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WELCOME

The literature was classified in to the broad categories of

'subjective' (akam) and 'objective' (puram) topics to enable the

poetic minds to discuss any topic under the sun, from grammar

to love, within the framework of well prescribed, socially

accepted conventions. Subjective topics refer to the personal or

human aspect of emotions that cannot be verbalized adequately

or explained fully. It can only be experienced by the individuals

and includes love and sexual relationship..

INTRODUCTION

Tamil literature refers to the literature in the Tamil language. Tamil literature has a

rich and long literary tradition spanning more than two thousand years. The oldest

extant works show signs of maturity indicating an even longer period of evolution.Contributors to the Tamil literature are mainly from Tamil people from Tamil Nadu, Sri

Lankan Tamils from Tamil Eelam, and from Tamil diaspora. Also, there have been

notable contributions from European authors.

The history of Tamil literature follows the history of Tamil Nadu, closely following the

social and political trends of various periods. The secular nature of the early Sangam

poetry gave way to works of religious and didactic nature during the Middle Ages. Jain

and Buddhist authors during the medieval period and Muslim and European authors

later, contributed to the growth of Tamil literature.

A revival of Tamil literature took place from the late nineteenth century when works

of religious and philosophical nature were written in a style that made it easier for the


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common people to enjoy. Nationalist poets began to utilize the power of poetry in

influencing the masses. With growth of literacy, Tamil prose began to blossom and

mature. Short stories and novels began to appear. The popularity of Tamil Cinema has

also provided opportunities for modern Tamil poets to emerge.

SANGAM AGESangam literature comprises some of the oldest extant Tamil

literature, and deals with love, war, governance, trade and

bereavement. Unfortunately much of the Tamil literature belonging

to the Sangam period had been lost. The literature currently available

from this period is perhaps just a fraction of the wealth of material

produced during this golden age of Tamil civilization.

The available literature from this period has been broadly divided in

antiquity into three categories based roughly chronology. These are: the MajorEighteen Anthology Series comprising the Eight Anthologies and the Ten Idylls and the

Five Great Epics. Tolkaappiyam, a commentary on grammar, phonetics, rhetoric and

poetics is dated from this period.

Tamil legends hold that these were composed in three successive poetic assemblies

(Sangam) that were held in ancient times on a now vanished continent far to the

south of India. A significant amount of literature could have preceded Tolkappiyam as

grammar books are usually written after the existence of literature over long periods.

Tamil tradition holds the earliest Sangam poetry to be over twelve millennial old.Modern linguistic scholarship places the poems between the first century BC and the

third century AD.

Sangam age is considered by the Tamil people as the golden era of Tamil language.

This was the period when the Tamil country was ruled by the three 'crowned kings'

the Cheras, Pandyas and the Cholas. The land was at peace with no major external

threats. They could chide them when they are perceived to wander from the straight

and narrow. The greatness of the Sangam age poetry may be ascribed not so much to

its antiquity, but due to the fact that their ancestors were indulging in literary pursuitsand logical classification of the habitats and society in a systematic manner with little

to draw from precedents domestically or elsewhere.

Tolkappiyam is not merely a textbook on Tamil grammar giving the inflection and

syntax of words and sentences but also includes classification of habitats, animals,

plants and human beings. The discussion on human emotions and interactions is

particularly significant. Tolkappiyam divided into three chapters: orthography,

etymology and subject matter (Porul). While the first two chapters of Tolkappiyam

help codify the language, the last part, Porul refers to the people and their behavior.


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POST-SANGAM PERIOD

Didactic age -The three hundred years after the Sangam age witnessed an increase in

the mutual interaction of Sanskrit and Tamil. A number of words and concepts in the

subjects of ethic, philosophy and religion were mutually borrowed and exchanged.

Around 300 CE, the Tamil land was under the influence of a group of people known as

the Kalabhras.Kalabhras were Buddhist and a number of Buddhist authors flourished during this

period. Jainism and Buddhism saw rapid growth. These authors perhaps reflecting the

austere nature of their faiths, created works mainly on morality and ethics. A number

of Jain and Buddhist poets contributed in the creation of these didactic works as well

as grammar and lexicography. The collection the minor eighteen anthology was of this

period.

The best known of these works on ethics is the Tirukkural by Thiruvalluvar. Kural as it

is popularly known, uses the Venpa meter and is a comprehensive manual of ethics,polity and love. It contains 1,330 distichs divided into chapter of ten distichs each: the

first thirty-eight on ethics, the next seventy on polity and the remainder on love.

Other famous works of this period are Kalavali, Nalatiyar, Inna Narpathu and Iniyavai

Narpathu. Nalatiyar and Pazhamozhi Nanuru, a work of four hundred poems each

citing a proverb and illustrating it with a story, were written by Jain authors.

HINDU DEVOTIONAL PERIOD

After the fall of theKalabhrasaround 600 CE saw a reaction from the thus far

suppressed Hindus. The Kalabhras were replaced by the Pandyas in the south and by

the Pallavas in the north. The Hindu reaction to this apparent decline of their religion

was growing and reached its peak during the later part of the seventh century. There

was a widespread Hindu revival during which a huge body of Saiva and Vaishnava

literature was created. Many Saiva Nayanmars and Vaishnava Alvars provided a great

stimulus to the growth of popular devotional literature.

Karaikkal Ammaiyar who lived in the sixth century CE was the earliest of theseNayanmars. The celebrated Saiva hymnists Sundaramurthi, Thirugnana Sambanthar

and Thirunavukkarasar (also known as Appar) were of this period. Of Appar's verses

3066 have survived. Sambandar sang 4169 verses. Together these form the first six

books of the Saiva canon, collected by Nambi Andar Nambi in the tenth century.

Sundarar wrote Tiruttondartokai which gives the list of sixty-two Nayanmars. This

was later elaborated by Sekkilar in his Periyapuranam(4272 verses). Manikkavasagar,

who lived around the eight century CE was a minister in the Pandya court. His

Tiruvasakam consisting of over 600 verses is noted for its passionate devotion.Along with the Saiva Nayanmars, Vaishnava Alvars were also producing devotional

hymns and their songs were collected later into the Four Thousand Sacred Hymns

(Naalayira Divyap Prabhandham). The three earliest Alvars were Poygai, Pudam and
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Pey. Each of these wrote one hundred Venpas. Tirumangai Alvar who lived in the

eighth century CE was a more prolific writer and his works constitute about a third of

the Diyaprabhandam. Periyalvar and his adopted daughter Andal contributed nearly

650 hymns to the Vaishnava canon. Andal symbolised purity and love for the God and

wrote her hymns addressing Vishnu as a lover. The hymn of Andal which starts with

Vaaranam Aayiram (One Thousand Elephants) tells of her dream wedding to Vishnu

and is sung even today at Tamil Vaishnava weddings. Nammalvar, who lived in the

ninth century, wrote Tiruvaimoli.

Thiruvalluvar and Thirukural are dated much before Hinduism came to dravid region

(Southern India). Evidence of Hinduism (vedic or brahmnic practices) started

appearing only after 4th century A.D. With this it is clear that Dravidian culture was

indeed non-Hindu or non-brahmnic, however many attempts were made to merge this

into brahmnic culture. Even dravidian temples like Tirupati, Meenakshi, Kamakshi,

Nagaraja , Varadaperumal were once dravidian temples, later they were converted to

Hindu temples during 8th Century A.D. at the time of Bhakti movement. Identity of

Dravidian culture later framed as Hindu.

NARRATIVE EPICS

Cilappatikaram is one of the outstanding works of general literature of this period.

The authorship and exact date of the classic Cilappatikaram are not definitely known.

Ilango Adigal, who is credited with this work was reputed to be the brother of the

Sangam age Chera king Senguttuvan. However we have no information of such abrother in the numerous poems sung on the Chera king.

The Cilappatikaram is unique in its vivid portrayal of the ancient Tamil land. This is

unknown in other works of this period. Cilappatikaram and its companion epic

Manimekalai are Buddhist in philosophy.

Manimekalaiwas written by Sattanar who was a contemporary of Ilango Adigal.

Manimekalai contains a long exposition of fallacies of logic which is considered to be

based on the fifth century Sanskrit work Nyayapravesa by Dinnag. Kongu Velir, a Jain

author wrote Perunkathai based on the Sanskrit Brihat-katha.

Civaka-cintamaniis a classical Tamil language epic poem. It is a Jain religious epic,

authored by the Jain saint Tirutakkatevar.

Valayapathi and Kundalakesi are the names of two other narrative poems of this

period written by a Jain and a Buddhist author respectively. These works have been

lost and only a few poems of Valayapathi have been found so far.

SILAPPATHIKARAM
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Silappathikaram (Tamil: ; IPA: ilppd im) i one of he fie

epics of ancient Tamil Literature. The poet prince Ilango Adigal, a Buddhist monk, is

credited with this work. He is reputed to be the brother of Senguttuvan from Chera. As

a literary work, it is held in high regard by the Tamils. The nature of the book is

narrative and has a moralistic undertone.

It contains three chapters and a total of 5270 lines of poetry. The epic revolves aroundKannagi, who having lost her husband to a miscarriage of justice at the court of the

Pandya king, wreaks her revenge on his kingdom.

Silappatikaram has been dated to belong to the 1st century CE, although the author

might have built upon a pre-existing folklore to spin this tale. The story involves the

three Tamil kingdoms of the ancient era, the Chola, the Pandya and the Chera.

Silappatikaram has many references to historical events and personalities, although it

has not been accepted as a reliable source of history by many historians because of

the inclusion of many exaggerated events and achievements to the ancient Tamilkings.

Regarded as one of the great achievements of Tamil genius, the Silappatikaram is a

poetic rendition with details of Tamil culture; its varied religions; its town plans and

city types; the mingling of Greek, Arab, and Tamil peoples; and the arts of dance and

music.

Silappatikaram contains three chapters:

Puhakkandam ( Puhar chapter), which deals with the events in

the Chola city of Puhar, where Kannagi and Kovalan start their married life and

Kovalan leaves his wife for the courtesan Madavi,this contains 10 sub dvisions

Maduaikkandam ( Madurai chapter) , is situated in Madurai

in the Pandya kingdom where Kovalan loses his life, incorrectly blamed for the theft of

the queen's anklet, this contains 7 sub divisions

Vanchikkandam ( Vanchi chapter), is situated in the Chera

country where Kannagi ascends to the heavens, this contains 13 sub divisions Each of

these chapters are made of several sub chapters called kaathais. Kaathais arenarrative sections of the chapters.

Historical Importance : The first indian epic written about an ordinary Hindu Chola

country man's life, and by a Jain Chera country Prince who turned to Ascetic, and in a

simple understandable literature. It was during the times, only complex literature

were evident for epics and were written in praise of Religions and Kings, by ordinary

poets.

The story evolves in terms of Three, at least of the following


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Three Kingdoms -Chola, Pandiya, Chera

Three Religions - Hinduism, Buddhism, Jainism

Three Heroines -Kannagi, Madhavi, Manimekalai

Three Ways of life - Married(Kannagi), Public(Madhavi), Ascetic(Manimekalai)

Three Episodes - Puhar, Madurai, Vanchi

Three Walks and Types of Land - Seashore(Poompugar), Fertile(Madurai),

Mountain(Vanchi)

Historical and social setting

At the end of the Sangam epoch (second third centuries CE), the Tamil country was

in political confusion. The older order of the three Tamil dynasties were replaced by

the incursion of the Kalabhras. These newcomers encouraged the religions of

Buddhism and Jainism. Ilango Adigal, probably lived in this period and was part of the

vast number of Jain and Buddhist authors in Tamil poetry.

These authors perhaps influenced by their monastic faiths, wrote books based onmoralistic values and illustrating the futility of the materialistic pleasures. These poets

freely borrowed from Sanskrit literature, which had numerous books of didactic

naue a well a naaie play by Bha and Kalidaa.

These authors went beyond the nature of Sangam poems, which were content to

describing human emotions and feelings in an abstract fashion, and employed fictional

characters in a well conceived narrative incorporating personal and social

ramifications. Tamil epics were thus invented by these poets.

The author of Silappatikaram was Ilango Adigal (lit. Prince Ascetic). He is reputed to

the brother of Chera king Senguttuvan, however there is no evidence in the Sangam

poetries of such brother of the famous king. There are also claims that Ilango Adigal

was a contemporary of Sattanar, the author of Manimekalai.

The prologues of each of these books tell us that each were read out to the author of

the other [Silappatikaram, pathigam 90]. From comparative studies between

Silappatikaram and certain Sanskrit Buddhist and Jain works such as Nyayaprakasa,

the date of Silappatikaram has been determined to be around the fifth and the sixth

centuries CE.

The story of Silappatikaram is set during the first few centuries of CE and narrates the

events in the three Tamil kingdoms: Chera , Chola, and Pandya. It also mentions the

Sinhala king Gajabahu and the Chera Senguttuvan. It confirms that the northern

kingdoms of Chedi, Uttarakosala, and Vajra were known to the Tamil people of the

time. The epic also vividly describes the Tamil society of the period, its cities, the

people's religious and folk traditions and their gods.

Objectives
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In the pathigam, the prologue to the book, Ilango Adigal gives the reader the gist of the book with the

prcis of the story. He also lays the objectives of the book:

aaram kutragum

Main characters

Koalan - Son of a wealthy merchant in Puhar

Kannagi - Wife of Kovalan

Maauan - A wealthy grain merchant and the father of Kovalan

Madhai - A beautiful courtesan

Vacaadaai - Madavi's female friend

Koigan - Madavi's messenger to Kovalan

Madalan - A Brahmin visitor to Madurai from Puhar

Kaunhi Adigal - A woman ascetic

Neduncheliyan - Pandya king Koppeundei - Pandya Queen

Trivia

A pe he legend Kannagi ael o Aukal afe buning Maduai. Today he i wohipped a he

primary goddess in the famous Attukal Bhagavathi Temple.

A pe anoher legend ,the temple at Kodungallur was built by Cheran Senguttuvan for Kannagi as a

manifestation of Goddess Kali or Durga

MANIMEKALAI

Manimekalai (Tamil: ), written by Seethalai Saathanar, is one of the masterpieces of

Tamil literature and is considered as one of the five great epics of Tamil literature. Manimekalai is a

sequel to Silapathikaram and tells the story of the daughter of Kovalan and Madhavi.

Story of Manimekalai As a continuation of Silappatikaram (Tamil: ), this epic describes

how Manimekalai, the daughter of Kovalan and Madhavi, takes up social service as the primary aim of

her life and how she sacrifices her entire life for the same cause. Manimekalai is set in both Tamil Nadu

and in Nainatheevu, Jaffna Peninsula in modern Sri Lanka.

The story runs as follows. Manimekalai is on the verge of marrying a prince, when she is abducted and

taken to an island "Manipallava Theevu" by her fairy God Mother known as "Manimegala Theivam".

There she comes across "Arughar" (also known as Buddha) and she acquires the enchanted "aaputhiran

kai amutha surabhi" - a cornucopia bowl.

She uses this bowl to feed "Kayasandigai" (first in line), a cursed Yaksha (fairy) who is suffering from

"Yaanai (Elephant) - Thee (Fire)" disease - an eating disorder caused due to excessive desire to eat.

After this, Manimekalai is brought back to Tamil Nadu, where she uses her bowl to feed the needy.

Origin of the name Seethalai


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The poet's name 'Seethalai' has an interesting origin. During the early days, Tamil literature was

written on palm leaves using an iron pen which resembled a long nail. The poet Saathanar was hard on

himself, that whenever he made a mistake, he would punish himself by poking his head with the

writing instrument. Poking his head with the nail-like writing instrument, led to festering wounds and

sometimes pus started forming. The Tamil word for pus is pronounced "See." The Tamil word for head is

"Thalai." Therefore Seetalai literally means pus-head..

CIVAKA-CINTAMANI

(Sanki: Jaka Cinmai) i a claical Tamil language epic poem. I i a Jain eligiou epic auhoed

by the Jain saint Tirutakkatevar. It belongs to the Sangam tradition of Tamil literature, and is

considered one of the five great Tamil epics. In its form, it anticipates the Ramayana of Kamban.

Civaka-cintamani was well received at the Chola court, and has since been admired for its poetic form,

appealing story-line, and theological message. The story concerns a hero who through his virtue rises

to become king, only to renounce his high station and pursue a life of religious merit.

A king by the name of Caccantan loses himself in sexual enjoyment with his queen and inadvertently

gives control of his kingdom to his corrupt minister Kattiyankaran. Kattiyankaran attacks Caccantan,

and before the king dies he sends his now pregnant wife away on a flying peacock machine. Exiled in a

cremation ground, she gives birth to Civakan, the titular character.

Civakan grows up in a merchant's home and becomes the epitome of a Jain hero. He precedes through

a number of adventures, marrying numerous women over the course of these events and all the while

carrying on an affair with a dancing girl. Eventually, Civakan returns to take vengeance on

Kattiyankaran, winning back the throne that is rightfully his.

He then marries his eighth and final wife, a personification of omniscience. Soon after he becomes

weary of worldly life and, after meeting with Mahavira, he renounces the world.

MEDIEVAL LITERATURE

The medieval period was the period of the ImperialCholaswhen the entire south

India was under a single administration. The period between the eleventh and the

thirteenth centuries, during which the Chola power was at its peak, there wererelatively few foreign incursions and the life for the Tamil people was one of peace

and prosperity. It also provided the opportunity for the people to interact with

cultures beyond their own, as the Cholas ruled over most of the South India, Sri Lanka

and traded with the kingdoms in southeast Asia.

The Cholas built numerous temples, mainly for their favourite god Siva, and these

were celebrated in numerous hymns. The Prabhanda became the dominant form of

poetry. The religious canons of Saiva and Vaishnava sects were beginning to be

systematically collected and categorised. Nambi Andar Nambi, who was a

contemporary of Rajaraja Chola I, collected and arranged the books on Saivism into

eleven books called Tirumurais. The hagiology of Saivism was standardised in
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Periyapuranam (also known as Tiruttondar Puranam) by Sekkilar, who lived during

the reign of Kulothunga Chola II (1133 1150 CE). Religious books on the Vaishnava

sect were mostly composed in Sanskrit during this period.

The great Vaishnava leader Ramanuja lived during the reigns of Athirajendra Chola

and Kulothunga Chola I, and had to face religious persecution from the Cholas who

belonged to the Saiva sect. One of the best know Tamil work of this period is theRamavatharam by Kamban who flourished during the reign of Kulottunga

III.Ramavatharamis the greatest epic in Tamil Literature, and although the author

states that he followed Valmiki, his work is not a mere translation or even an

adaptation of the Sanskrit epic.

Kamban imports into his narration the colour and landscape of his own time. A

contemporary of Kamban was the famous poetess Auvaiyar who found great

happiness in writing for young children. Her works, Athichoodi and Konraiventhan are

even now generally read and taught in schools in Tamil Nadu. Her two other works,Mooturai and Nalvali were written for slightly older children. All the four works are

didactic in character. They explain the basic wisdom that should govern mundane life.

Of the books on the Buddhist and theJainfaiths, the most noteworthy is the Jivaka-

chintamani by the Jain ascetic Thirutakkadevar composed in the tenth century.

Viruttam style of poetry was used for the first time for the verses in this book. The five

Tamil epics Jivaka-chintamani, Cilappatikaram, Manimekalai, Kundalakesi and

Valayapathi are collectively known as the The Five Great Epics of Tamil Literature.

There were a number of books written on Tamil grammar. Yapperungalam andYapperungalakkarigai were two works on prosody by the Jain ascetic Amirtasagara.

VIJAYANAGAR AND NAYAK PERIOD

The period from 1300 CE to 1650 was a period of constant change in the political

situation of Tamil Nadu. The Tamil country was invaded by the armies of the Delhi

Sultanate and defeated thePandya kingdom The collapse of the Delhi Sultanate

triggered the rise of the Bahmani Sultans in the Deccan. Vijayanagar empire rose from

the ashes of the kingdoms of Hoysalas and Chalukyas and eventually conquered theentire south India.

The Vijayanagar kings appointed regional governors to rule various territories of their

kingdom and Tamil Nadu was ruled by the Madurai Nayaks, Thanjavur Nayaks and

Gingee Nayaks. This period saw a large output of philosophical works, commentaries,

epics and devotional poems. A number of monasteries (Mathas) were established by

the various Hindu sects and these began to play a prominent role in educating the

people. Numerous authors were of either the Saiva or the Vaishnava sects. The

Vijayanagar kings and their Nayak governors were ardent Hindus and they patronised

these mathas. Although the kings and the governors of the Vijayanagar empire spoke
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Telugu they encouraged the growth of Tamil literature as we find no slowing down in

the literary output during this period.

There was a large output of works of philosophical and religious in nature, such as the

Sivananabodam by Meykandar. At the end of the fourteenth century Svarupananda

Desikar worte two anthologies on the philosophy os Advaita, the

Sivaprakasapperundirattu. Arunagirinatha who lived in Tiruvannamalai in thefourteenth century wrote Tiruppugal. Around 1,360 verses of unique lilt and set to

unique metres these poems are on the god Muruga. Madai Tiruvengadunathar, an

official in the court of the Madurai Nayak, wrote Meynanavilakkam on the Advaita

Vedanta. Sivaprakasar, in the early seventeenth century wrote a number of works on

the Saiva philosophy. Notable among these is the Nanneri which deals with moral

instructions.

The seventeenth century also saw for the first time literary works by Muslim and

Christian authors. The population of Muslims and Christians were growing in TamilNadu with the influences of the Delhi Sultanate and the growing European

missionaries. Syed Khader known in Tamil as Sithaakkathi, lived in the seventeenth

century and was a great patron of all Tamil poets. He commissioned the creation of a

biography on the Islamic prophet Muhammad. Omar known in Tamil as Umarupulavar,

wrote Seerapuranam on the life of Muhammad. Costanzo Giuseppe Beschi (1680-

1746), better known asVeeramamunivar, compiled the first dictionary in Tamil. His

Chathurakarathi was the first to list the Tamil words in alphabetical order.

Veeramamunivar is also remembered for his Christian theological epic Thembavani on

the life and teaching of Jesus Christ.

MODERN ERA

During the eighteenth and the nineteenth century Tamil Nadu witnessed some of the

most profound changes in the political scene. The traditional Tamil ruling clans were

superseded by European colonists and their sympathisers. The Tamil society

underwent a deep cultural shock with the imposition of western cultural influences.

The Hindu religious establishments attempted to stem the tide of change and tosafeguard the Tamil cultural values. Notable among these were the Saiva monasteries

at Tiruvavaduthurai, Dharmapuram, Thiruppananthal and Kundrakudi.

Meenakshisundaram Pillai (1815-1876) was a Tamil scholar who taught Tamil at one

of these monasteries. He wrote more than eighty books consisting of over 200,000

poems.[citation needed] He is more famous however for

encouragingU.V.SwaminathaIyerto go search for Tamil books that have been lost for

centuries.

Gopalakrishna Bharathi lived during the early nineteenth century. He wrote numerous

poems and lyrics set to tune in Carnatic music. His most famous work is the Nandan

Charitam on the life of Nandanar who having been born in a sociologically lower caste,
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faces and overcomes the social obstacles in achieving his dream of visiting the

Chidambaram temple. This work is a revolutionary social commentary considering the

period in which it was written, although Gopalakrishna Bharati expanded on the story

in Periyapuranam.

Ramalinga Adigal (Vallalar) (1823-1874) wrote the devotional poem Tiruvarutpa is

considered to be a work of great beauty and simplicity. Maraimalai Adigal (1876-1950) advocated for the purity of Tamil and wanted to clean it of words with Sanskrit

influences. One of the great Tamil poets of this period was Subramanya Bharathi.

Bharathi works are stimulating in their progressive themes like freedom and

feminism. Bharathy introduced a new poetic style into the somewhat rigid style of

Tamil poetry writing, which had followed the rules set down in the Tolkaappiyam. His

puthukkavithai (Lit.:new poetry) broke the rules and gave poets the freedom to

express themselves. He also wrote Tamil prose in the form of commentaries,

editorials, short stories and novels. Some of these were published in the Tamil dailySwadesamitran and in his Tamil weekly India. Inspired by Bharathi, many poets

resorted to poetry as a means of reform. Bharathidasan was one such poet.

U.V.Swaminatha Iyer, was instrumental in the revival of interest in the Sangam age

literature in Tamil Nadu.

TAMIL NOVEL

The novel as a genre of literature arrived in Tamil in the third quarter of nineteenth

century, more than a century after it became popular with English writers. Itsemergence was perhaps facilitated by the growing population of Tamils with a

western education and exposure to popular English fiction.

Mayuram Vedanayagam Pillai wrote the first Tamil novel Prathapa Mudaliar

Charithram in 1879. This was a romance with an assortment of fables, folk tales and

even Greek and Roman stories, written with the entertainment of the reader as the

principal motive.

It was followed by Kamalambal Charitram by B.R. Rajam Iyer in 1893 and Padmavathi

Charitram by A. Madhaviah in 1898. These two portray the life of Brahmins in 19th

century rural Tamil Nadu, capturing their customs and habits, beliefs and rituals.

Although it was primarily a powerful narration of the common man's life in a realistic

style spiced with natural humour, Rajam Iyer's novel has a spiritual and philosophical

undertone.

Madhaviah tells the story in a more realistic way with a searching criticism of the

upper caste society, particularly the sexual exploitation of girls by older men. Since

the 1990s, a number of experimental and avant-garde Tamil writers have emerged as

major figures, including Charu Nivedita, whose fractured narratives are often full of

graphic sex and violence,and Konangi, who mixes classical Tamil inflections with

experimental sound poetry.


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PERIODICALS

The increasing demand of the literate public caused a number of journals and

periodicals to be published and these in turn provided a platform for authors to

publish their work. Rajavritti Bodhini and Dina Varthamani in 1855 and Salem

Pagadala Narasimhalu Naidu's fornightlies, Salem Desabhimini in 1878 and

Coimbatore Kalanidhi in 1880, were the earliest Tamil journals. In 1882, G.

Subramaniya Iyer started the newspaper Swadesamitran. It became the first Tamil

daily in 1899.

This was the start of many journals to follow and many novelists began to serialise

their stories in these journal. The humour magazine Ananda Vikatan started by S.S.

Vasan in 1929 was to help create some of the greatest Tamil novelists. Kalki

Krishnamurthy (1899-1954) serialised his short stories and novels in Ananda Vikatan

and eventually started his own weekly Kalki for which he wrote the immortal novels

Parthiban Kanavu, Sivagamiyin sabadham and the popular Ponniyin Selvan.

Pudhumaipithan (1906-1948) was a great writer of short stories and provided the

inspiration for a number of authors who followed him. The 'new poetry or

pudukkavithai pioneered by Bharathi in his prose-poetry was further developed by the

literary periodicals manikkodi and ezhuttu (edited by Si Su Chellappa). Poets such as

Mu Metha contributed to these periodicals.

Tamil Christian poets also added to the body of Tamil literature. Tamil Muslim poets

like Pavalar Inqulab and Rokkiah too have made significant contributions to socialreforms. The pioneering fortnightly ournal Samarasam was established in 1981 to

highlight and cater to the ethnic Tamil Muslim community's issues. Another

remarkable work was done in Tamil novel field by Mu.Varatharasanar.[Agal vilakku]

[Karithundu]. And last but not least Akilan the unique Tamil novelist,short story writer

and a social activist is famous for his works like 'Chithirapavai' 'Vengayinmaindan'

'Pavaivilaku'.

ANCIENT SANGAM AND MEDIEVAL Thiruvalluvar Avvaiyar Ilango Adigal Kambar Sekkizhar Nakkeerar Campantar Appar sundarar

Manikkavasakar Karaikkal Ammaiyar

BAKTHI
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12 Alvars 64 Nayanmars

PATRIOTS

Subramanya Bharathi Bharathidasan

LATEST

Kannadasan Vaali Vairamuthu

THIRUKKURAL AND RELIGION

Thirukkural and religion Parimelazhagar, a 13th century commentator in his

celebrated commentary interprets the word Aadipagavan in the first kural as Aadi

Bhagavan meaning God (another possibility being Aadi=Mother and Bhagavan=Father

meaning parents). The first verse states "The letter A ( in Tamil) is the beginning of

the alphabet (syllables?) just as from God (or parents as per the alternative

derivation) begins the world".

The word Aadibaghavan in Jain theology is used to refer to Rishabhadeva, the first

Tirthankara. Some kurals also echo the principles of the middle way of Buddhism An

important point to be noted in this juncture is the attribute of god mentioned in the

ninth kural of the first adhikaram (Kadavul vaazhthu). It mentions "... engunathaan

thaalai vanangaath thalai". Here he mentions that God has eight qualities. According

to shaivism, god has eight specific characteristics or qualities (8 guas).

They ae decibed a Anana jnna Anana dahana Anana labdhi Anana ukha

Akshaya sthii Being iaga Being aupa and Aguuladhuaa. Fo people who know

Tamil language, they are:

, , , ,,, ,.

For English viewers, the eight characteristics may be translated as having infinite

knowledge, infinite power, infinite vision, infinite discipline, without any change

(permanence), impartial, having no name and having no form. There are non

vaishnava elements too found in the kural. Therefore it is difficult to conclude which

religion the author belonged to but easy to conclude that he was secular in his world

renouned work.

THIRUVALLUVAR AND THIRUKURAL
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Thiruvalluvar and Thirukural are dated much before Hinduism came to dravid region

(Southern India). Evidence of Hinduism (vedic or brahmnic practices) started

appearing only after 4th century A.D. With this it is clear that Dravidian culture was

indeed non-Hindu or non-brahmnic, however many attempts were made to merge this

into brahmnic culture.

Even dravidian temples like Tirupati, Meenakshi, Kamakshi, Nagaraja , Varadaperumalwere once dravidian temples, later they were converted to Hindu temples during 8th

Century A.D. at the time of Bhakti movement. Identity of Dravidian culture later

framed as Hindu. But majority dravidians prior to this followed Sramanic faith and

some Budhist faith.

Archaelogical evidences in various parts of Tamilnadu prove existence of only Jainism

till 4th Century A.D. Most Brahminic temples were once dravidian temples which

followed jain faith. Latin translation The Latin translation of Thirukkural made by

Constanzo Beschi in 1730 did much to make known to European intellectuals therichness and beauty of Oriental Tamil literature.

THE PRAISE OF GOD

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WEALTH


NATURE OF LOVE


AVVAIYAR

Avvaiyar (Tamil:)(also Auvayar) was the name of more than one poet

who was active during different periods of Tamil literature. They were some of the

most famous and important female poets of the Tamil canon. Among them, Auvaiyar

had cordial relation with the Tamil chieftains, Pari and Athikaman. She wrote 59

poems in Purananuru ().

Auvaiyar lived during the period of Kambar and Ottakkuttar during the reign of the

Cholas in the 13th century C.E. She is often imagined as an old but intelligent lady by

Tamil and primarily referred by them as Auvai. Auvaiyar wrote many of the poems that

remain very popular even now and are inculcated in school text books in the State of
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Tamil Nadu. These books include a list of dos and donts, useful for daily life, arranged

in simple and short sentences.

The Auvaiyar who lived during the Sangam period was the court poet of the rulers of

the Tamil country. She travelled from one part of the country to another and from one

village to another, sharing the gruel of the poor farmers and composing songs for their

enjoyment. The Purananuru poet wrote most of her songs on the small time chieftainVallal Athiyamaan Nedumaan Anji and his family. The rest of her songs related to the

various aspects of state governance.

Avvaiyar The following quotes from Aathichoodi illustrate the simplicity of her style

and profoundness of the messages:

Be desirous of doing virtue

It is the nature of anger to temper in time Never stop learning

Don't prevent charity (Always be charitable)

Avoid words that could hurt

Don't give up perseverance

Don't despise learning

Acceptance (begging alms) is despicable Eat after donating (to the needy)

Act virtuously

Don't give up reading (scriptures)

Don't carry tales

Shrine

In Muppandal, a small village in the Kanyakumari District of Tamil Nadu. there is animage of Auvaiyar. By tradition, this is stated to be the spot where the great poetess

left the mortal world. Vinayagar Agaval is a hymn in praise of the Lord Ganesha, by

the great female Tamil Chola era, poetess Avaiyar. It is thought to be her greatest

poem wien holy befoe he deah. "Agaal i a fom of blank ee cloe o

speech.

Auaiya poem i a jouney hough he Tamil deoional adiion known a Bhaki,

in this instance as part of the Shaivite philosophy. It begins with contemplation of the

external form of the God (Lord Ganesha) and continues as an exposition of ancientHindu spiritual belief and practice. The song consists of 72 lines and describes the

various facts and facets of human life as being taught by Lord Ganesha. Aathichoodi is


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a collection of single-line quotes written by Auvaiyar and organized in alphabetical

order.

There are 108 of these sacred lines which include "A turtle is a turtle, never a

tortoise", "Look out of the window, see your life reflected in the bushes and the trees

and the glossy meadows and live", " "You are worth more than what you do, but less

than what you think", "What you know is where you'll go", "Life is for giving, not forliving" and most famous "A life is never wasted, even the smallest deeds make every

life worthwhile" and other expressions intended to address everyday problems

ILANGO ADIGAL

(Tamil:) was a Tamil poet, who was instrumental in the creation

of Silappathikaram, one of the five great epics of South India. Prince Ilango Adigal

was the brother of the Chera king CheranChenguttuvan(in modern day Kerala), in

South India.

Ilango Adigal was born in the Chera dynasty that ruled parts of what is now known as

Kerala, but formed part of the Tamil Land. He was the second son to his father,but a

saint told him that he will become the king instead of his first brother senguttuvan.so

ilango became a saint and Senguttuvan his brother, became the king after his father's

death.

However, Ilango and the Cheras are still remembered more for the contribution to

Tamil literature rather than for Senguttuvan's military expeditions, when he

conquered the entire country.Ilango Adigal wrote Silapathikaram which was the first

Tamil (or is it in any language) epic that was written about a common man. As a

matter of fact, most of the Tamil epics are all about common men and how they led

their life rather than on kings and queens.

A common man's story written by a King. Silapathikaram was a feminocentric epic,

centered around Kannagi, theme that was also a first of its kind in a man centric world

.It is clear Ilango was an orthodox Hindu as he is said to have attended a Vedic yajna.

There is no evidence that he was a Jain.

KAMBAR

Kambar (Tamil: ) was a medieval Tamil poet and the author of the Tamil

Ramayanam known as Kambaramayanam), the Tamil version of Ramayana. Kambar

has also authored other literary works in Tamil such as Erezhupathu, Kangai Puranam

and Sarasvati Antati.

Life Kambar belonged to the Ochchan or Occhan caste, traditionally nadaswaram

players in southern India. But he was brought up in the household of a wealthy farmer

in Vennai Nellur in south India. The chola king Rajendra Chola having heard of this
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talented bard, summoned him to his court and honoured him with the title Kavi

Chakravarti or The King of Poets.

Kamban flourished in the 12th Century in Therazhundur, a village in the culturally rich

Thanjavur District in the modern state of Tamil Nadu in South India. Kamban was a

great scholar of India's two ancient and rich languages, Sanskrit and Tamil.

Mahavidwan R.Raghava Iyengar in a scholarly biography,Kavicakravarty Kamban writes in detail

about this 12th century poet. According to tradition, Kambar's son, Ambikapathi was

put to death after having fallen in love with the King's daughter and Kambar himself

had to flee.

In his old age, he was obliged to support himself doing manual labour. He was then

supported and patronized by his friend Vallal Sadaiyappa Mudaliar.

Kamba Ramayanam The original version of Ramayana was written by Sage Valmiki.

This epic of 24,000 verses tells of a Raghuvamsa prince, Rama of Ayodhya, whose wife

Sita is abducted by Ravana, a mighty emperor.

In Hindu mythology Rama is considered to be the Seventh incarnation of God Vishnu,

one of the Hindu holy trinity (Brahma and Shiva completing the trinity). The

Ramavataram or Kamba Ramayanam of Kamban is an epic of about 11,000 stanzas as

opposed to Valmiki's 24000 couplets.

The Rama-avataram or Rama-kathai as it was originally called was accepted into the

holy precincts in the presence of the Vaishnava Acharya Nathamuni. Kamba Ramayana

is not a translation of the Sanskrit epic by Valmiki, but an original retelling of the story

of the God Rama.

The poetic work is well known for its similes. It is therefore so great that one is

amazed by the imagination created. Legend has it that the entire episode was written

in one night by Lord Ganesha.

Ganesha is said to have written the poems that Kambar dictated to him during the

night, as Kambar procrastinated the work till the day before the deadline set by the

King.

SEKKIZHAR

Sekkizhar is a revered poet and Saiva scholar of Tamil Shaiva Siddhanta. He compiled

and wrote the Periya Puranam or the Great Purana, (the life stories of the sixty-three

Shaiva Nayanars, poets of the God Shiva)

who composed the liturgical poems of the Tirumurai, and was later himself canonised

and the work became part of the sacred canon. Sekkizhar was a poet and the chiefminister in the court of the Chola King Kulothunga Chola II.


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Early Life Sekkizhar was born as ArulMozhi Tevar into a Velala family of Kunrattur

village in Tondaimandalam. He then became the minister and a poet in the court of

Kullottonga Chola II and went to Chidambaram to write thePeriyapuranam.

He was the Prime Minister of the Chola king Kullottonga II. He was famous for his

religious and social services. When Tondaimandalam was attacked by a famine,

Sekkizhar saved the country and hence earned the title Thondai mandalam nindrukaatha perumaan (One who saved Thondaimandalam).

NAKKEERAR

Nakkeerar is a legendary Tamil poet from Madurai, who is one of the prominent

characters in the epic Thiruvilaiyadal Puranam. The Thiruvilaiyadal episode of

sundareswarer (Lord Shiva) confrontation with nakkeerar is enacted as a part of the

Meenakshi Sundareswarer Temple festival tradations in Madurai even today.

Personal Life

Nakkeerar was born in a family of chank-cutters. It is not known when Nakkeerar had

lived but it is widely assumed that he lived in the 9th century AD during the sangam

period.

Confrontation with Lord Shiva

The Tiruvilaiyadal Puranam relates an incident involving Nakkeerar's confrontation

with Lord Shiva. Once the Pandiyan king had a doubt as to whether the scent from a

woman's hair was natural or artificial. He announced a price of 1000 gold coins foranyone who clears his doubt. A poor poet named Tharumi prayed to Lord Shiva to

make him get the award.

The Lord gave a poem to the poet and asked him to take it to the King. When this

poem was read in the court, Poet Nakkeerar found fault with it and stopped the

pandiyan king from giving the prize. Tharumi's grief grew and he again appealed to

the Lord. He said he was not worried for not receiving the prize but he could not bear

anyone finding fault with the Lord's poems.

Lord Shiva himself came to the court and challenged Nakkeerar. But Nakkeerar could

not be cowed down. Though the lord shiva asked him if the hair of Ganapoongodai,

the consort of Lord Kalathinathar, whom Nakkeerar worshipped, did not have the

natural scent,the undaunted Nakkeerar asserted that it was so.

Suddenly the Lord opened the eye in his forehead (Netrikkan) which emitted fire and

looked at Nakkeerar to show the poet who he was. Even then, Nakkeerar persisted in

his statement. As he could not bear the scorching heat, emanating from the divine eye

he jumped into the water of the Golden Lotus Tank. Then at the request of the other

poets, the Lord took Nakkeerar out of the tank, forgave him and made him study

under 'Agasthiar', the Tamil Sage. This story remains a popular mythology to reiterate

the veracity and steadfastness of Nakkeerar.
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Works

Nakkeerar is the author of an epic titled Sriharnipuram which he composed at the

behest of Kulachirai Nayanar, the Prime Minister of the Pandya king Gunapandiyan. He

also composed a hymn Tirumurugattupadai; it sings the glory of Thiruparankundram

which is an important shrine of lord Murugan.

CAMPANTAR

Tirugnana Campantar ()(also Champantar, Sambandar etc.) was

a young Saiva poet-saint of Chola Tamil Nadu during the reign of Ninrasir Nedumaran

(c.7th century CE).

He is one of the most prominent of the sixty-three Nayanars, Tamil Saiva Bhakti saints

who lived between the sixth and the tenth centuries CE. Campantar's hymns to Shiva

were later collected to form the first three volumes of the Tirumurai, the religious

canon of Tamil Saiva Siddhanta.

He was a contemporary of Appar, another Saiva saint. Life Information about

Campantar come to us mainly from the Periya Puranam, the eleventh-century Tamil

book on the Nayanars that forms the last volume of the Tirumurai, along with the

earlier Tiruttondartokai, poetry by Cuntarar and Nambiyandar Nambi's Tiru Tondar

Tiruvandadi.

Campantar was born to Sivapada vrundiyar and his wife Bhagavathiar who lived in the

town of Sirkazhi in Tamil Nadu.

According to legend, when he was three years old his parents took him to the Shiva

temple where Shiva and his consort Parvati appeared before the child. The goddess

nursed the child at her breast.

His father saw drops of milk on the child's mouth and asked who had fed him,

whereupon the boy pointed to the sky and responded with the song Thodudaya

Seviyan - the first verse of the Tevaram. This legend may be referred by Adi Shankara

a century later: in his Sundaria Lahari he speaks of the goddess having fed the "Tamil

child" (dravida sisu, probably Campantar) with the milk of gnosis.

At his investiture with the sacred thread, at the age of seven, he is said to have

expounded the Vedas with great clarity. As a wandering minstrel Campantar sang

hymns opposing Jain and Buddhist thought and is credited with the conversion of a

Pandya king from Jainism.

The first volumes of the Tirumurai contain three hundred and eighty-four poems of

Campantar. Reputedly he sang more than 10,000 decads but only 4,232 have

survived. Campantar attained liberation (mukti) in "Visaka Nakshtara" in the Tamil

month of "Visakam" at the age of sixteen soon after his marriage. He is regarded as an

incarnation of Lord Murugan or Kartikeya.


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APPAR

Thirunavukkarasar (Tamil: ), (meaning King of the Tongue or Lord of

Language), also known as Appar ("Father"), birth-name Marulnikkiyar, was a seventh

CCE Saivite poet-saint of Tamil Nadu, one of the most prominent of the sixty-three

Nayanars.

Cuntarar states in his Tiruttondartokai that Appar composed 4900 hymns of ten verses

each: this is repeated by Nambiyandar Nambi and Sekkizhar but only 313 have

survived. These are collected into the Tirumurai, along with the compositions of

Cuntarar and Campantar, where Appar has his own volumes, called Tevaram.

Life Details of Appar's life are found in own hymns, Sekkizhar's Periya Puranam (the

last book of the Tirumurai, which tells stories of the Nayanars) and also Cuntarar's

Thiruttondartokai.He was born in Thiruvamur, on the banks of the river Pennai near

Cuddalore in Tamil Nadu), to a Vellalar family.

His parents both died while the poet was still a young child. His elder sister

Tilakavathiyar went to serve at the temple of Lord Siva at Atikai ( Panruti).

Marulnikkiyar travelled to nearby Patalipura to join a Jain monastery. He was given

the name Dharmasena by his Jain teachers.

After a while, afflicted by a painful illness, Dharmasena returned home. At the Siva

temple where his sister served he prayed for relief and was cured miraculously. He

sang his first hymn Kurrayinavaru Vilakku. His reconversion prompted the Pallava king

Mahendravarman I to subject Appar to a number of ordeals and punishments.

He overcame all of these apparently miraculously and converted the king himself.

Navukkarasar is supposed to have stayed many years at Atikai with his sister, then he

began visiting other Siva temples to sing in praise of Siva . He heard of Campantar and

went to Sirkali to meet him. Campantar respectfully addressed Navukkarasar as Appar

(father) and he and Appar travelled together singing hymns.

Appar is said to have travelled to about a hundred and twenty-five temples in different

cities or villages in Tamil Nadu. He attained liberation (Mukti} in "Sadya Nakshtra" in

he Tamil monh of "Chihiai" a Pukalu a he age of 81. Appa' Teaam AppaTevaram hymns are grouped into three books, forming the fourth, fifth and sixth

volumes of the Tirumurai, the Tamil poetic canon of Shaiva Siddhanta.

The compilation of these books is generally ascribed to Nambiyandar Nambi (tenth

CCE). Some of Appar's hymns set to various Panns, the melodic modes of Ancient

Tamil music - the rest are set to Thirunerisai and Viruttam metres.

SUNDARAR

Sundaramurti Nayanar (Tamil )(8th C.C.E.), more usually known as Cuntarar,

was one of the most prominent among the Nayanars, the Shaiva bhakti (devotional)

poets of Tamil Nadu. The Periya Puranam, which collects the legends of the Nayanars,


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starts and ends with him. The hymns of seventh volume of the Tirumurai, the twelve-

volume compendium of the poetry of Tamil Shaiva Siddhanta, were composed by him.

Life

Cuntarar is unique among the Nayanars in that both of his parents are also recognised

as Nayanars. He was born Nambi Arurar to a brahmin couple, Sadayanar and

Isaignani, in the village of Tirunavalur. The ruler of the local kingdom(Thirumunaipadi-Nadu), Narasingamunaiarayar, adopted him and brought up as his

own son, attracted by the beauty of the child he saw playing in the street.

The legend states that while the Cuntarar was being married, the service was

interrupted by an old ascetic who asked for Cuntarar as his servant and follower.

Speaking as Shiva, the figure told him: "you will be known as Vanthondarm the

argumentative devotee. Did you not call me a mad man just a short while ago? Begin

your hymn addressing me 'O mad man!'".

The legend states that at Tiruvarur he recited the names of all sixty-three future

Nayanars: this recitation is called Tiruttondar-Tokai. His fame reached the ears of

Cheraman Perumal, the king of Kerala, who came to Tiruvarur. Both embarked on a

pilgrimage. But Cuntarar became tired of life and was taken up to heaven by a white

elephant. The king followed him on his horse. This occurred in "Swathi Nakshtra" in

the Tamil month of "Aadi".

MANIKKAVACAKAR

Manikkavasagar (){literally words like jewels, was a Tamil poet

who wrote Thiruvasakam, a book of Shaiva hymns. Manikkavasagar was one of the

Nayanar poets of the Hindu bhakti revival: his work forms one volume of the

Tirumurai, the key religious text of Tamil Shiva Sid hanta.

A minister to the Pandya king Varagunavarman II (c. 862 C.E. 885 C.E.), he lived in

Madurai. His work is a poetic expression of the joy of God-experience, the anguish of

being separated from God.

Early life and Revelation

Manikkavasagar is said to have been born in Vadhavoora, seven miles from Madurai

on the banks of river Vaigai. According to legend the king entrusted him with a large

amount of money to purchase horses. On his way he met an ascetic devotee of Siva,

who in fact was Siva himself.

Manikkavasagar was given enlightenment, realised material things are transitory and

built the temple of Siva in Tirupperunturai with the money. Thereafter

Manikkavasagar moved from one place to other, singing and composing devotional

songs. Finally, he settled in Chidambaram. His Thiruvasagam is placed near the image

of Shiva there.


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KARAIKKAL AMMAIYAR

Karaikkal Ammaiyar (Tamil: , which means the mother from Karaikkal),

one of the few females amongst the sixty three Nayanmars, is one of the greatest figures of early Tamil

literature. Her birth name was Punithavathi, born at Karaikkal, South India, and lived during the 6th

century. She was a great devotee of Lord Shiva.

Divine Life

Punithavathy was born in Karaikkal, a maritime trading city in Chola nadu to Danathathan, a famous

merchant. From childhood Punithavathy grew up in a religious atmosphere and worshipped Lord Siva

diligently. She enchanted the five letter mantra Namasivaya and also attended to the needs of Saiva

devotees.

When she grew up as a charming young girl she was wedded to Paramathathan, the son of a rich

merchant in Nagapattinam. Even after marriage she continued her chosen religious life. Saiva devotees

who visited her home were lavishly fed and were given clothes and jewels according to their needs.

Divine Miracle

A Hungry Saiva devotee came to her residence one day. As the luncheon was not ready at that time, she

gave the devotee one of the two mangoes that her husband (Paramathathan) had sent home, earlier

that day, to be kept for him. Later, when her husband came home she served him the one left mango

that she had.

The mango was very delicious and hence her husband requested for the other mango also to be served.

Punithavathy was in a dilemma now. She prayed to Lord Siva and astonishingly by God's grace a mango

appeared in her palm which she served to her husband. As this fruit was divinely sweet and was

infinitely delicious compared to the previous one, her husband inquired as to how she obtained this

mango.

When punithavathy told the truth -- that she received the second Mango by god's grace, her husband

could not believe. So he asked her to produce another mango with divine help. She entreated to Lord

Siva, obtained another similar mango and gave it to her husband.

On receiving the mango, the husband was shocked to find it disappear, realising the divine nature of

the wife and his arrogance. Paramathathan shivered in fear understanding now that she is worthy of

worship and unworthy he is of her. Hence he deserted her unannounced.

Mother of South Indian

Music Irrefutable evidences adduced clearly establish that Karaikkal Ammaiyar has a

distinctive place of eminence by any criteria, be it antiquity of time, elegance of

composition, depth of meaning, spread of philosophy or inspirer of new excellence.

Compared to great musical exponents who had been given appropriate titles as

"Sangeetha Mummoorthigal", "Aadhi Mummoorthigal", "Sirpy of Padams",

"Sangeethaa Pithamagar", "Chanthap paavala peruman" and "Thevaara Moovar" andare being remembered today, Karaikal Ammaiyar is the sole exception who has not

been given adequate and meaningful recognition.


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Judged by the criterion of time, Karaikal Ammaiyar is by far the oldest in this great

galaxy of musical exponents and can therefore rightly lay claim as the "Mother of

South Indian Music"

ALVARS

The Alvars (Tamil: ) (hoe immeed in god) wee Tamil poe saints ofouh India who lied beween ixh and ninh cenuie and epoued emoional

deoion o bhaki o Vinu-Krishna in their songs of longing, ecstasy and service.

Usually twelve Vaishnava saints, who, during the early medieval period of Tamil

history, helped revive devotional Hinduism (bhakti) through their hymns of worship to

Vishnu and his avatars.

They included a woman (Andal). The collection of their hymns is known as Divya

Prabhandham The Bhakti literature that sprang from these Alvars has contributed to

the establishment and sustenance of a culture that broke away from the ritual-

oriented Vedic religion and rooted itself in devotion as the only path for salvation.

In addition they helped to make the Tamil religious life independent of a knowledge of

Sanskrit. As part of the legacy of the Alvars, five Vaishnava philosophical traditions

(sampradayas) has developed at the later stages. Etymology Alvars or 'Azhwars'

literally means 'people who are immersed'. They are so called because they were

immersed in their devotion and love to their Lord, Vishnu.

Legacy The twelve Alvars were all inspired and ardent devotees who transmitted theirdivine infatuation to millions. They have left behind an imperishable legacy of

devotional Tamil poetry - naalaayira Divya Prabhandham (considered to be the

essence of the Vedas, in Tamil, and all in praise of Lord Vishnu). These have been

rarely equalled either in quantity or in quality ever after.

The one held in greatest esteem among the Alvars is Nammalvar. He lived during the

seventh century CE. His contribution to the four thousand prabandhams is as many as

1352. His hymns are considered by the Vaishnavites to contain the essence of the

Vedas. His works - Thiru Aasiriyam, Thiru Virudham, Periya Thiruvandhadhicorrespond to the Yajur, Rig and Atharva Vedas respectively. His other work Periya

Thirumozhi (Divine words) is the one of the key works of Vaishnavism.

Periyalvar delighted in worshipping Vishnu as mother, nurse, devotee and lady love.

Andal, who grew up in Periyalvar's home, is attributed the Tiruppaavai, a most

beautiful collection of 30 verses giving expression to the purest love of God.

Thirumangai Alvar has done mangalasasanam (sung in praise) of maximum number of

Divya Desams.

Caste: The revered alvars came from all castes, a symbolic notion in SriVaishnavism to

show that devotion to God transcends above caste. Nammalvar, or Satakopan,

belonged to the Vellala caste. Tirumangai Alvar belonged to the Kallara tribe.


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Thirumalisai Alvar belonged to Paraiyar untouchable caste. Tiruppani Alvar belonged

to Panar untouchable caste , Kulashekhara was a ruler. Vishnu Chitta, or Periyalvar,

was a Brahmin.

ALVARS

1 .Poigai Alvar

2 .Bhoothathalvar

3 .Peyalvar

4 .Thirumalisai Alvar

5 .Nammalvar

6 .Madhurakavi Alvar

7 .Kulashekhara Alvar

8 .Periyalvar

9 .Andal

10 .Thondaradippodi Alvar

11 .Thiruppaan Alvar

12 .Thirumangai Alvar

POIGAI ALVAR

Poigai Alvar was one of the twelve Alvars and was a Hindu saint. He belonged to the Vaishnava

(worshiper of Vishnu) denomination of Hinduism. Poigai Alvar was born in a village near Kanchipuram

in the seventh century CE. Poigai (pond in Tamil) was found as a baby near a pond of a Vishnu temple.

Some Vaishnavas consider him to be an incarnation of Panchajanyam, the divine conch of Vishnu.

Poigai Alvar's 100 hymns form the beginning of the Naalayira Divyap Prabhandham. Poigai Alwar's

hymns start with the words Vaiyam Tagaliya, Varkadale Neyyaaga (I am singing these garland ofverses(pasurams) and dedicating to Him, whose vision I had is the light of the lamp of the earth, and oil

being the seas, the sun being the source of the light).

Divya Prabandha The Nalayira Divya Prabandham (Tamil: ) is a collection

of 4,000 verses (Naalayira in Tamil means 'four thousand') composed before 8th century AD, by the 12

Alvars, and was compiled in its present form by Nathamuni during the 9th 10th centuries.

The work is the beginning of the canonization of the 12 Vaishnava poet saints, and these hymns are still

sung extensively even today. The works were lost before they were collected and organized in the form

of an anthology by Nathamuni.

The Prabandha sings the praise of Narayana (or Vishnu) and his many forms. The Alvars sung these

songs at various sacred shrines. These shrines are known as the Divya Desams. In South India,
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especially in Tamil Nadu, the Divya Prabhandha is considered as equal to the Vedas, hence the epithet

Dravida Veda.

In many temples, Srirangam, for example, the chanting of the Divya Prabhandham forms a major part

of the daily service. Prominent among the 4,000 verses are the 1,100+ verses known as the Thiru

Vaaymozhi, composed by Nammalvar (Kaaril Maaran Sadagopan) of Thiruk Kurugoor.

The Tiruvaymoli ("words of the sacred mouth") is one of the Divya Prabandha, an important liturgical

compilation of the Tamil Alvar Bhaktas, collected in the 9th century by Nammalvar. The author self-

identifies as a lovelorn Gopi pining for Krishna. Compilation These once thought of being lost were

collected and organized in the form of an anthology byNathamuni.

BHOOTHATHALVAR

Bhoothathalvar was one of the twelve Alvars and was a Hindu saint. He belonged to the Vaishnavite(worshiper of Vishnu) faith.

Bhoothathalvar was born in the Pallava country near Mamallapuram in the seventh century CE.

Bhoothathalvar's 100 hymns form the second part of the Naalayira Divyap Prabhandham.

Bhoothathalvar's hymns start with the words Anbe Tagaliya, Aarvame Neyyaaga ( with love as the lamp

and devotion as the oil). He is considered an incarnation of Vishnu's mace, Kaumodaki.

Anbe Thagliyaa Aarvame Neyyaaga

Inburugu Chintai Idu Thiriyaa

Nanpurugi Gnaana Chudar Vilakku Etrinen

Naaranarku Gnaana Thamizh Purindha Naan

"I who wrote this song that bestows wisdom, with love as the lamp, endearing involvement as the

lubricant ghee, and knowledge as the wick of the burning torch, dedicated myself to the service of the

Lord".

PEYALVAR

Payalvar was one of the twelve Alvars and was a Hindu saint. He belonged to the Vaishnavite

(worshiper of Vishnu) faith. Payalvar was born in Tirumayilai (Mylapore, now part of he city of Chennai

om the seventh century CE. Vaishnavite traditions states that Peyalvar was found on a lily flower in the

pond of the Adi Kesava Perumal Temple in Mylapore.

They also believe that he was an incarnation of the sacred sword of Vishnu, Nandaki. Payalvar's 100

hymns in the Naalayira Divyap Prabhandham are the third 100 and start with the words Tiruk Kanden,

Pon Meni Kanden ('I found the glorious, golden form of the Lord').

Tiruk Kanden Pon Meni Kanden- Thigazhum

Arukkan Ani Niramum Kanden-Seruk Kilarum
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Pon Aazhi Kanden Puri Sangam Kai Kanden

En Aazhi Vannan Paal Inru.

"On witnessing the glorious vision in which the entire universe was the very body of Lord Narayana, the

Alwar proceeds to describe all that he had seen." Peyalvar's hymns are of the Anthathi style, in which

the last word of the previous hymn is used as the first work in the next hymn.

THIRUMALISAI ALVAR

Thirumalisai Alvar is a tamil mendicant-saint revered in the srivaishnavism school of south india

between the 4th to 9th century CE in Tondai Nadu [now called Kanchipuram and Tiruvallur districts].

There are only little historical records of this alvars. The legend of this saint devotees of srivaishnavism

say that he was the incarnation of vishnu's disc, Sudarshana.

He belonged to untouchable Paraiyar caste, he proclaimed that he was "not of the 4 castes" (Brahmin,

Kshatriya, Vaishya & Shudra) in one of his couplets as he was considered (Avarna) untouchable and

casteless person. He had the access and resources to learn about various religions because in one of his

couplets he says "After my futile efforts to know the supreme principle through Jainism, and Buddhism

I am blessed by sriman Narayana to take refuge at the Lotus feet of Sri Devi and have escaped all

problems and misfortunes since then".

There is also evidence in his couplets that show that he was discriminated against by brahmins and

asked God to help reveal their ignorance to them. Legend also says that when he displeased the pallava

king and was banished, he asked the God from the temple, Yathotkari, to leave with him. Vishnu is said

to have rolled up the snake Sesha like a matress and left with him. There are 216 of his paasurams in

the 4000 Divya Prabhandham.

NAMMALVAR

Nammalvar (also Nammaazhvaar, Nammazhvar, Nammaalvaar, Nammalwar) was one of the twelve

Alvars, well-known for his many hymns on devotion to Vishnu. Tradition gives him the date 3102 B.C.

(i.e., the beginning of the kali yuga), but scholars give him a date 880930 A.D which is more realistic

based on the events recorded.

He was born in the asterism Visakham, in what is now Alvartirunakari (also known as Tirukkurugur),

Tamil Nadu. His name means "our own alvar" (alvar means "one immersed in God"). He was also known

as Maran and Sadagopan. Child Prodigy Discovered It is better to make a distinction between

traditional scholars and academic, or critical, scholars. The academy does not own the term scholar,

which does carry some prestige. In the politics of representation, traditional scholars want to be

identified as such, not excluded from "scholarship".

He must have been born fully enlightened because as a baby he never cried or suckled and neveropened his eyes. According to tradition, as a child he responded to no external stimuli and his parents

left him at the feet of the statue of Vishnu. The child then got up and climbed into a hole in a tamarind,

sat in the lotus position, and began to meditate.


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It appears he was in this state for as long as sixteen years when a Tamil poet and scholar in North India

named Madhurakavi Alvar saw a bright light shining to the south, and followed it until he reached

Nammalvar's tree.

First Disciple Madhura-kavi was himself in a state of high spiritual evolution when he asked Nammalvar

the "right" question and made him speak. Immediately he took him for his Acharya (Teacher, Guru).

Nammalvar consented to being his guru, instructed him in the secret doctrines of Vaishnavism andthereafter could not resist the urge of singing about God and trumpeting about Him.

He composed on the spot a thousand hymns praising Vishnu, each one starting with the last word of the

previous poem. We owe it to Madhurakavi for setting them to music. Madhurakavi became the boy's

student and went on to compose poems about his prodigal master. The following is an interesting

episode regarding the way the two of hem met.

MadhuraKavi Alwar was on a pilgrimage in North India, where all of a sudden, he began to observe a

bright light shining forth from in the general southern direction. This seemed to be beckoning him and

so he began to proceed in the direction of its source. His travails brought him to the scenic banks of the

River tamraparani, to the Hamlet/town if Kurugoor.

He observed that the light that drew him emanated from a divine being, one seemingly in his teens

sitting within the hollow of a tamarind tree. He spent his time scrutinizing all these. He then proceeded

to try and gain the attention of the one under the tree by various means, finally resorted to asking him

a question

WRITINGS

His contribution of four works (numbering 1296 hymns) to the four thousand of the Divya

Prabhandham includes the entire fourth thousand and part of the third thousand. these works are

TiuAymozhi (1102 ee)

Tiuiuam (100 ee)

TiuAiiam (7 verses) and

Peiya Tiuanhadi (87 ee).

tiruvaymozhi describes ranganatha as a metaphor to discussing the philosophical details in

he naue of he paamama

he naue of he jeeama

he means for the jeevatma to attain the goal of Paramatma

he block and hudle on he way and

he goal mokha.

The latter 2 are described in detail in the srivaishnava website. In the Srivaishnava canon these four

represent in the Tamil language the four Sanskrit vedas, respectively, the Sama Veda, Rig Veda, Yajur

Veda and Atharva Veda.

According to tradition "He poured the cream of these vedas" into his songs and poetry that were the

result of deep mystic experience.Though Nammalvar did not visit any of the 108 divyadesam temples


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talked about in the Vaishnava religion it appears from his works he must have had the vision of all the

archa forms in the temples he had glorified in his hymns.

MADHURAKAVI ALVAR

Madhurakavi (literally meaning Poet of sweet words ) was a Tamil saint/composer of the 6th to 9th

century. He composed 11 couplets in praise of his guru, Nammalvar in the 4000 divya Prabhandham. He

is considered one of the alvars. He is venerated as the dawn Ushas before the sun rise of nammalvar as

he was born before Nammalvar.

Legends say that he was a well read and well traveled Brahmin with a gift for music. He set

Nammalvar's compositions to music. Early life Madhura Kavi aazhwar was born before Swami

Nammazhwar, in a Brahmin family, in the month of Chittirai and in the chitra star in the divya desam

called Thirukkolur near Aazhwar Thirunagari. The perumal in this divya desam is called Vaitha Maanidhi

(Storage of great wealth).

Madhura Kavi Aazhwar learnt the Vedas and was well versed in both Tamil and Sanskrit. He used to

compose poems in the praise of Bhagavan. At one stage in his life, he decided to abandon all the chains

of samsara and strive towards moksham. In this pursuit he undertook a pilgrimage to the Vada naattu

divya desams like Ayodhya, Mathura etc.

Meeting his guru When Madhura Kavi aazhwar, after long tour had reached Ayodhya and completed the

mangalaasasanam of the enchanting forms of Sri Rama, Sita piratti, Lakshmana, Hanuman and others

he noticed a glowing ball of fire in the sky.

However much he tried, he could not understand the reason for this phenomenon. He also noticed thatthe ball of fire started to slowly move southwards. He decided to follow the light which led him to

Aazhwar Thirunagari and finally disappeared. Madhura Kavigal had already heard about a sixteen year

old youth [Nammalvar] who had spent his life since birth under a Tamarind tree without eating

anything and emitting a divine glow.

Madhura kavi aazhwar proceeded straight to the Thiru puli aazhwar (seat of Swami Nammalvar) and

found Swami in a trance.

In order to test Swami [Nammalvar], Madhura kavigal dropped a stone, on hearing which Swami

opened his eyes and smiled at Madhura Kavi aazhwar. Now Madhura Kavi aazhwar wanted to test

Swami for his spiritual wealth, and posed the following question to Swami:

Seththathin vayitril siriyadu pirandaal Eththai thindru enge kidakkum?

(literal translation - If the small one is born inside the dead one, what will it eat and where will it lie?)

Swami Nammzhwar's reply was: Aththai thindru ange kidakkum

(literal translation - It will eat that and lie there)

Madhura kavi aazhwar instantly recognized the greatness of Swami Nammazhwar and fell at his feet

and resolved to become Swami Nammazhwar's disciple. Madhura Kavi aazhwar remained with Swami

Nammazhwar for the rest of Swami Nammazhwar's life.

The philosophical meaning of this conversation is as below.


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The question: If the jeevatma (soul) is born in the body which is attached to the samsara, what will it

feed on and where will it live?

The answer: The soul will eat the alternating fruits of good and bad deeds done through the body and

enjoy its existence in the samsara

KULASHEKHARAKulashekhara was an Indian King from modern day Kerala and one of the Alvars, a prominent group of

Vaishnava saints. From historical estimates it is believed he lived in or around the 8th century. Born in

he aeim Punaau a Kulaekhaa Vama he wa king of he Chea Dynay and lied in Kollam in

Kerala.

After ruling for a few years, he gave up his throne, became a sanyasi and is revered as the 9th of the

alvars (one of 12 mendicant saints venerated by South Indian Sri Vaishnavism) and wrote bhakti songs

filled with yearning towards God called paasurams which are an important part of Carnatic classical

music repertory.

A great devotee of Rama, he considered the painful experiences of Lord Rama to be his own. He is

heefoe alo known a Peum-al meaning The Gea which is usually the epithet for the Lord. His

devotion was so intense that he worshipped the devotees of the Lord as the Lord Himself. He lived in

Srirangam and was serving the deity Ranganatha in the temple there. Much of the details of

Kulashekhara's personal life have been lost.

He was an exceptional poet of devotional hymns and songs (including the famous Mukundamala-

stotra). He wrote a set of ten exquisite poems in Tamil, and the work is called "Perumal Tirumoli". Hispoems are devotional in nature, being dedicated to the most prominent avatar's of Vishnu (Rama and

Krishna). The rock band Kula Shaker is named after King Kulashekhara as is their music company, Alvar

Music.

PERIYALVAR

One of the alvars, he was born into a Brahmin family in Srivilliputhur, near Madurai in the 6th or 9th

century(conflicting reports) CE and was named Vishnuchittar meaning "one who has Vishnu in his

mind".

Legend says he rejected the vedic philosophical debates of his upbringing to focus on Bhakti, especially

on doing simple tasks for God. He would make garlands of flowers for the deity of the temple. One day

the Pallava king of the land had a competition between scholars to find one who would explain

philosophical principles.

Vishnuchittar won the competition by explaining that the path to moksha is by service to God. Legend

goes that the king honored Vishnuchittar and God himself came down to earth to see this. Vishnuchittar

composed a couplet called Ppallandu" (also called Thirup-Palandu out of respect) translating to "Long

live for many years, Long live for many years for Hundreds of thousands of years!" to God.

This is a very important prayer in Srivaishnava liturgy today. Vishnuchittar composed some pasurams in

the 4000 Divya Prabhandham called Perialvar Tirumozhi where he explores a devotee's love for God


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through the metaphor of Yashoda's motherly love for Krishna. He was the adopted father of Kodhai or

Andal, the only woman alvar.

AANDAAL

Aandaal (Tamil:) is a 10th century Tamil saint and one of the twelve Alvars (saints) and the

only woman Alvar of Vaishnavism. She is credited with the great Tamil works of Thirupavai and Nachiar

Tirumozhi that are still recited by devotees during the Winter festival season of Margazhi. Aandaal is

known for her unwavering devotion to Lord Vishnu.

The Srivilliputhoor Temple is dedicated to her and marks her birth place. Adopted by her father, the

famous saint Periyalvar who found her as a baby, Aandaal avoided earthly marriage, the normal and

expected path for women of her culture, to "marry" Lord Vishnu, both spiritually and physically. In

many places in India, particularly in Tamilnadu, Aandaal is treated more than a saint and as a form of

God herself, similar to tradition of Lord Buddha and Jesus Christ.

Early life Aandaal is believed to have been discovered under a Tulsi(Basil) plant in the temple garden of

Srivilliputtur, by a person named Vishnucitta who later became one of the most revered saints in

Hinduism, Periyalvar. The child was named Kodhai (meaning, a beautiful garland, in Tamil) and she was

raised by Vishnucitta. Goda (Sanskrit version of Kodhai) grew up in an atmosphere of love and

devotion.

Vishnucitta doted on her in every respect, singing songs to her about Lord Krishna; teaching her all the

stories and philosophy he knew; and sharing with her his love for Tamil poetry. As Goda grew into a

beautiful maiden, her love and devotion for the Lord grew to the extent that she decided to marry none

but the Lord Himself.

As days progressed, her resolve strengthened and she started to live in a dream world with her beloved

Lord and was constantly fantasizing about marrying Him. Vishnucitta had the responsibility of

delivering flower garlands to the Lord's temple, everyday. Goda made these garlands and sent it to her

beloved Lord through her father.

Eventually she started acting unusual by wearing the flower garland which was meant to be offered to

the Lord. This is generally considered sacrilege in Hinduism because the scriptures teach the devotees

not to offer to the Lord, a thing that has already been used by a human being.

However, Goda felt she should test to see how the garland suited her and only if it did, she should offer

it to the Lord. One day, she was caught red-handed by her father in this strange act, and as an orthodox

devotee he was extremely upset. He rebuked her and told her not to repeat the sacrilegious act in the

future. Frightened and apologetic, Goda made a new garland for the offering that day.

Legend says that that very night the Lord appeared to Vishnucitta in his dream and asked him why he

had discarded Goda's garland instead of offering it to Him. The Lord is believed to have told Vishnucitta

that He had whole-heartedly accepted Goda's offering all this time.

This moved Vishnucitta

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