Ulrike Niklas

Introduction to Tamil Prosody

In: Bulletin de l'Ecole franaise d'Extrme-Orient. Tome 77, 1988. pp. 165-227.

Citer ce document / Cite this document : Niklas Ulrike. Introduction to Tamil Prosody. In: Bulletin de l'Ecole franaise d'Extrme-Orient. Tome 77, 1988. pp. 165-227. doi : 10.3406/befeo.1988.1744 http://www.persee.fr/web/revues/home/prescript/article/befeo_0336-1519_1988_num_77_1_1744

INTRODUCTION TO TAMIL PROSODY BY Ulrike NIKLAS

Table of contents Introduction Part One : Methodical Description of the System of Tamil Prosody (0.-13.) Chapter One : The component elements ( 0.-6.) The basic system (0.) eluttu "phone" (1.) acai "metreme" (2.) ctr "metrical foot" (3.) lalai "linkage" (4.) ati "metrical line" (5.) totai "ornament" / "ornamentation" (6.) Chapter Two : The types of verses ( 7.-13.) On verses in general (7.) venp ( 8.1.) venpvinam ( 8.2.) ciriyappa ( 9. 1 .) ciriyappvinam ( 9.2.) kalipp ( m.) kalippvinam (11.) uancipp "( 12.1) vacippuvinam ( 12.2.) marutp ( 13.) Part Two : Annotations and Illustrations (The order and numbering of is synchronized with that of Part One, hence it is unnecessary to repeat it here.) Index : " 1. Tamil Terms 2. English Terms 3. Symbols : Bibliography Introduction The system of prosody is probably the most indigenous and original part of Tamil grammar, having at least two important elements (acai and lalai) which in this form won't occur in any other of the great prosodical systems known to us, including the Sanskrit traditions. 165 169 169 1 69 169 170 172 174 176 177 179 179 180 182 183 184 185 189 189 190 190 191

223 225 225 226

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Prosodical prescriptions play an important role in the composition of large parts of Tamil literature, especially in the postclassical and neo-classical strata. Many a grammatical formation and choice of expression by the poets will be due to metrical requirements only, which is true mainly for numerous works that originated during the 18. and 19. century. During this period, a wave of "neoclassical" literature arose, including many pieces that may be evaluated rather with a view to their prosodical formation only than regarding their contents. Moreover even in earlier strata of Tamil literature the diction and grammatical formation of works composed in the uenp-metre must be largely influenced by the prosodical requirements, as venp is a very strict metre. Hence, a true evaluation of Tamil poetical works must necessarily take into account their "technical" aspects, too. The present paper aims at introducing and explaining the basic elements of Tamil verse-formation to a non Tamil-speaking public. It is meant as a very first introduction to the subject, purposely leaving out the very detailed and complicated problems that arise from a close study of the original grammatical literature and which will be reserved for further publications. Nevertheless, this opportunity was made use of for introducing a number of new (or newly defined) technical terms as explained here in Part Two, II. 0.1. As far as the true indigenous Tamil tradition of prosody is concerned, not merging largely with elements from Sanskritwhich is well the case in later times we have to distinguish two main streams: what is called here "the old tradition" is based on Ceyyuliyal, the eighth chapter of Porulalikram of Tolkppiyam, the most ancient Tamil grammar existing today, dating from about the beginning of the Christian era; what is referred to here as "the later tradition" reflects the views mainly of Ypparukalakkrikai and to some extent Ypparukalam, both works dating from the 10. century AD and serving as the main reference works for questions concerning prosody up to the present day (which is true mainly for the Krikai). Tolkppiyam knowns 34 elements of prosody, treating a literary composition in its entireness, including questions of style and euphony, whereas the later tradition is restricted to the six basic elements and the descriptions of the types of verses only, as represented here in the First Part of this paper. Despite from the different treatments of literary works Tolkppiyam keeping in view the whole of the literary composition in all its aspects, while the later works refer to the technical aspects only there are a number of differences regarding the definitions of certain technical terms that are common to both the traditions. It occurs that a term, introduced and defined by Tolkppiyam, is embraced by the later tradition but gets a new definition there. In cases as for instance the names of the different types of ati (cf. 5.1., 5.2., .5.1., II. 5.2.) this doesn't cause any problem, as the definitions are clear and simple in both traditions. But there are other cases (e.g. the terms icai and cai), for which more detailed studies are still to be carried out, before we can arrive at a full comprehension of these terms themselves and the difference of their definitions in the two streams of tradition. In such cases (e.g. 7.7.), what has been said here, should be regarded as a first approach only. The most important difference, however, lies in the fact that the later tradition has the tendency to simplify the handling of several crucial problems discussed in detail in Tolkppiyam. For instance the fact of not recognizing the two subtypes of metreme, viz. nrpu and niraipu as such, leads to a different form of scanning the

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respective metrical feet within a stanza in the later tradition, reserving the right, however, to come back to the methods of the old tradition whenever it may be useful or necessary ('metri causa'). In this paper we will mainly adopt the ways and methods of the later tradition, which are still in use today, and we will point out here and there only the different definitions and methods of the old tradition, without going too far into details, which would lead to unnecessary confusion rather than to useful elucidation. This paper is divided into two parts. The First Part, "Methodical Description of the System of Tamil Prosody", describes in two large chapters the six basic elements from which the Tamil prosodical system is built up (Chapter One) and the most important ones of the different Types of Verses of Tamil literature (Chapter Two). The Second Part offers "Annotations and Illustrations" for all those paragraphs of the First Part which are marked by an asterisk (*). Besides offering some basic information about Tamil grammatical theories, that are needed as a background for the understanding of several features of the Prosodical system, this Second Part consists mainly of examples drawn from different grammatical works and their commentaries, as well as from parts of Tamil literature, too, in order to "illustrate" the rules and descriptions given in a very condensed and theoretical form in the First Part. By this type of layout we thought of rendering the paper useful in two ways: The two parts together serve as an introductory textbook on Tamil prosody, while the First Part alone may be used as a short and practical reference book, too, being accessible through the complete Index of Tamil technical terms, which is mainly referring to the First Part only (cf. introductory remarks preceding the Index). As was already hinted at earlier, this paper introduces some newly coined or newly defined technical terms in English for their counterparts in Tamil grammatical terminology. Traditional Tamil grammar, and particularly Tamil prosody, contains quite some features and theories that are unique and explainable within their own system only. Earlier studies on Tamil grammar, including those undertaken by the first missionaries and in a way "fathers of European Tamil studies", render the Tamil technical terms into terms common within our own grammatical systems, hence always largely influenced by Latin (or Old Greek) theories of grammar and thus bearing connotations which are not suitable to the Tamil system. In the same way, the modern development, applying new linguistic terms borrowed from different schools of modern linguistics and always carrying with them backgrounds of particular systems of grammatical theory, is not really helpful in the task of trying to understand (and to make understand) traditional Tamil grammar. Obviously, the only way to solve this problem is to coin new terms, using elements of terms already existing and shaping them into a form applicable to the special features of Tamil tradition and in some cases to expand or to restrict the definitions of existing terms which are basically applicable to the Tamil system. A first endeavour in this direction was undertaken here concerning the terms for the six basic elements of Tamil Prosody (cf. Part Two, ..1.). Finally, it should be mentioned that all the examples have been given in the Tamil original only without any translation (with a very few exceptions only at instances where a translation was necessary in order to make the explanation clear). The examples serve to illustrate formal and technical features of the verses only, hence, their contents are not being discussed in this paper. This paper forms the introductory part of an intended series of publications on Tamil prosody,

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representing the results of a research project, which is in progress, financed in the beginning stage by the Government of India and the German Academic Exchange Service (DAAD), and further by the Institut Franais de Pondichry. The project aims at translating the major works on Tamil prosody and at setting up a glossary of technical terms. It will comprise the following parts: translation of Yapparukalakkrikai with the commentary of kunackarar; translation of ceyyuliyal of Tolkppiyam, under consideration of the three commentaries; - translation of Yapparukalam with an ancient viruttiyurai; translation of the Yppu-patalam of ViracoHyam; compilation and translation of all the stanzas used as examples in the works mentioned above; index cum glossary of technical terms. Note of Thanks My thanks are due in the first place to Professor F. Gros, Director of the Ecole Franaise d'Extrme Orient (EFEO), who always found time for a detailed and encouraging discussion, whenever I approached him for his advice, and who made it possible for me to spend several weeks in the quiet and inspiring environment of the EFEO at Pondichery working on this paper. I'm thanking Pandit T. V. Gopalaiyar, EFEO at Pondichery, who read an earlier version of the manuscript for this paper, corrected several mistakes and gave me many an useful comment on some of the more difficult topics. Professor S.N. Kantasamy introduced me first to the system of Tamil Prosody by a series of lectures he held for me during my stay in Tacvur at the Tamil University in 1985, sponsored by a scholarship of the Government of India and the German Academic Exchange Service (DAAD). Finally, but 'last not least', I'm thanking Mr. Christian Diitschmann, Ruhr- Uni versitt Bochum, who helped me formulate the English text of the first version of this paper.

PART ONE METHODICAL DESCRIPTION OF THE SYSTEM OF TAMIL PROSODY

Chapter one URUPPIYAL THE COMPONENT ELEMENTS 0. The basic system.

*0.1. The basic system of Tamil prosody is divided into six elements: 1) eluliu "phone"; 2) acai "metreme"; 3) clr "metrical foot"; 4) talai "linkage"; 5) ati "(metrical) line"; 6) totai "ornament"/"ornamentation". In what follows, each of these elements will be dealt with separately. *1. ELUTTU "Phone".

In defining eluttu, Tamil grammar sets up three distinctions: a) Division into primary (mutai) and secondary (crpu) "phones". Primary phones are of two types: 1) vowel (uyir); 2) consonant (mey). Secondary phones are of ten types: 1) consonant-vowel combination (uyirmey), e.g. ka, ki, ku; ca; la; etc. 2) ytam; 3) vowel-a/ape/; 4) consonant-a(ape(a; 5) overshort i (kurriyalikaram);

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6) overshort (kurriyalukaram); 7) shortened ai (aikrakkurukkam); 8) shortened au (aukrakkurukkam); 9) shortened m (makarakkurukkam); 10) shortened ytam. b) Vowels are divided into short ones (kuril) and long ones (nelil). Short vowels are: a, i, , e, . Long vowels are: , , , , ai, , . c) Consonants are divided into three groups (inam): 1) hard consonants (vallinam)'. , , I, I, p, r; 2) soft consonants (mellinam): , , n, n, m, n; 3) middle consonants (ilaiyinam): , r> I, v, I, I. Here, we are mainly concerned with the division into short and long vowels (or syllables), as they form the basis for the definition of acai or "metreme" (see below, 2.). *1.2. In counting the "phones" of a metrical line (ati, see below, 5.), the following ones may be skipped in case they would otherwise conflict with the particular rules for "linkages" (see below: cfr, 3. and lalai, 4.), viz. a) a consonant without a following vowel; b) overshort ; c) overshort u; d) alapelai. 1.3. The significance of eluttu for the system of Tamil prosody is threefold: 1) eluttu form the constituent parts of an acai] 2) metrical lines (ati) may be classified according to the number of eluttu they contain (ace. to Tolkppiyam); 3) several features of "ornament" are defined with reference to the quality of consonants (cf. 1.1. ). 2. 2.1. ACAI "Metreme".

acai forms the primary component of Tamil metres (hence, we call it "metreme"). It is composed of elultu and forms itself part of a metrical foot or cr (see below, 3.). A "metreme" need not necessarily be identical with a "syllable", as one single acai may comprise two or even three syllables (see below: 2.4. and 2.7.). 2.2. There are two main kinds of acai, namely nr-acai and nirai-acai.

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*2.3. ner-acai is monosyllabic. It may consist of either one short syllable or one long syllable, either of which may be open (i.e. ending in a vowel) or closed (i.e. ending in a consonant). Thus, one nr-acai may be made up of one syllable of any of the following types. Syllable-initial consonants are irrelevant and hence put into brackets here. (C)V i.e. short and open; (C)VC i.e. short and closed; (C)V i.e. long and open; (C)VC i.e. long and closed. *2.4. nirai-acai is always disyllabic with an obligatorily short (both by nature and by position, hence always short and open) first syllable, while the second syllable is unrestricted as to quantity and structure. Thus, any of the following combination types of two syllables may constitute a nirai-acai: (C)V CV (C)v eye (C)V CV (C)V CVC *2.5. The difference between nr-acai and nirai-acai may be defined as follows: a) nr-acai is monosyllabic and unrestricted as to measure and structure; nirai-acai is disyllabic, with the first syllable short. b) nr-acai occurs either where one metrical foot starts with a long syllable, or where on single syllable regardless of its measure and structure remains within one metrical foot, not forming part of a disyllabic structure. nirai-acai occurs wherever one short syllable is followed by another syllable within the same metrical foot. 2.6. As symbols for these two main types of acai, we take: for nr (the single stroke indicating its monosyllabic nature) = for nirai (the double stroke indicating its disyllabic nature).

and

*2.7. The ancient tradition of Tamil prosody (Tolkppiyam) mentions two subtypes of metremes in addition to the two main types, namely nrpu and niraipu. They consist of a sequence of one nr or one nirai followed by a syllable containing (or made up of) an overshort or normal short u (except from words having alltogether two short syllables only. Moreover, the (over)short should not be followed by a consonant). This last syllable, ending in (over)short need not necessarily count for the metrical analysis but may be regarded as an appendix to the preceding acai. Thus, a disyllabic structure of one long syllable followed by one syllable containing (over)short may count as one single metreme of the type nrpu (e.g. vitu, aru, etc.). By the same token, a structure consisting of three syllables, with the first one

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short and open and the last one ending in (over)short may count as one single metreme of the type niraipu (e.g. vayiru, kaliru, katavu, etc.). The later tradition of Tamil prosody has lost the designations as nrpu and niraipu for these subtypes, though retaining the phenomenon at least in one context (cf. venp). Here, the subtypes are defined as nr and nirai extended by one (over)short respectively. For the sake of easy understanding and clear definition, we will retain the old denominations here and in the following. 2.8. As symbols for these two subtypes of acai we take: h for nrpu and = + for niraipu. CIR "Metrical Foot".

3. 3.1.

cir is composed of acai and forms itself part of ati or the Metrical line. There are four kinds of cir, according to the number of acai contained in it: cir of one acai cir of two acai cir of three acai cir of four acai Each kind of cir is traditionally denoted by a patternword which itself constitutes an example for the respective cir. The pattern does not only refer to the internal structure of the cir but is also indicative of its outer form, i.e. - cir, two-acai cir, etc. The patternwords will be given below in their systematic places.

*3.2. cir consisting of one acai. There are two main types of this cir, consisting either of one single nr or of one single nirai. nr pattern: nl nirai malar There are two subtypes of this cir, consisting either of one nrpu or of one niraipu (according to the terminology of Tolkppiyam, which we will retain here). nrpu pattern: kcu niraipu pirappu These - cir occur only at the end of a venp stanza. They are called as acai-cir ("cir of [one] acai"). *3.3. cir consisting of two acai. There are four kinds of this cir, viz. nr-nr pattern: lm nirai-nr pulim nirai-nirai karuvilam nr-nirai kuvilam

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These four belong mainly to the metre called ciriyam or akaval, hence they are called aciriya-cr or akavarcr. Another designation is iyarcr (from iyal "nature" : "natural cr"). *3.4. cr consisting of three acai. There are eight kinds of this cr which are formed by adding either one nr or one nirai to each of the aforementioned two-acai cr, viz. nr-nr-nr pattern: temky nirai-nr-nr pulimkuy nirai-nirai-nr karuvilaky nr-nirai-nr kuvilaky nr-nr-nirai tmnkani nirai-nr-nirai pulimnkani nirai-nirai-nirai karuvilakani nr-nirai-nirai kuvilakani These eight cr are called uri-cr. Among them, the four ending in -nr (pattern: -ky) belong to the venp-metre, hence they are called vencr. The four ending in nirai (pattern: -kan) belong to the vancipp-metre, hence they are called vanci-cr. *3.5. cr consisting of four acai. There are sixteen kinds of this cr which are formed by adding either one nr or one nirai to each of the aforementioned three- cr, viz. nr-nr-nr-nr pattern: imianpu nirai-nr-nr-nr pulimtanpu nirai-nirai-nr -nr karuvilantanpu nr -nirai-nr-nr kuvilantanpu nr-nr-nirai-nr tmnarumpu nirai-nr-nrai-nr pulimnarumpu nirai-nirai-nirai-nr karuvilanarump nr-nirai-nirai-nr kuvilanarumpu nr-nr-nr-nirai tmtannilal nirai-nr-nr-nirai pulimulannilal nirai-nirai-nr-nirai karuvilatannilal nr-nirai-nr-nirai kuvilatannilal nr-nr-nirai-nirai imnarunilal nirai-nr-nirai-nirai pulimnarunilal nirai-nirai-nirai-nirai karuvilanarunilal nr-nirai-nirai-nirai kuvilanarunilal These cr are common in the vancipp metre only. There occur rarely in kali and akaval metres, but never in venp. They are called potu-cr. 3.6. As mentioned above (.1.), the patternwords not only show the internal structure of the cr but are also indicatives of its outer form. Thus, the expression "m-cr" denotes a two- cr ending in nr (patterns: t-, puli-ma), etc. Moreover, the types of cr may be named after the metres to which they mainly belong.

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ULRIKE NIKLAS All these designations may be schematized as follows: General name(s) of all the cr of this type acaiccr ciriyaccr akavarcr iyarcr uriccr potuccr "Linkage". Names of the nr-ending cr of this type nl-cr m-cr ky-cr vencr -cr Names of the nira i-ending cr of this type malar-cr vilam-cr kani-cr vaci-cr nilal-cr

Number of acai 1 2

3 4 4. 4.1. TA^AI

ialai governs the way of linking two successive cr, i.e. the combination of the final acai of the first cr with the first acai of the following cr. This combination may be "agreeing" (onriya) or "disagreeing" (onrata), i.e. combination of two acai of the same type (nr with nr or nirai with nirai), or of different types (nr with nirai or nirai with nr). Two criteria are important for the definition of the different types of Ialai, viz. 1) type and structure of the preceding cr; 2) "agreeing"/"disagreeing". 4.2. There are seven types of Ialai, viz. 1) ciriya-ialai, agreeing in nr; 2) ciriya-talai, agreeing in nirai; 3) vencr-ventalai; 4) iyarcr-ventalai; 5) vaci-talai, agreeing; 6) vaci-talai, disagreeing; 7) kali-lalai. Each of these types will be explained in what follows.

*4.3. 1) ciriya-talai, agreeing in nr. If one nr follows a m-cr, the linkage is of this type. Expressed in symbols: * *4.4. 2) ciriya-talai, agreeing in nirai. If one nirai follows a vilam-cr, the linkage is of this type.

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Hence, an ciriya-talai is always agreeing, either in nr, or in nirai. In case, a disagreeing combination would be found after an ciriya-cfr (i.e., nirai after m-cr or nr after vilam-cr), the linkage belongs to another type (cf. below, 4.6.), *4.5. 3) vencr-ventalai. If one nr follows a -cr (i.e. vencr), the linkage is of this type.

(The combination of nr after a -cir is also understood as belonging to this type of linkage, though a -cr is not permitted in the venp and may not be termed as "vencr" . Hence, this type of linkage with a -cr as its first member will also never occur in a venp.) *4.6. 4) iyarcir-ventalai. If one nirai follows a m-cr, or if one nr follows a vilam-cr, the linkage is of this type. An iyarcir-ventalai thus is the disagreeing linkage with an iyarcr as its first member. (Compare 4.3 and 4.4.) *4.7. 5) vanci-talai, agreeing. If one nirai follows a kani-cr or a nilal-cr, the linkage is of this type. With kani-cr: (With nilal-cr:

*4. 6) vanci-talai, non-agreeing. If one nr follows a kani-cr or a nilal-cr, the linkage is of this type. With kani-cr: (With nilal-cr:

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In both kinds of vaci-talai, the linkages with a kani-cr as the first member have to be considered as the main types, whereas the linkages with a nilal-cr as the first member are subordinate. They have been classified here, as there exists no special type of lalai for all the (our-acai cr. *4.9. 7) kali-talai. If one nirai follows - (or a -cr) the linkage is of this type. A kali-talai is always non-agreeing. With ky-cr: (With -cr:

_ _

_+

The linkage with -cr as its first member forms the main type of kali-talai, whereas the linkage with -cr as its first member is subordinate; cf. 4.7 and 4.8. 5. AJ1 "Metrical Line".

*5.1. There are different kinds of definition for ati, seen from different points of view. a) ati is that in which one or more lalai occur. (This definition is based on the object of describing each component part of poetry as built from the parts mentioned before. Thus, acai is built from eluttu, cr is built from acai, lalai is built from cr, hence, ali must be built from lalai); b) Tolkppiyam describes ati as that which has four cr and that in which lalai and lolai occur. Hence, here, the definition of ati sets up the four-cfr line as the "standard" or "ideal" line, and it moreover is made clear, that the term ati refers to the poetical line alone, having the quality of a specific rhythm created by the different types of linkage (talai) and containing ornaments (tolai); c) There are five different forms of ati, defined with reference to their respective measure. Tolkppiyam bases the definition of these five different kinds of ati on the "standard line" having four cr; the five different forms of ati are distinguished with regard to the number of elutlu they contain within their four cr. The later tradition on the other hand, defines the different kinds of ati with regard to the different number of cr they contain. However, the names introduced by Tolkp piyam are retained by the later tradition. *5.2. In the following synopsis, the five kinds of ali are shown with their different definitions according to the two different traditions of Tamil prosody as described above (5.1 .c): definition with regard to the number of elultu within a four-cir line (Tolk ppiyam); definition with regard to the number of cr within one line (later tradition).

INTRODUCTION TO TAMIL PROSODY Synopsis of ati. Number of cir (later tradition) 2 3 4 5 more than 5 6. TOTAI Number of elutlu within a line of four-cir (Tolkppiyam) 4-6 7-9 10-14 15-17 18-20

177

Name of the type of ali kuralali "dwarf line" cintati "short line" alavati "standard line" netilati line" "long kalinetilati "extremely long line"

"Ornament" /"Ornamentation".

*6.1. Mai denotes the several kinds of "ornament" (including alliteration and rhyme) as well as several methods of ornamentation; the kinds of ornament may occur either in several lines (ati), i.e. ati-totai, or within one line in several metrical feet (cir), i.e. cr-lolai. 6.2. There are five kinds of ornaments and seven methods of ornamentation. The five kinds are relevant for ati-totai as well as for cr-lolai. The seven methods are relevant for cr-lolai alone, as they regulate the distribution of ornaments within one line. The five kinds of ornaments are called: 1) mnai; 2) etukai; 3) iyaipu; 4) muran; 5) alapetai. The seven methods of ornamentation are called: 1) inai; 2) polip pu; 3) or ; 4) kulai; 5) merkatuvdy; 6) klkkatuvy; 7) murru. Each of these will be explained in what follows.

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4.3. The five kinds of ornament. 1) mnai: "alliteration" of the first phone (eluttu). Example: animalar... arikkurar... 2) etukai: "rhyme" of the second phone, while the first phones of the rhyming words- must be equal in measure. Example: aruliarum... porultarum... (Here, the second phones, -rul-, are rhyming, while the first phones are short in both cases: a- and po-.) 3) iyaipu: "end-rhyme" (i.e. rhyme of the last phone (elultu) or metreme (acai) or metrical syllable (cr)). Example: puyal kulal mayil yiyal. 4) muran : This is not a sound-based ornament (as alliteration or rhyme), but rather an element of stylistics or rhetorics. It may be described as "antithesis" or a sort of "oxymoron": Two antithetical words are opposed to each other with regard to their meaning. Example: periyrai viyalialum ciriyorai ikaltalum (There are two muran in these lines: periyor "the great ones" are opposed to ciriyor "the small ones", and viyattal "praising" is opposed to ikaltal "scolding".) 5) alapetai: In this kind of ornament, only the quantity of the phone (i.e. the overlengthening) is of importance, whereas the quality is irrelevant. alapelai-loiai exists with vowel-a/apeiai as well as with consonantalapetai. Hence, , i, , etc., may mix with each other to form this kind of ornament. 4.4. The seven methods of ornamentation. These apply to cr-totai only. The definitions are based on the alavaii (i.e. line built from four cr). The seven methods of ornamentation describe the distribution of the specific kind of ornament among the four cr of one line. Each of the five kinds of ornament may occur in each of the seven methods of ornamentation. The names and characteristics of these seven methods of ornamentation may be seen from the following chart: Method of ornamentation inai polippu oruu kulai mrkatuvy klkkaiuvy murru First cr X X X X X X X Second cr X Third cr X X X X X X X X X X X Fourth cr

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*6.5. There are three more types of totai, which were in older times obviously less common than the aforementioned ones. They are: 1) centotai: blank verse; no rhyming or alliteration at all; 2) irattai-totai: repetition of one cr (or one full line); 3) anlli-lolai : One acai or cr concluding one line (or stanza) is taken up again at the beginning of the next line (or stanza). This type of tolai, however, is met with very frequently from post-classical times of Tamil literature onwards.

Chapter Two CEYYULIYAL THE TYPES OF VERSES 7. On verses in general.

7.1. Two main groups are to be distinguished: p main type of verse; pvinam subtype of verse. 7.2. The main types of verses are: venp; ciriyapp; kalipp; vacipp; marutp. The first four of these only are of combination of elements from venp and Each of these main types of verses has be confounded with the "subtypes". (Cf.

major importance, while marutp is a ciriyapp, hence not being original. different forms which however are not to 7.3.)

180 7.3.

ULRIKE NIKLAS pvinam are subtypes, associated with the first four of the main types of verses. There are mainly three of these subtypes, namely tlicai, turai and virullam.

7.4. Verses are mainly defined with regard to the forms of cr and lalai and to the number and forms of ati they are made up from. *7.5. Another distinctive feature, mainly of the venp verse-types, is vikarp (lit.: "variety"), which refers to totai (cf. 6.), and more precisely to elukai, the rhyming of the second phone of the lines within one stanza. If all the lines of a stanza are rhyming in their second phone, the stanza is oruvikarpa (i.e. "one variety"). If there are two different sets of rhyme, or if, in a stanza with three lines only, two of them are rhyming and the third line has another sound, the stanza is iruvikarpa (i.e. "two varieties"), iruvikarpa is also a stanza of two lines, if there is no rhyming in their second phones. If there are either more than two different sets of rhyme, or (in a stanza of more than two lines) no rhyme at all, thus giving more than two different phones in the place indicated, the stanza is palavikarpa (i.e. "many varieties"). *7.6. Some verse forms have as one characteristic a taniccol (i.e. "detached word") or laniccr (i.e. "detached metrical foot"). These taniccol are in most cases shown in writing by a dash put before them. (Not so in kalipp, where laniccol forms a whole line by itself.) In certain cases (shown below, in their systematic places) the taniccol must be rhyming with certain other cr of the stanza. One of the main aspects of a verse is its rhythm, called cai. This is defined by the specific lalai which mainly belong to the specific type of verse. ceppal-cai (with venlalai) belongs to venp; akaval-cai (with ciriya-talai) belongs to ciriyapp; lullal-cai (with kali-talai) belongs to kalipp; tukal-cai (with vaci-lalai) belongs to vacipp. Most verses use more than one simple type of lalai. Thus, the rhythm differs and will have some sub-forms, which are called icai. There are mainly three different forms of icai, namely nlicai, tukicai, olukicai. They may be defined only with reference to the different kinds of lalai that are permitted in the different metres. Hence, they will be explained in their systematic places here. 8. 8.1. 1. VENP VENP. and 2. VENPVINAM. 7.7.

*8.1.1. A venp may contain iyarcr (cf. 3.3.) and -cr (cf. 3.4.) only. Only vencrvenlalai (cf. 4.5.) and iyarcr-ventalai (cf. 4.6.) are allowed. There are four cir in each line except the last one which contains three cir only. Thus, a venp is made up of alavali and cintali (cf. 5.2.). The last cr of the last ati must be an acai-cr, i.e. a cir of the type nl, malar, or pirappu.

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8.1.2. Referring to its rhythm, venp is also called ceppal (i.e. "declaration"). As was shown above (cf. 7.7.), there are three forms of icai which are to be defined for the venp metre as follows: a) nticai-ceppal: only vencr-ventalai occurs throughout the stanza; b) tukicai-ceppal: only iyarcr-venlalai occurs throughout the stanza; c) olukicai-ceppal: vencr-ventalai and iyarcr-ventalai both occur within one stanza. *8.1.3. There are five forms of venp which are defined by the number of ati that constitute the stanza and with regard to taniccol (cf. 7.6.). The five forms of venp are: kural-venp; nricai-venp; innicai-venp; cintiyal-venp; pakrotai-venp (i.e. pal-totai-venp). *8.1.4. kural-venp. A kural-venp contains two ati and hence becomes defined also as ratimukkl (i.e. "one line and three quarters", the first line being an alavati with four cr and the second a cintati with three cr only). It may be oruvikarpa or iruvikarpa (cf. 7.5.). *8.1.5. nricai-venp. A nricai-venp contains four ati, hence it is also defined as muvatimukkal (i.e. "three lines and three quarters"). The last cr of the second ati forms a taniccol (cf. 7.6.) which, in this case, must be rhyming in elukai-orm (cf. 6.3. , 2.) with the first cr of the first ali and with the first cr of the second ati, leading thus to a complicated and strictly defined scheme of rhyme within the stanza, as the first two ati must necessarily be rhyming in their first cr and the same sound pattern must occur again in the last cr of the second ati. (Thus, in terms of cr-totai, the second line is rhyming in the oruu way, cf. 6.4.) A nricai-venp normally is iruvikarpa (i.e. one set of alliteration in the first two lines and another set in the last two lines), but it may also be oruvikarpa (i.e. all the four lines having the same etukai in their first cr). *8.1.6. innicai-venp. An innicai-venp contains four ali in the same way as nricai-venp (cf. 8.1. 5.), but it is without a taniccol, hence also without fixed rules regarding rhyme. It may be oruvikarpa or palavikarpa (cf. 7.5.). *8.1.7. cintiyal-venp. A cintiyal-venp contains three ati and is also defined as ratimukkl (i.e. "two lines and three quarters"). It may be oruvikarpa or iruvikarpa (cf. 7.5.). It may have a taniccol in the same way as nricai-venp (cf. 8.1. 5.). In that case it is called nricai-cintiyal-venp. It may be without a taniccol like innicai-venp (cf. 8.1. 6.). In that case it is called innicai-cinliyal-venp.

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*8.1.8. pakrotai-venp. A pakrotai-venp contains between five and twelve aii, hence it is defined as palavatimukkl (i.e. "many lines and three quarters"). oruvikarpa and palavikarpa occur. 8.1.9. Synopsis of venp. a) General (i.e. referring to all the forms of venp): aii: alavati (all lines but the last one) cintali (last line of a stanza only); cr: iyarcr kycr acai-cr (very last cr of a stanza only); lalai: iyarcir-venlalai vencr-ventalai. b) The five forms of venp are described again in short in the following chart. The five forms of venp: Name (subname) kural-venp nricai-venp innicai-venp cintiyal-venp (nricai-cinliyal-venp) (innicai-cintiyal-venp) pakrotai-venp 8.2. VENPA VINAM. No. of aii 2 4 4 3 tan col no yes no vikarpa oruvikarpa iruvikarpa oruvikarpa iruvikarpa oruvikarpa palavikarpa oruvikarpa iruvikarpa

yes no no

5-12

oruvikarpa palavikarpa

8.2.1. There are two subtypes belonging to kural-venp (cf. 8.I.4.) and three other subtypes of venp. They are: kural-vencenlurai; kural-tlicai; ven-tlicai; ven-lurai; veli-virutlam. *8.2.2. kural-vencenturai. A stanza of this type has two lines of equal length. There is no restriction on the number of cr.

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It should be of "flowing and regular" rhythm (which is not defined more precisely), and the contents should be of "excellent thought". *8.2.3. kural-tlicai. There are three forms of this subtype: 1) A stanza containing two lines of any length, but the second line shorter than the first one. 2) A stanza with two equal lines (as in 8.2.2.), but with defective rhythm and not containing "excellent thought". 3) A kural-venp (cf. 8.1.4.) with a defective talai. *8.2.4. ven-tlicai. There are two forms of this subtype: 1) One stanza of the cinliyal-venp type (cf. 8.1. 7.), but with defective talai. 2) A combination of three stanzas of the cinliyal-venp type (cf. 8.1. 7.), all the three dealing with the same topic. *8.2.5. ven-turai. The stanza may contain between three and seven lines, the last few lines being shorter by a few cir than the previous lines. There is no restriction on the number of cir within each line. The rhythm may be continuous throughout the stanza, but it may also vary. (This rule refers to icai, which may or may not change within the stanza.) *8.2.6. veli-viruttam. The stanza has three or four lines with originally four cir each. A laniccol is attached as fifth cir to each single line of the stanza. The laniccol will be the same throughout the stanza; there are no rules for rhyming. This type is oruvikarpa or palavikarpa (cf. 7.5.). 9. 9.1. 1. CIRIYAPP CIRIYAPP. and 2. CIRIYAPPVINAM.

9.1.1. An ciriyapp may contain different kinds of cir but it is usually made up of akavarcr (cf. 3.3.) and vencr (cf. 3.4.). Besides the two types of ciriya-talai (cf. 4.3. and 4.4.). other types of lalai are permitted, too. An ciriyapp, must contain at least three lines and should not have more than 1 000 lines. The types of ati differ with regard to the different forms of ciriyapp and will be mentioned below, in their systematic places. There are no specific rules regarding vikarpa. 9.1.2. With regard to its rhythm, ciriyapp is called akaval (i.e. "calling, addressing"). The three forms of icai are to be defined as follows: a) nticai- akaval: only ciriya-talai, agreeing in nr throughout the stanza; b) lukicai-akaval: only ciriya-talai, agreeing in nirai throughout the stanza; c) olukicai-akaval: different types of lalai mixed.

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9.13. There are four forms of ciriyapp: nricai-ciriyappa; inaikkural-ciriyapp; nilaimantila-ciriyapp; alimarimantila-ciriyapp. *9.1.4. nricai-ciriyapp. A stanza of this type is made up mainly of alavali (cf. 5.2.). Only the penultimate line must be a cintati. *9. 1 .5. inaikkural-ciriyapp. In this type of verse, the first and the last line of the stanza must be alavati (cf. 5.2.), the other lines may be .of any type (though, kalinetilati does not occur frequently). *9. / .6. nilaimantila-ciriyapp. This verse-type is made up only of alavali, without any exception. *9.1.7. atimarimantila-ciriyapp. A stanza of this type is made up of alavali only, but it must be built in such a way, that each single line forms a complete structure by itself with regard to form and content, so that all the lines of the stanza are freely interchangeable. 9.2. CIRIYAPPVINAM.

9.2.1. There are three subtypes belonging to ciriyapp: ciriya-llicai; ciriya-lurai; ciriya-viruttam. *9.2.2. ciriya-tlicai. There are two forms of this subtype: 1) One stanza made up of three lines of equal length (with no restriction on the number of cr). 2) A combination of three stanzas made up of three equal lines each, and all the three stanzas dealing with the same topic. *9.2.3. ciriya-turai. This subtype has a stanza made up of four lines of any length, with the penultimate line shorter than the other ones. A slightly different form of this subtype has the first and the third line shorter than the other lines. An ciriya-turai stanza may or may not use the stylistic element of matakku, i.e. repetition of a line (or part of a line), each time with a different meaning. *9.2.4. ciriya-viruttam. This subtype has a stanza made up of four equal lines of the kalineiil type, i.e. line with more than five cr.

INTRODUCTION TO TAMIL PROSODY 10. KALIPP.

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10.1. kalipp is a very complex metre and difficult to describe. The main difficulty lies in the fact that it is to be defined more by means of content than by means of form. In what follows here, only the basic elements and the most important forms and subdivisions of this metre will be described, not going too far into the details. 10.2. The rhythm of kalipp is called tullal-cai (i.e. "jumping"). It has three forms: a) nticai-tullal: only kali-talai throughout the stanza; b) akaval-tullal: kali-talai and ventalai are mixed; c) pirinticai-tullal: venlalai and aciriya-talai occur together with kali-talai, too. 10.3. The most common cr in a kalipp are: ky-cr starting with nirai; iyarcr (mostly karuvilam and kuvilam. lm and pulim occur scarcely only); kani-cir (only those having nr as middle part are permitted; but even they are rather rare in a kalipp). 10.4. Regarding ati, there are no fixed rules valid for all the types of kalipp. Hence, the specific forms of ati will be mentioned in their systematic places. 10.5. kalipp contains six elements which occur in different combinations in the different forms of this metre. They are: 1) taravu; 2) llicai; 3) arkam; 4) ampolarakam; 5) laniccol; 6) curitakam. Not all these elements will occur in all the forms of kalipp, as will be shown below (cf. 10.6.1. ff.). In what follows here, the six elements will be described one by one. 10.5.1. taravu. taravu mentions in short the theme or topic of the poem. It has between three and twelve lines. Mostly kuvilanky-cr and karuvilaky-cr are used. (Note, that the rules given in 10.3. are open to exceptions.) 10.5.2. tlicai. llicai is again taking up the topic of the poem as given in taravu and depicts it further, describing the same theme in several different ways (according to the number of tlicai). There may be three or six tlicai in a poem. Some poems even have twelve or more. One tlicai has between two and four lines, but it must always be shorter by at least one line than the preceding taravu. Mostly kuvilanky-cr and karuvilanky-cr are used.

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10.5.3. arkam. arham is employed for praising a God or a person. It may be very short, not having more than one or two lines, but it may also be longer (without details about the upper limit of lines). Mostly karuvilam-cir are used. One line should not have less than four cir. 10.5.4. ampotarakam. amplarakam praises a person's grace or heroism or the grandeur of actions. It has mostly ky-cfr and iyarcr. An elaborate ampotarakam has four parts: pren: 2x2 alavati; alaven: 4x1 alavali; ilaiyen: 8 X 1 (or 4 X 1) ciniali; cirren: 16 X 1 (or 8 X 1) kuralati. 10.5.5. taniccol. taniccol in kalipp is a single word forming a whole line by itself. It is used mostly as last but one element of a kalipp, thus indicating the beginning of the poem's final section. But some forms of kalipp may have more than one taniccol interspersed between the different elements. 10.5.6. curitakam. curitakam is the last element of a kalipp. It is in the form of either an ciriyapp (cf. 9.1.) or a venp (cf. 8.1.). 10.6. There are three main forms of kalipp, the first and third form having several subforms each: 1) oiilicai-kalipp 1) nricai-ottlicai-kalipp; 2) ampiaranka-olllicai-kalipp; 3) vannaka-ottlicai-kalipp. 2) venkalipp 3) koccaka-kalipp 1) laravu-koccaka-kalipp; 2) taravinai-koccaka-kalipp; 3) cikrlicai-koccaka-kalipp; 4) pakrlicai-koccaka-kalipp; 5) mayakicai-koccaka-kalippa (with three subforms): a. tlicai-orupku; h. amptaranka-oriipku; vannaka-orupku. 10.6.1. ottlicai-kalipp. * 10. 6. 1.1. nricai-ottlicai-kalipp. This form consists of: one laravu; three llicai; one taniccol; one curilakam.

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* 10.6. 1 .2. amptaranka-ottlicai-kalipp. This form consists of: one taravu; three tlicai; one amptarakam; one laniccol; one curitakam. * 10.6. 1 .3. vannaka-ottlicai-kalipp. This form consists of: one taravu; three tlicai; four arkam; one amptarakam; one laniccol; one curitakam. * 10.6.2. venkalippa. This form consists of one taravu only. This taravu has many alavati and a predominant tullal-cai (cf. 7.7. and 10.2.). The last line of the stanza behaves as in a venpa, being a cinlati and having as last cr an acai-clr (cf. 8.1.1. and 3.2.). A venkalippa must have more than four lines (without an upper limit). *10.6.3. koccaka-kalippa. This form of kalippu may take some of the six elements (cf. 10.5.) only, may change their order, may enlarge or shorten them. There may occur lines with rhythms other than tullal-cai (i.e. not having kali-lalai). Also tma-, pulim-, karuvilakani- and kuvilakani-cr may occur, which are uncommon in the other forms of kalipp. * 10.6.3.1. taravu-koccaka-kalipp There are two different types of this form of koccaka-kalippa: a) iyarraravu-koccaka-kalipp, which consists of only one taravu. This type is usually built from four alavati having mainly (or even throughout) ky-cfr only, kali-talai will be predominant, allowing only a few vencr-venlalai in the stanza. b) curitaka-taravu-koccaka-kalipp, which consists of: one taravu one taniccol one curitakam. * 10.6.3.2. taravinai-koccaka-kalipp. There are two different types of this form of koccaka-kalippa: a) iyarraravinai-koccaka-kalippa, which has two taravu only. b) curitaka-taravinai-koccaka-kalipp, which consists of: two taravu one laniccol one curitakam. * 10.6.3.3. cikrlicai-koccaka-kalipp. This form is closely resembling nricai-ottlicai-kalipp (cf. 10.6.1.1.), except for having a taniccol after each single element, hence:

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one taravu; one taniccol; first tlicai; one laniccol; second tlicai; one laniccol; third tlicai; one taniccol; one curilakam. * 10.6.3.4. pakrlicai-koccaka-kalipp. This form consists of: one taravu (one laniccol facultatively); more than three tlicai (taniccol facultatively between the tlicai); one taniccol (after the last tlicai); one curitakam. * 10.6.3.5. mayakicai-koccaka-kalippa. This form will take all the six elements (cf. 10.5.), but it may change their order and it may shorten or enlarge them, hence : two taravu; six tlicai; arkam; (again) llicai; ampotarakam; one taniccol; one curilakam. There may occur kani-clr with nirai as middle part, which are uncommon to other forms of kalipp. There are three subforms of this type, which are called : a) llicai- has only one llicai one taniccol one curitakam; b) amplaranka-orupku has either taravu or tlicai shortened ampiarakam one laniccol one curitakam; c) vannaka- has either taravu or tlicai one laniccol (facultatively) four or more arkam full ampiarakam one laniccol one curilakam.

INTRODUCTION TO TAMIL PROSODY 11. KALIPPVINAM.

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77.7. kali-tlicai. (Note: This Ilicai, which is the name of one of the subtypes of the kali metre, should not be confounded with the ilicai in 10.5.2., where it denotes one of the six elements of kalipp.) kali-tlicai may consist of two or more lines, without an upper limit. The last line of the poem must be longer than the other lines, which should be of equal length. There are two forms of kali-tlicai: 1) One single stanza. (In poems of this type, and if consisting of four lines, the stylistic element of matakku, i.e. repetition of a line (or part of a line) each time with a different meaning, is often employed in the second and third ali). 2) A combination of three verses on the same topic. *11.2. kali-turai. kali-lurai is composed of four netilali (i.e. line having five cir). *11.3. kali-viruttam. kalivirullam is composed of four alavali (i.e. line with four cir). It does not employ lullal-cai (cf. 10.2.). It is built up mainly of iyarcir, vencir or vaci-cir. *11.4. kattalai-kalitturai. It is composed of four nelilati (i.e. line having five cir). The first four cir of each line should preferably be iyarcir, and they must be connected in the ventalai manner (cf. 4.6. and 4.5.). The fifth cir of each line must be kuvilanky or karuvilakay. A katlalai-kalitturai should have as its last letter an -. 11.5. kattalai-kalipp. A kattalai-kalipp contains eight half-lines with four cir each. Each one of these half-lines must start with a nr-acai. Two half-lines together count as one full line, hence a kattalai-kalipp contains four lines with eight cir each. VACIPPA' 12. 1. and 2. VANCIPPV1NAM. *12.1. VACIPPA'. 12.1.1. vacippa consists of kani-cir (cf. 3.4.) and of nilal-cir (cf. 3.5.). It will take mainly vaci-talai (cf. 4.7. and 4.8.). It has kural-ati and cintati. 12.1.2. The rhythm of vacippa is called tukal-cai (i.e. "of slow movement"). The three forms of this rhythm are to be defined as follows: a) nticai-tukal: only vaci-talai, agreeing, throughout the stanza. b) akaval-tukal: only vaci-ialai, disagreeing, throughout the stanza. c) pirinticai-tunkal: both forms of vaci-talai occur together with other forms of ialai, too. 12.1.3. A full vacippa is built up as follows: three (or more) lines as described in 12. 1.1. /2;

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ULRIKE NIKLAS one ianiccol (cf. 10.5.5.); one akaval-curitakam (cf. 10.5.6.).

*12.2.

VACIPPAVINAM.

12.2.1. vanci-tlicai. This subtype is composed of three stanzas, all of them dealing with the same topic. Each of these stanzas consists of four lines with two cr each. 12.2.2. vaci-turai. This subtype has only one stanza built up from four lines with two cr each. 12.2.3. vaci-viruttam. This subtype has one stanza built up from four lines with three cr each. *13. MARUTP.

13.1. marutpa is composed of elements of venp and of ciriyapp. The first part of the stanza has the form of a venpa (cf. 8.1.) the second part (mainly the last two lines) has the form of an ciriyapp (cf. 9.1., especially 9.1. 4.). *13.2. Different forms of marutp may be defined only with regard to the contents or themes of the respective poem, marutp will be employed mainly in some turai of the puram-genre of Tamil poetry, mainly in puram-kaikkilai, vlttu, vyuraivalttu and ceviyarivuruu.

PART TWO ANNOTATIONS AND ILLUSTRATIONS

II.0.1. The old tradition of Tamil prosody (Tolkppiyam) enumerates 34 elements, including those listed above, except talai. (Nevertheless, talai is treated in some detail in Tolkppiyam too.) The high number of elements in this ancient treatise is due to the fact that these "literary compositions" are considered in all their aspects, not only with regard to prosody proper as in the later grammatical works. Some notes on the English nomenclature chosen (or coined) here for the "six elements" seem to be necessary: 1. eluttu "phone". It appears to be highly difficult (if not impossible) to comprise the whole concept of eluttu within one single term in English, and more so with regard to eluttu in poetics. Previous translations mostly use the term "letter" which refers mainly to the graphic or alphabetic aspect and by this reflects the obvious etymological derivation of the Tamil term from the verb elutu "to write". But this is only one part of the whole and for our purpose the most peripheral one. Other translations use the term "sound", which seems to be more appropriate in the circumstances given here, but which anyhow carries the connotation of "a basic, single phonetic unit" and eluttu may comprise more than that. D. Albert, in his translation of Tolkppiyam (cf. Bibliography) discusses this problem in short and tries to find a solution by explaining eluttu as "Phonemic Representation" (pp. xii f.), which is unprecise, as there are a number of elements which count well among the eluttu, but which are never "phonemes" in the exact linguistic sense (e.g. alapetai or ylam). To put it briefly: We can't depend on any of the previous endeavours, but should rather try to find another term which is general enough to offer the possibility of being interpreted (or: newly defined) within this very special connotation. By purpose we chose a term which is rather uncommon and very seldom used, hence by the same token would be free of any special connotation and open to a new definition. Let us state, then, that by the term "phone" we want to designate all the possible components of the Tamil term elullu together, laying some stress anyhow on the phonetical aspects. elullu may denote the graphic or alphabetical sign, the symbol drawn to represent a single sound as well as a whole syllable (and this alone is sufficient strictly speaking to reject the term "letter" which refers to the "alphabetic script" rather than to a syllabic one).

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elutlu denotes a single sound (a vowel or a consonant) as well as a whole syllable, even a very complex one. (Cf. for instance below, .5.2., where in the first example trnlu counts as one single eluttu only.) elultu is often used to denote those sounds only, which have a place-value in the metrical system, i.e. which have to be taken into consideration while forming an acai ("metreme"). Hence, there exist "sounds" which, under certain circumstances, are not considered as eluttu on their own, though they are written and pronounced (cf. 1.2.). All these aspects we claim to include in the term "phone", being however well aware of the fact that this definition goes far beyond its original sense and hence considering it as a "terminological auxiliary". 2. acai "metreme". The concept of acai is peculiar to the Tamil system of prosody alone. Hence, no term from any other prosodical system is applicable to it. Earlier endeavours to describe this concept in terms known to us have led to misunderstandings, due to the connotations these terms carry with them. The most common solution of calling acai "metrical syllable" leads to complications, as consequently we have to distinguish between "metrical" and "linguistic" syllable; moreover, the term "syllable" itself is misleading, as it carries the connotation of "speech unit containing one vowel (or sibilant)", which is not necessarily the case with acai. Hence, we searched for a term which, primarily, should be free of any connotation from other contexts, and which secondly should indicate the position of acai within the system. Consequently, the term "metreme" was coined with the idea that it should indicate "the smallest metrical unit which is of relevance for the system", just as the term "phoneme" indicates the smallest phonetical unit bearing sense. 3. clr "metrical foot". clr corresponds in its function and position within the system to what we know as "foot of a verse", hence this term could be taken over without any difficulty. 4. talai "linkage". This term should be understood in the exact sense of the English word as given by CHAMBER'S 20th Century Dictionary: "an act or mode of linking". 5. ali "metrical line". "verse" is ambiguous, whatbeing used to denote a whole "stanza" instead of a single This term denotes also is often called "verse" in English, too. But as the term line only, we chose to retain the simple but unmistakable term "line". 6. totai "ornament" /"ornamentation". totai is twofold in its denotation: on the one hand it refers to the five different kinds of ornament known to Tamil prosody, and on the other hand it denotes seven possibilities of arrangement of these ornaments within one line, hence seven methods of ornamentation. Earlier endeavours to translate totai by "rhyme" or "alliteration" must be rejected, as the two ornaments muran and alapeiai-totai can't be grouped under them. (Cf. 6.3. , 4) and 5).) "rhyme" is rather apt to denote iyaipu and perhaps

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elukai, whereas "alliteration" may be used with reference to monai, hence, both these terms denote single elements of totai rather than the whole system itself. ILL The transliteration of the Tamil alphabet follows that of the Madras University Tamil Lexicon: \ a <tfc i n 2- 2 ? S ai 3 <& 7) *i ^ ts/ na & ca <5> a L. ta na P ta *p na u pa lu ma uj i/o ? la nj va & la m la *p ra an na This system has one single Latin letter for each single Tamil sign. Hence, stopconsonants will always be represented by one single sign each, irrespective of their actual pronunciation. (The distinction of tenues and mediae does exist in speech performance, but not in Tamil grammatical theory.) There is a widespread opinion, that the whole concept of elullu was essentially different in the phonological part of traditional Tamil grammars from the concept in the prosodical part of those grammars (especially with reference to Tolkppiyam). But this opinion seems to be rather untenable; in fact, the phonological parts of Tamil grammars give general information about all aspects of elullu and the prosodical parts show additions and exceptions from the general rules, as far as they are relevant to prosodical purposes. /7.7.7. yiam is a "phone" which may occur between a short vowel and a following stop consonant. It may be formed by means of Sandhi-rules, representing I or I (after short vowel and followed by a stop consonant), or it may be used in poetry in order to change a short syllable into a long one in places where this is needed. (E.g. ilu becomes iklu) alapetai denotes the overlengthening of one elullu, vowel as well as consonant. In vowe\-alapetai, a long vowel is lengthened further by adding to it the short vowel of the same sound quality (e.g. veri, ulam). In pronunciation this combination becomes one single overlong syllable; yet, in metrical scanning, the a/ape/at'-vowel may form one metreme on its own (cf. below, I I.I. 2.). Consonant-a/apdai is formed by doubling the respective consonant. But this form of alapetai occurs very rarely only. Referring to the "groups of consonants" (cf. above, 1.1. c), it should be noted that vallinam does not denote the phonological shape of the sound in actual speech performance, but rather a general quality of the specific elullu. In terms of linguistics, vallinam represents plosives, mellinam nasals and itaiyinam semivowels and liquids.

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11.2. This rule is relevant mainly to the venp metre (cf. above, 8.), as only in venp the prescriptions for cr and talai have to be followed in a strict manner, whereas in other metres these rules are more open to exceptions. Especially overshort poses many problems which can't be dealt with here, as they demand a thorough and detailed study. Nevertheless, it should be mentioned here, that the dropping of syllables containing overshort is essential for the definition of the different kinds of ali according to Tolkppiyam, i.e. definition of ati with regard to the number of eluttu (cf. above, 5.1.b and 5.2., and below, II. 5.2.). With regard to alapetai, it is often difficult or even impossible to decide whether it should be counted as a metreme or should be dropped. As an example, the second line of MUTTOLL YIRAM 2 is given here; it is one line of a venp verse, hence the rules for cr and talai are very strict. vellantfp palia tenaverip -pullinanla -' J'_ _'l .JO" L b) = Both solutions in scanning the third cr are permissible here. a) = = (i.e. counting the alapetai vowel as one metreme) forms a three-acai cr ending in nr, thus leading to one correct vencr-ventalai. b) = (i.e. dropping the alapeiai vowel) forms a mrat'-ending two-acai cr, leading to one correct iyarcr-ventalai. Some examples for alapetai that must be counted as a metreme will follow here. All these examples are taken from MULLAIPPTTU . nanantalai yulakam valaii nmiyotu nrcela aliral nimirnia putta mal tukotip plap patar

In all these three examples, the alapetai vowels must be counted as one metreme each, as otherwise there would be cr consisting of a single acai only, which are not permissible in the respective places. 11.2.3. Examples for the different possible stuctures of a nr-acai: a (=V) ka (=CV) at (=yC) kal (= CyC) (=V) ka (=CV) l (=VC) kl (=CVC) 11.2.4. Examples for ati kuru anil matal the different structures of a nirai-acai: (=V-CV) ala (=CV-CV) kur (=V-CVC) anr (= CV-CVC) kalm

(= V-CV) (=CV-CV) (= C-CVC) (= CV-CVC)

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11.2.5. As an example for the splitting into nr-acai and nirai-acai, a stanza from KURUNTOKAI is given here. Each line will be quoted first in its original form, and following that, split into the single acai. As a third step, the symbols for the respective acai will be indicated. / ne/ / ne/ imaitfyp imai/tfyp amailar amai/lar amaivila amaijvila panna pan/na kannr kan/nr tnki ijki

kamainiana kamainjlana rkuta r/kuta

ktalar k/talar ne/

II.2.7. The phenomenon of nrpu and niraipu occurs according to the later tradition of Tamil prosody only as the very last cir of venp stanzas. Accordingly, only some last lines of stanzas from MUTTOLLYIRAM will be given here as examples. naccilaivr kkktai ntu nac/cilai/vr //lai ntu (2) kallrll kal/lr/it muraiy murai/ y 6 yurtirainr yur/tirai/nr killi ki/li kaliru kaliru moyttu moyltu yulaku yulaku =+ (23) (15) (1)

venaninrr vena/nin/rr vli v/li

113.2. As examples for the use of acai-cr, four stanzas from TIRUKKUfAL are given here. These are venp stanzas of two lines; the last cr of the last line must be an acai-r. Each one of the four kinds of acai-cr will be shown in the following four examples. marappinu moltuk kolalkum parppan pirappolukkan kka kunrak ketum (593) mikulikkan (134)

milantmen kaittutai poruttanru

rallv yr nattan

oruvanla nakuiar

196 mrcen irappa karapp riiiliar nirapprai riravanmi

ULRIKE NIKLAS porultu yell nenru mirappir (1067) (784)

11.33. and II.3.4. As there scarcely exist stanzas having either iyarcr or uriccr alone, these two groups are taken together here and some stanzas containing both these types of cr (as well as acai-cr in the case of a venpa) will be quoted and scanned. MUTT0LL YIRAM-6 mlai vilaipakarvr killik kalaintapuc cala virpayil porp mikuvalr vdnakam rurantai lanmaiill plum yakam collavin munivinru tucum tn -kalaiy vlvalavan

KURUNTOKAI-6 nallen ranr y aman tinitatan nantalai ryn kinar yulakamun manra luc. mkkal

II.3.5. This example for potuccr is taken from the commentary for krikai No. 9 of YPPARUNKALAKKRIKAI. The first 16 lines show all the 16 different forms of potuccr as their first cr. It must be noted, however, that in lines 11, 13 and 15 the scanning of the first cr must take into consideration the wordboundaries within the cr, so that in these cases nr-acai consisting of one short syllable only will occur, though this syllabe is followed by another one within the same cr. (Additionally to the symbols, the pattern-words for all the 16 poluccr will be given, too, in what follows.) 1) ankanvnat tamarararacarum [lmianpu] 2) vekaliynai [kuvilanlanpu] 3) valivrkunlan [pulimtanpuj vlvniarum makaiyaru

INTRODUCTION TO TAMIL PROSODY 4) kalimalarntik [karuvilantanpuj 5) cikacumania [lmnarumpu] 6) konkivarackin [kuvilanarumpu] 7) celunrppavalat [pulimnarumpu] 8) mulumalipuraiyu fkaruvilanarumpuj 9) vekanvinaippakai [tmnarunilalj 10) ponpunainetumatil [kuvilanarunilal] 11) anantacatuttaya [pulimnarunilal] 12) nanantalaiyulakuta kalalntiraicac maniyanaimicaik kolunilarklc tiralkmpin mukkuiainlal viliveytap putaivalaippa mavaiyeyta navainnka

197

fkaruvilanarunilalj 13) mantamruta marukacaippa [tmtannilal] 14) vaniaratuniumi [kuvilalannilal] 15) vilakucmarai [pulimtannilal] 16) nalakilarpumalai fkaruv ilatann ilal] 17) initirun 18) taruneri natttiya 19) riruvati paravutu ninriyampa yelunlalamara nanicoritara

vtilan ciiliperra

porult

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HAJ. and IIAA. Note: Here and henceforth the different kinds of talai will be indicated by the following symbols : agreeing in nr; ^agreeing in nirai; n disagreeing. In each example, only those forms of talai being under discussion in the respective systematic place will be indicated by those symbols. Example: NARRINAI-102 (quoted after YPPIYAL, p. 57) (ciriya-talai agreeing in nr and ciriya-talai agreeing in nirai). kolukural kuraitla cevvyp paikili = = 4 = _^__^_ = j yaca - - \b ninkurai = ceytal - - \Jj palkl - - I ninkilai - = lmpi yrpata kontu - - \b = / - - mutitla pinrai yenkurai ^ =_^__^_ = i vntuml kaitolu tirappal = /-=(^;= palavin cra lavarntiu - - tf - - / =--/ marukir cri yyi ^ =

nammalaik kilavork kuraimati yimmalaik " =-/==/_= / knak kurauar matamaka - - I ' - I = / tnal kva lyina lenav ' =- /I \b \b - = IIA.5 and IIA.6. These two forms of ventalai are the only forms of talai permitted in venp stanzas, iyarclr-venlalai is always disagreeing (n) and uenclr-uentalai is always agreeing in nr (). As the venp metre underlies very strict rules, ventalai should not only be found within one line of the stanza but also as the linkage from one line to the next. Examples: a) TIfUKKURAL-824. mukalti niniya naka vakattinn ~ - - - = - = - (\ = - <\ vacarai yacap patm b) MUTTOLLYIRAM-lb. niraimalipl \Jj ynaim \Jj mlaltr i/j mran (\ = = - - kulailnra natal laraear liraiko = -A = - h - - A ' liraiy venavan titamperuta linri - - A - - A ~ =-l/j -"- A muraiy venaninrr moyllu =' - "- - A -+ II

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II.4.7. and II.4.8. Example from the commentary for krikai No. 11 of YPPARUNKALAKKRIKAI. (vaci-talai, agreeing ^ and vaci-talai, disagreeing n.) manlnila marukacaippa / - - = = = vencmarai putaipeyartarac - - = '= = - A centmarai nnmalarmicai - - - -* - * yenavn kinili notukiua viraivanai

manamoli meykalin vanakutu makilnt -" --/--"/ - / "// Note, that only the first three lines of this stanza have vaci-talai, the rest of the stanza consists of iyarcr only. 11.4.9. Example from the commentary for krikai No. 11 of YPPARUNKALAKKRIKAI. (kali-talai, always disagreeing.) celvapprk katakkannan ceyirtterinia cinavli A = -"-A = = - A - -"-/ mullaittr maramannar mutittalaiyai murukkippy A - -"- A - - - rf =--/ ellainr viyankonmu vitainulaiyu matiyampn -~ - - A A = = - A =--/ mallaln kelilynai marumampyn tolittat * A - -"- A = - - A = =H (*Note: The first cir of the last line must be scanned with consideration of the wordboundary, as the commentary of YPPARUNKALAKKRIKAI calls this stanza a kalipp with unperturbed kali-talai. Scanning this cr in the usual way ( =) would lead to an ciriya-talai here.) II.5.1. The essential difference between the two traditional definitions of ali is very often overlooked and hence, misunderstandings are created. For the author of Tolkppiyam ali is simply "that which contains four cr". Lines of those metres which demand more or less cr for one ali are described as permitted exceptions to this rule. All the general statements of Tolkppiyam concerning ali refer to a line of four cr only. This fact also provides the logical background for the definition of the different methods of ornamentation (6.4.), which are based on a line containing four cr only, in the later tradition of Tamil prosody, too. II.5.2. In order to understand the definition of ali according to Tolkppiyam, it is essential to note, that (over)short may be dropped in scanning, that is to say, it

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does not have place-value. As an example, illustrating Tolkppiyanar's definition of the different kinds of all, we will quote some lines from Hampuranar's commentary for nurp No. 50 of the ceyyuliyal of Tolkppiyam. irnlu lrnlu crntu crnlu (This line has four cir with together four elultu only; vowelless consonants and -u dont count, hence, each single cir consists of one single elultu only.) kunru kontu ninra mtu (This line has four cir with together five elultu; the first, second and fourth cir are made up of one single elultu each, whereas the third cir has two elultu: nin and ra.) ru cuti niru pui (This line has four cir with together six elutlu; the first and third cir are made up from one elullu only each, while the second and fourth cir consist of two elullu each.) kama cepptu kanlana molim (This line has four cir with together ten elultu; the first and second cir are made up from two eluttu each (the final -u of cepptu being without place-value), and the last two cir consist of three elullu each.) viritiraip perukatal valaiiya vulakamum (This line has four cir with together sixteen elullu, each cir consisting of four eluttu. It must be noted, that the alapetai of the third cir has a place-value here, counting as one eluttu.) amarkani namarkatantavar pataivilaki yetirnirralin (This line has four cir with together twenty elutlu, which is the uppermost limit according to Tolkppiyam. The first cir has four elutlu, the second cir has six eluttu, and the remaining two cir are made up from five elultu each.) II.6.1. It must be noted that, besides the normal rhyming of sounds of the same quality, the following sounds, too, are understood as rhyming with one another within the same group: Vowels: a, , ai, au. i, i, e, . , , , . Consonants: and n. m and v. I and . 11.63. Examples taken from the commentary for karikai No. 18 of BUKALAKKARIKAI. 1. monai: mvum pullum valivayir patara mnir virinta puvu kumpa mlai totutta ktaiyu kamala malai vanta vtai my linnuyirp purallirut tarr (The first cir of each line are alliterating in their first phone: ma. YPPA-

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2. etukai: vatiyrka nrmalka vnporulkuc cenrr katiyr kanakulay knrkol kttul itiyin mulakkaci yrhkavul nlam p itiyin purattacaitta kai The first cir of each line are rhyming in their second phone: ti, while the first phones of all the lines are short. 3. iyaipu: innakat tuvarvyk kilaviyu manank nanm mnic cunakum ranake tamait tli yutalu manank arimatar malaikkanu manank tirunutar poritta iilaiamu manank All these lines are rhyming in the end: anake. 4. muran: irulparan tanna munir marukin nilavukuvii tanna venmana lorucirai irumpi natxna karukllup punnai ponni nanna nunt tiraikku cirukutip paratavar matamakal perumatar malaikkanu mutaiyav lanank Always two successive lines have muran-lotai in their first cr: irul "darkness" and nilavu "light" irumpu "iron" and pon "gold" and peru "big" ciru "small" 5. alapetai: a valiya valavanran parppin Hi riraiyukon tiralaip palliyul tuun tiraiyalaippat tuc tiraivanrl me valaippatta narunutl vulakkun tuyar Each line starts with a vowel-a/ape/. Consonant-a/apea is possible only with the consonants of the me//mam-group and y, v, I, I. Examples: makalam, macu. Consonant alapelai occurs very seldom, and only in poetry. II.6.4. The following examples are taken from the commentary for krikai No. 20 of YAPPABUKALAKKRIKAI. The first example shows all the seven possible methods for elukai-tolai and the second example those for alapelai-totai. The name of the respective methods of ornamentation will be given within brackets at the end of each line. 1. etukai ponni nanna poricuna kniip (inai) pannaru kki nannala kavarri (polippu) minniva rolivatan tki manniya (oruu)

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nannira manmulai minniiai varutti (kulai) ennaiyu milukkan tunnuvit tinnatai (mrkaiuvy) anna menpeiai polap panmalark (klkkatuvy) kanniyam punnai yinnilar runniya (murru) mayilr cyal vnutal ayilv lunkanem marivutolait tanav 2. alapetai tuai tua maraimala rulakkip (inai) kuvalaip iarunik (polippu) kayc cenner karittup p~oy (oruu) mat tan moot lerumai (kulai) lem punalitaic cor pan (mrkaiuvy) mi narn tukalu cir (klkkatuvy) rar ni nir (murru) uran ceyla knmai yvalait tolik kalar ni One more example will show all the seven possible ways of muran-iolai. 3. muran cralip praka lalku lolkupu (inai) curukiya nucuppir perukuvatan tkik (polippu) kuvinlucuna karumpiya kokai virinlu (oruu) ciriya periya nikarmalark klailan (kulai) velvalail cyarik karukanum (mrkaiuvy) irukkaiyu nilaiyu mnteli liyakkamun (klkkatuvy) tuvarvyt tmcolu muvantenai muniytu (murru) enru minnana mkumati ponrikal netuvr porval ly As muran is an ornament based on the meaning of the words, it can't be understood without a detailed explanation here: First line (inai): cir "small" per "big" Second line (polippu): curuku "small" peru "big" Third line (oruu): kuviniu "joined; heaped up" virinlu "spread; expanded" Fourth line (kulai): ciriya "small" periya "big" nikar "equal" Fifth line (mrkaiuvy): vel "white" "red" karum "black" Sixth line (klkkaluvy): irukkai "sitting" nilai "standing" iyakkam "moving" Seventh line (murru): iuvar "astringent" Urn "sweet" / uvantu "rejoicing" muniytu "not being angry". (Note that murru-muran in the seventh line is a sort of "auxiliary construction" only, consisting of two individual pairs of muran, as it will be nearly impossible to find four words that are "antithetical" among themselves.) II.6.5. Examples from YPPARUNKALAKKRIKAI, pp. 53 f. 1) centotai putta vnkai viyancinai yri mayilina makavu ntan nannutar koticci manattakat tn

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2) irattai-totai vilakkinut creri kulakkotlip puvi niram 3) anlti-totai ulakutan vilakku moliiika lavirmati matinala nalikkum valakelu mukkutai mukkutai nlar porputai ycanam canat tirunta tirunioli yarivanav vcanat tirunta tirunioli yarivanai yarivuc rullam taruntavam purintu tunniya mntara lenpa pannaru cirappin vinmicai yulak (All the four possible kinds of antti are included in this stanza: eluttu-anlti (i.e. repetition of a single phone): tu and pa in the last three lines. acai-antti (i.e. repetition of a metreme): mati in the first two lines. cr-anlti (i.e. repetition of a metrical foot): mukkutai and canam in lines two, three and four. ati-antti (i.e. repetition of a whole line): lines four and five. Moreover, ulaku, the first word of the first line, is repeated as the last word of the last line, too, thus forming a circle of the whole poem.) II.7.5. Examples from YPPARUNKALAKKRIKAI, pp. 72 and 78. taiamantu tmaraiyin rt talavan ilamantic celvatanaik kantu -peiaieniu pulik katavataikkum puttur poykalin tiili natyin This stanza is iruvikarpa: the first and second line have -ta- as their second phone each, in both cases preceded by a short phone. Lines three and four have -li as second phone each, in both cases preceded by a long phone. ariya varaikntu kttuvr yr periya varaivayira kontu -ieriyir kariya varainilai yrkynt lenceyvr periya varaivayira kontu This stanza is oruvikarpa: all the four lines have -ri- as their second phone, preceded by a short phone in each line. (This stanza is actually rhyming in four phones over all the four lines: -riya varai-\ however, this is of less importance in this specific context, as the different kinds of vikarpa are defined with respect to the second phone of a line only.) The following stanza is palavikarpa. There are rhymes in the first two lines and in the last two lines, but the three lines that come in between have different phones not fitting to neither of the two sets of rhyme in the beginning or the end of the stanza. vaiyaka melln kalaniy vaiyakattuc ceyyakam nrricaiyin ryankal ceyyakallu vnkarump tonlai valantu vnkarumpin cryan nllul talaiyurkal cratta

204 kalliy tnrra nrrn kaccip maya kacci

ULRIKE NIKLAS puramell carukkarai yakam kattiyul mmaniy

II.7.6. Examples from MUTTOLLYIRAM (poems 3, 16, 37 the first two lines of each poem only). nanti nilacinaiyum punnaik kuvimolium panta rilakamukin plaiyu -cinti (Here, the taniccol -cinti rhymes with nanti and panta) ninrimin mannlr nerunar riraikonarnlu munranta mannar mutitkka -vinrun (Here, the taniccol -vinrun rhymes with ninrimin and munranta) vnirku vaiyakam pnratu vnatlu mnir kanaiyr maramannar -vnattu (Here, the taniccol -vnallu rhymes with vnirku and mnir Types and subtypes of verses The examples for the different types and subtypes of verses are generally taken from PPPVINAM (henceforth: PPI). A few examples will be taken from CITAMPARACC'eYYUTKVAI (CCK) and from Cakam literature. In all the examples that follow, acai, cr and talai will be indicated by means of the symbols introduced earlier (cf. 2.6. and 2.8.; II. 4.3. and .4.4.). VENP. II.8.1.4. PPI 1: kural-venp; oruvikarpa; olukicai. lirumakal prmakal tennarakan verpil = = - = - [b - = - - - A varumakal yarvim mtu = = - ----+ PPI 2: kural-venp; iruvikarpa; olukicai. mta rilavitalpn mnpirr mtavanl - - <\ = = - - - - - = - vn raruntu maruntu - - A -+ // (According to the later tradition, metremes of the types nrpu and niraipu do occur only as the very last cr of a venpa; that's why the two last cr have been scanned in different manners here, though being of the same structure.) II.8.1.5. PPI 7: nricai-venp; iruvikarpa; olukicai. nvalavan pinpnla nannrl tiruvaraka - = ------/\ = = kvalanpor rl kamalatt -pvalartam - = -\])--/\=-- - = -

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pmlai cutttap pmlai yaiyevan ---\Jj---\Jj---\Jj - = - im niiarkkalikku clpu A '= =' - \b -+ a The taniccol at the end of the second line (-pvalartam) is rhyming in the second phone with the first cr of the first line as well as with the first cr of the second line. In the following stanza, the laniccol will rhyme with the first cr of all the lines, as that poem is oruvikarpa. PPI 6: nricai-venp; oruvikarpa; olukicai. ulaku pukalarakai tuttamamey nat = - A ="= - - - - '- A tilaka rutanpayinru cenru -pulavr ' = -A = = "- \b -"- A = - A nilamicaitln ttti netum lumakkun = = -<--'='-= - talamicaipp rinpan tarum = = - -' - A = // IL8.1.6. PPI 12: innicai-venp; oruvikarpa; olukicai. kvalarpr kvalarpr ktan kamalananlai = -{[) = (b - A = \jj kvalanaik kvalartuyk kvalenak karrunarntr - = -- = -- = -= - \Jj kvalan kvalan ktiiyenak kanlurru - = -\j)- = -\jj- = - - - \Jj kvalak vennr kalar -"- A = H PPI 16: innicai-venp; palavikarpa; olukicai. kannanarul parrrnan kalviy celvamenak - = ----- = - = - koll viraia kurikkolpa vrucilar =' - - - A - - A tkkolaiyir ceyporul celvamena ninranar - = - = - \Jj - = - \Jj - = - lenn yulakiyarkai yen --- A = = -_ - il Note: innicai-venp of iruvikarpa-type do occur, though they are not very common; hence, we have refrained from giving an example here. II.8.L7. PPI 23: nricai-cintiyal-venp; oruvikarpa; olukicai. kl tiruntiln kcav venpatanai -'- A = =" A - = A -' = '- vl tiruntiln vlttin -nlnrk =' -'-A = A -' = A - '-' - kln nenninaiyi kr --- -"- - I/

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ULRIKE NIKLAS PPI 24: nricai-cintiyal-venp; iruvikarpa; olukicai. tiruntilaiyy \J) mran A riruvuy A moliy A = - ~ ~~ ~~ = ' ~

maruntupira vippinikku mlar -tarumpinikku = = -\Jj- = -\Jj--A=s = - \Jj vuntamarun tenpr mtal - - - 4, - - // PPI 25: innicai-cintiyal-venp; oruvikarpa; olukicai. valimatuttr mran (\ manivaraimn mtar ^ =' = - -= = - viliyeluti nluminai verpeluti nlu = = - \Jj = \Jj = -\Jj--/\ moliyeluta -"-' lmo moli - \h - - <\ - // PP/ 26: innicai-cinliyal-venp; iruvikarpa; olukicai. clai malaiyalakar lnmlai kmurumun - - (\ = = - - - - yjj - = - vaikaraiy yalkiravin mlaiy \b ymany - - =(\~'=-(- = - rennnt lilia levan -" --- - yb '-- A // II.8.I.8. PPI 20: pakrotai-venp; palavikarpa; olukicai. imiltiraimr lat tiruliriya vnryn = = -^--r^ = = -^-A tumilkatirven linka lulanye nrum = " - - - A = \jj - A valacey cuvana vatavaraipn mtm -" = - A ='- A = -'A polacey malilko puracikara panti = - A A = = - - - A yilaku melilarakal tempirn palpukalaip - A - = A - - \b ptinr ptamalar ptip panimutimr A - -A = - cutinrk kunt luyar -"A -"- A - II There are three sets of etukai-totai in this stanza: line 1 rhymes with line 2, line 3 rhymes with lines 4 and 5, line 6 rhymes withe line 7. PPI 21: pakrotai-venp; oruvikarpa; olukicai. tantuly mrpan valamalaicr lanpuravin -= A - - A = - \b = - \ vintul -" yoki milaikokin komparula = A A = - - - - mantuk rukka kuruntivalai vantalavan A A = - - \jj = (b

INTRODUCTION TO TAMIL PROSODY kantuk -" renru katukkai yuianmalartal " - - A = A -""- A panluna -" klvar paruva kurittatenak = - A = = ^ -'- (\ kontateva -" nannece kuru - - \b -+ II VENPVINAM.

207

IL8.2.2. PPI 29: kural-vencenturai. perunul pirapala karpalin = -r^ == ^-=" -"- norunul ' karpa tutiya muyirkk = - - - & = -// The second line of this stanza doesn't show a single ventalai, but only ciriyaialai agreeing in nr or in nirai. Moreover, the last cr of the stanza is made up of two acai, which is forbidden in regular forms of venp. CCK 29: kural-vencenturai. cempon vynta celumani manrat - tampon mruvuk katimuti yinr

This stanza, too, has more ciriya-lalai than venlalai; the last cr of the poem consists of two acai. 11.8.23. PPI 30: kural-tlicai (type 1). antar nyaka narakana

tatittali

ranimuti

micaipunai tuyr

=' = mantu \b tentiraik katarpuvi -"-"= yitaippira A vre = - - = This stanza has mostly ciriya-lalai] the last cr is made up of two acai. PPI 32: kural-tlicai (type 2). ampuya mtn puruml malarppatan tampamen - ~ A ryntilr A tarma meytr// ~- = - Only the last linkage of this stanza is an ciriya-talai, all the other combinations being of the iyarcr-ventalai type; the last cr of the stanza has two acai. PPI 33: kural-tlicai (type 3). puravalarni lrlamakkup pumakalkn rirunaraiyu riravalarik kmam yaman "/

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There are two kali-lalai in this stanza ; the rest of the stanza has the features of a regular kural-venp. IL8.2.4. PPI 36: ven-tlicai (type 1). untik kym nitarp ruraiy -"- \b - - A ' - A = - \b rantat tapp lant matln - - - - \Jj - - \Jj rontark ktcey pavar This stanza has mostly ciriya-talai agreeing in nr, besides iyarcr-venialai. PPI 41: ven-tlicai (type 2). vnm caravaluitum vca makillimal - - A ==\ A = -- \b tanm caravuraitta iantamilpp vinrrr - - A = = - \b - = - \b - - - \b vnmvi -lenrariv rr ^ _--= _ - valiyarvy vnatanka vcavaku lmpuyatt -== - \Jj \Jj ={[)- = ntiyanu lonrilaiy luilaman ryanan -=-(b- = -\lj-= - - = - \Jj ytimuta lenrariv rr - = - \b - ~ - II kont rilanciyantrk kmn kurukurul - A = - - - A = --' vanta A taritturaitta vantamilpp - = - ^ - = = - = vonrilaiy lantma menrariv rr \b - "=' - - II All these three stanzas have perfect venp forms and features; what distinguishes them from regular cintiyal-venp poems is the fact that here only all the three stanzas together form a full poem and that all the three must deal with the same topic. IL8.2.5. CCK 35: venturai; oruvikarpa. paracirukkun tamilmuvar pttirukkun tirumanrir paracon =' -- (\ = -"- (\ . -- y = -A ^ -"rnti A - aracirukkum perumnrk ktceyy renceyvr = = - A = -~--'---~-- muracirukkum patainamanr munnku mannl -"-- = = - A =" - -- // This stanza contains some features that are not allowed in regular uenp-poems: kali-lalai and ciriya-talai agreeing in nr; the last cir is built from three acai. \Jj

INTRODUCTION TO TAMIL PROSODY

209

11.8.2.6. PPI 34: veli-viruttam; three lines; oruvikarpa. muv maraikku muianmoliyy ninratuvu -mukunianma = - \b - - A = -A = ' = - -" = - A mv namanvan lalakk tolippaiuvu -mukuntanman - - A = 'A =' - A = = - A = = - tvta prinpan tanaivilaivr crruvatu -mukunlanmam = = - - - A = ~= - -" = (\ /I PPI 35: veli-viruttam; four lines; oruvikarpa. - nr A yanan = '(\ nararpr = -A pukala A -tarulkurvy = '="- pr A yirav A pirari A nayav -= = = -A -tarulkurvy ="-kur liuan namanr kuruk -larulkurvu =' - A - - A - '- A - - A A r A vamutan A rarulvy A pirav A = = = CIRIYAPP. II.9.1.4. KURUNTOKAI 2: nricai-ciriyapp; five lines; olukicai. konkulr vlkkai yacirait lumpi -=A--\b-= A - - \b kman cepplu kanttu molim - \b - -' - ^ = - A payiliyatu keliya nalpin mayiliyar = = - A ="= A -'-'A = = ~ ceriyeyir = = " ^ rarivai f\ kuntalin "= = ~ nariyavu mulavn yariyum puv == ^ =__^ ^ - - I/ Besides the two types of ciriya-talai, there occur iyarcr-ventalai, vencr-venlalai and kali-lalai, too. Normally, an ciriyapp will end in -, which underlines its character as "calling" or "adressing". One more example: KURUNTOKAI 97: nricai-ciriyapp ; four lines; olukicai. yn yntai yn yennalan - - - ) \b = - n nyotu kna lakt -~- - = A -'- -'- A luraivan rn = -' ~- - - - maraiyala rki manral takte -' = = A -- -'- II.9.I.5. CCK 43: inaikkural-ciriyapp with alavali, kuralati and cintati. tannen katukkai kannr kalullara -"-'A = - -"-A - " = A -tarulkurvy // =--

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ULRIKE NIKLAS venmatik -' kanni cutum A -"- -'- kannutar -' ' kalavul = -' = ' punniyap ^ poiuvi /) pukala ^j, liraicutum - = = - = = = vin'micaip pkiya vliuperra porutt = ^__^_=_^ _ _ a

II.9.1.6. KRUNTOKAI 18: nilaimantila-ciriyapp. vral vei vrkt palavin \Jj (b A = - \Jj cra ntan cevviyai ykumati '-'-' - A - - - urak tarinlici nv crar -- (\ = A \!j -- A cirukttup perumpalan tuki yakival = -"- A = A - - \b - = ' uyirtavac cirilu perit = ^=-^- = ^=-11 H.9.1.7. PPI 72: atimarimantila-aciriyapp patikali nalipati lirumakal patiy = =^ ==^= = ^ = - (\ iulikali nalipali tamilmarait luiiy = = \) = = ^ = = (^=-^ matikali natipali mranun matiy - = ' - 1 - - rf = - A natikali natipati varacura natiy = = ^j, = = ^ == ^ = - i/ As the definition of this kind of ciriyapp is very much based on the contents of the poem, stating that every line should be complete in itself, it seems necessary to give a translation of this stanza: "The supreme Lord among the Lords is the Husband of Laksm." "The supreme one among the Hymns is the 'Talmilveda-hymn'." "The supreme one among the intellects is Mran's fine intellect." "The supreme one among the rivers is the river 'Varacura'." CIRIYAPPVINAM IL9.2.2. PPI 77: aciriya-llicai (type 1). irunila muvati yenavalarn tokiya = = A-= = = A = ^ lirumaru mrpanaic cintaiyul vaippava = = A A---\b--= rorupolu iinumila ruruvaion rilar

INTRODUCTION TO TAMIL PROSODY PPI 76: ciriya-tlicai (type 2). kacal tiruml kalalparavu mranr - A = -A = - - - A cecor riruvy moliyunarnta clallr A = - A - \b vacap piravi valaippat tulalr -' - - A - - A = A '- --// yal takum latiparavu mranr A = - A = = - - = A

211

nyat tiruvy moliyunarnta nnalir - - A = - A == -\ myap piravi valaippat A'tulalr -- A = - A = = II tanlik A karunmlpor = --^-=-^-= ralparavu mranr (\ cintit iuraittatiru vymolilr cirkunattr - A = = - =- \jj = - \b vantip piravi valaippat tulalr - - A - - A = - A '= --H II.9.2.3. PPI 78: ciriyatturai (first, second and fourth lines are kalinetilati; third line is alavati). alaipayilpr katalkataintan ramutalitta tiruvarakat tamutai yllun = = -A = -A -A = = - A = - A kalaipayilvan lamilkkurukur makilmran varaiyanaiyr kalpa tntfr - = - - - A A = = - \IJ- -A mulaiyenumn malakkalirrin munnirutti vinaiynaik - A = = - - = - A = - - A kolaipayilvl viliputaitla taranilaiy varanilaiy kuru vr =~ = = -A= = - A = = - A = - -'- \b //

II.9.2.4. CCK 54: ciriyaviruitam with four equal lines made up from eight cr each. aruvarukku mulakavl vataka nttlrk knantap peruvlv = = - A = =<^= -\j)--(i)---A=-- mtal ktta -'- - - A maruvarukkan mativalivn yamnan rnr mannenumen = = -~A = = -A = - \ = -A vakaiyuruppin vativu konta -A A oruvanukku moruttikku muruvon rlav vuruvaiyik = = -/i= - - A -- A = - - A lorultanenk vorutti yenk = = - A = - - - A

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ULRIKE NIKLAS iruvarukku murittka voruva renrr iyarcolila - - - - - A -"- A = '= - A teninyunmar -"-"-" rencol kn -"- -"- //

KALIPP. In this and the following chapter (KALIPPVINAM), cr, acai and talai won't be indicated as there exist nearly no restrictions for these three elements in the kalimetre. Stress will be layed, on the other hand, on the six elements of kalipp, which will be named and explained in square brackets [ ] each in its systematic place. IL10.6.1.L PPI - 92: nricai-ottlicai-kalippa. [taravu, made up of six alavati]: klla kulirulirai kelukatanmur rakanlai tlla micaipavala varuvaraiyu karuvaraiyun tamavenav kamaittalolir ranmaiyuta norutalaiy yematematen retirunarin nuyircekuttt iirunkkir kalaicivanlu variparantu kavinperuur kulaiplnta valipuraimn matarmalkkan malipuraiv narunuial [three llicai, made up of four lines each]: itantaluvu kunicilaikkai yikanmaravar loiukanaiyo iulanrelilon cularvalivr kunavla loruialaiyr rotarntelunin ramarrcen pakamran runaiyaticr titan laluvun tatiyarenat teralarunan karuluvan vttnait turumaravar vayiravalar pilamperikai kttnai yutanvarilen kurilaiv lavarmrpir rittnai vinaiyalippa numarrriv viyatulapat tttnait tolumran ronlarinan karuluvan kulirmaliv nakaturicu koliltrin kuluvinolu molitikalvan pataimarava rutanrelilvain nutivlr kalipayihen tolilpuriva numarlvan karunca nalipayinan makilmara natiyarinan karuluvan [taniccot]: enavnku [curitakam, made up of four lines and built as a nricai-ciriyapp]: kanuti kanuti kanaliter kelinun tnuvi nilaitava rinunlava rvurai kunrucul kurmparar kotuneri yonrun yalukaa rurale kutiy IUO.6.1.2. CCK 58: amptaraka-ottlicai-kalippa [taravu, made up of six alavati with an additional invocational line at the beginning]: plaimr plaimr ticaimukanum puyalvannap pannavanum

INTRODUCTION TO TAMIL PROSODY kmannu purantaranu katavularum putaineruka irukttuk kitaintavitu kitaiyavarpal lniicaippa orukttu malakaliru milankvu mutanpta amponmani matirrillai natarca nanimarukil cemponmanip polantintrt tiruvulp piunkl [three tlicai, made up of four alavati each]: priita pranta cirupanti kolappeytu vrittan punarrucu mlukku mlceyvr vrittan kulalrkai valaikolla vilainiy puriitu vnkuvanum puyamenpr cilamiar conmlai totuttaninla tontarkkut lunaivary nanmlaik kulaliyarp nallirulir celavallr panmta ruyirkollal paliyanr pakaikollum vinmra nuyirkonta vilikkenpr cilamtar akamalan mulaillalaiy palikkalan vaiyamilum makaiyarka nalakavarvn palikkulalu mlavaiir lakalaria kiyamummaip puramanr talaiyanpin nakaiyartam puramumaiu nakaikkenpr cilamtar [amplarankam, first part: pren of 2x2 alaval]: arukalai kavarnlun ralikkap perranum irukalai yiniiemak kenpa rrcilar nannira kavarntunr nalkap perranum ponnira minitenap pukalva rrcilar [amptarankam, second part: alaven of 4x1 alavati]: irinai nkkiy tirivar circilar rinai nkkiy yeluvar circilar trinai nkkiy talarvar circilar marinai nkkiy marulvar circilar [amptarankam, third part: ilaiyen of 4x1 cintat]: nalanalintu nirpr cilar nnturantu nirpr cilar kalanalintu nirpr cilar kankalulnlu nirpr cilar [amptarankam, fourth part: cirren of 8x1 kuralati]: ptu vrcilar. tu vrcilar. paravu vrcilar. viravu vrcilar. valu vrcilar. iu vrcilar. makilu vrcilar. pukalu vrcilar. [lanicco\: nkorucr [curitakam, made up of nine lines and built as a nricai-ciriyapp]: mulir vilamulai malalaiyan tmcol makai marriva nakulak koluntu kanakulai yavarotum vanakina nirpac crntatu mkalai nekilntana tlvalai cntamu karinlalu laralamun lnlana

213

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ULRIKE NIKLAS ivv ryina lival cevvitin mpar puvin mullaiyu mukailtila ilaiyl clavu mamma muliyl plu kma

IL10.6.13. PPI 94: vannaka-ottlicai-kalipp [taravu, made up of six alavati]: pumtu nilanmanippun poliyavilpon nitalppunitat imulai narukalapa cerimrpat titaimuyaka valapparitm pakirantat tappuramu makattatakki yulappilila katirutayat tolikilarp ruruvyu nannarakat tanukkatoru nayantanuv kiyumolilkur iennarakat laravanaimr relintirukan valarntuly [three tlicai, made up of four alavati each]: orucutara corupamuta nurupamamain torucutar lirucularyk kunamorumun renalki muraimuraiy pataippataiyu malippataiyam purampokkip palipirak titaippatuk valaininaten retuttateva narulutiy ninranav yiyakinavdy ntiyapal luruvaliltn ponriyan leluntaperum punarpalinla vuyirkalainl yemmn tiruvutarat tiruttiyak varkavarmr kaimmran kevanmun kaikkonta tarululiy purampayinra vinaivalicr pkkuvara vinumpiriy tarampayinra tanuvulat latarkavarrai yeluttanaiy yunnrmai yarranamyn iurunarakir pukuvaturik kannrkon lakanrakalk kvaleva narulutiy [four arkam, made up of two alavati each]: laraniyu levarotu muraniya peruvira liraniyan varanenu maranara vikalinai orupatu ciramula nirupatu karamula nirulana tuyarmicai porukanai cilarinai maraiyava riraiyava ruraivayin vatuvurai paraipala nuyirpuku maraikala linaiyinai mutalaiyi nitaruru matamalai matuvinu lutavuka venumurai yatanotu mulavinai [am ptar akam, first part: pren of 2x2 alavati]: vacanaiyr valiveluttu mlulan maraipayinra kacanaikkoti rurakcan katumporaiyait tavirttanaiy kurukulallr nurruvaraik kurruvant tiniliruttit tarumanmuta lavarkkavani taniylak koluttanaiy [am polar akam, second part: alaven of 4x1 alavati]: kaliperukar pinaltai kaliyma yaintanaiy valipatuntu tanumki matakklai cumantanaiy tatipntan ranakkaliyt lamaniyan talittanaiy vitikntar kulappilpala vlamavai kontanaiy

INTRODUCTION TO TAMIL PROSODY [ampotarakam, third part: itaiyen of 8x1 cintati]: ttakai yutaluyir pkkinai ipatan manalitar nkkinai niaka likaipali trttanai ncamul lavanotu crttanai villinai mitilaiyil valaitianai melliya lilamulai tilailtanai vallara vatalketa natittanai marutinai mutalotu mutittanai [amptarankam, fourth part: cirren of 16x1 kuralati]: urittayirkat lunlanaiy nvalanpin naianlanaiy uralitaikat tuntanaiy natittanaiman natanlanaiy maritlunirai kilanaiy kvalaril liruiianaiy valakinaiyai kiianaiy klviiaiy liruiianaiy kuianalamun ptinaiy pullinaiv yilanlanaiy kulalinirpan ptinaiy puranianaip ritantanaiy paiarcakalam potittanaiy tellamuta kaiainlanaiy pakaiiumarup potittanaiy ivarulan kataintanaiy [tanicco(]: enavnku [curitakam, made up of four lines and built as a nricai-ciriyapp]: inaiyatan maiyav mennaru kunatli ninaivaru kva nikaltiinai yatan ninnatu karunaiyu nyu manniya tiruvutan. vliv liyav

215

IIJO.6.2. Note: In this example, acai, cr and ialai (with restriction to kali-lalai only) will again be indicated as they are of great importance for the definition of this specific type of kalipp. The last line of the stanza is built like a venp-line, having three cr only and ending in an acairccr. Moreover, this last line has venlalai only, whereas the rest of the stanza has a predominant kali-talai (as indicated). This predomination of kali-talai is of greatest importance, as another kind of verse, being basically similar with venkalipp (having many alavati and ending in a cintati with yenp-features) but having a predominant ventalai, belongs rather to the venp-metre and not to kalipp and is called kalivenp. PPI 105: venkalipp ponnelukun renaccerintu minnenal kulirmatipn lalirpuraimel kutaticaivn nalalpunaiv A nunukitaiyav rolirvalatiak laliccuvatun kalircurukkik iuvarenr / pulaillelumen vypuraiyun komalappu talarntanavey kotitlri larramprt / pulakamulai tunaimenrt kompann ynenrr notumaraint tralaippar /

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ULRIKE NIKLAS ponpunaipun manimrpir puravalavin riruvru = -' A milvaiki -"narunlcen = - A ' nankulattem -"--./- = A = linaiuarunli / maraiyatalir - << 7 ruyilamarntu -- 6 vaikaraivyt - ^ tuyileluniu

viraikamaltr makilmran meuttamilccor kurukurin = -- -- - a " a = = /- a / muiirtiraipp lliuinvn = -/-=-- A mukaturicu A mutauakirik A = '= = -katirvarumun crtal katan 63: iyarraravu-koccaka-kalipp. (Here, too, cr and a/ai will be indicated in order to show clearly, that this stanza is built mainly from ky-cr and with kalilalai): atikonia kunippanr yaripirama mulalnr = -"- A = -""- A = = - A - -- A mutikonta talaivanakkin kunippell muraimuraipyk = ~ A A ~ A = A katikonta polirrillai natarcan kalarklir --" - " - -"'- A ="-- A A r^ kulikonia patiplu milatllir kucitam = -"- A = -- A = -1 /-=-// 64: curitaka-taravu-koccaka-kalippa [laravu]: mallnta liraiinit iulymuialu maninvir collnta maraimutalum palamkut tolaiveyta pallnlu calaccell vilaiyrum panippeyla allnta nalliruli lalaltun tolilinaiy [tanicco\: atanl [curitakam, made up of six lines and built as a nricai-ciriyapp]: palpe ruli cellinu malikat kollaiyu cella lku mkalin alavil kula malakkanur rulalumen talarvu nkky plu. nkkin karunaicey larul yallai arunalam palutta vtalval ly II.6.3.2. No special example is given for the first type of taravinai-koccaka-kalipp, which consists of two taravu only, without any other elements. CCK 65: laravinai-koccaka-kalipp (type b). [First taravu]: kulaituku kalaimenrt kmri kolaikkankal ilaituku mulaikkanvait tyeyt nneyta

INTRODUCTION TO TAMIL PROSODY ulaituku kuyilnka vurumult malaituku polirrillai manimanru nataceyvoy [Second taravu]: mnrrin ruvacalln ranituca vililiynin nrrin ruvacam vatalrri nurtiy knrra painklin kavalamk kanattinkan vnrra pakirantam vymatukka vallat [ianicco]: enavku [curilakam, made up of four lines, and built as a nticai-ciriyappa]: paintuly mavulip pannava nuvappa anianar paliccavu maraitin pukavan muniyn munivan plum anaiya tanre ynrr kaian .10,6,3,3, CCK 66: cikrlicai-koccaka-kalipp [taravu]: maraiiaku tirumanri nalakaniu makilpuiiuk karaitaku patavarava mimaiytu kanvilippak kuraitatku kalainiraiyir kolilaikku kollenru niraitaku talaiyuvavu niramplu nirappeytum piraitaku cataikkarraip perumparrap puliyury [First lanicco\: enavku [First tlicai]: vellerukku karumpmpum ponmattu milaicciyema lullirukkum perumnin rirumrpi nuravaluttum kallirukku kulalumaiyn mulaiccuvattaik katuvotukum mulleyirra karaiyarava mulaiyenru nulaiyuml [Second taniccol]: atdanru [Second llica]: cilaikktu porumaruppir pukarmukanin rirumrpil mulaikktu porucuvattaik kanlunin. mulavuttl malaikkli vilaiyium paruvaliu marrulian kolaikktu pattavenak kulaintumana kalankuml [Third taniccol]: atanru [Third tlicai]: vilamrnta cutarilaivl vitalainin manimrpil vatamrnta mulaiccuvattaik kantutan maruppentai tatamarpam vitarceyyac camarceyln kollenru katamrve kavutcirukat kaycuranai viyakkuml [Fourth taniccol]: alanl

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ULRIKE NIKLAS

[curitakam, made up of three lines and built as a nricai-aciriyapp]: cilaimuka cillarit tatakan mulaimuka kotlina nakuml malaimuka kllunin marpuya marainl II.10.6.3.4. CCK 67: pakrlicai-koccaka-kalipp [laravu]: orunkkam pakalceyya vorunkka mirulceyya irunkkir rolilceytun tuyilceylu milaittuyirkal karunkk uakaikarunaik kannkkan ceyunat iirunkka varunkka mirunkkun ceyacceytu polirrillai manimanru nalanceyvy [Six tlicai, made up of two alavaii each]: kalikamalap purvaivaillu kannanr knnin atikkamala mulikkamala mariyi maritum mutiolilin mularroliln mutiyilantn ranaiyikalnta altolilir kenirramiy mariiolirkum vallam irukkla mittuminnu munartu lentainin tirukkla miymunarntu ciniikkak katavam nnmaraikkun turaikanlr llilantr nvilantin kunmaraikka maraippunl muyltunarvu periyam tmatikan marantumarit talaikontr kalaivalla mmatikal ymatikan maravmai yutaiyam palakalaiyu kulamaraiyum payinrunarntum payankoll lulakalaiyu cilakalaiyu munarl munarlum \lanicco\: aianl [curitakam, made up of three lines and built as a nricai-ciriyapp]: ammanin ranmai runartar karit yelit ydlal perit karunai ciriy mli IL 10. . 3.5. CCK 68: mayankicai-koccaka-kalipp [Two taravu]: cunmukatia curimukaka niraitirppat lotukalalvy vnmukatla malaikkulakan maripunalvy matuttennak knmukalta matukaraltin kulamntik kaiimalarvyt tnmukakkum polirrillait tiruccirram palatturaivy purputamun tolaiveyta nilaiveytp pulaiyutampin irputavu tirantirav vinpav leytavoru narputavu iiranlanna narumpoluvi nakaiyulan arputavu mnanta natampayilu maravykl [Six tlicai]: evvitalli lepporulu morukunna virukkunl vevvitaltai yetuttamutu ceytatumr viyappm

INTRODUCTION TO TAMIL PROSODY enpayil vulakataka vorunotiyi leriltilun vinpayilu meyinmunru merittatumr vrm peruvellap pakirantan larittitun peyarttumalai poruvellap punarkakai tarittatumr pukalme myaiyin lanaittulaku mayakkunl mmunivar cyilaiyr cilartammai mayakkiyatr cirappm mtakka puvanaka tolaittilun vekuntypl miakkan peruvlvi iolaitlalumr vanmaiy ruruvy niraintan yiruvarkkan runarvariya pruruvon rutaiyaiyy ninratumr perumaiy [arkam in four parts]: arivini laripava rarivatai yalatoru kuriyini larivuru kuriyinaiyalai ulavayi nulavala vunarvatai yalaturai alavayi nalavitu malavinaiyalai aruveni nuruvamu mulaiyuru veninaru vurumavu mulaiyavai yupayamumalai ilateni nulatula ieninila lilatula ialaleni ninaturu varipavarevar [Six tlicai]: ettolilu karanaka lirantaninak kilayainlu meyttolilcey vatumatikl vilaiyttu nimiliam crllu ninakkilaiyac crllun cirumarukur prtti vilaiyttun peyarttki nataniat meytluyara muyirkkeylum vilaiyttu mulaknra attiruvuk kilaiyatuvu mavarporutt yumanr innarul mannuyirkat kettolilu mnretutta annaimuni vatuntanayark karulpuritar kyanr evvuruvu ninnuruvu mavaluruvu menranr avvuruvum pennuruvu mnuruvu myav cinnal tavalillai yavalal nyillai ennin yyavanu mavalumu yiruttiyl [laniccol]: atanl [ampotarakam, made up of 8 kuralati only, hence containing cirren only]: tantai n. n. tamaru n. piraru n. cintai n. unarvu n. cva n. yvu n. [tanicco(]: enavnku [curilakam made up of five lines and built as a nericai-ciriyapp]: necaka kulaintu nekkunek kurukanin kucita carana macalit tiraicutum

219

220

ULRIKE NIKLAS

mummalam potinta mulumalak kurampaiyir cemmn tiruppatu trntu meymmaiyir polinla vtuperra porutt Note: No special examples will be given for the three subforms of mayakicaikoccaka-kalipp . KALIPPVINAM. ILll.L PPI 113: kali-ilicai (type 1). typon rulakaliila iacaimul verpanaiyy cypn roliyutaiyn cekait lalaitlu cypn roliyutaiya kontilanen cittirattl vypn rinivailen colli maruppan vinaiyn PPI 1 12: kali-ilicai (type 2). neyyamar vela netuma larakattun naiyarik kanniyai yren vinnu mariyenyn cecutar vela lirum larakattun nacanak kanniyai yrena vinnu mariyenyn cempuka vela tiruma larakattun nampamar kanniyai yrena vinnu mariyenyn II.11.2. PPI 116: kali-iurai. alani vtara nilantulr yvare ynu mitani lritai panipava rmenan meyy yutani liavy limun pirinari yurunrp pataru mkalir reruttatyk kalittatu pynte 11.113. PPI 119: kalivirutlam. (Note: As cai is playing an important role in the definition of this specific metre, cr and talai have again been indicated.) araiporu lamUiaru maniyail truvai valakkapi laiyinai nkinaii ~ = A - luraitoru culitteri iokuii prkala = = ^)= = ^j) = \jj = 4L) niraiyamil tuyirttapal valani karkkum = = ^L) = =|^==_^=11 This stanza contains only iyarcr, hence there does not occur even a single kalilalai, but only ciriya-lalai ( and "w) and iyarcr-venlalai (n). >b II.1L4. CCK 74: kalialai-kaliliurai (cr and lalai indicated). karumpu curumpu marumpum porumpalaik kmarvilvl --A--A--A = = A 'A naraimarai

INTRODUCTION TO TAMIL PROSODY

221

irumpu karainturu kacceyyu mlirum putitanr = -A = = A---\Jj-= = - - A virumpum perumpuli yurempi rnarun mviloru -" = A = A = = A \b A turumpum pataittalik kummaki lntat lokuiiyaiy = A = = A = A -"- A = = - II Note, that this stanza is not strictly following the rules: the first line doesn't end in a ky-cr, but in -; the second and third lines have as third clr a -cr each instead of an iyarcir. Note: No example is given for II. 11. 5. VANCIPP. II.12.1. PPI 126: vacipp (cf. 12.1.3.). paimporkunr panaiyilavanamulai - - '- "- I -' = = A yamputtunaiy yarimatarunkan - ~ = - I ---'-"/ kunicilaiyiranl kotunanpuruvam panimmatiy palitrnanmuka = '- = -/ = - - = ^ koliytalaritai konmuvkula -' - --'--'- A A ltaravinpata A mmkatitatan - = - = - - = =A kntalantunaimala ravaiykaiyum - L == & = - - - i puntaliranr putaipeyarmellati -=-"-/='= = A nanp patarpukal rutarivan mran polil parukucan tokaiya titane

VANCIPPVINAM. II.12.2.1. PPI 127: vancittlicai. naraimakil nurainaka rtavar maraimoli ninaitoru nirai ialrum tirumakil mura narunaka rtava

rarutalai ninaitoru murukumen niraiy ponmakil nankai rtavar munnurai ninaitoru mennirai yilav

222 II. 12. 2. 2. PPI 128: lanlamil rankm nanpura kantuyi MARUTP. vaci-turai. mran kurr vrr lv

ULRIKE NIKLAS II. 12.2.3. PPI 131: vacivirullam. kontur tirumakil mrpinar ceni maraiyati crpavar iant valamurai nrana nant mantanai ylvar

11.13. PPI 132: maruip. vynla makilmran mlvaraiman kannimaikku mniakalu nrmen mukaivtum -puntalirk knilam patartalu kantana manila makal yanakalan manan (The first two lines of this stanza are built as a nricai-venp, having ventalai throughout; note the e/uA-at-rhyme in the first two lines, including the taniccol of the second line: -y- in vynla doesn't disturb it!)

INDEX This index is mainly based on the first part of this work only, as the counting of paragraphs in the first and the second part is synchronized. Hence, a reference to the first part will be relevant for the same paragraph number in the second part, too, as far as there is any "illustration or annotation" on that paragraph. Only in case a term was introduced in the second part or some very important additional information was given there, direct reference to the second part will be made. 1. Tamil Terms The order is that of the Tamil alphabet according to the principles of the Tamil Lexicon of Madras University (i.e. vowelless consonants precede consonant-vowel combinations; ytam [] precedes all other consonants). Many of the compound terms have been given in a form with sandhis split, for the sake of clarity. In these cases, the correct sandhi-forms are included in the alphabet, too, with a reference to the place where they are actually found in this index. akaval-cai, 7.7., 9.1.2. akaval-lullal, 10.2. akaval-lukal, 12.1.2. akavarcr, cf. ciriya-cr. akavarrullal, cf. akaval-lullal. akavarrukal, cf. akaval-lukal. acai, .I., 2. acaiccr, cf. acai-cr. acai-clr, 3.2. , 3.6. ati, 0.1., 5. alimarimantila-ciriyapp, 9.1.., 9.1.7. anttittotai, cf. antti-totai. antti-totai, 6.5. amptaranka-oltlicai-kalipp, 10.6., 10.6.1.2. amptaranka-orupku, 10.6., 10.6.3.5. amptarakam, 10.5., 10.5.4. arkam, .5., 10.5.3. alapetai, 1.1. ., 1.2., .1.1.; (alapetai-totai): 6.2., 6.3. alavati, 5.2. ciriyaccr, cf. ciriya-cr. ciriya-cr, 3.3. , 3.6. ciriyattalai, cf. ciriya-talai. ciriya-talai, 4.2., 4.3. , 4.4. ciriyattlicai, cf. ciriya-tlicai. ciriya-tlicai, 9.2.2. ciriyatturai, cf. ciriya-turai. ciriya-turai, 9.2.3. ciriyapp, 7.2., 9.1. ciriyappvinam, 9.2. ciriya-viruttam, 9.2.4. ytam, II. 1.1. icai, 7.7. itaiyinam, 1.1. b. inai, 6.2., 6.4. inaikkural-ciriyapp, 9.1.., 9.1.5. iyarcr, cf. ciriya-cr. iyarcr-ventalai, 4.2., 4.6. iyaipu, 6.2., 6.3. irattaitotai, cf. irattai-totai. irattai-totai, 6.5. iruvikarpa, 7.5. innicai-cintiyal-venp, 8.1 .7. innicai-venp, 8.1.., 8.1.6. ratimukkl, 8.1.7. uriccr, cf. uri-cr. uri-cr, 3.4. , 3.6. etukai, 6.2., 6.3., 7.5. elultu, 0.1., 1. nticai, 7.7. nticai-akaval, 9.1.2. nticai-ceppal, 8.1.2. nticai-tullal, 10.2. nticai-tunkal, 12.1.2. ottlicai-kalipp, 10.6., 10.6.1. oruvikarpa, 7.5. oruu, 6.2., 6.4. olukicai, 7.7. olukicai-akaval, 9.1.2. olukicai-ceppal, 8.1.2. onria, 4.1. onriya, 4.1. cai, 7.7. ralimukkl, 8.1.4. kattalai-kalitturai, 11.4. kattalai-kalipp, 1 1 .5.

224

ULRIKE NIKLAS nricai-uciriyapp, 9.1.., 9.1.4. nricai-ottlicai-kalipp, 10.6., 10.6.1.1. nricai-venp, 8.1.., 8.1.5. nricai-cintiyal-venp, 8.1 .7. nrpu, 2.7. pakrlicai-koccaka-kalipp, 10.6., 10.6.3.4. pakrotai-venp, 8.1.., 8.1.8. pal-totai-venp, cf. pakrotai-venp. palavatimukkl, 8.I.8. palavikarpa, 7.5. p, 7.1.,"7.2. pvinam, 7.1., 7.3. pirinticaittullal, cf. pirinticai-tullal. pirinticai-tullal, 10.2. pirinticaittnkal, cf. pirinlicai-lukal. pirinticai-tukal, 12.1.2. -cr, 3.6. poiuccr, cf. potu-clr. potu-cr, 3.5. , 3.6. polippu, 6.2., 6.4. mayankicai-koccaka-kalipp, 10.6., 10.6.3.5. marutp, 7.2., 13. malar-cr, 3.6. m-cr, 3.6. mufa/ (eluttu), 1.1. a. muran, 6.2., 6.3. murru, 6.2., 6.4. muvatimukkl, 8.1.5., 8.1.6. mellinam, 1.1. b. mrkaiuvy, 6.2., 6.4. mnai, 6.2., 6.3. oanciccr, cf. vanci-cr. vanci-cr, 3.4. , 3.6. vacittalai, cf. vaci-talai. vaci-talai, 4.2., 4.7., 4.8. vacittlicai, cf. vaci-tlicai. vaci-talicai, 12.2.1. vacitturai, cf. vaci-turai. vaci-turai, 12.2.2. vacipp, 7.2., 12.1. vacippvinam, 12.2. vaciviruttam, 12.2.3. vannaka-ottlicai-kallipp, 10.6., 10.6.1.3. vannaka-orupku, 10.6., 10.6.3.5. vallinam, 1.1. . vikarpa, 7.5. vilam-cir, 3.6. viruttam, 7.3. venkalipp, 10.6., 10.6.2. vencr, 3.4. , 3.6. vencr-ventalai, 4.2., 4.5. ventljcai, 8.2.1. , 8.2.4. oen/ura, 8.2.1. , 8.2.5. ven-tlicai, cf. ventlicai. ven-turai, cf. venturai. venp, 7.2., 8.1. oenpvinam, 8.2. vei-viruttam, 8.2.1. , 8.2.6.

kalittalait cf. kali-talai. kali-talai, 4.2., 4.9. kalittlicai, cf. kali-tlicai. kali-tlicai, 11.1. kalitturai, cf. kali-turai. kali-turai, 11.2. kalipp, 7.2., 10. kalippvinam, 1 1 . kalivirutam, 1 1 .3. kalinelilali, 5.2. kaniccr, cf. kani-cr. kani-cr, 3.6. kycclr, cf. ky-cr. ky-cir, 3.6. kikkatuvy, 6.2., 6.4. kuralati, 5.2. kurattlicai, cf. kural-ialicai. kural-tljcai, 8.2. 1., 8.2.3. kural-vencenturai, 8.2.1. , 8.2.2. kural-venp, 8.1.., 8.1.4. kurriyal-ikaram, 1.1. 9., 1.2. kurriyal-ukaram, 1.1. 9., 1.2., 2.7. /cun, 1.1. b. //, 6.2., 6.4. koccakakkalipp, cf. koccaka-kalipp. koccaka-kalipp, 10.6., 10.6.3. cr pu (eluttu), 1.1. a. cikrlicai-koccaka-kalipp, 10.6., 10.6.3.3. cintati, 5.2. cintiyal-venp, 8.1.., 8.1.7. cfp, 0.1., 3. curitakam, 10.5., 10.5.6. centotai, 6.5. ceppal-cai, 7.7., 8.1.2. taravinai-koccaka-kalipp, 10.6., 10.6.3.2. tarauu, 10.5., 10.5.1. iaravu-koccaka-kalipp, 10.6., 10.6.3.1. /a/a/, 0.1., 4., 7.7. ianiccr, 7.6. taniccol, 7.6., .5., 10.5.5. i/icai (rhythm): 7.3.; (kalipp): 10.5., 10.5.2. tlicai-orupku, 10.6., 10.6.3.5. tullal-cai, 7.7., 10.2. /urai, 7.3. tunkal-cai, 7.7., 12.1.2. tukicai, 7.7. tukicai-akaval, 9.I.2. tukicaicceppal, cf. tukicai-ceppal. tukicai-ceppal, 8.1.2. , 0.1., 6. nl-cr, 3.6. nilal-cr, 3.6. , 2.2., 2.4. niraipu, 2.7. nilaimantila-ciriyapp, 9.1. 3., 9.1.6. /, l.!b. netilati, 5.2. , 2.2., 2.3.

INTRODUCTION TO TAMIL PROSODY 2. English Terms

225

"passim" parttheirthe index includes only the most which have English technical terms which are used This for of Tamil counterparts, and some of important been newly coined here. For the sake of clarity, the respective Tamil term will be given within brackets, following the English term. overshort i (kurriyalikaram) 1.1. a., 1.2. agreeing (onriya), 4.1. overshort (kurriyalukaram) 1.1. ., 1.2., 2.7. detached metrical foot (taniccir), 7.6. detached word (taniccol), 7.6. phone (eluttu) 0.1., 1. disagreeing (onrta) 4.1. place-value 11.0.1.(1.) plosives cf. stop-consonants foot, cf. metrical foot. line, cf. metrical line. primary phone (mutal-eluttu) 1.1. a. rhythm (cai or icai) 1 '.7'. linkage (talai), .1., 4., 7.7. liquids II. 1.1. secondary phone (crpu-eluttu) 1.1. a. semivowels 1 1. 1.1. long vowel (nelil) 1.1. b. short vowel fkuril) 1.1. b. metreme (acai) 0.1. , 2. metrical foot (cr) O.I., 3. stop-consonant 1 1. 1.1. metrical line (ati) 0.1., 5. variety (vikarpa) 7.5. verse, -main type of verse () 7.1. , 7.2. nasals II. 1.1. ornament/ornamentation (totai) 0.1., 6. -subtype of verse (pvinam) 7.1., 7.3. overlengthening (alapelai) 1.1. a., 1.2. 3. Symbols Throughout the text, a few symbols have been used which are listed here along with their definitions and the indication of the places, where they are first introduced. melremes: - nr (2.6.). = nirai (2.6.). h nrpu (2.8.). = + niraipu (2.8.). linkage: U agreeing in nr (II.4.3. and .4.4.). ^ agreeing in nirai (1 1.4.3. and 1 1. 4.4.). non-agreeing (II.4.3. and .4.4.).

BIBLIOGRAPHY 1. Traditional Tamil Grammatical Works. CITAMPARACCEYYUTKVAI. Citamparacceyyutkvai. Kumarakuruparacuvmikaj iyarriyatu. Itu U. V. Cmintaiyar elutiya kurippuraiyutan. Cennai : Kapr accukktam, 1947. Citamparacceyyutkvai. Arumporulvilakkattutan. Kumarakuruparacuvmikal arujiyatu. Tirunelvli: Caivacittnta nrpatippuk kalakam, 1971. Pppvinam. Pppvinam. Itu Ki. Irmnujaiyankrl parictikkap perratu. Maturai: Tamilccakam, 1932. Tolkppiyam. Tolkppiyam. Ceyyujiyal. Ilampuranarurai. (Ed. Atikajciriyar). Tacvur: Tamil University, 1985. Tolkpiyyam. Porulatikram. Ceyyuliyal. Uraivalam. (Ed. Vellaivranar. Maturai: Kmarj University, (in print). Ypparunkalakkrikai. Amirtackaranr arulicceyta Ypparunkalakkrikai. Mlamum, Kunackarar uraiyum... Cennai: U. V. Cmintaiyar nulnilaiyam, 1968. 2. Modem Introductory Tamil Books. Ilakkana vijakkam. K. Rjakplccriyar. Vol. 5: Yppiyal. Cennai: Str piracuram, 1963. Tiruttanikai Vickapperumjaiyar iyarriya Yppilakkanam. Tirunelvli: Caiva cittnta nrpatippuk kalakam, 1964. 3. Tamil Literature. Kuruntokai. Kuruntokai. U. V. Cmintaiyar ... elutiya urai rycci mutaliyavarrutan. Annmalainakar: Annmalai University, 1983. Mullaippttu. Napputanr iyarriya Mullaippttu. Po. V. Cmacuntaranr ekitiya vijakkavuraiyutan. Tirunelvli: Caivacittnta nrpatippuk kalakam, 1962. MUTTOLLYIRAM. Muttoljyiracceyutkal (108). R. Irkavaiyankrl parictikkappattana. Maturai: Tamilccakam, 1935.

INTRODUCTION TO TAMIL PROSODY 4. English Books.

227

Albert, D.: Tolkappiyam (in English). Phonology and Morphology. (An English Trans.) Madras: International Institute of Tamil Studies, 1985. Chitamparam Chettiyar, A.C.: Advanced Studies in Tamil Prosody. Annamalainagar: Annamalai University, 1943. Subrahmanyan, S.: The Commonness in the Metres of the Dravidian Languages. Trivandrum: Dravidian Linguistic Association, 1977. Thomas, Annie M.: Tamil Prosody through the Ages. Trivandrum: Kerala University (1974). Unpublished PhD. Dissertation. [Note: The monograph "Classical Tamil Prosody: an Introduction" by Kamil Zvelebil (Madras, New Era Publications, 1989) appeared, when this paper was already in print, and hence couldn't be taken into account here.]