Dr.S.Sundarabalu Assistant Professor Department of Linguistics Bharathiar University,Coimbatore-46 Visiting Professor ,ICCR’s Tamil Chair Institute of Oriental Studies, Dept. of Indology Jagiellonian University, Krakow-Poland sunder_balu@yahoo.co.in

1. Literary Tradition of Tamil
ettuthokai
pathupattu pathinen melkanakku
Dr.S.Sundarabalu
Assistant Professor
Department of Linguistics
Bharathiar University,Coimbatore-46
Visiting Professor ,ICCR’s Tamil Chair
Institute of Oriental Studies, Dept. of Indology
Jagiellonian University, Krakow-Poland
sunder_balu@yahoo.co.in
1

2. Literary Tradition of Tamil
http://sangamtranslationsbyvaidehi.com/kurunthokai-301-400/
குறள் 2
கற்றதனால் ஆய பயனனன்னகால் வாலறிவன்
நற்றாள் னதாழாஅர் எனின்
விளக்கம்:
தன்னனவிட அறிவில் மூத்த னபருந்தனகயாளரின் முன்னன வணங்கி நிற்கும் பண்பு இல்லாவிடில்
என்னதான் ஒருவர் கற்றிருந்தாலும் அதனால் என்ன பயன்? ஒன்றுமில்னல
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
Sunder_balu@yahoo.co.in
9715769995

3. 3

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
(பதினனண்னமல்கணக்கு) comprising
• (1)The Eight Anthologies (எட்டுத்னதானக) and
(2)the Ten Idylls (பத்துப்பாட்டு) and
• The Minor Eighteen Anthology Series
(பதினனண்கீழ்கணக்கு)
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, virtue14

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 tiṇais 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:
1. kuṟiñci (குறிஞ்சி) - mountainous regions,
associated with union,
2. mullai (முல்ணை) - forests, associated with waiting,
3. marutam (மருதம்) - cropland, associated with
quarreling, and
4. neytal (நெய்தல்) - seashore, associated with
pining.
5. The fifth - pālai (பாணை), 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

23. 23

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

26. Pastoral
occupation
Rivulet
Swan
Dawn
stork
Heron
shark
26

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 –
தணலவன் ததோழனிடம் சசோன்னது
குன்றக் குறவன் காதல் மட மகள்
வனையை மகளிர்ப் புனையும் சாயலள்
ஐயள் அரும்பிய முனலயள்
னசய்ய வாயினள் மார்பினள் சுணங்னக.
Kuṉṟak kuṟavaṉ kātal maṭamakaḷ
Varaiyara makaḷirp puraiyuñ cāyalaḷ
Aiyaḷ arumpiya mulaiyaḷ
Ceyya vāyiṉaḷ mārpiṉaḷ cuṇaṅkē
Meanings:
குன்றக் குறவன் கோதல் மடமகள்
– loving daughter of the mountain man,
வணையை மகளிர் – mountain deities, புணையும் – like,
சோயலள் – looks, ஐயள் – beautiful/delicate girl,
அரும்பிய முணலயள் – bud like breasts,
சசய்ய வோயினள் – she has red mouth,
மோர்பினள் சுைங்தக – 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 – தணலவன் ததோழியிடம் சசோன்னது
Ainkurunūru 256, Kapilar, Kurinji Thinai – What the hero said to the
heroine’s friend
குன்றக் குறவன் காதல் மடமகள்
வண்டு படு கூந்தல் தண் தனழக் னகாடிச்சி
வனளயள் முனள வாள் எயிற்றள்
இனளயள் ஆயினும் ஆர் அணங்கினனள.
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 தனழ – cool leaves made into garments,
னகாடிச்சி – mountain girl,
வனளயள் – bangled girl,
முனள – sprouts (To begin to grow;),
வாள் – bright,
எயிற்றள் – teeth,
இனளயள் ஆயினும் ஆர் அணங்கினனள – 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. அகநோனுறு 318, கபிலர், குறிஞ்சி திணை,
தணலவி தணலவனிடம் சசோன்னது
கான மா அதர் யானனயும் வழங்கும்
வான மீ மினச உருமு நனி உைறும்
அைவும் புலியும் அஞ்சுதகவுனடய
இைவழங்கு சிறு னநறி தமினய வருதி
வனை இழி யருவிப் பாட்னடாடு பிைசம்
முழவுச் னசர் நைம்பின் இம்னமன இமிரும்
பழ விறல் நனந்தனலப் பயமனல நாட
மன்றல் னவண்டினும் னபறுகுனவ ஒன்னறா
இன்று தனலயாக வாைல் வரினன
ஏமுறு துயைனமாடு யாம் இவண் ஒழிய
எம் கண்டு னபயரும் கானல யாழ நின்
கல் னகழு சிறுகுடி எய்திய பின்னற
ஊதல் னவண்டுமாற் சிறினத னவட்னடாடு
னவய் பயில் அழுவத்துப் பிரிந்த நின்
நாய் பயிர் குறி நினல னகாண்ட னகானட.
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 ஊனை – every town is our town, யாவரும் னகளிர் – everyone is a relative,
தீதும் நன்றும் பிறர் தை வாைா – evil and goodness do not come to us because of what others did,
னநாதலும் தணிதலும் அவற்னறாைன்ன – nor do suffering and end of suffering,
சாதலும் புதுவது அன்னற – death is not anything new,
வாழ்தல் இனிது என மகிழ்ந்தன்றும் இலனம – we do not rejoice that living is sweet,
முனிவின் இன்னாது என்றலும் இலனம – we do not say that living is miserable,
மின்னனாடு – with lightning, வானம் தண் துளி தனலஇ – skies pour cold rain,
ஆனாது – without end, கல் னபாருது – hitting against and rock,
இைங்கும் – roaring, மல்லல் னபர் யாற்று – powerful huge river,
நீர் வழிப் படூஉம் புனண னபால – like a raft caught in the water,
ஆருயிர் – precious life, முனற வழிப் படூஉம் – makes its way,
என்பது திறனவார் காட்சியின் னதளிந்தனம் – through the vision of those who have understood,
ஆகலின், மாட்சியின் னபரினயானை வியத்தலும் இலனம – so, we are not awed by those who are great,
சிறினயானை இகழ்தல் அதனினும் இலனம – and even less, we do not despise those who are weak
40

41. யோதும் ஊதை, யோவரும் தகளிர்,
தீதும் நன்றும் பிறர்தை வோைோ,
தநோதலும் தைிதலும் அவற்தறோ ைன்ன
சோதலும் புதுவது அன்தற, வோழ்தல்
இனிதுஎன மகிழ்ந்தன்றும் இலதம, முனிவின்
இன்னோது என்றலும் இலதம, பின்சனோடு
வோனம் தண் துளி தணலஇ ஆனோது
கல் சபோருது இைங்கும் மல்லல் தபர்யோற்று
நீர்வழிப் படுஉம் புணைதபோல் ஆருயிர்
முணறவழிப் படுஉம் என்பது திறதவோர்
கோட்சியின் சதளிந்தனம் ஆதலின் மோட்சியின்
சபரிதயோணை வியத்தலும் இலதம,
சிறிதயோணை இகழ்தல் அதனினும் இலதம.
(கைியன் பூங்குன்றன், புற நோனூறு, 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

42. 42

43. புறநோனூறு 187, போடியவர்: ஔணவயோர், திணை: சபோதுவியல், துணற: சபோருண்சமோழிக் கோஞ்சி
நாடாக ஒன்னறா காடாக ஒன்னறா
அவலாக ஒன்னறா மினசயாக ஒன்னறா
எவ்வழி நல்லவர் ஆடவர்
அவ்வழி நல்னல வாழிய நிலனன.
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:
நோடோக ஒன்தறோ – whether you are just land, கோடோக ஒன்தறோ – whether you are forests,
அவலோக ஒன்தறோ – whether you are valleys, மிணசயோ ஒன்தறோ – or land above/mountains,
எவ்வழி நல்லவர் ஆடவர் – where men are good, அவ்வழி நல்ணல – there you will be
goodness there, வோழிய நிலதன – may you live long, land/country
Valleys- An elongated lowland between ranges of mountains, hills,

44. சதண் கடல் வளோகம் – place/round place surrounded by clear water,
சபோதுணம இன்றி – not considering that it is common/ruling with strength,
சவண் குணட நிழற்றிய ஒருணமதயோர்க்கும் – those who rule with their white umbrellas,
நடுநோள் யோமத்தும் பகலும் துஞ்சோன்
– he does not sleep in the middle of the night or during the day,
கடு மோப் போர்க்கும் – stalking fast animals,
கல்லோ ஒருவற்கும் – one who is uneducated,
உண்பது நோழி – what we eat is a measure of food to eat,
உடுப்பணவ இைண்தட – there are only two clothes to wear,
பிறவும் எல்லோம் ஓசைோக்குதம – others are all comparable,
அதனோல் சசல்வத்துப் பயதன ஈதல் – so, the benefit of wealth is charity, (charity-
Provision of help or relief to the poor;)
துய்ப்தபம் எனிதன – if you think of enjoying it, தப்புந பலதவ – 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!
புறநோனூறு 189, போடியவர்: மதுணைக் கைக்கோயனோர் மகனோர் நக்கீைனோர், திணை: சபோதுவியல், துணற:
சபோருண்சமோழிக் கோஞ்சி
னதண் கடல் வளாகம் னபாதுனம இன்றி
னவண் குனட நிழற்றிய ஒருனமனயார்க்கும்
நடுநாள் யாமத்தும் பகலும் துஞ்சான்
கடு மாப் பார்க்கும் கல்லா ஒருவற்கும்
உண்பது நாழி உடுப்பனவ இைண்னட
பிறவும் எல்லாம் ஓனைாக்குனம
அதனால் னசல்வத்துப் பயனன ஈதல்
துய்ப்னபம் எனினன தப்புந பலனவ.

46. ஈ என இைத்தல் இழிந்தன்று
– it is a dishonor to beg,
அதன் எதிர் ஈதயன் என்றல் அதனினும் இழிந்தன்று
– on the other hand, it is even more dishonor to say “I won’t give”,
சகோள் எனக் சகோடுத்தல் உயர்ந்தன்று
– it is superior to say, “Take this” and give,
அதன் எதிர் சகோள்தளன் 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. னபாற்றுதல்' என்பது, புணர்ந்தானை பிரியானம;
‘3. பண்பு' எனப்படுவது, பாடு அறிந்து ஒழுகுதல்;
‘4. அன்பு' எனப்படுவது, தன் கினள னசறாஅனம;
‘5. அறிவு' எனப்படுவது, னபனதயார் னசால் னநான்றல்;
‘6. னசறிவு' எனப்படுவது, கூறியது மறாஅனம;
‘7. நினற' எனப்படுவது, மனற பிறர் அறியானம;
‘8.முனற' எனப்படுவது, கண்னணாடாது உயிர் னவௌவல்;
‘9. னபானற' எனப்படுவது, னபாற்றானை னபாறுத்தல்.
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: குறுந்னதானக), 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 னபரினத வானினும் உயர்ந்தன்று
நீரினும் ஆைளவின்னற சாைல்
கருங்னகால் குறிஞ்சிப் பூக் னகாண்டு
னபருந்னதன் இனழக்கும் நாடனனாடு நட்னப.
Nilathinum Peridhe Vaninum Uyarndhanru
Neerinum aarala vindrae saaral
karunkot kurinji pookkondu
Perun thaen ilaikkum naadanodu natpe
Meanings:
நிலத்தினும் னபரினத – larger than the earth,
வானினும் உயர்ந்தன்று – taller than the sky,
நீரினும் ஆைளவின்னற – deeper to measure than the waters/ocean,
சாைல் – mountain slopes,
கருங்னகால் குறிஞ்சி – black-stalked kurinji, (Strobilanthes Kunthiana),
பூக் னகாண்டு – with the flowers,
னபருந்னதன் – rich honey/rich honey combs,
இனழக்கும் நாடனனாடு – man from (honey) yielding country,
நட்னப – 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 ஆகியனைா – who are they to each other,
எந்னதயும் – my father, நுந்னதயும் – your father,
எம்முனற – in what way, னகளிர் – relatives,
யானும் நீயும் – myself and you, எவ்வழி – in what way, அறிதும் – knew,
னசம்புலப் னபயல் நீர் னபால – like rain falling on the red earth,
அன்புனட னநஞ்சம் – loving hearts,
தாம் கலந்தனனவ – have merged
52
Kurunthokai 40, Sempulapēyaneerār, Kurinji Thinai – What the hero said to the heroine, about
their love

53. யாயும் ஞாயும் யார் ஆகியனைா?
எந்னதயும் நுந்னதயும் எம் முனறக் னகளிர்?
யானும் நீயும் எவ் வழி அறிதும்?
னசம் புலப் னபயல் நீர் னபால
அன்புனட னநஞ்சம் தாம் கலந்தனனவ
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. • குறுந்சதோணக 18, கபிலர், குறிஞ்சித் திணை – ததோழி தணலவனிடம் சசோன்னது
னவைல் னவலி னவர்க் னகாட்டு பலவின்
சாைல் நாட னசவ்வினய ஆகுமதி
யார் அஃது அறிந்திசினனானை சாைல்
சிறு னகாட்டுப் னபரும் பழம் தூங்கியாங்கு இவள்
உயிர் தவச் சிறிது காமனமா னபரினத.
• 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,
காமமமா நபரிமத – (but her) love is large 54

55. • 6. Natrinai (Tamil: ெற்றிணை), 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, போடியர் சபயர் கிணடக்கவில்ணல, சநய்தல் திணை – தணலவி தணலவனிடம்
சசோன்னது
•
வினளயாடு ஆயனமாடு னவண் மணல் அழுத்தி
மறந்தனம் துறந்த காழ் முனள அனகய
னநய் னபய் தீம் பால் னபய்து இனிது வளர்ப்ப
நும்மினும் சிறந்தது நுவ்னவ ஆகும் என்று
அன்னன கூறினள் புன்னனயது நலனன
அம்ம நாணுதும் நும்னமாடு நனகனய
விருந்தின் பாணர் விளர் இனச கடுப்ப
வலம்புரி வான் னகாடு நைலும் இலங்கு நீர்த்
துனற னகழு னகாண்க நீ நல்கின்
இனற படு நீழல் பிறவுமார் உளனவ.
56

57. Meanings:
வினளயாடு ஆயனமாடு – with playmates,
னவண் மணல் அழுத்தி – pressed into white sand, மறந்தனம் – we forgot,
துறந்த காழ் – abandoned seed, முனள அனகய – sprouted seedling flourished,
னநய் னபய் தீம் பால் னபய்து இனிது வளர்ப்ப – poured ghee and sweet milk for it to grow,
நும்மினும் சிறந்தது நுவ்னவ ஆகும் என்று – she is your sister who is better than you,
அன்னன கூறினள் – mother said,
புன்னனயது நலனன– beauty of punnai, Indian laurel, mast wood tree,
அம்ம நாணுதும் நும்னமாடு நனகனய – I’m shy to laugh with you,
விருந்தின் – in a festival, பாணர் விளர் இனச கடுப்ப – like the bards’ new tunes,
வலம்புரி வான் – white right-whorled, னகாடு நைலும் – conch shell sounds,
இலங்கு நீர்த் துனற னகழு னகாண்க – lord of the splendid shores,
நீ நல்கின் – if you desire, இனற படு நீழல் -shade of tall trees,
பிறவுமார் உளனவ – 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 (இணைப்பா). 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 னதறல் நீ; பூவினுள் நாற்றம் நீ; கல்லினுள் மணியும்
நீ; னசால்லினுள் வாய்னம நீ; அறத்தினுள் அன்பு நீ; மறத்தினுள்
னமந்து நீ; னவதத்து மனற நீ; பூதத்து முதலும் நீ; னவஞ் சுடர்
ஒளியும் நீ; திங்களுள் அளியும் நீ; அனனத்தும் நீ; அனனத்தின்
உட்னபாருளும் 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

62. PathuPattu (Tamil: பத்துப்பாட்டு)

63. 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
63

64. • PathuPattu (Tamil: பத்துப்பாட்டு) – The ten Idylls, is
an anthology of ten mid length books and is one of
the oldest surviving Tamil Poetry. This collection is
considered part of the Sangam Literature and dated
approximately between 300 BCE and 200 CE.
• This collection had been lost for some centuries
until U.V.Swaminatha Iyer travelled around Tamil
Nadu in the late nineteenth century to collect
ancient palm-leaf manuscripts.

65. • The PathuPattu collection contains lengthy and
picturesque descriptions of the Tamil country and
its seasons. Most of them are in the form of
Aarruppatai, a literary device by which a poet or a
minstrel (A medieval entertainer who travelled from place to place, especially to sing and recite poetry. ) who
has received bountiful(numerous) gifts from some
wealthy patron is supposed to direct another to
the same Maecenas((miːˈsiːnæs- a wealthy patron of the arts).
• This gives the occasion to the poet, among other
topics, to describe in great detail the natural beauty,
fertility, and resources of the territory that has to be
traversed to reach the palace of the patron. The
Aarruppatai is of a piece with Tamil realism and
describes the journey as experienced by a human
traveller, and that on dry land.

66. • 1.Tirumurugarruppatai(Tamil: திருமுருகாற்றுப்பணை) by
Nakkirar,a Tamil poetic work, is one of the most
important works of Sangam Literature. It is the first
poem of the Pattupattu anthology.
• Tirumurugarruppatai follows the Arruppadtai style.
The poems in this book were composed towards
the end of the Sangam period - between the fifth
and the sixth centuries C.E. Tirumurugarruppatai is
also called Pulavararuppatai.

67. • 2.Porunaraatruppadai,(Tamil: நபாருெராற்றுப்பணை) is a
Tamil poetic work in the Pathinenmaelkanakku
anthology of Tamil literature, belonging to the
Sangam period corresponding to between 100 BCE
– 100 CE.
• Porunaraatruppadai contains 250 lines of poems in
the Achiriyappa meter. The poems were written by
the poet Mutathaamakkanniyaar in praise of the
Chola king Karikala Chola.

68. • 3.Perumpanarruppatai,(Tamil:நபரும்பாைாற்றுப்பணை) is a
Tamil poetic work in the Pathinenmaelkanakku
anthology of Tamil literature, belonging to the
Sangam period corresponding to between 100 BCE
– 100 CE. Perumpanarruppatai contains 500 lines of
poetry in the Achiriyappa meter.
• The poems were written by the poet Kadiyalur
Uruttirangannanar in praise of king Tondaiman
Ilandiraiyan.

69. • 4.Cirupanarruppatai,(Tamil:சிறுபாணாற்றுப்பனட) is
a Tamil poetic work in the Pathinenmaelkanakku
anthology of Tamil literature, belonging to the
Sangam period corresponding to between 100 BCE
– 100 CE.
• Cirupanarruppatai contains 269 lines of poetry in
the Achiriyappa meter. The poems were written by
the poet Nathattanaar in praise of a minor Velir
tribal chief named Nalliyakkotan, a Nāka king of
Nāka Nadu (ancient Malabar North Ceylon).

70. • 5.Mullaippattu,(Tamil: முல்ணைப்பாட்டு) is a Tamil
poetic work in the Ettuthokai anthology of Sangam
literature, belonging to the Sangam period
corresponding to between 100 BCE – 100 CE.
"Mullaippattu" contains 103 lines of poetry in the
Akaval meter. The poems were written by the poet
Nappoothanaar.

71. • The subject matter of "Mullaippattu" is classified as
akam, the Sangam literature's classification of the
subjective matters such as love and human
relationship. "Mullaippattu" is a pure love poem,
and talks about the heroine longing for the hero
who had left her to fight a war.
• In the olden days the soldiers used come back to
their home country during the rainy season to look
after their primary profession of agriculture.
• The heroine laments(literature, music a song, poem, piece of music etc in which sadness is
expressed about a death or loss) that although the rainy season had
already started, the her lover hadn't returned from
battle. The description of the country in the rainy
season is particularly enjoyable in this book.

72. • 6.Mathuraikkanci,(Tamil: மதுனைக் காஞ்சி) is a Tamil
poetic work in the Pathinenmaelkanakku anthology
of Tamil literature, belonging to the Sangam period
corresponding to between 100 BCE – 100 CE.
• Mathuraikkanci contains 583 lines of poetry in the
Achiriyappa meter. The poems were written by the
poet Mankuti Maruthanaar in praise of the Pandya
king Nedunchezhiyan on the occasion of his victory
at the battle of Talayanankanam.

73. • 7.Netunalvatai,(Tamil: நெடுெல்வாணை, neṭunalvāṭai,
Long Pleasant Breeze of Winter) is a Tamil poetic
work in the Pathinenmaelkanakku anthology of
Tamil literature, belonging to the Sangam period
corresponding to between 100 BCE – 100 CE.
• Netunalvatai contains 188 lines of poetry in the
akaval meter. The poet Nakkirar wrote
Netunalvatai. Netunalvatai poems belong to the
Akam, or subjective themes of love and human
relationships and utilises the location of the story to
spins a bright picture of the ancient Tamil country.

74. • Netunalvatai contains descriptions of the palace of
the Pandya king Nedeunchezhiyan.
• Meaning of Netunalvadai:Netunalvatai in keeping
with its name, has the theme of the vatai, or cold
breeze. The two adjectives netu and nal to the
vatai breeze mean long and good.

75. • Nature of Netunalvatai:The story of Netunalvatai is
about the heroine who prays to the goddess for the
return of her lover from the battlefield. Seeing the
suffering of the heroine, her maids (A virgin) in the
palace also pray to the goddess for the hero to
quickly win the battle and return home to their
mistress(A woman who has a continuing sexual relationship with a usually married man who is not her
husband and from whom she generally receives material support.).
• Around this centre core, the poet paints a beautiful
picture with descriptions of the heroine's palace,
the hero in the battlefield and the description of
the cool breeze that flows through the palace and
the battlefield to cool the hearts of the pining
lovers.

76. • The cool breeze with the hint of rain, moisture
carrying, spreads everywhere. This breeze promises
rain and brings coolness to the weather making the
shepherds and their flock shiver. The monkeys in
the forest are hurt by the cold weather, birds struck
by the coolness fall from the sky; suckling calves are
turned away by the cows. The cold weather flowing
through the streets of the towns spread the people
and drive them indoors.

77. • Only drunks are to be found in the streets. They are
so inebriated they cannot feel the cold. The cold
weather darkens the sky so that the people have no
means of telling the time to light the lamps. The
cruel cold breeze flows through the battlefield
keeping the hero awake. He goes around at
midnight to converse with his wounded soldiers and
look at his horses.

78. • 8.Kurincippattu (Tamil: குறிஞ்சிப்பாட்டு)
"Kurincippattu" contains 261 lines of poems in the
Achiriyappa meter.
• Kurincippattu tells the story about the love affair
between the hero and the heroine. The poems
were written by the poet Kapilar. An ancient note at
the end of this poem notes that Kapilar wrote this
to explain the beauty of Tamil poetry to a north
Indian king names Brhadatta.
• "Kurincippattu" describes the kurinchi landscape of
the mountainous landscape and mentions almost
100 different plant names. Some of these are Atumpu (Ipomoea pes-
caprae), Aati (Lablab bean), pinti (Saraca indica), tumpai (Leucas aspera) and nanti
(Ervatamia divaricata)

79. • The hero and the heroine fall in love. They do not
want their parents to know of this relationship.
Perhaps they fear their disapproval. Perhaps they
are attracted by the forbidden(illegal)! The hero and
the heroine try to arrange frequent secret meeting,
but sometimes it is impossible. Whenever she
cannot meet with her dear lover, she pines (painz)
for him and harsh environment away.

80. • Her parents are at a loss to the reasons for her
apparent sickness. They try various remedies but
the heroine shows no sign of recovery. Such state
of affair lasts for a while and one day a friend of the
heroine come to her parents and divulges (something private or secret)
the reason for heroine's 'sickness‘(pacalai). She
makes known the secret affair of the hero and the
heroine, but in a manner that makes the parents
feel favourable towards the love affair.

82. • 9.Paṭṭiṉappālai,(Tamil: பட்டினப் பாணை)
• Pattinappaalai contains 301 lines of poetry in the
akaval meter. Pattinappaalai was written by the
poet Uruttirangannanar in praise of the Chola king
Karikala. Pattinappaalai poems belong to the Akam,
or subjective themes of love and human
relationships and utilises the location of the story to
sing praises of the ruler.

83. • Pattinappaalai contains vivid descriptions of the
ancient Chola capital of Kaveripattinam (Puhar),
which was located at the mouth of the river Kaveri.
Food from Eelam is imported to the Chola country
at the port. The flourishing sea-trade and the antics
of Yavanas, the merchants from ancient Greece and
Rome, their living quarters, etc. are colourfully
described by the poet.

84. • The story in Pattinappaalai is about the hero who has
to travel away from Puhar in order to earn his
livelihood. But he is uncertain, as he knows that his
lover will be forlorn(lonely) in his absence.
Pattinappaalai is the soliloquy (a character talks to himself ) of
the hero in which he addresses himself: "O heart! I will
not leave the prosperous Puhar to go abroad looking
for wealth. The way in which one needs to travel is a
paalai land (wasteland). It is as trust (treacherous) as Karikala's
sword. My lover is tender hearted as Karikala's
reign(rule). I will never leave my dear lover".
• This, the entire story of Pattinappaalai forms a mere six
lines of poetry. The rest of the poem is devoted to the
description of Puhar and of Karikala's might and valour.

85. • 10.Malaipatukatam,(Tamil: மணைபடுகைாம்) is a Tamil
poetic work in the Pathinenmaelkanakku anthology
of Tamil literature, belonging to the Sangam period
corresponding to between 100 BCE – 100 CE.
Malaipatukatam contains 583 lines of poetry in the
Achiriyappa meter.
• The poems were written by the poet
Perunkosikanaar from Perunkunrur. In praise of a
minor chieftain named Nannan Venmaan.
Malaipatukatam belongs to the Pattupattu
collection and follows the Arruppadtai style, a
device used by most of the books in the Pattupattu
collection.

86. • Malaipatukatam describes the various sounds
generated and echoed in a mountainous terrain and
uses the analogy of an elephant for the mountain to
explain these sounds. It also describes the lifestyle
of the folk dancers of the ancient Tamil country