ettuthokai எட்டுத்தொகை

cittaantarettinam Dr.S.Sundarabalu
Assistant Professor
Department of Linguistics
Bharathiar University
Coimbatore-46
India
[email protected]
9715769995

1. Literary Tradition of Tamil cittaantarettinam Dr.S.Sundarabalu Assistant Professor Department of Linguistics Bharathiar University Coimbatore-46 India [email protected] 9715769995 1

2. Literary Tradition of Tamil http://sangamtranslationsbyvaidehi.com/kurunthokai-301-400 / குறள் 2 கற்றதனால் ஆய பயனென்கொல் வாலறிவன் நற்றாள் தொழாஅர் எனின் விளக்கம் : தன்னைவிட அறிவில் மூத்த பெருந்தகையாளரின் முன்னே வணங்கி நிற்கும் பண்பு இல்லாவிடில் என்னதான் ஒருவர் கற்றிருந்தாலும் அதனால் என்ன பயன்? ஒன்றுமில்லை Couplet .2 Thirukkural No fruit have men of all their studied lore, Save they the 'Purely Wise One's' feet adore Explanation What Profit have those derived from learning, who worship not the good feet of Him who is possessed of pure knowledge ? http://www.gokulnath.com/thirukural/thirukurals.aspx 2 cittaantarettinam Dr.S.Sundarabalu Assistant Professor Department of Linguistics Bharathiar University Coimbatore-46 [email protected] 9715769995

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4. The Tamil Sangams or Tamil Cankams were assemblies of Tamil scholars and poets that, according to traditional Tamil accounts, occurred in the remote past. Scholars believe that these assemblies were originally known as kooṭal or gathering . which was also a name for Madurai . Three assemblies are described. The legend has it that the first two of which were held in cities since " taken by the sea", and the third of which was held during the 5th century BC in the present-day city of Madurai . The word sangam has its mention in the sense of an 'academy’ 4

5. Sangam Place of Organisation Chairman Kingdom Books First Thenmadurai Agastya Pandiya No books survived Second Kapatapuram Earlier- Agastya Later- Tolkappiyar (a disciple of Agastaya ) Pandiya Tolkappiyam (author - Tolkappiyar ) Third Madurai Nakkirar Pandiya covers entire corpus of Sangam Literature 5

6. Sri Agasthiyar It is believed that sage Agasthiyar was instrumental in spreading the Vedic religion in southern India. Agastya is also recognized as one of Seven Great Sages ( Saptarishis ). Sage Agasthiyar has also contributed immensely to the four Vedas. Agasthiyar is also the leader of all Siddhas . His contributions are mainly in the fields of Medicine ( Siddha ) and Astrology - especially Nadi Jodhidam ( Jos ( i )yam or Jothisyam ). He is said to have lived for over 5000 years, and that one of his medicinal preparations, Boopathi Kuligai , is so powerful that it can even bring the dead back to life. Two of his students and disciples were Therayar and Tholkappiar . He is also considered to be the guru of many other Siddhars . 6

7. Sangam literature refers to a body of classical Tamil literature created between the years c. 600 BCE to 300 CE. This collection contains 2381 poems composed by 473 poets, some 102 of whom remain anonymous . The period during which these poems were composed is commonly referred to as the Sangam period , referring to the prevalent Sangam legends claiming literary academies lasting thousands of years, giving the name to the corpus of literature. Sangam literature is primarily secular dealing with everyday themes in a Tamilakam context. 7

8. The poems belonging to the Sangam literature were composed by Tamil poets, both men and women, from various professions and classes of society. These poems were later collected into various anthologies, edited, and with colophons (A brief description of publication) added by anthologists and annotators around 1000 AD. 8

9. Compilation of literature The available literature from this period was categorized and compiled in the 10th century into two categories based roughly on chronology. The categories are: The Major Eighteen Anthology Series ( பதினெண்மேல்கணக்கு) comprising (1) The Eight Anthologies ( எட்டுத்தொகை) and (2)the Ten Idylls ( பத்துப்பாட்டு) and The Minor Eighteen Anthology Series ( பதினெண்கீழ்கணக்கு) 9

10. Classification Sangam Poems falls into two categories: the 'inner field' ( Agam  – அகம் ), and the 'outer field'( Puram  – புறம் ) as described even in the first available Tamil grammar , the Tolkappiyam . The 'inner field' topics refer to personal or human aspects, such as love and sexual relationships , and are dealt with in a metaphorical and abstract manner . The 'outer field' topics discuss all other aspects of human experience such as heroism , valour (courage), ethics , benevolence (kindness) , philanthropy (humanity) , social life, and customs. 10 Agam in the Sangam literature denotes the subject matters that deal with the intangibles of life such as human emotions, love, separation, lovers' quarrels, etc.

11. Nature Poetry:    Sangam poetry is nature poetry.  The elements of nature are intertwined with love, valor (Courage and boldness), agony (The suffering of intense physical or mental pain) , ecstasy (A state of emotion so intense that one is carried beyond rational thought and self-control:) , kindness, war, Cruelty (Causing suffering; painful), honor , (High respect, as that shown for special merit) charity , (relief to the poor) friendship and many more facets of humanity.  11

12. A poem is a literary creation, and poetry is the art form. A poem is a single piece of poetry, complete in itself. Poetry is the collective term used to describe a group of poems, which may or may not be related by theme, author, or style. 12 poem Poetry

13. The Sangam poets never lost sight of the physical world around them.  Keenly observing nature, they brought to life the fauna ( A catalog of the animals of a specific region or period ) and flora ( Plants considered as a group, especially the plants of a particular country, region, or time ) , and used them effectively in almost every poem , to make known human emotions, thereby creating beautiful characters part.  There are over one hundred trees described in the poems.   One can travel back in time and see many mammals, reptiles, insects, birds, bushes, vines, flowers, mountains, forests, ponds, waterfalls, rivers and streams in the Tamil country.  The sky with the constellations, sun, moon, stars and planets are also used effectively. 13

14. Akam :  Poems that view life from inside the family, and concern the love between man and woman. Puram :  Poems that view life from outside the family, and deal with topics such as the king, heroism, battle, ethics, and the life of wandering bards and poets Akam - akathinai Puram-purathinai Thinai - behaviour, conduct, character, virtue 14

15. The Sangam landscape (Tamil: அகத்திணை "inner classification") is the name given to a poetic device that was characteristic of love poetry in classical Tamil Sangam literature. The core of the device was the categorisation of poems into different tiṇai s or modes, depending on the nature, location, mood and type of relationship represented by the poem. 15

16. Each tiṇai was closely associated with a particular landscape, and imagery associated with that landscape - its flowers, trees, wildlife, people, climate and geography - was woven into the poem in such a way as to convey a mood, associated with one aspect of a romantic relationship. 16

17. Symbolism Classical Tamil love poetry assigns the human experiences it describes, and in particular the subjective topics that those experiences relate to, to specific habitats (The place where a person or thing is most likely to be found). Every situation in the poems is described using themes in which the time, the place and the floral symbols of each episode are codified. 17

18. These codifications are used as symbols to imply a socio-economic order, occupations and behaviour patterns, which, in turn, are symbolized, by specific flora and fauna. Details of secondary aspects are just as rigidly codified - the seasons, the hour a god, musical instruments and, above all, the sentimental connotations of each landscape : lovers' meetings, patient waiting, lovers' quarrels, separation, and the nervously awaited return. 18

19. Geographical and non-geographical thinais Under this codification, the inner universe associated with love is divided into seven modes , or thinai , five of which are geographical and associated with specific landscapes, and two of which are non-geographical and not associated with any specific landscape. Four of the geographical landscapes are described as being landscapes that occur naturally in the Tamil lands. 19

20. These are: kuṟiñci ( குறிஞ்சி ) - mountainous regions, associated with union, mullai ( முல்லை ) - forests, associated with waiting, marutam ( மருதம் ) - cropland, associated with quarreling , and neytal ( நெய்தல் ) - seashore, associated with pining. The fifth - pālai ( பாலை ), or desert, associated with separation - is described in the Tolkappiyam as not being a naturally existing landscape. 20

21. As we may see, considering both kalavu and karpu , pre–marital and wedded (plus extramarital) love , and both well–matched and ill–matched union , the theory provides for a minute description of the entire range of human erotic experience , for the total love–experience of man and woman. http://www.natyam.ru/fivelands.html 21

22. Phase of love Landscape Union of lovers Kurinci – Hills Domesticity, patient waiting Mullai – Forests Lover’s infidelity (unfaithfulness), sulking scenes Marutam – Cultivated fields Separation, anxious (nervous) waiting Neytal – Sea–coast Elopement (To run away with a lover, especially with the intention of getting married), hardships , separation from lover or parents Palai – Wasteland 22

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24. The two non-geographical modes - kaikkilai and peruntiṇai - were seen as dealing with emotions that were unnatural, and therefore were not associated with any specific landscape . Kaikkilai , dealt with unreciprocated or one-sided love, while peruntiṇai , dealt with improper love or love against the rules of custom. 24

25. Name of the region and poetic name Kurinci Mullai Marutam Neytal Palai Landscape Mountains Forest, pasture Cultivated countryside Seashore Wasteland Season Cold season, early frost Rainy season All seasons All seasons Summer, late dew Time Night Evening Dawn ( to begin to grow light after the night ) Sunrise Midday Hero Poruppan , verpan , cilampan , natan Natan , tonral Uran , makilnan Cerppan, pulampan Vitalar, kalar, mili Heroine Kuratti , koticci Manaivi , kilatti Kilatti , manaivi Nulaicci, paratti Eyini People Kuravar , kanavar Itaiyar , idaicci Ularar , kataiyar Nulavar , paratai , alavar Eyinai, maravar Occupation Guarding millet fields, honey gathering Pastoral occupation, field work Agriculture Drying fish, selling salt Wayfarers, robbery, fighting Pastimes Bathing in water–falls and streams Bull–fight, kuravai dance Bathing in ponds, festivals, arts Bathing Dancing, fighting Settlements Cirrur , cirukuti Cirrur , pati Perur , mutur Pakkam, pattinam Kurumpu Waters Water–fall, hull–pond Pond, rivulet River, pool, well Well, sea, salt–marches Waterless well, stagnant water Beasts Monkey, tiger, bear, elephant Deer, harc Buffalo, freshwater fish, otter (Animals) any freshwater ) Crocodile, shark Wild dog, tiger, lizard, elephant Birds Peacock, parrot Jungle hen, sparrow Heron, stork, swan Sea–gull, marine crow Dove, eagle, kite, hawk Trees Teak, sandal, bamboo, jack Konrai, waterlily, red kantal, pitavam Mango, lotus Punnai, talai–shrub, muntakam, atampu Ulinai , oman , cactus Food Millet, mountain–rice Varaku , tuvarai Rice Fish – Instrument Tontaka–drum, mountain lute Erru –drum, forest–lute Mana –drum, kinai , field–lute Pampai–drum, vilari lute Utukkai –drum, desert–lute Melody type Kurincippan Catari Marutappan Cevvali Curam God Murugan Mayon ( Tirumal ) Intiran Verunan Korravar (Kali) 25

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27. A literary tradition is a language that is written and spoken as well. Literary traditions are thought to have a form of an underlying interconnectedness and coherence making them more than work that is from similar geography or group. The continuity of a literary tradition is derived from two social factors: first, authors directly and indirectly react to the works of other authors in their tradition; and second, that authors express themes in their writings that derive from a common cultural tradition with other writers in this literary tradition. 27

28. TAMIL LITERATURE The recorded history of the Tamil literature can be grouped broadly into seven periods. They are: 1. Sangam Period - 3rd Century BCE-2nd Century CE 2. Later Sangam Period - 2nd Century CE- 6th Century CE 3. Pallava Period - 6thCentury CE-9the Century CE 4. Chola Period - 9th Century CE-12th Century CE 5. Nayak Period – 13th Century CE-17th Century CE 6. European Period - 17th Century CE-19th Century CE 7. Present Period - 20th Century CE onwards 28

29. For our purposes, the Tamil literature may broadly be classified into: ( i ) Sangam Classics (ii) Bhakthi or Devotional Literature (iii) Ethics, and (iv) Modern Literature 29

30. ( i ) Sangam Classics The early Tamil literatures are called Sangam Classics. Sangam Classics are mostly descriptive. They describe nature, human feelings, love, lovers, husband-wife relations, war, etc . Pathuppattu , an anthology of ten poems, and Ettuthokai , a collection of eight anthologies, are two major Sangam Classics. Above mentioned 36 anthologies has divided in two in the name of Pathinenkizhkankku and Pathinenmelkankku 30

31. The following are known as Pathuppattu . The following are known as Ettuthokai . 1 Thirumurukarruppadai 1 Narrinai 2 Porunararruppadai 2 Kurunthokai 3 Perumpanarruppadai 3 Aynkurunuru 4 Sirupanarruppadai 4 Pathirruppathu 5 Mullaippattu 5 Paripadal 6 Maduraikanchi 6 Kalithokai 7 Nedunalvadai 7 Agananuru 8 Kurinchippattu 8 Purananuru 9 Pattinappalai 10 Malaipadukadam 31

32. 1.Ainkurunuru (Tamil:  ஐங்குறுநூறு, Aiṅkuṟunūṟu  ) a classical Tamil poetic work containing five hundred short poems , and is part of Ettuthokai , an anthology of Sangam literature. The poems in this book were written by five authors and were compiled by Kudalur Kizhar at the request of Chera King Yanaikkatcey Mantaran Ceral Irumporai . 32

33. 33 ஐங்குறுநூறு 255, கபிலர், குறிஞ்சித் திணை – தலைவன் தோழனிடம் சொன்னது குன்றக் குறவன் காதல் மட மகள் வரையர மகளிர்ப் புரையும் சாயலள் ஐயள் அரும்பிய முலையள் செய்ய வாயினள் மார்பினள் சுணங்கே. Kuṉṟak kuṟavaṉ kātal maṭamakaḷ Varaiyara makaḷirp puraiyuñ cāyalaḷ Aiyaḷ arumpiya mulaiyaḷ Ceyya vāyiṉaḷ mārpiṉaḷ cuṇaṅkē Meanings:   குன்றக் குறவன் காதல் மடமகள் – loving daughter of the mountain man, வரையர மகளிர் – mountain deities, புரையும் – like, சாயலள் – looks, ஐயள் – beautiful/delicate girl, அரும்பிய முலையள் – bud like breasts, செய்ய வாயினள் – she has red mouth, மார்பினள் சுணங்கே – spots of her breast Ainkurunūru 255, Kapilar , Kurinji Thinai – What the hero told his friend The loving innocent daughter of the mountain man has the looks of mountain deities. She is pretty with her red mouth and budding breasts with spots.

34. ஐங்குறுநூறு 256, கபிலர், குறிஞ்சித் திணை – தலைவன் தோழியிடம் சொன்னது Ainkurunūru 256, Kapilar , Kurinji Thinai – What the hero said to the heroine’s friend குன்றக் குறவன் காதல் மடமகள் வண்டு படு கூந்தல் தண் தழைக் கொடிச்சி வளையள் முளை வாள் எயிற்றள் இளையள் ஆயினும் ஆர் அணங்கினளே. Meanings:   குன்றக் குறவன் – mountain dweller, காதல் மடமகள் – loving naive (( naɪˈiːv ) simplicity of nature) daughter, வண்டு படு கூந்தல் – bee swarming (A large number of insects) hair, தண் தழை – cool leaves made into garments, கொடிச்சி – mountain girl, வளையள் – bangled girl, முளை – sprouts (To begin to grow;), வாள் – bright, எயிற்றள் – teeth, இளையள் ஆயினும் ஆர் அணங்கினளே – young girl, but has caused me pain (agony -The suffering of intense physical or mental pain) 34

35. 35 The mountain dweller’s loving naive daughter, with her bee-swarming fragrant hair, cool leaf clothes, bangles, and bright sprout-like teeth, has caused me agony even though she is just a young girl .

36. In the poems on Akam , the aspects of love of a hero and a heroine are described. The story of love is never conceived as a continuous whole. A particular moment of love is captured and described in each poem as the speech of the hero or the lady-companion or somebody else. A young man leading a peaceful life of love and affection with his wife is referred as "A bird with two heads and one soul" 2.Akanaṉūṟu It contains 400 Akam (subjective) poems dealing with matters of love and separation. Other names for Akananuru include Neduntogai or ("the long anthology") 36

37. அகநானுறு 318, கபிலர், குறிஞ்சி திணை, தலைவி தலைவனிடம் சொன்னது கான மா அதர் யானையும் வழங்கும் வான மீ மிசை உருமு நனி உரறும் அரவும் புலியும் அஞ்சுதகவுடைய இரவழங்கு சிறு நெறி தமியை வருதி வரை இழி யருவிப் பாட்டொடு பிரசம் முழவுச் சேர் நரம்பின் இம்மென இமிரும் பழ விறல் நனந்தலைப் பயமலை நாட மன்றல் வேண்டினும் பெறுகுவை ஒன்றோ இன்று தலையாக வாரல் வரினே ஏமுறு துயரமொடு யாம் இவண் ஒழிய எம் கண்டு பெயரும் காலை யாழ நின் கல் கெழு சிறுகுடி எய்திய பின்றை ஊதல் வேண்டுமாற் சிறிதே வேட்டொடு வேய் பயில் அழுவத்துப் பிரிந்த நின் நாய் பயிர் குறி நிலை கொண்ட கோடே. 37

38. Akanānūru 318, Kapilar , Kurinji Thinai – What the heroine said to the hero You come alone in the fearful night, when forest animals walk on the paths, elephants roam, loud (roam-To move about without purpose ) thunder roars on the skies above, (roars -deep, prolonged sound ) and there are snakes and tigers on the narrow paths. O man from the country with fruitful mountains, ancient victories, wide spaces, music of waterfalls that mingle with the sounds of humming bees like drum beats that mix with lute strings! If you desire marriage, you will get it.  But one thing! From today onward, do not come at night! Should you come, for my confusion and suffering to go away, when you leave after visiting me, once you reach your small town filled with boulders, blow it a little bit, your long horn that you use in the bamboo jungle to signal your position to your straying hunters and dogs. 38

39. 3.Purananuru is one of the eight books in the secular anthology of Sangam literature . Purananuru contains 400 poems of varying lengths in the Akaval meter. More than 150 poets wrote the poems. It is not known when or who collected these poems into these anthologies. Purananuru is a source of information on the political and social history of pre-historic Tamil Nadu . There is information on the various rulers who ruled the Tamil country before and during the Sangam era (1000 BCE – 300 CE). 39

40. Meanings:  யாதும் ஊரே – every town is our town, யாவரும் கேளிர் – everyone is a relative, தீதும் நன்றும் பிறர் தர வாரா – evil and goodness do not come to us because of what others did, நோதலும் தணிதலும் அவற்றோரன்ன – nor do suffering and end of suffering, சாதலும் புதுவது அன்றே – death is not anything new, வாழ்தல் இனிது என மகிழ்ந்தன்றும் இலமே – we do not rejoice that living is sweet, முனிவின் இன்னாது என்றலும் இலமே – we do not say that living is miserable, மின்னொடு – with lightning, வானம் தண் துளி தலைஇ – skies pour cold rain, ஆனாது – without end, கல் பொருது – hitting against and rock, இரங்கும் – roaring, மல்லல் பேர் யாற்று – powerful huge river, நீர் வழிப் படூஉம் புணை போல – like a raft caught in the water, ஆருயிர் – precious life, முறை வழிப் படூஉம் – makes its way, என்பது திறவோர் காட்சியின் தெளிந்தனம் – through the vision of those who have understood, ஆகலின், மாட்சியின் பெரியோரை வியத்தலும் இலமே – so, we are not awed by those who are great, சிறியோரை இகழ்தல் அதனினும் இலமே – and even less, we do not despise those who are weak 40

41. யாதும் ஊரே, யாவரும் கேளிர், தீதும் நன்றும் பிறர்தர வாரா, நோதலும் தணிதலும் அவற்றோ ரன்ன சாதலும் புதுவது அன்றே, வாழ்தல் இனிதுஎன மகிழ்ந்தன்றும் இலமே, முனிவின் இன்னாது என்றலும் இலமே, பின்னொடு வானம் தண் துளி தலைஇ ஆனாது கல் பொருது இரங்கும் மல்லல் பேர்யாற்று நீர்வழிப் படுஉம் புணைபோல் ஆருயிர் முறைவழிப் படுஉம் என்பது திறவோர் காட்சியின் தெளிந்தனம் ஆதலின் மாட்சியின் பெரியோரை வியத்தலும் இலமே, சிறியோரை இகழ்தல் அதனினும் இலமே. (கணியன் பூங்குன்றன், புற நானூறு, 192). Puranānūru 192, Poet Kaniyan Poonkundranār , Thinai : Pothuviyal , Thurai : Porunmoli Kānji All towns are ours.  Everyone is our kin. Evil and goodness do not come to us because they are given by others. Nor do suffering and the ending of suffering. Death is nothing new.  We do not rejoice when living is sweet.  When we suffer we do not say that living is miserable. Through the vision of those who have understood, we know that precious life makes its way like a raft riding a powerful huge river that roars endlessly, fed by cold rains with with bolts of lightning as it crashes against rocks. So, we are not awed by those who are great. Much less, we do not despise those who are weak! Notes:   This is the only Puranānūru poem written by this poet, who came from a town called Poonkundram near Ramanathapuram .  The town goes by the name Makipālanpatti now. 41

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43. புறநானூறு 187, பாடியவர்: ஔவையார், திணை: பொதுவியல், துறை: பொருண்மொழிக் காஞ்சி நாடாக ஒன்றோ காடாக ஒன்றோ அவலாக ஒன்றோ மிசையாக ஒன்றோ எவ்வழி நல்லவர் ஆடவர் அவ்வழி நல்லை வாழிய நிலனே. 43 Puranānūru 187, Poet Avvaiyār , Thinai : Pothuviyal , Thurai : Porunmoli Kānji May you live long, land! Whether you are cleared land, forests valleys or mountains, if men who live there are good, there will be goodness there! Meanings:   நாடாக ஒன்றோ – whether you are just land, காடாக ஒன்றோ – whether you are forests, அவலாக ஒன்றோ – whether you are valleys, மிசையா ஒன்றோ – or land above/mountains, எவ்வழி நல்லவர் ஆடவர் – where men are good, அவ்வழி நல்லை – there you will be goodness there, வாழிய நிலனே – may you live long, land/country Valleys- An elongated lowland between ranges of mountains, hills,

44. தெண் கடல் வளாகம் – place/round place surrounded by clear water, பொதுமை இன்றி – not considering that it is common/ruling with strength, வெண் குடை நிழற்றிய ஒருமையோர்க்கும் – those who rule with their white umbrellas, நடுநாள் யாமத்தும் பகலும் துஞ்சான் – he does not sleep in the middle of the night or during the day, கடு மாப் பார்க்கும் – stalking fast animals, கல்லா ஒருவற்கும் – one who is uneducated, உண்பது நாழி – what we eat is a measure of food to eat, உடுப்பவை இரண்டே – there are only two clothes to wear, பிறவும் எல்லாம் ஓரொக்குமே – others are all comparable, அதனால் செல்வத்துப் பயனே ஈதல் – so, the benefit of wealth is charity, (charity- Provision of help or relief to the poor; ) துய்ப்பேம் எனினே – if you think of enjoying it, தப்புந பலவே – many matters will fail . Puranānūru 189, Poet Mathurai Kanakkāyanār Makanār Nakkeeranār , Thinai : Pothuviyal , Thurai : Porunmoli Kānji 44

45. 45 uranānūru 189, Poet Mathurai Kanakkāyanār Makanār Nakkeeranār , Thinai : Pothuviyal , Thurai : Porunmoli Kānji Between those who rule with white umbrellas, not sharing with others this earth surrounded by clear waters, and an uneducated man who stalks fast animals in the middle of the night and during the day without sleeping, there is everything in common:  the need for a measure of food to eat and two sets of clothes. So, the purpose of wealth is charity.  If one thinks of enjoying wealth themselves, many matters will fail! புறநானூறு 189, பாடியவர்: மதுரைக் கணக்காயனார் மகனார் நக்கீரனார், திணை: பொதுவியல், துறை: பொருண்மொழிக் காஞ்சி தெண் கடல் வளாகம் பொதுமை இன்றி வெண் குடை நிழற்றிய ஒருமையோர்க்கும் நடுநாள் யாமத்தும் பகலும் துஞ்சான் கடு மாப் பார்க்கும் கல்லா ஒருவற்கும் உண்பது நாழி உடுப்பவை இரண்டே பிறவும் எல்லாம் ஓரொக்குமே அதனால் செல்வத்துப் பயனே ஈதல் துய்ப்பேம் எனினே தப்புந பலவே .

46. ஈ என இரத்தல் இழிந்தன்று – it is a dishonor to beg, அதன் எதிர் ஈயேன் என்றல் அதனினும் இழிந்தன்று – on the other hand, it is even more dishonor to say “I won’t give”, கொள் எனக் கொடுத்தல் உயர்ந்தன்று – it is superior to say, “Take this” and give, அதன் எதிர் கொள்ளேன் என்றல் அதனினும் உயர்ந்தன்று – it is even higher than that to say “I will not accept it”, Puranānūru 204, Poet Kalaithin Yānaiyār sang to Valvil Ōri , Thinai : Pādān , Thurai : Parisil 46

47. 4.Kalithogai is an anthology of 150 poems in kali metre of varied length dealing with all phases and types of love experience. The poems are categorised into the five thinais according to the mood and subject matter conforming to the Sangam landscape. The first part (2-36) deals with paalai setting , the second (37-65) with kurinchi , the third (66-100) with marutam , the fourth (101-117) with mullai and the fifth (118-150) with neital . These five section were each written by a separate author. 47

48. One of the best examples from this compilation is the one attributed to Nallanthuvanar . 1. ஆற்றுதல்' என்பது, ஒன்று அலந்தவர்க்கு உதவுதல்; ‘ 2. போற்றுதல்' என்பது, புணர்ந்தாரை பிரியாமை; ‘ 3. பண்பு' எனப்படுவது, பாடு அறிந்து ஒழுகுதல்; ‘ 4. அன்பு' எனப்படுவது, தன் கிளை செறாஅமை; ‘ 5. அறிவு' எனப்படுவது, பேதையார் சொல் நோன்றல்; ‘ 6. செறிவு' எனப்படுவது, கூறியது மறாஅமை; ‘ 7. நிறை' எனப்படுவது, மறை பிறர் அறியாமை; ‘ 8. முறை' எனப்படுவது, கண்ணோடாது உயிர் வௌவல்; ‘ 9. பொறை' எனப்படுவது, போற்றாரை பொறுத்தல். 1 .Goodness is helping one in distress (pain); 2. Support is not deserting (leave) one who is dependent; 3. Culture is to act in unison (Identity of pitch) with the ways of the world; 4. Love is not surrendering ties with one’s kin; 5 .Wisdom is to ignore the advice of the ignorant; 6. Honesty is not to go back on one’s words; 7. Integrity is to ignore others’ faults; 8. Justice is awarding punishment without partiality; 9. Patience is to suffer the ill-disposed. ( Kalithogai 133) (Translated by C.K. Swaminathan ) 48

49. 5. Kuruntokai ( Tamil : குறுந்தொகை), a classical Tamil poetic work, is the second book of Ettuthokai , a Sangam literature anthology. Kuruntokai contains poems dealing with matters of love and separation ( அகம்) content matter and were written by numerous authors . Nachinarkiniyar , a Tamil scholar living during the sixth or the seventh century C.E. has annotated this work. 49

50. Poems of Love from Kurunthogai Kurunthokai 3, Thēvakulathār , Kurinji Thinai – What the heroine said about her love for the hero, as he listened nearby நிலத்தினும் பெரிதே வானினும் உயர்ந்தன்று நீரினும் ஆரளவின்றே சாரல் கருங்கோல் குறிஞ்சிப் பூக் கொண்டு பெருந்தேன் இழைக்கும் நாடனொடு நட்பே. Nilathinum Peridhe Vaninum Uyarndhanru Neerinum aarala vindrae saaral karunkot kurinji pookkondu Perun thaen ilaikkum naadanodu natpe Meanings:     நிலத்தினும் பெரிதே – larger than the earth, வானினும் உயர்ந்தன்று – taller than the sky, நீரினும் ஆரளவின்றே – deeper to measure than the waters/ocean, சாரல் – mountain slopes, கருங்கோல் குறிஞ்சி – black-stalked kurinji , ( Strobilanthes Kunthiana ), பூக் கொண்டு – with the flowers, பெருந்தேன் – rich honey/rich honey combs, இழைக்கும் நாடனொடு – man from (honey) yielding country, நட்பே – friendship, love 50

51. Poems of Love from Kurunthogai Bigger than earth, certainly, higher than sky, more unfathomable ( impossible to measure: ) than the waters is this love for this man of the mountain slopes where bees make rich honey from the flowers of Kurinji that has such black stalks - Devekulathar - Kurunthogai 3 51

52. Meanings:   யாயும் – ( my) mother, ஞாயும் – your mother, யார் ஆகியரோ – who are they to each other, எந்தையும் – my father, நுந்தையும் – your father, எம்முறை – in what way, கேளிர் – relatives, யானும் நீயும் – myself and you, எவ்வழி – in what way, அறிதும் – knew, செம்புலப் பெயல் நீர் போல – like rain falling on the red earth, அன்புடை நெஞ்சம் – loving hearts, தாம் கலந்தனவே – have merged 52 Kurunthokai 40, Sempulapēyaneerār , Kurinji Thinai – What the hero said to the heroine, about their love

53. யாயும் ஞாயும் யார் ஆகியரோ? எந்தையும் நுந்தையும் எம் முறைக் கேளிர்? யானும் நீயும் எவ் வழி அறிதும்? செம் புலப் பெயல் நீர் போல அன்புடை நெஞ்சம் தாம் கலந்தனவே What could be my mother be to yours? what kin is my father to yours anyway? And how did you and I meet ever? But in love our hearts are as red earth and pouring rain: mingled beyond parting. Kuruntokai - 40) 53

54. குறுந்தொகை 18, கபிலர், குறிஞ்சித் திணை  – தோழி தலைவனிடம் சொன்னது வேரல் வேலி வேர்க் கோட்டு பலவின் சாரல் நாட செவ்வியை ஆகுமதி யார் அஃது அறிந்திசினோரே சாரல் சிறு கோட்டுப் பெரும் பழம் தூங்கியாங்கு இவள் உயிர் தவச் சிறிது காமமோ பெரிதே . Kurunthokai 18, Kapilar , Kurinji Thinai – What the heroine’s friend said to the hero O man of the mountain slopes, where jackfruits grow near roots in bamboo-fenced land! Do the right thing!  Think of marriage! Who knows her state of mind? Like the large jackfruits that hang on short boughs of trees, her love is large, and her breath(soul) is short! இவள் உயிர் தவச் சிறிது – her life is short, காமமோ பெரிதே – (but her) love is large 54

55. 6. Natrinai ( Tamil : நற்றிணை ), a classical Tamil poetic work, is a book of Ettuthokai , a Sangam literature anthology. Natrinai contains 400 poems dealing with the five landscapes of Sangam poetry – kurinchi , mullai , marutham , neithal and paalai . This belongs to some of the oldest extant Tamil literature and is dated to belong to the Sangam age (100 BCE - 200 CE). The stanzas are of varying lengths of between nine and twelve lines each. The Pandya king Maaran Vazhuthi patronised this collection. It is not known who made this collection. 55

56. நற்றிணை 172, பாடியர் பெயர் கிடைக்கவில்லை, நெய்தல் திணை – தலைவி தலைவனிடம் சொன்னது விளையாடு ஆயமொடு வெண் மணல் அழுத்தி மறந்தனம் துறந்த காழ் முளை அகைய நெய் பெய் தீம் பால் பெய்து இனிது வளர்ப்ப நும்மினும் சிறந்தது நுவ்வை ஆகும் என்று அன்னை கூறினள் புன்னையது நலனே அம்ம நாணுதும் நும்மொடு நகையே விருந்தின் பாணர் விளர் இசை கடுப்ப வலம்புரி வான் கோடு நரலும் இலங்கு நீர்த் துறை கெழு கொண்க நீ நல்கின் இறை படு நீழல் பிறவுமார் உளவே. 56

57. Meanings:   விளையாடு ஆயமொடு – with playmates, வெண் மணல் அழுத்தி – pressed into white sand, மறந்தனம் – we forgot, துறந்த காழ் – abandoned seed, முளை அகைய – sprouted seedling flourished, நெய் பெய் தீம் பால் பெய்து இனிது வளர்ப்ப – poured ghee and sweet milk for it to grow, நும்மினும் சிறந்தது நுவ்வை ஆகும் என்று – she is your sister who is better than you, அன்னை கூறினள் – mother said, புன்னையது நலனே – beauty of punnai , Indian laurel, mast wood tree, அம்ம நாணுதும் நும்மொடு நகையே – I’m shy to laugh with you, விருந்தின் – in a festival, பாணர் விளர் இசை கடுப்ப – like the bards’ new tunes, வலம்புரி வான் – white right-whorled, கோடு நரலும் – conch shell sounds, இலங்கு நீர்த் துறை கெழு கொண்க – lord of the splendid shores, நீ நல்கின் – if you desire, இறை படு நீழல் - shade of tall trees, பிறவுமார் உளவே – there are others 57

58. Natrinai 172, Unknown Poet, Neythal Thinai – What the heroine said to the hero When I was playing with my friends on the seashore, we pressed a mature punnai seed on the white sand and forgot all about it.  The seedling thrived. Mother fed it with ghee and milk and raised it with love. “It is your sister, and she’s better than you,” she said. Lord of the thriving seaport with vibrant waves where white, right- spiraled conch shells sound like the new tunes of bards! I’m shy to laugh and play with you under this tree.  If you desire, we can seek another shade tree! Notes:   This is a rare poem where a tree is thought of as a sibling. 58

59. 7.Paripaatal contains seventy poems on various deities of the Hindu pantheon. This is a rare example of religious poetry we find in Sangam literature and is possibly the oldest religious composition in Tamil. The poems have associated music ( பண் ) so that these can be classified as songs ( இசைப்பா ). There are eight songs on Thirumaal ( Vishnu ), 31 songs on Kumaran ( Muruga ), one song on the Sea God, 26 on the mother Vaigai and four songs on Madurai . These songs are written in the ' Paripaatal ' meter. 59

60. To திருமால் ( Vishnu): தீயினுள் தெறல் நீ; பூவினுள் நாற்றம் நீ; கல்லினுள் மணியும் நீ; சொல்லினுள் வாய்மை நீ; அறத்தினுள் அன்பு நீ; மறத்தினுள் மைந்து நீ; வேதத்து மறை நீ; பூதத்து முதலும் நீ; வெஞ் சுடர் ஒளியும் நீ; திங்களுள் அளியும் நீ; அனைத்தும் நீ; அனைத்தின் உட்பொருளும் நீ; You are the heat within the fire; Fragrance within the flower; Gem within the stone; Truth within the word ; Mercy within justice; Might behind valour ; Secret within the scripture ( vetham ) ; Foremost among elements; Splendour in the sun; Coolness in the moon; You are everything; and also the inner substance of these. ( Paripadal , iii: 63-68) 60

61. 8. Patiṟṟuppattu ( Tamil : பதிற்றுப் பத்து ) is a classical Tamil poetic work. The name Pathiṟṟuppattu means 'ten tens'or 'Ten Decads ' or 'Tenfold Ten', referring to the ten sets of ten poems the book contains. The first and the last ten poems have been lost beyond recovery. The poems extol the richness of the Cheral realm. 61