென்பா ஐந்துகட்டளைக்சலிச்ுறை
 Arr. II. POETS ALPHABETICALLY ARRANGED 369

மாசிலாமணீசர்ப தசம்‌. 26. ஆறுமுகத்தம்பிரான்‌.

கொடியிடைமாலை செகவுற்பத்தி
17. இருளாள்பெருமாள்‌ இரட்சகர்‌ ௮வதாரம்‌.
பிரமேயசாசம்‌ மோட்சம்‌
காகம்‌
18. அலியார்‌ புலவர்‌ வாழ்த்து
இந்திராயன்‌ படைப்போர்‌. 27. ஆறுமுகராவலர்‌
இபுனியக்‌ சன்‌ படைப்போர்‌ யாலபாடம்‌
39. அவிஈயனார்‌ சைவவினாவிடை
அவிநயம்‌ இலங்கை பூமிசா.த்திரம்‌.
இலக்சணச்சுருக்கம்‌.
20. ௮னத்தபாசஇஜயஙல்கார்‌
பெரியபுராணவசனம்‌
யானைமேலழகர்‌ நொண்டி. இதம்பரமான்மியம்‌ [ணம்‌
[சக்த
உத்‌ சரராமாயண Sig stor கேவகோட்டைத்தலபுரா
தே$கப்பிரபந்சம்‌ 98. இடைக்காடர்‌
பாசவசசமஸ்‌சகக்தகாடசம்‌ em Age A
மரு தர்வெண்பா அறுபது வருஷ்ப்பலன்‌
மூப்பாத்றிரட்டு. 29. இரட்டையர்‌
21, ஆண்டிப்புலவர்‌ ஏகாம்பர கா.தருலா
உரையறிகனனூல்‌ 80. இராசப்பக்‌ கலிராயர்‌
ஆரியகிசண்டு குத்ருலச்‌ குறவஞ்சி
குத்றால தலபுராணம்‌
22, ஆரியப்புலவர்‌
பாகவதபுராணம்‌ 31. 'இராம கவிராயர்‌
திருவாய்ப்பாடி. புராணம்‌.
28. ஆளவந்தார்‌ சாரப்பிரபந்தம்‌.
ஞானவா?ட்டம்‌.
92, இராமசுவாமி ஐயர்‌
24, ஆறுமுகஸ்வாமிகள்‌ அல்லி நாடகம்‌
மிஷ்டாலுபூதி 33. 'இராமசக்‌இர கவிராயர்‌
25. ஆ.றுமுகசுவாமிகள்‌ சகுந்தலை விலாசம்‌
ஏகாம்பரகரசர்விரு
த்தம்‌ பாரத லிலாசம்‌.
804 TAMIL LITERATURB

இரணியவாசகப்பர்‌. 48. உபேச்‌ திராசிரியர்‌

சாருசாவிலாசம்‌ இனேக்‌இரமாலை.
இரங்கடன்‌ சண்டைகாடகம்‌ கக, உமாப.தி௫ிவாசாரியர்‌
நடுவெழு,ச்‌தலங்காரம்‌.
இரு, ச்சொண்டர்‌ புராணசா
சதிசபங்‌இ சோயிழ்புராணம்‌ [ரம்‌
wane திருவருட்பயன்‌
'திரிபல௦
வினாவெண்பா.
94. இராமானுஜக்கவிராயர்‌ போற்றிப்பஃ்றொடை
காண்டிகை கொடிக்கவி
பார்‌.த்தசார.திபாமாலை. கெஞ்சுவிசொ௮
வேலசடவனுபூ.இி உண்மைகெறிவிளக்கம்‌
வசதராசப்பெருமாள்‌ பதித்‌ சத்கத்பகிராகரணம்‌
[அப்‌ பத்தந்சாதி திருமுறைகண்ட புராணம்‌
95. இராமசாதர்‌ இருப்ப திக்கோவை
Pore வெபுண்ணியத்தெளிவு,
86. இராமபாரதி 45, உமாருப்புலவர்‌
சிரு புமாணம்‌
ஆத்திசூடிவெண்பா
87. இராமலிங்கஜயர்‌ 86, உய்யவர்‌ததேவகாவனார்‌
சந்‌. சான தீபிகை திருவுந்தியார்‌
88. இராமலிங்கம்பிள்ளே 47, உரோமரிஷிகாயனார்‌
அருட்பா தூ௫ஜர்துதற
89. இசேவணுத்‌தியர்‌ பஞ்சபக்ஷிசா,த்திசம்‌
இேவணளுத்தியசா,ச்‌இரம்‌ &8, உலகநாகர்‌.
40, இளப பூரணர்‌ உலகரீதி
இளம்பூரணம்‌ 49. ஐயடி களாடவர்கோன்‌.
4l. இறையனார்‌ திருவெண்பா.
அகப்பொருள்‌ 60. ஒட்டக்கூத்தர்‌
42. இன்பகலி ஈப்டியெழுபது
கச்சேரிநு சவியார்கு றவஞ்சி | இராமாயணம்‌.
 கர. 11. POETS ALPHABETICALLY ARRANGED 985

51, ஓப்பிலாமணிதே௫கர்‌ இக்குவிஜயம்‌:

இவரகசியம்‌. திருவிடைமருதூர்தாஇ
82, ஓளவையார்‌ 57, கணபஇிஜயர்‌
24869 வாளமிமன்‌ மாடகம்‌
கொன்றைவேந்தன்‌. a g Places pga
மூதுரை wren «8 Peer aid
கல்வழி அலககாரரூபகாடசம்‌
கல்வியொழுக்கம்‌. அ.இிரூபவ திகாடசம்‌
சதிச்கோவை 58. கணப திகுருக்கள்‌
நன்னா ந்கோவை கப்பத்பாட்டு
கான்மணிக்கோவை
ஒருக்தமிழ்மாலை.
69, கணபஇதாசர்‌
கெஞ்சுறிவிளச்சம்‌
தரிசனப்பத்து
Grease pee 60. கண்ணுடையவள்ளல்‌
பந்சனநதாஇ! ஒழிவிலொடுச்கம்‌
58. கச்சியப்பர்‌ ESAT tev

கந்தபுராணம்‌ மாயாப்பிரலாபம்‌.
54. கச்சியப்பமுனிவர்‌ 61. கக்தப்பையர்‌
விாயசபுராணம்‌ இரு த்சணிகாசலவனுபூ.இி
சென்னை விகாயசர்பிள்ளைச்‌ வேல்பத்து
வண்டுவிடுதாது.. [தமிழ்‌ முருகன்‌ தாலாட்டு
கச்ச பதிற்றுப்பத் தந்தா. ,தயாகிதிமாலை.
பஞ்சாக்காவர்தா இ. பிள்ளை,ச்‌தமிழ்‌
'இருவானைச்சாபுசாணம்‌. Sonus
,சணிகைப்புசாணம்‌ மா வெண்பா
,சணிகையாத்றுப்படை சிலேஷை வெண்பா
வெண்பாவக்தாதி
56. கடவுன்‌ மாமுனிவர்‌ சந்நிதிருறை
வாசஞ்சர்புராணம்‌ ஸ்‌ சலபுரரணம்‌
56. கடிகைமுத்துப்புலவர்‌ வேலாயுசசதசம்‌
சழு,ச்திரவிலாசம்‌ சிலேஷையந்தாஇ
122
386 TAMIL LITERATURE

அபிஷேசமா$ 70. காசிலிசுவசாத முதலியார்‌

மழமலையக்காதியுமை யாப்பிலக்கணவினாவிடை
இருச்செந்தில்‌ கிரோட்டச இடம்பாசாரிலிலாசம்‌.
[யமகவக்சாதியுரை பாசகசாஸ்‌.திரம்‌
68. கபிலர்‌ சதுர்வேத.தாற்பரிய சல்மெ
HSIN
சாடுல்நார்விலாசம்‌... (கம்‌.
சாலூகாவிலாசம்‌.
இன்ஞகாற்பது
71. காகொதப்புலவர்‌
68. கம்பர்‌ தாலபுசாணம்‌
இசாமாயணம்‌
72, காரியார்‌
சடகோபரக்தாதி
சரஸ்வஇிமாலை.
சணச்சுதிகாரம்‌
Corpses raga 78. காளமேகம்‌
லையெழுபது 'இிருவானைச்சாவுலா.
எமெழுபது சரஸ்வ.திமாலை
இருக்கைவிளச்சம்‌ 74. இருஷ்ணஜயர்‌
64, கருனேப்பிரகாச தேடி இவெகாமியம்மைபிள்ளை ச்சமிழ்‌
கர்‌ 75. குகைஈமச்வொயர்‌
இஷ்டவிக்கஅசவல்‌ அருணடிரியக்தாதி
காளத்திபுராணம்‌ 76. குணசாகரர்‌
66. கருணை யானந்தஸ்வாமி காரிசையுரை
குருகாதர்சதசம்‌ TT, குணவி பண்டிதர்‌
66. கல்லாடர்‌ நேமிநாதம்‌
கல்லாடம்‌ வெண்பாப்பாட்டியல்‌
67. கவிராஜபண்டி தர்‌ 78. குமாகுருபரசுவாமிகள்‌
குமரர்சலிவெண்பா.
'செளக்தறியலசரி.
மீனாட்டபிள்ளை,தமிழ்‌
68, காக்கைபாடினி௰ர்‌ பண்டாரமும்மணிக்கோவ
காக்சைபாடிணியம்‌ சிசம்பரமும்மணிக்கோவை
69. காக்கேயர்‌ மூ,சஅக்குமாரசாமிபிள்ளைச்‌
உரிச்சொல்கிகண்டு சா௫க்கலம்பசம்‌. (sap
 Arr. If. PORTS ALPHABETICALLY ARRANGED 387

இதம்பரச்‌ செய்யுட்கோவை வாதநிசண்டு

கீதிநெறிவிளச்சம்‌ சடாட்சாச்சோவை
79. குமாகுருபரதே௫கர்‌ 91. சண்முகஞானியார்‌
ஞானக்கு வஞ்சி முருகரக்தாதி
80. குமாசசுவாமிதேகேர்‌. 92. சக்இரசேகர சவிராஜ
குமாரசுவாமீயம்‌
பண்டிதர்‌
81, குருபாததாசர்‌
குமரேசசசகம்‌ aga Bre
82+ பூலசேகரபாண்டியன்‌ 93, சிவப்பிரகாசர்‌
அம்பினசமால்‌ யிரபுவிங்கலீலை.
88. குலசேகரப்பெருமாள்‌ 'இருஈகூவபுசாணம்‌.
மூகுக்‌சமாலை. இவகாம மஇமை
84. கூழங்கைத்தம்பிரான்‌ சோணசைலமாலை
'யோசேப்புப்புராணம்‌ 'வேங்கைக்கலம்பகம்‌
86. கொல்கணர்‌ ஷி your
@o கோவை
கொம்சணர்ஞானம்‌ ye = werent
86. கோரக்ககாதர்‌ BGiGsiBossrB
கோரக்கர்வைப்பு மாலவர்கான்மணிமாலை.
87, கோனேரியப்பழு தலியார்‌ கைச்சலமாலை
சக்தபுராணம்‌ இத்‌ சாந்தகொமணி
88. சங்கரகமச்சிவாயர்‌ வேசாந்தகுடாமணி
தர்ச்ச பகாஷை
நன்னூலுளை
ச,சமணிமாலை.
89. சங்கராசாரியார்‌ கிரஞ்சனமாலை
Ramer zee இஷடலி௰கப்பெருங்கழி
உடலதிளிஎச்கம்‌ [Cand Ags sib
சாதாந்தவிளக்கம்‌ om FSG ஷி
90, சட்டைமுனி அபிஷேகமாலை
Grr ory கன்னெறி
sous காயகெலித்துறை
388 TAMIL LITERATURE

பிக்ஷாடனஈவமணிமாலை. உபதேசவுண்மை
தொறைசைவெண்பா. உபசேசவுண்மைச்சட்டளே.
94, சரவணப்பெருமாள்‌
ஐயர்‌ கெஞ்சுவிட. தாது
இயத்தமிழ்ச்சுருக்கம்‌ பஞ்சாதிகாரவிஎக்கம்‌.
அணியியல்விளக்கம்‌ 108. கவஞானதே$கர்‌
கோளதிபிகை கதிர்காமவேலர்‌ திருவருட்பா
கான்மணிமாலை 104, சிவஞானமுனிவர்‌
Sor Sgn iy Teeny தொல்சாப்பிய es Hrd
95. ௪ர வணதே௫கர்‌ [ருத்தி
வீட்டுகெறியுண்மை இலச்சணவிளச்சச்சுருவளி
96. சரவணமுசக்‌ துப்புலவர்‌ சருச்சசல்கரகம்‌ 0
வேசாந்த சுயஞ்சோதி தீருக்கசக்கரக €பிகை
ஆசிமபேதப்பிரகாசகை அன்னம்பட்டியம்‌
97. சருக்கரைப்புலவர்‌ காஞ்சிபுராணம்‌ [ண்பா.
மதினச்தக்தி சோமோர்‌ முதுமொழிவெ
98, சவாப்புலவர்‌ இருவேசம்பா ஆனந்தச்‌ எனி
ஆண்டவர்பிள்ளை ச.தமிழ்‌ [uy
திருத்தொண்டர்‌ திருகாமச்‌
99, சாக்தகவிராயர்‌
பஞ்சாக்ஷ£மாலை [சோவை
இசங்சேசர்வெண்பா 'ராவிடமகாபாஷியம்‌
300. சாந்தலிங்‌ஈ௩விராயர்‌ இருவேகம்பரந்தாஇ
,சண்டலையார்சசசம்‌.
Up dium Pores 105. சீவவாக்யெர்‌
101. சாக்தலிங்கதேகெர்‌ சிவவாச்இயம்‌:
கெஞ்சுவிகதாத 106, சிவாக்ரெயோயெர்‌
வைசாக்பெசசகம்‌ சித்தாந்ததீபிகை
வைராக்கிய பம்‌ வேதாந்த. பிசை
கொலைமறுத்தல்‌ ,ச,ச்‌.துவ;தரிசனம்‌
அவிரோசவுக்தியார்‌ பஞ்சமாத்திரமதசபேடிசை
309, செம்பரதேசிகர்‌ 107. சிற்தம்பலகாடி.கள்‌
தோத்திரமாலை. துகளறுபோசம்‌
 Arp. If, POETS ALPHABETICALLY ARRANGED 3688

108, சிற்றம்பலப்புலவர்‌ 115. சூரியகாராயண சாத்‌

Carter IO sr 5 இரியார்‌
309. சந்தரம்பிள்ளை ரூபாவதி
மனோன்மணீயம்‌ கலாவதி
தூத்றொசைவிளச்சம்‌. மானவிஜயம்‌
110. சுப்பிரமணியமுனிவர்‌ சனிப்பாக.ர,ச்சொகை
popariCsrama தமிழ்வாலாது
கலைசைச்சிலேடைவெண்பா.
மதிவாணன்‌ சதை
ஓதம்பரேசர்வண்ணம்‌ பாவலாவிருந்து
நாடகவியல்‌
பஞ்சா தீனமாலை.
இருக்கு த்ரால9த்திரசபைத்‌ 116. செகராதசேகரன்‌
[திருவிரு,ச்சம்‌ செகராஜசேகரம்‌
இருச்சித்தம்பல CsRat
[Rew 117. சேக்கிழார்‌
அம்பலவாணதேசிகர்‌ ஆனக்‌ தருசசொண்டசத்தொகை
[சக்களிப்பு தொண்டர்‌ (பெரிய)
[புசாணம்‌
"திருத்‌ சணிகை திருவிருத்தம்‌
சுப்பிரமணியர்‌ திருவிருத்தம்‌. 118, சேக்தனார்‌
Bara +
311. சப்பிசமணிய வேதியர்‌
பிரயோகவிவேகம்‌ 119. சேரபெருமான்‌
119, சுப்பிரமணியபண்டி. தர்‌ மூம்மணிக்சோவை.
இவொட்சாமிர்தம்‌ பொன்வண்ணசிசர்தாதி.
திருவந்தாதி
118, சுவாமிநாததே௫கர்‌ ,திருச்சைலாசஞானவுலா
இலகசணச்சொச்து
சசசாரியம்‌ 180. சேனாதிராயமுதலியார்‌
314, சூடிக்கொடுத்த நாச்சி
ஊஞ்சல்‌
Bm EG LUGA
யார்‌, ஆண்டாள்‌.
திருப்பாவை 191. சேனாமலையர்‌
இருமொழி சிவசிவவெண்பா
330 TAMIL LITERATURE

389, ஞானக்கூத்தர்‌ i AGage«speroriss

விரு.த்தாசலபுமாணம்‌ | போத்திமால.
128. ஞானப்பிரகாசதே௫ிகர்‌ ! புகழ்ச்மொலை.
பீரமாண தீபிகை 5 Paster Guim wid
இத்தாக்தசொமணி பெருக்கரட்டு
கு௮ந்திரட்டு
124. த௲௲ணாமூர்த்தி பாகிலுறை
சசகாரியம்‌
உபசேசபஃறொடை 127. தன்வந்திரி
கிகண்டு
195. தண்டியாசிரியர்‌ வை,த்ியடிந்தாமணி
சண்டியலக்காரம்‌ கலைச்யொனம்‌.
186, தத்‌.துவராயர்‌ மிட்டோ,ச்தெச்சுருச்கம்‌
இவப்பிரகாசவெண்பா 128. தாண்டவறூர்த்தி
தத்துவாமிர்‌ தம கைவல்யாவமீசம்‌.
'இரு்தாலாட்டு 389, தாண்டவராயமு.தலி
பிள்ளை த்‌ இருகாமம்‌ பஞ்சதந்திரம்‌ [யார்‌
வெண்பாவக்தா இ.
கவித்துறையந்தாதி
180. தாயுமானவர்‌
இன்னப்பூவெண்டா. பராபரச்சண்ணி
பைங்கிளிக்சண்ணி
'தசாலகம்‌.
இரட்டைமணிமாலை என்னாட்சண்ணி
மும்மணிக்கோவை 181. இருத்தக்கதேவர்‌
கரன்மணிமாலை. இக்தாமணி
Bosign
ஞானவினோதன்கலம்பசம்‌
கரிவிரு,த்‌சம்‌
192. இருமல்கையாழ்வார்‌
உலா பெரியதிருமொழி
சிலேடையுலா
கெஞ்சுவிசொது
188. இருமழிசையாழ்வார்‌
selina திருவந்தாதி
அஞ்ைவசைப்பரணி 184, இருரூலகாயனார்‌
மோகவதைப்பரணி. 'இருமூலமக்திரம்‌
அமிர்‌ சசா.ரவெண்பா குணவாகடழால்‌
 App. II. POETS ALPHABETIOALLY ARRANGED 391

186, இருவள்ளுவகாயனார்‌ 146, சமசிவாயத்தம்பிரான்‌

குதள்‌ வினாவண்பா } igs

186, இருவேங்டைகலி. Dourdgues

பிரபோ தசந்‌திரோதயம்‌ 1:47. கமஏிவாயப்புலவர்‌
உலகம்மையஙக்தாஇ
387. தருவேல்டெஜயர்‌
உலமான சங்கம்‌. 148. கம்பியாண்டார்சம்பி
இருவிரட்டைமணிமாஜெ.
389. இல்லைசயகசோ திடர்‌ சவித்துமையந்தாதி
சாதகக்‌ சாமணி
திருவந்தாதி
3.89, தேரையர்‌ இருவுலாமாலை
சொமணிவெண்பா இருச்சலம்பகம்‌
நாடிச்கொத்பு. திரு ச்சொகை
கோயணுகாவிதி 'திருமும்மணிக்கோவை.
340. தேவராயஸ்வாமிகள்‌ 'இிருவேகா,சசமாலை
சந்தர்சஷடிக்கவசம்‌: 149. ஈயனப்பமுதலியார்‌
(பதப்பித்ததூல்கள்‌):
VAL. தொண்டாடிப்பொடி ,இருச்சிநறம்பலக்கோவை
திருமால்‌ இிருப்பள்ளிஎழுச்சி சஞ்சைவாணன்கோவை
142. தொல்காப்பியர்‌ 180. சபினாமுகம ப்புலவர்‌
தொல்காப்பியம்‌: முகை இன்மாலை
148, எக்ரேர்‌ 15]. சல்லாதனார்‌
BOYES poten. Phas
பெருக்சேவபாணி 159. ஈல்லாப்பிள்ள
ச்குணிப்புராணம்‌ பாரதம்‌:
இருவெழுகூத்திருக்கை செய்வானை புராணம்‌.
344. ஈச்னொர்க்ளெயர்‌ 358. காராயணதாசர்‌
, கச்சினார்ச்சனியம்‌ காராயணசதசம்‌
3கீ$, நடராஜர்‌ 1 364, நாராயணபாரஇ
சாதாகாலல்சாமம்‌ இருவேங்கடசதகம்‌
392 TAMIL LITERATURE

155. சாற்கவிராசநம்பி 167, பிள்ளைப்பெருமாள்‌

அகப்பொருள்‌ ஐயங்கார்‌
356, நிரம்பவழகூயதே௫கர்‌ ஊஞ்சத்திருகாமம்‌
சேசுபுராணம்‌ வேங்கடமாலை.
157. செல்லைகாதர்‌ ,திருவரககச்சலம்பகம்‌
சிவரா த்திரிபுமாணம்‌ இருவால்கத்சக்சாஇ
158. படிக்காசுப்புலவர்‌ _ பதற்றுப்பத்தந்தாஇ
சொண்டமண்டலசசகம்‌ 9. திருவாகைச்துமாலை
'திருவேங்கடமா$.
159. பட்டினத்தூப்பிள்ளை ஒட வக்தாதி
கோயிற்றிருவசவல்‌ 168. பிள்ளேலோகாசாரியர்‌
கச்சித திருவகவல்‌
திருவேசம்பமாலை. அர்த்‌ சபஞ்சச 5
உடத்கூற்றுவண்ணம்‌
ல்லி ஈரசிமாலை.
160. பத்திரகிரியார்‌
பவளச்கொடிமாலை
புலந்திசன்களவுமாலை
புலம்பல்‌
குபத்திரைமால
161. பரஞ்சோ திமுனிவர்‌ விச்துவாள Gd
இருவி&-யாடல்‌ கர்னன்சண்டை
போத்திக்சவி வெண்பச நல்ல தத்சாள்கதை
பதித்றுப்பத்தக்சாதி ஏணிஎ.த்றம்‌
162. பரிமேலழகர்‌ காத்‌ தவரயர்சதை
கு. நள்உரை
169, புகழேக்க
168. பவணக்‌இழுனிவர்‌ நளவெண்பா
நன்னூல்‌
170. புக்கமித்கரா
164, பாரதி
பரா இயம்‌ வீரசோழியம்‌.
165. பாலைபானக்தஸ்வாமி 371. புலிப்பாணிமுனிவர்‌
ஞான கும்மி எதவம
சச்‌? தானந்‌ தமாலை. ஜால,ச்திரட்டு
366. பிங்‌௩லர்‌ 192, பூதஞ்சேக்தஞார்‌
பிக்சலந்சைஙிகண்டு இனிய *-காதபத
 Aep. Ii, POETS ALPHABETICALLY ARRANGED 393

1789. கதம்‌ தாஜ்வார்‌ 184, மண்டலயுருடர்‌

அன்பே சகழியா ஞூடாமணிரிசண்டு [யான்‌
174. பெருந்தேவஞர்‌ 7 எடாமணி உள்ளமுடை
(வைணவர்‌) 184, பஸ்தான்சாய்பு.
(சக்க) பார.சம்‌ - பாடல்‌
175. பெருந்தேவஞுர்‌ If இறிஸ்‌ துமதசண்டனைச்சிர
ஷி
[அண்டம்‌
15%, மதாற்சாய்பு
கவிசாகரம்‌. மதி emer
176. பெருக்தேவஞர்‌ 111 186. மதுரகவி
(சமணர்‌) இருக்கேகாரகொண்டி.
வீரசோழியவுரை 187. மயில்வாகனப்புலவர்‌
177. பொய்யாமொழிப்புலவர்‌ புவியூரக்தாதி
,கஞ்சைவாணன்‌ சோலை 188. மறைஞான எம்பக்தர்‌
178, மீபாகர்‌ வெ. சருமோசத்றிமம்‌.
நிகண்டு 189. மனவாசங்கடச்தார்‌
179. மழனவமகாலிங்கஜயர்‌ உண்மைவிளக்கம்‌
போதவசனம்‌ 190. மாணிக்கவா௫கர்‌
அருணுசலபுசாணஉரை இருவாசகம்‌.
இலக்கணம்‌ திருச்சி த்றம்பலக்கோவை
நக்டுஞார்க்‌ெனியப்பதிப்பு 191. மாரிமூத்‌ அப்பிள்ளை
180. மச்சமுனி புலியூர்வெண்பக
" லாதமிசண்டு செம்பரேகரர்‌ விறவிவீ
மச்சநூனிவைப்பு [௬௮
192. மார்க்கசகாயதேவர்‌
181. மணவாளதாசர்‌
கோயித்கலம்பகம்‌: மூருசன்பிள்ளை,த்தமிழ்‌:
193. Senaflan prcitQeir er
182. மணவாளமாமுனி திருமாசைக்சாமோண புரா
ர்‌.ச்‌இப்பிரபந்தம்‌. ரணம்‌
(திருவாய்மொழி த்தந்தாதி 'இருவானைக்கா ௮அலொண்ட.
உபசேசார,த்தினமாலை நாய பிளை ச்துமிழ்‌:
12.26
 TAMIL LITERATURE

திரு,த்துவ,த்‌ துறைப்‌ பெரும்‌ 'இருஞானசம்பக்த.ரானந்தக்‌.

தவப்பிராட்டி ஷி களிப்பு [சகர்மாலை.
இருவு.றக்தை காக்‌.இிமதியம்‌ 'இருமயிலேசச்தொனந்ததே
மன்‌ ஷை இருவு.றக்தைப்‌ புராணம்‌:
'திருப்பெருமணால்லூர்‌.இரு: இருச்குடர்சைப்‌ ஷி
நீ.த்றம்மை ஷி wor yg ஷி
'இருக்குடந்சை மங்களாம்பி திருத்துருத்தி டை
கை ஆஷி இருக்கு. றுகைவிரட்ட ஷை
கான்னபுரப்பாசம்பிரியாள்‌. 'இருவாளொளிப்பு ற்லார்ஷ
Gang. Sar SO srg
Short

தத்தக்க தகதக
திருவெண்காட்டுப்‌ பெரிய
காயஇயம்மை ஷி.
soli
மணிபட்டிக்கரை
இருவிடைகழிமூருகர்‌ ஷி
சோயிலூர்‌
'இருவாவடதுறை அம்பல சண்டசேவிப்‌.
வாணசேசிகர்‌ ஷி சூரைக்குடிப்‌
வாட்பேசக்குச்‌ கலம்பகம்‌: வீரைவனப்‌.
Seo pone ஷை 'இருமயிலைப்‌
'இரு,த்தில்லையமகவக்தா.இ காசிரகூயம்‌
இருச்சரொப்பள்ளி ஷி 'இருவாளூர்‌தியாகராசர்லிலை.
இிருக்குடந்தைச்‌ திரிடை காழிக்கோவை
'இருவானைக்காத்‌.இரி - திருவிடைமருதார்‌உலா.
பட்‌உச்சு சப்பத்‌ இப்பதம்‌
பூவளூர்ப்‌ ஒ[தாதி
194. மூகம்மதுசைன்‌
பாலைவனப்‌. ஷி பெண்பு த இமாலை
சண்டபாணி Cap. 195, மூத்தானக்தசாமி
திருஞானசம்பந்தர்‌ ஷி ஞானமதியுள்ளான்‌.
எறும்பீச்சாம்வெண்பா 396. முத்த த்தாண்டவர்‌
திருவானைச்காமாலை OSA Sstom_aiugo
இிருக்கலேசைமாலை 197. மெய்சண்டதேவர்‌
,இகுவா. சுப்பிரமணியதேசி சவஞானபோசச்‌, வார்‌,
கர்மாலை கம்‌.
 Are. Il, POETS ALPHABETICALLY ARRANGED 295

398. வண்ணக்களஞ்பெப்‌ 910. வேதாசலம்பிள்ளை

பூலவர்‌ சுவாமிவேதாசலம்‌ nen
முூயெதன்புராணம்‌ மலை யடிகள்‌,
199. வரதபண்டி.தர்‌ ஆராய்ச்சித்இறனும்‌ கட்சை
சவத்திரிபுராணம்‌. வன்மையம்‌ செந்தமிழ்‌ உடை
ஏகாதடப்புராணம்‌: யும்‌ பொருந்தின நூல்கள்‌.
முல்லைப்பாட்டு ஆராய்ச்சி.
200. வடமலைப்பிள்ளையன்‌
மச்ச புராணம்‌ பட்டினப்பாலை. ஷி
இத்தனைச்‌ கட்டுலாகள்‌.
201. வா தங்கபாண்டியன்‌
அறிவுரைக்கொத்து
பிரமோச்‌சரகாண்டம்‌
பண்டைஞ்சமிழ்‌ ஆரியர்‌
202. விசாகப்‌ பெருமாளையர்‌ கோலலொம்பாள்‌ கடிதங்கள்‌
ஈன்னூல்காண்டிகை சாகுந்தல நாடகம்‌
208. வில்லிப்புத்தூரர்‌ குழு தவல்லி-காச காட்டாச.
பாரதம்‌ ,சமிழர்‌ நாகறிதம்‌
அழகாக்தாதி சைவ டத்தாந்ச ஞானபோசம்‌
204. வீ.ரகவிராயர்‌ மாணிச்சவாசகர்‌ வரலாறும்‌.
றிச்சக்திரபுராணம்‌ ,திருவாசகிரிவுசை [சாலமும்‌.
205. வீராசாமிசெட்டியார்‌ யோககித் திரை
வினோ தாசமஞ்சரி 911. வேலையதேசர்‌
206. வென்றிமாலைகவிசாஜர்‌ கல்தூர்ப்புசாணம்‌:
இருச்செக்தூர்‌.தல புசாணம்‌: வீரசிங்காசனபுராணம்‌
207. வேதார்ததே௫கர்‌ 'இஷ்டலில்சச்கை*தலமாலை
பரமப, சசோபனம்‌ ஈமச்சவொயமாலை
208, கம்‌-வேலப்பதேகர்‌ பாரிசாசலீலை.
பதியதூர்ப்‌ புராணம்‌: மயில,த்திட்டைமாலை
509. உம்‌-வேலப்பதேகர்‌ 212. வைத்தியகாதகாவலர்‌
பஞ்சரச்க£ப்பஃறொடை இலச்சணவிளச்சம்‌
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