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The literature was classified in to the broad categories of 'subjective' (akam) and 'objective' (puram) topics to enable the poetic minds to discuss any topic under the sun, from grammar to love, within the framework of well prescribed, socially accepted conventions. Subjective topics refer to the personal or human aspect of emotions that cannot be verbalized adequately or explained fully. It can only be experienced by the individuals and includes love and sexual relationship..

INTRODUCTION
Tamil literature refers to the literature in the Tamil language. Tamil literature has a rich and long literary tradition spanning more than two thousand years. The oldest extant works show signs of maturity indicating an even longer period of evolution. Contributors to the Tamil literature are mainly from Tamil people from Tamil Nadu, Sri Lankan Tamils from Tamil Eelam, and from Tamil diaspora. Also, there have been notable contributions from European authors. The history of Tamil literature follows the history of Tamil Nadu, closely following the social and political trends of various periods. The secular nature of the early Sangam poetry gave way to works of religious and didactic nature during the Middle Ages. Jain and Buddhist authors during the medieval period and Muslim and European authors later, contributed to the growth of Tamil literature. A revival of Tamil literature took place from the late nineteenth century when works of religious and philosophical nature were written in a style that made it easier for the

common people to enjoy. Nationalist poets began to utilize the power of poetry in influencing the masses. With growth of literacy, Tamil prose began to blossom and mature. Short stories and novels began to appear. The popularity of Tamil Cinema has also provided opportunities for modern Tamil poets to emerge.

SANGAM AGE
Sangam literature comprises some of the oldest extant Tamil literature, and deals with love, war, governance, trade and bereavement. Unfortunately much of the Tamil literature belonging to the Sangam period had been lost. The literature currently available from this period is perhaps just a fraction of the wealth of material produced during this golden age of Tamil civilization. The available literature from this period has been broadly divided in antiquity into three categories based roughly chronology. These are: the Major Eighteen Anthology Series comprising the Eight Anthologies and the Ten Idylls and the Five Great Epics. Tolkaappiyam, a commentary on grammar, phonetics, rhetoric and poetics is dated from this period. Tamil legends hold that these were composed in three successive poetic assemblies (Sangam) that were held in ancient times on a now vanished continent far to the south of India. A significant amount of literature could have preceded Tolkappiyam as grammar books are usually written after the existence of literature over long periods. Tamil tradition holds the earliest Sangam poetry to be over twelve millennial old. Modern linguistic scholarship places the poems between the first century BC and the third century AD. Sangam age is considered by the Tamil people as the golden era of Tamil language. This was the period when the Tamil country was ruled by the three 'crowned kings' the Cheras, Pandyas and the Cholas. The land was at peace with no major external threats. They could chide them when they are perceived to wander from the straight and narrow. The greatness of the Sangam age poetry may be ascribed not so much to its antiquity, but due to the fact that their ancestors were indulging in literary pursuits and logical classification of the habitats and society in a systematic manner with little to draw from precedents domestically or elsewhere. Tolkappiyam is not merely a textbook on Tamil grammar giving the inflection and syntax of words and sentences but also includes classification of habitats, animals, plants and human beings. The discussion on human emotions and interactions is particularly significant. Tolkappiyam divided into three chapters: orthography, etymology and subject matter (Porul). While the first two chapters of Tolkappiyam help codify the language, the last part, Porul refers to the people and their behavior.

POST-SANGAM PERIOD
Didactic age -The three hundred years after the Sangam age witnessed an increase in the mutual interaction of Sanskrit and Tamil. A number of words and concepts in the subjects of ethic, philosophy and religion were mutually borrowed and exchanged. Around 300 CE, the Tamil land was under the influence of a group of people known as the Kalabhras. Kalabhras were Buddhist and a number of Buddhist authors flourished during this period. Jainism and Buddhism saw rapid growth. These authors perhaps reflecting the austere nature of their faiths, created works mainly on morality and ethics. A number of Jain and Buddhist poets contributed in the creation of these didactic works as well as grammar and lexicography. The collection the minor eighteen anthology was of this period. The best known of these works on ethics is the Tirukkural by Thiruvalluvar. Kural as it is popularly known, uses the Venpa meter and is a comprehensive manual of ethics, polity and love. It contains 1,330 distichs divided into chapter of ten distichs each: the first thirty-eight on ethics, the next seventy on polity and the remainder on love. Other famous works of this period are Kalavali, Nalatiyar, Inna Narpathu and Iniyavai Narpathu. Nalatiyar and Pazhamozhi Nanuru, a work of four hundred poems each citing a proverb and illustrating it with a story, were written by Jain authors.

HINDU DEVOTIONAL PERIOD

After the fall of the Kalabhras around 600 CE saw a reaction from the thus far suppressed Hindus. The Kalabhras were replaced by the Pandyas in the south and by the Pallavas in the north. The Hindu reaction to this apparent decline of their religion was growing and reached its peak during the later part of the seventh century. There was a widespread Hindu revival during which a huge body of Saiva and Vaishnava literature was created. Many Saiva Nayanmars and Vaishnava Alvars provided a great stimulus to the growth of popular devotional literature. Karaikkal Ammaiyar who lived in the sixth century CE was the earliest of these Nayanmars. The celebrated Saiva hymnists Sundaramurthi, Thirugnana Sambanthar and Thirunavukkarasar (also known as Appar) were of this period. Of Appar's verses 3066 have survived. Sambandar sang 4169 verses. Together these form the first six books of the Saiva canon, collected by Nambi Andar Nambi in the tenth century. Sundarar wrote Tiruttondartokai which gives the list of sixty-two Nayanmars. This was later elaborated by Sekkilar in his Periyapuranam(4272 verses). Manikkavasagar, who lived around the eight century CE was a minister in the Pandya court. His Tiruvasakam consisting of over 600 verses is noted for its passionate devotion. Along with the Saiva Nayanmars, Vaishnava Alvars were also producing devotional hymns and their songs were collected later into the Four Thousand Sacred Hymns (Naalayira Divyap Prabhandham). The three earliest Alvars were Poygai, Pudam and

Pey. Each of these wrote one hundred Venpas. Tirumangai Alvar who lived in the eighth century CE was a more prolific writer and his works constitute about a third of the Diyaprabhandam. Periyalvar and his adopted daughter Andal contributed nearly 650 hymns to the Vaishnava canon. Andal symbolised purity and love for the God and wrote her hymns addressing Vishnu as a lover. The hymn of Andal which starts with Vaaranam Aayiram (One Thousand Elephants) tells of her dream wedding to Vishnu and is sung even today at Tamil Vaishnava weddings. Nammalvar, who lived in the ninth century, wrote Tiruvaimoli. Thiruvalluvar and Thirukural are dated much before Hinduism came to dravid region (Southern India). Evidence of Hinduism (vedic or brahmnic practices) started appearing only after 4th century A.D. With this it is clear that Dravidian culture was indeed non-Hindu or non-brahmnic, however many attempts were made to merge this into brahmnic culture. Even dravidian temples like Tirupati, Meenakshi, Kamakshi, Nagaraja , Varadaperumal were once dravidian temples, later they were converted to Hindu temples during 8th Century A.D. at the time of Bhakti movement. Identity of Dravidian culture later framed as Hindu.

NARRATIVE EPICS
Cilappatikaram is one of the outstanding works of general literature of this period. The authorship and exact date of the classic Cilappatikaram are not definitely known. Ilango Adigal, who is credited with this work was reputed to be the brother of the Sangam age Chera king Senguttuvan. However we have no information of such a brother in the numerous poems sung on the Chera king. The Cilappatikaram is unique in its vivid portrayal of the ancient Tamil land. This is unknown in other works of this period. Cilappatikaram and its companion epic Manimekalai are Buddhist in philosophy. Manimekalai was written by Sattanar who was a contemporary of Ilango Adigal. Manimekalai contains a long exposition of fallacies of logic which is considered to be based on the fifth century Sanskrit work Nyayapravesa by Dinnag. Kongu Velir, a Jain author wrote Perunkathai based on the Sanskrit Brihat-katha. Civaka-cintamani is a classical Tamil language epic poem. It is a Jain religious epic, authored by the Jain saint Tirutakkatevar. Valayapathi and Kundalakesi are the names of two other narrative poems of this period written by a Jain and a Buddhist author respectively. These works have been lost and only a few poems of Valayapathi have been found so far.

SILAPPATHIKARAM

Silappathikaram (Tamil:

; IPA:

il pp di

m ) i one of he fi e

epics of ancient Tamil Literature. The poet prince Ilango Adigal, a Buddhist monk, is credited with this work. He is reputed to be the brother of Senguttuvan from Chera. As a literary work, it is held in high regard by the Tamils. The nature of the book is narrative and has a moralistic undertone. It contains three chapters and a total of 5270 lines of poetry. The epic revolves around Kannagi, who having lost her husband to a miscarriage of justice at the court of the Pandya king, wreaks her revenge on his kingdom. Silappatikaram has been dated to belong to the 1st century CE, although the author might have built upon a pre-existing folklore to spin this tale. The story involves the three Tamil kingdoms of the ancient era, the Chola, the Pandya and the Chera. Silappatikaram has many references to historical events and personalities, although it has not been accepted as a reliable source of history by many historians because of the inclusion of many exaggerated events and achievements to the ancient Tamil kings. Regarded as one of the great achievements of Tamil genius, the Silappatikaram is a poetic rendition with details of Tamil culture; its varied religions; its town plans and city types; the mingling of Greek, Arab, and Tamil peoples; and the arts of dance and music. Silappatikaram contains three chapters: Puha kkandam ( Puhar chapter), which deals with the events in the Chola city of Puhar, where Kannagi and Kovalan start their married life and Kovalan leaves his wife for the courtesan Madavi,this contains 10 sub dvisions Madu aikkandam ( Madurai chapter) , is situated in Madurai in the Pandya kingdom where Kovalan loses his life, incorrectly blamed for the theft of the queen's anklet, this contains 7 sub divisions Vanchikkandam ( Vanchi chapter), is situated in the Chera country where Kannagi ascends to the heavens, this contains 13 sub divisions Each of these chapters are made of several sub chapters called kaathais. Kaathais are narrative sections of the chapters.

Historical Importance : The first indian epic written about an ordinary Hindu Chola country man's life, and by a Jain Chera country Prince who turned to Ascetic, and in a simple understandable literature. It was during the times, only complex literature were evident for epics and were written in praise of Religions and Kings, by ordinary poets. The story evolves in terms of Three, at least of the following

Three Kingdoms -Chola, Pandiya, Chera Three Religions - Hinduism, Buddhism, Jainism Three Heroines - Kannagi, Madhavi, Manimekalai Three Ways of life - Married(Kannagi), Public(Madhavi), Ascetic(Manimekalai) Three Episodes - Puhar, Madurai, Vanchi Three Walks and Types of Land - Seashore(Poompugar), Fertile(Madurai), Mountain(Vanchi) Historical and social setting At the end of the Sangam epoch (second third centuries CE), the Tamil country was in political confusion. The older order of the three Tamil dynasties were replaced by the incursion of the Kalabhras. These newcomers encouraged the religions of Buddhism and Jainism. Ilango Adigal, probably lived in this period and was part of the vast number of Jain and Buddhist authors in Tamil poetry. These authors perhaps influenced by their monastic faiths, wrote books based on moralistic values and illustrating the futility of the materialistic pleasures. These poets freely borrowed from Sanskrit literature, which had numerous books of didactic na u e a well a na a i e play by Bh a and Kalida a. These authors went beyond the nature of Sangam poems, which were content to describing human emotions and feelings in an abstract fashion, and employed fictional characters in a well conceived narrative incorporating personal and social ramifications. Tamil epics were thus invented by these poets. The author of Silappatikaram was Ilango Adigal (lit. Prince Ascetic). He is reputed to the brother of Chera king Senguttuvan, however there is no evidence in the Sangam poetries of such brother of the famous king. There are also claims that Ilango Adigal was a contemporary of Sattanar, the author of Manimekalai. The prologues of each of these books tell us that each were read out to the author of the other [Silappatikaram, pathigam 90]. From comparative studies between Silappatikaram and certain Sanskrit Buddhist and Jain works such as Nyayaprakasa, the date of Silappatikaram has been determined to be around the fifth and the sixth centuries CE. The story of Silappatikaram is set during the first few centuries of CE and narrates the events in the three Tamil kingdoms: Chera , Chola, and Pandya. It also mentions the Sinhala king Gajabahu and the Chera Senguttuvan. It confirms that the northern kingdoms of Chedi, Uttarakosala, and Vajra were known to the Tamil people of the time. The epic also vividly describes the Tamil society of the period, its cities, the people's religious and folk traditions and their gods.

Objectives

In the pathigam, the prologue to the book, Ilango Adigal gives the reader the gist of the book with the prcis of the story. He also lays the objectives of the book: aaram kutragum Main characters Ko alan - Son of a wealthy merchant in Puhar Kannagi - Wife of Kovalan Ma a u an - A wealthy grain merchant and the father of Kovalan Madha i - A beautiful courtesan Vaca ada ai - Madavi's female friend Ko igan - Madavi's messenger to Kovalan Madalan - A Brahmin visitor to Madurai from Puhar Ka un hi Adigal - A woman ascetic Neduncheliyan - Pandya king Koppe unde i - Pandya Queen Trivia A pe he legend Kannagi a el o A ukal af e bu ning Madu ai. Today he i wo hipped a he

primary goddess in the famous Attukal Bhagavathi Temple. A pe ano her legend ,the temple at Kodungallur was built by Cheran Senguttuvan for Kannagi as a manifestation of Goddess Kali or Durga

MANIMEKALAI
Manimekalai (Tamil: ), written by Seethalai Saathanar, is one of the masterpieces of Tamil literature and is considered as one of the five great epics of Tamil literature. Manimekalai is a sequel to Silapathikaram and tells the story of the daughter of Kovalan and Madhavi. Story of Manimekalai As a continuation of Silappatikaram (Tamil: ), this epic describes

how Manimekalai, the daughter of Kovalan and Madhavi, takes up social service as the primary aim of her life and how she sacrifices her entire life for the same cause. Manimekalai is set in both Tamil Nadu and in Nainatheevu, Jaffna Peninsula in modern Sri Lanka. The story runs as follows. Manimekalai is on the verge of marrying a prince, when she is abducted and taken to an island "Manipallava Theevu" by her fairy God Mother known as "Manimegala Theivam". There she comes across "Arughar" (also known as Buddha) and she acquires the enchanted "aaputhiran kai amutha surabhi" - a cornucopia bowl. She uses this bowl to feed "Kayasandigai" (first in line), a cursed Yaksha (fairy) who is suffering from "Yaanai (Elephant) - Thee (Fire)" disease - an eating disorder caused due to excessive desire to eat. After this, Manimekalai is brought back to Tamil Nadu, where she uses her bowl to feed the needy. Origin of the name Seethalai

The poet's name 'Seethalai' has an interesting origin. During the early days, Tamil literature was written on palm leaves using an iron pen which resembled a long nail. The poet Saathanar was hard on himself, that whenever he made a mistake, he would punish himself by poking his head with the writing instrument. Poking his head with the nail-like writing instrument, led to festering wounds and sometimes pus started forming. The Tamil word for pus is pronounced "See." The Tamil word for head is "Thalai." Therefore Seetalai literally means pus-head..

CIVAKA-CINTAMANI
(San k i : J aka Cin mai) i a cla ical Tamil language epic poem. I i a Jain eligiou epic au ho ed by the Jain saint Tirutakkatevar. It belongs to the Sangam tradition of Tamil literature, and is considered one of the five great Tamil epics. In its form, it anticipates the Ramayana of Kamban. Civaka-cintamani was well received at the Chola court, and has since been admired for its poetic form, appealing story-line, and theological message. The story concerns a hero who through his virtue rises to become king, only to renounce his high station and pursue a life of religious merit. A king by the name of Caccantan loses himself in sexual enjoyment with his queen and inadvertently gives control of his kingdom to his corrupt minister Kattiyankaran. Kattiyankaran attacks Caccantan, and before the king dies he sends his now pregnant wife away on a flying peacock machine. Exiled in a cremation ground, she gives birth to Civakan, the titular character. Civakan grows up in a merchant's home and becomes the epitome of a Jain hero. He precedes through a number of adventures, marrying numerous women over the course of these events and all the while carrying on an affair with a dancing girl. Eventually, Civakan returns to take vengeance on Kattiyankaran, winning back the throne that is rightfully his. He then marries his eighth and final wife, a personification of omniscience. Soon after he becomes weary of worldly life and, after meeting with Mahavira, he renounces the world.

MEDIEVAL LITERATURE
The medieval period was the period of the Imperial Cholas when the entire south India was under a single administration. The period between the eleventh and the thirteenth centuries, during which the Chola power was at its peak, there were relatively few foreign incursions and the life for the Tamil people was one of peace and prosperity. It also provided the opportunity for the people to interact with cultures beyond their own, as the Cholas ruled over most of the South India, Sri Lanka and traded with the kingdoms in southeast Asia. The Cholas built numerous temples, mainly for their favourite god Siva, and these were celebrated in numerous hymns. The Prabhanda became the dominant form of poetry. The religious canons of Saiva and Vaishnava sects were beginning to be systematically collected and categorised. Nambi Andar Nambi, who was a contemporary of Rajaraja Chola I, collected and arranged the books on Saivism into eleven books called Tirumurais. The hagiology of Saivism was standardised in

Periyapuranam (also known as Tiruttondar Puranam) by Sekkilar, who lived during the reign of Kulothunga Chola II (1133 1150 CE). Religious books on the Vaishnava sect were mostly composed in Sanskrit during this period. The great Vaishnava leader Ramanuja lived during the reigns of Athirajendra Chola and Kulothunga Chola I, and had to face religious persecution from the Cholas who belonged to the Saiva sect. One of the best know Tamil work of this period is the Ramavatharam by Kamban who flourished during the reign of Kulottunga III.Ramavatharam is the greatest epic in Tamil Literature, and although the author states that he followed Valmiki, his work is not a mere translation or even an adaptation of the Sanskrit epic. Kamban imports into his narration the colour and landscape of his own time. A contemporary of Kamban was the famous poetess Auvaiyar who found great happiness in writing for young children. Her works, Athichoodi and Konraiventhan are even now generally read and taught in schools in Tamil Nadu. Her two other works, Mooturai and Nalvali were written for slightly older children. All the four works are didactic in character. They explain the basic wisdom that should govern mundane life. Of the books on the Buddhist and the Jain faiths, the most noteworthy is the Jivakachintamani by the Jain ascetic Thirutakkadevar composed in the tenth century. Viruttam style of poetry was used for the first time for the verses in this book. The five Tamil epics Jivaka-chintamani, Cilappatikaram, Manimekalai, Kundalakesi and Valayapathi are collectively known as the The Five Great Epics of Tamil Literature. There were a number of books written on Tamil grammar. Yapperungalam and Yapperungalakkarigai were two works on prosody by the Jain ascetic Amirtasagara.

VIJAYANAGAR AND NAYAK PERIOD

The period from 1300 CE to 1650 was a period of constant change in the political situation of Tamil Nadu. The Tamil country was invaded by the armies of the Delhi Sultanate and defeated the Pandya kingdom The collapse of the Delhi Sultanate triggered the rise of the Bahmani Sultans in the Deccan. Vijayanagar empire rose from the ashes of the kingdoms of Hoysalas and Chalukyas and eventually conquered the entire south India. The Vijayanagar kings appointed regional governors to rule various territories of their kingdom and Tamil Nadu was ruled by the Madurai Nayaks, Thanjavur Nayaks and Gingee Nayaks. This period saw a large output of philosophical works, commentaries, epics and devotional poems. A number of monasteries (Mathas) were established by the various Hindu sects and these began to play a prominent role in educating the people. Numerous authors were of either the Saiva or the Vaishnava sects. The Vijayanagar kings and their Nayak governors were ardent Hindus and they patronised these mathas. Although the kings and the governors of the Vijayanagar empire spoke

Telugu they encouraged the growth of Tamil literature as we find no slowing down in the literary output during this period. There was a large output of works of philosophical and religious in nature, such as the Sivananabodam by Meykandar. At the end of the fourteenth century Svarupananda Desikar worte two anthologies on the philosophy os Advaita, the Sivaprakasapperundirattu. Arunagirinatha who lived in Tiruvannamalai in the fourteenth century wrote Tiruppugal. Around 1,360 verses of unique lilt and set to unique metres these poems are on the god Muruga. Madai Tiruvengadunathar, an official in the court of the Madurai Nayak, wrote Meynanavilakkam on the Advaita Vedanta. Sivaprakasar, in the early seventeenth century wrote a number of works on the Saiva philosophy. Notable among these is the Nanneri which deals with moral instructions. The seventeenth century also saw for the first time literary works by Muslim and Christian authors. The population of Muslims and Christians were growing in Tamil Nadu with the influences of the Delhi Sultanate and the growing European missionaries. Syed Khader known in Tamil as Sithaakkathi, lived in the seventeenth century and was a great patron of all Tamil poets. He commissioned the creation of a biography on the Islamic prophet Muhammad. Omar known in Tamil as Umarupulavar, wrote Seerapuranam on the life of Muhammad. Costanzo Giuseppe Beschi (16801746), better known asVeeramamunivar, compiled the first dictionary in Tamil. His Chathurakarathi was the first to list the Tamil words in alphabetical order. Veeramamunivar is also remembered for his Christian theological epic Thembavani on the life and teaching of Jesus Christ.

MODERN ERA
During the eighteenth and the nineteenth century Tamil Nadu witnessed some of the most profound changes in the political scene. The traditional Tamil ruling clans were superseded by European colonists and their sympathisers. The Tamil society underwent a deep cultural shock with the imposition of western cultural influences. The Hindu religious establishments attempted to stem the tide of change and to safeguard the Tamil cultural values. Notable among these were the Saiva monasteries at Tiruvavaduthurai, Dharmapuram, Thiruppananthal and Kundrakudi. Meenakshisundaram Pillai (1815-1876) was a Tamil scholar who taught Tamil at one of these monasteries. He wrote more than eighty books consisting of over 200,000 poems.[citation needed] He is more famous however for encouragingU.V.SwaminathaIyer to go search for Tamil books that have been lost for centuries. Gopalakrishna Bharathi lived during the early nineteenth century. He wrote numerous poems and lyrics set to tune in Carnatic music. His most famous work is the Nandan Charitam on the life of Nandanar who having been born in a sociologically lower caste,

faces and overcomes the social obstacles in achieving his dream of visiting the Chidambaram temple. This work is a revolutionary social commentary considering the period in which it was written, although Gopalakrishna Bharati expanded on the story in Periyapuranam. Ramalinga Adigal (Vallalar) (1823-1874) wrote the devotional poem Tiruvarutpa is considered to be a work of great beauty and simplicity. Maraimalai Adigal (18761950) advocated for the purity of Tamil and wanted to clean it of words with Sanskrit influences. One of the great Tamil poets of this period was Subramanya Bharathi. Bharathi works are stimulating in their progressive themes like freedom and feminism. Bharathy introduced a new poetic style into the somewhat rigid style of Tamil poetry writing, which had followed the rules set down in the Tolkaappiyam. His puthukkavithai (Lit.:new poetry) broke the rules and gave poets the freedom to express themselves. He also wrote Tamil prose in the form of commentaries, editorials, short stories and novels. Some of these were published in the Tamil daily Swadesamitran and in his Tamil weekly India. Inspired by Bharathi, many poets resorted to poetry as a means of reform. Bharathidasan was one such poet. U.V.Swaminatha Iyer, was instrumental in the revival of interest in the Sangam age literature in Tamil Nadu.

TAMIL NOVEL
The novel as a genre of literature arrived in Tamil in the third quarter of nineteenth century, more than a century after it became popular with English writers. Its emergence was perhaps facilitated by the growing population of Tamils with a western education and exposure to popular English fiction. Mayuram Vedanayagam Pillai wrote the first Tamil novel Prathapa Mudaliar Charithram in 1879. This was a romance with an assortment of fables, folk tales and even Greek and Roman stories, written with the entertainment of the reader as the principal motive. It was followed by Kamalambal Charitram by B.R. Rajam Iyer in 1893 and Padmavathi Charitram by A. Madhaviah in 1898. These two portray the life of Brahmins in 19th century rural Tamil Nadu, capturing their customs and habits, beliefs and rituals. Although it was primarily a powerful narration of the common man's life in a realistic style spiced with natural humour, Rajam Iyer's novel has a spiritual and philosophical undertone. Madhaviah tells the story in a more realistic way with a searching criticism of the upper caste society, particularly the sexual exploitation of girls by older men. Since the 1990s, a number of experimental and avant-garde Tamil writers have emerged as major figures, including Charu Nivedita, whose fractured narratives are often full of graphic sex and violence,and Konangi, who mixes classical Tamil inflections with experimental sound poetry.

PERIODICALS
The increasing demand of the literate public caused a number of journals and periodicals to be published and these in turn provided a platform for authors to publish their work. Rajavritti Bodhini and Dina Varthamani in 1855 and Salem Pagadala Narasimhalu Naidu's fornightlies, Salem Desabhimini in 1878 and Coimbatore Kalanidhi in 1880, were the earliest Tamil journals. In 1882, G. Subramaniya Iyer started the newspaper Swadesamitran. It became the first Tamil daily in 1899. This was the start of many journals to follow and many novelists began to serialise their stories in these journal. The humour magazine Ananda Vikatan started by S.S. Vasan in 1929 was to help create some of the greatest Tamil novelists. Kalki Krishnamurthy (1899-1954) serialised his short stories and novels in Ananda Vikatan and eventually started his own weekly Kalki for which he wrote the immortal novels Parthiban Kanavu, Sivagamiyin sabadham and the popular Ponniyin Selvan. Pudhumaipithan (1906-1948) was a great writer of short stories and provided the inspiration for a number of authors who followed him. The 'new poetry or pudukkavithai pioneered by Bharathi in his prose-poetry was further developed by the literary periodicals manikkodi and ezhuttu (edited by Si Su Chellappa). Poets such as Mu Metha contributed to these periodicals. Tamil Christian poets also added to the body of Tamil literature. Tamil Muslim poets like Pavalar Inqulab and Rokkiah too have made significant contributions to social reforms. The pioneering fortnightly ournal Samarasam was established in 1981 to highlight and cater to the ethnic Tamil Muslim community's issues. Another remarkable work was done in Tamil novel field by Mu.Varatharasanar.[Agal vilakku] [Karithundu]. And last but not least Akilan the unique Tamil novelist,short story writer and a social activist is famous for his works like 'Chithirapavai' 'Vengayinmaindan' 'Pavaivilaku'.

ANCIENT SANGAM AND MEDIEVAL

Thiruvalluvar Avvaiyar Ilango Adigal Kambar Sekkizhar Nakkeerar Campantar Appar sundarar Manikkavasakar Karaikkal Ammaiyar

BAKTHI

12 Alvars 64 Nayanmars

PATRIOTS

Subramanya Bharathi Bharathidasan

LATEST

Kannadasan Vaali Vairamuthu

THIRUKKURAL AND RELIGION

Thirukkural and religion Parimelazhagar, a 13th century commentator in his celebrated commentary interprets the word Aadipagavan in the first kural as Aadi Bhagavan meaning God (another possibility being Aadi=Mother and Bhagavan=Father meaning parents). The first verse states "The letter A ( in Tamil) is the beginning of the alphabet (syllables?) just as from God (or parents as per the alternative derivation) begins the world". The word Aadibaghavan in Jain theology is used to refer to Rishabhadeva, the first Tirthankara. Some kurals also echo the principles of the middle way of Buddhism An important point to be noted in this juncture is the attribute of god mentioned in the ninth kural of the first adhikaram (Kadavul vaazhthu). It mentions "... engunathaan thaalai vanangaath thalai". Here he mentions that God has eight qualities. According to shaivism, god has eight specific characteristics or qualities (8 guas). They a e de c ibed a Anan a jnna Anan a da hana Anan a labdhi Anan a ukha Akshaya sthi i Being i aga Being a upa and Agu uladhu aa. Fo people who know Tamil language, they are: , , , , , , . ,

For English viewers, the eight characteristics may be translated as having infinite knowledge, infinite power, infinite vision, infinite discipline, without any change (permanence), impartial, having no name and having no form. There are non vaishnava elements too found in the kural. Therefore it is difficult to conclude which religion the author belonged to but easy to conclude that he was secular in his world renouned work.

THIRUVALLUVAR AND THIRUKURAL

Thiruvalluvar and Thirukural are dated much before Hinduism came to dravid region (Southern India). Evidence of Hinduism (vedic or brahmnic practices) started appearing only after 4th century A.D. With this it is clear that Dravidian culture was indeed non-Hindu or non-brahmnic, however many attempts were made to merge this into brahmnic culture. Even dravidian temples like Tirupati, Meenakshi, Kamakshi, Nagaraja , Varadaperumal were once dravidian temples, later they were converted to Hindu temples during 8th Century A.D. at the time of Bhakti movement. Identity of Dravidian culture later framed as Hindu. But majority dravidians prior to this followed Sramanic faith and some Budhist faith. Archaelogical evidences in various parts of Tamilnadu prove existence of only Jainism till 4th Century A.D. Most Brahminic temples were once dravidian temples which followed jain faith. Latin translation The Latin translation of Thirukkural made by Constanzo Beschi in 1730 did much to make known to European intellectuals the richness and beauty of Oriental Tamil literature.

THE PRAISE OF GOD

http://culture.ellamey.com/kural1.html

WEALTH
http://culture.ellamey.com/kural2.html

NATURE OF LOVE
http://culture.ellamey.com/kural3.html

AVVAIYAR
Avvaiyar (Tamil: )(also Auvayar) was the name of more than one poet who was active during different periods of Tamil literature. They were some of the most famous and important female poets of the Tamil canon. Among them, Auvaiyar had cordial relation with the Tamil chieftains, Pari and Athikaman. She wrote 59 poems in Purananuru ( ). Auvaiyar lived during the period of Kambar and Ottakkuttar during the reign of the Cholas in the 13th century C.E. She is often imagined as an old but intelligent lady by Tamil and primarily referred by them as Auvai. Auvaiyar wrote many of the poems that remain very popular even now and are inculcated in school text books in the State of

Tamil Nadu. These books include a list of dos and donts, useful for daily life, arranged in simple and short sentences. The Auvaiyar who lived during the Sangam period was the court poet of the rulers of the Tamil country. She travelled from one part of the country to another and from one village to another, sharing the gruel of the poor farmers and composing songs for their enjoyment. The Purananuru poet wrote most of her songs on the small time chieftain Vallal Athiyamaan Nedumaan Anji and his family. The rest of her songs related to the various aspects of state governance. Avvaiyar The following quotes from Aathichoodi illustrate the simplicity of her style and profoundness of the messages:

Be desirous of doing virtue It is the nature of anger to temper in time Never stop learning Don't prevent charity (Always be charitable) Avoid words that could hurt Don't give up perseverance Don't despise learning Acceptance (begging alms) is despicable Eat after donating (to the needy) Act virtuously Don't give up reading (scriptures) Don't carry tales Shrine In Muppandal, a small village in the Kanyakumari District of Tamil Nadu. there is an image of Auvaiyar. By tradition, this is stated to be the spot where the great poetess left the mortal world. Vinayagar Agaval is a hymn in praise of the Lord Ganesha, by the great female Tamil Chola era, poetess Avaiyar. It is thought to be her greatest poem w i en ho ly befo e he dea h. "Aga al i a fo m of blank e e clo e o speech. Au aiya poem i a jou ney h ough he Tamil de o ional adi ion known a Bhak i, in this instance as part of the Shaivite philosophy. It begins with contemplation of the external form of the God (Lord Ganesha) and continues as an exposition of ancient Hindu spiritual belief and practice. The song consists of 72 lines and describes the various facts and facets of human life as being taught by Lord Ganesha. Aathichoodi is

a collection of single-line quotes written by Auvaiyar and organized in alphabetical order. There are 108 of these sacred lines which include "A turtle is a turtle, never a tortoise", "Look out of the window, see your life reflected in the bushes and the trees and the glossy meadows and live", " "You are worth more than what you do, but less than what you think", "What you know is where you'll go", "Life is for giving, not for living" and most famous "A life is never wasted, even the smallest deeds make every life worthwhile" and other expressions intended to address everyday problems

ILANGO ADIGAL
(Tamil: ) was a Tamil poet, who was instrumental in the creation of Silappathikaram, one of the five great epics of South India. Prince Ilango Adigal was the brother of the Chera king Cheran Chenguttuvan (in modern day Kerala), in South India. Ilango Adigal was born in the Chera dynasty that ruled parts of what is now known as Kerala, but formed part of the Tamil Land. He was the second son to his father,but a saint told him that he will become the king instead of his first brother senguttuvan.so ilango became a saint and Senguttuvan his brother, became the king after his father's death. However, Ilango and the Cheras are still remembered more for the contribution to Tamil literature rather than for Senguttuvan's military expeditions, when he conquered the entire country.Ilango Adigal wrote Silapathikaram which was the first Tamil (or is it in any language) epic that was written about a common man. As a matter of fact, most of the Tamil epics are all about common men and how they led their life rather than on kings and queens. A common man's story written by a King. Silapathikaram was a feminocentric epic, centered around Kannagi, theme that was also a first of its kind in a man centric world .It is clear Ilango was an orthodox Hindu as he is said to have attended a Vedic yajna. There is no evidence that he was a Jain.

KAMBAR
Kambar (Tamil: ) was a medieval Tamil poet and the author of the Tamil Ramayanam known as Kambaramayanam), the Tamil version of Ramayana. Kambar has also authored other literary works in Tamil such as Erezhupathu, Kangai Puranam and Sarasvati Antati. Life Kambar belonged to the Ochchan or Occhan caste, traditionally nadaswaram players in southern India. But he was brought up in the household of a wealthy farmer in Vennai Nellur in south India. The chola king Rajendra Chola having heard of this

talented bard, summoned him to his court and honoured him with the title Kavi Chakravarti or The King of Poets. Kamban flourished in the 12th Century in Therazhundur, a village in the culturally rich Thanjavur District in the modern state of Tamil Nadu in South India. Kamban was a great scholar of India's two ancient and rich languages, Sanskrit and Tamil. Mahavidwan R. Raghava Iyengar in a scholarly biography,Kavicakravarty Kamban writes in detail about this 12th century poet. According to tradition, Kambar's son, Ambikapathi was put to death after having fallen in love with the King's daughter and Kambar himself had to flee. In his old age, he was obliged to support himself doing manual labour. He was then supported and patronized by his friend Vallal Sadaiyappa Mudaliar. Kamba Ramayanam The original version of Ramayana was written by Sage Valmiki. This epic of 24,000 verses tells of a Raghuvamsa prince, Rama of Ayodhya, whose wife Sita is abducted by Ravana, a mighty emperor. In Hindu mythology Rama is considered to be the Seventh incarnation of God Vishnu, one of the Hindu holy trinity (Brahma and Shiva completing the trinity). The Ramavataram or Kamba Ramayanam of Kamban is an epic of about 11,000 stanzas as opposed to Valmiki's 24000 couplets. The Rama-avataram or Rama-kathai as it was originally called was accepted into the holy precincts in the presence of the Vaishnava Acharya Nathamuni. Kamba Ramayana is not a translation of the Sanskrit epic by Valmiki, but an original retelling of the story of the God Rama. The poetic work is well known for its similes. It is therefore so great that one is amazed by the imagination created. Legend has it that the entire episode was written in one night by Lord Ganesha. Ganesha is said to have written the poems that Kambar dictated to him during the night, as Kambar procrastinated the work till the day before the deadline set by the King.

SEKKIZHAR
Sekkizhar is a revered poet and Saiva scholar of Tamil Shaiva Siddhanta. He compiled and wrote the Periya Puranam or the Great Purana, (the life stories of the sixty-three Shaiva Nayanars, poets of the God Shiva) who composed the liturgical poems of the Tirumurai, and was later himself canonised and the work became part of the sacred canon. Sekkizhar was a poet and the chief minister in the court of the Chola King Kulothunga Chola II.

Early Life Sekkizhar was born as ArulMozhi Tevar into a Velala family of Kunrattur village in Tondaimandalam. He then became the minister and a poet in the court of Kullottonga Chola II and went to Chidambaram to write thePeriyapuranam. He was the Prime Minister of the Chola king Kullottonga II. He was famous for his religious and social services. When Tondaimandalam was attacked by a famine, Sekkizhar saved the country and hence earned the title Thondai mandalam nindru kaatha perumaan (One who saved Thondaimandalam).

NAKKEERAR
Nakkeerar is a legendary Tamil poet from Madurai, who is one of the prominent characters in the epic Thiruvilaiyadal Puranam. The Thiruvilaiyadal episode of sundareswarer (Lord Shiva) confrontation with nakkeerar is enacted as a part of the Meenakshi Sundareswarer Temple festival tradations in Madurai even today.
Personal Life

Nakkeerar was born in a family of chank-cutters. It is not known when Nakkeerar had lived but it is widely assumed that he lived in the 9th century AD during the sangam period.
Confrontation with Lord Shiva

The Tiruvilaiyadal Puranam relates an incident involving Nakkeerar's confrontation with Lord Shiva. Once the Pandiyan king had a doubt as to whether the scent from a woman's hair was natural or artificial. He announced a price of 1000 gold coins for anyone who clears his doubt. A poor poet named Tharumi prayed to Lord Shiva to make him get the award. The Lord gave a poem to the poet and asked him to take it to the King. When this poem was read in the court, Poet Nakkeerar found fault with it and stopped the pandiyan king from giving the prize. Tharumi's grief grew and he again appealed to the Lord. He said he was not worried for not receiving the prize but he could not bear anyone finding fault with the Lord's poems. Lord Shiva himself came to the court and challenged Nakkeerar. But Nakkeerar could not be cowed down. Though the lord shiva asked him if the hair of Ganapoongodai, the consort of Lord Kalathinathar, whom Nakkeerar worshipped, did not have the natural scent,the undaunted Nakkeerar asserted that it was so. Suddenly the Lord opened the eye in his forehead (Netrikkan) which emitted fire and looked at Nakkeerar to show the poet who he was. Even then, Nakkeerar persisted in his statement. As he could not bear the scorching heat, emanating from the divine eye he jumped into the water of the Golden Lotus Tank. Then at the request of the other poets, the Lord took Nakkeerar out of the tank, forgave him and made him study under 'Agasthiar', the Tamil Sage. This story remains a popular mythology to reiterate the veracity and steadfastness of Nakkeerar.

Works

Nakkeerar is the author of an epic titled Sriharnipuram which he composed at the behest of Kulachirai Nayanar, the Prime Minister of the Pandya king Gunapandiyan. He also composed a hymn Tirumurugattupadai; it sings the glory of Thiruparankundram which is an important shrine of lord Murugan.

CAMPANTAR
Tirugnana Campantar ( )(also Champantar, Sambandar etc.) was a young Saiva poet-saint of Chola Tamil Nadu during the reign of Ninrasir Nedumaran (c.7th century CE). He is one of the most prominent of the sixty-three Nayanars, Tamil Saiva Bhakti saints who lived between the sixth and the tenth centuries CE. Campantar's hymns to Shiva were later collected to form the first three volumes of the Tirumurai, the religious canon of Tamil Saiva Siddhanta. He was a contemporary of Appar, another Saiva saint. Life Information about Campantar come to us mainly from the Periya Puranam, the eleventh-century Tamil book on the Nayanars that forms the last volume of the Tirumurai, along with the earlier Tiruttondartokai, poetry by Cuntarar and Nambiyandar Nambi's Tiru Tondar Tiruvandadi. Campantar was born to Sivapada vrundiyar and his wife Bhagavathiar who lived in the town of Sirkazhi in Tamil Nadu. According to legend, when he was three years old his parents took him to the Shiva temple where Shiva and his consort Parvati appeared before the child. The goddess nursed the child at her breast. His father saw drops of milk on the child's mouth and asked who had fed him, whereupon the boy pointed to the sky and responded with the song Thodudaya Seviyan - the first verse of the Tevaram. This legend may be referred by Adi Shankara a century later: in his Sundaria Lahari he speaks of the goddess having fed the "Tamil child" (dravida sisu, probably Campantar) with the milk of gnosis. At his investiture with the sacred thread, at the age of seven, he is said to have expounded the Vedas with great clarity. As a wandering minstrel Campantar sang hymns opposing Jain and Buddhist thought and is credited with the conversion of a Pandya king from Jainism. The first volumes of the Tirumurai contain three hundred and eighty-four poems of Campantar. Reputedly he sang more than 10,000 decads but only 4,232 have survived. Campantar attained liberation (mukti) in "Visaka Nakshtara" in the Tamil month of "Visakam" at the age of sixteen soon after his marriage. He is regarded as an incarnation of Lord Murugan or Kartikeya.

APPAR
Thirunavukkarasar (Tamil: ), (meaning King of the Tongue or Lord of Language), also known as Appar ("Father"), birth-name Marulnikkiyar, was a seventh CCE Saivite poet-saint of Tamil Nadu, one of the most prominent of the sixty-three Nayanars. Cuntarar states in his Tiruttondartokai that Appar composed 4900 hymns of ten verses each: this is repeated by Nambiyandar Nambi and Sekkizhar but only 313 have survived. These are collected into the Tirumurai, along with the compositions of Cuntarar and Campantar, where Appar has his own volumes, called Tevaram. Life Details of Appar's life are found in own hymns, Sekkizhar's Periya Puranam (the last book of the Tirumurai, which tells stories of the Nayanars) and also Cuntarar's Thiruttondartokai.He was born in Thiruvamur, on the banks of the river Pennai near Cuddalore in Tamil Nadu), to a Vellalar family. His parents both died while the poet was still a young child. His elder sister Tilakavathiyar went to serve at the temple of Lord Siva at Atikai ( Panruti). Marulnikkiyar travelled to nearby Patalipura to join a Jain monastery. He was given the name Dharmasena by his Jain teachers. After a while, afflicted by a painful illness, Dharmasena returned home. At the Siva temple where his sister served he prayed for relief and was cured miraculously. He sang his first hymn Kurrayinavaru Vilakku. His reconversion prompted the Pallava king Mahendravarman I to subject Appar to a number of ordeals and punishments. He overcame all of these apparently miraculously and converted the king himself. Navukkarasar is supposed to have stayed many years at Atikai with his sister, then he began visiting other Siva temples to sing in praise of Siva . He heard of Campantar and went to Sirkali to meet him. Campantar respectfully addressed Navukkarasar as Appar (father) and he and Appar travelled together singing hymns. Appar is said to have travelled to about a hundred and twenty-five temples in different cities or villages in Tamil Nadu. He attained liberation (Mukti} in "Sadya Nakshtra" in he Tamil mon h of "Chi hi ai" a Pukalu a he age of 81. Appa ' Te a am Appa Tevaram hymns are grouped into three books, forming the fourth, fifth and sixth volumes of the Tirumurai, the Tamil poetic canon of Shaiva Siddhanta. The compilation of these books is generally ascribed to Nambiyandar Nambi (tenth CCE). Some of Appar's hymns set to various Panns, the melodic modes of Ancient Tamil music - the rest are set to Thirunerisai and Viruttam metres.

SUNDARAR
Sundaramurti Nayanar (Tamil )(8th C.C.E.), more usually known as Cuntarar, was one of the most prominent among the Nayanars, the Shaiva bhakti (devotional) poets of Tamil Nadu. The Periya Puranam, which collects the legends of the Nayanars,

starts and ends with him. The hymns of seventh volume of the Tirumurai, the twelvevolume compendium of the poetry of Tamil Shaiva Siddhanta, were composed by him. Life Cuntarar is unique among the Nayanars in that both of his parents are also recognised as Nayanars. He was born Nambi Arurar to a brahmin couple, Sadayanar and Isaignani, in the village of Tirunavalur. The ruler of the local kingdom (Thirumunaipadi-Nadu), Narasingamunaiarayar, adopted him and brought up as his own son, attracted by the beauty of the child he saw playing in the street. The legend states that while the Cuntarar was being married, the service was interrupted by an old ascetic who asked for Cuntarar as his servant and follower. Speaking as Shiva, the figure told him: "you will be known as Vanthondarm the argumentative devotee. Did you not call me a mad man just a short while ago? Begin your hymn addressing me 'O mad man!'". The legend states that at Tiruvarur he recited the names of all sixty-three future Nayanars: this recitation is called Tiruttondar-Tokai. His fame reached the ears of Cheraman Perumal, the king of Kerala, who came to Tiruvarur. Both embarked on a pilgrimage. But Cuntarar became tired of life and was taken up to heaven by a white elephant. The king followed him on his horse. This occurred in "Swathi Nakshtra" in the Tamil month of "Aadi".

MANIKKAVACAKAR
Manikkavasagar ( ){literally words like jewels, was a Tamil poet who wrote Thiruvasakam, a book of Shaiva hymns. Manikkavasagar was one of the Nayanar poets of the Hindu bhakti revival: his work forms one volume of the Tirumurai, the key religious text of Tamil Shiva Sid hanta. A minister to the Pandya king Varagunavarman II (c. 862 C.E. 885 C.E.), he lived in Madurai. His work is a poetic expression of the joy of God-experience, the anguish of being separated from God. Early life and Revelation Manikkavasagar is said to have been born in Vadhavoora, seven miles from Madurai on the banks of river Vaigai. According to legend the king entrusted him with a large amount of money to purchase horses. On his way he met an ascetic devotee of Siva, who in fact was Siva himself. Manikkavasagar was given enlightenment, realised material things are transitory and built the temple of Siva in Tirupperunturai with the money. Thereafter Manikkavasagar moved from one place to other, singing and composing devotional songs. Finally, he settled in Chidambaram. His Thiruvasagam is placed near the image of Shiva there.

KARAIKKAL AMMAIYAR
Karaikkal Ammaiyar (Tamil: , which means the mother from Karaikkal), one of the few females amongst the sixty three Nayanmars, is one of the greatest figures of early Tamil literature. Her birth name was Punithavathi, born at Karaikkal, South India, and lived during the 6th century. She was a great devotee of Lord Shiva. Divine Life Punithavathy was born in Karaikkal, a maritime trading city in Chola nadu to Danathathan, a famous merchant. From childhood Punithavathy grew up in a religious atmosphere and worshipped Lord Siva diligently. She enchanted the five letter mantra Namasivaya and also attended to the needs of Saiva devotees. When she grew up as a charming young girl she was wedded to Paramathathan, the son of a rich merchant in Nagapattinam. Even after marriage she continued her chosen religious life. Saiva devotees who visited her home were lavishly fed and were given clothes and jewels according to their needs. Divine Miracle A Hungry Saiva devotee came to her residence one day. As the luncheon was not ready at that time, she gave the devotee one of the two mangoes that her husband (Paramathathan) had sent home, earlier that day, to be kept for him. Later, when her husband came home she served him the one left mango that she had. The mango was very delicious and hence her husband requested for the other mango also to be served. Punithavathy was in a dilemma now. She prayed to Lord Siva and astonishingly by God's grace a mango appeared in her palm which she served to her husband. As this fruit was divinely sweet and was infinitely delicious compared to the previous one, her husband inquired as to how she obtained this mango. When punithavathy told the truth -- that she received the second Mango by god's grace, her husband could not believe. So he asked her to produce another mango with divine help. She entreated to Lord Siva, obtained another similar mango and gave it to her husband. On receiving the mango, the husband was shocked to find it disappear, realising the divine nature of the wife and his arrogance. Paramathathan shivered in fear understanding now that she is worthy of worship and unworthy he is of her. Hence he deserted her unannounced.

Mother of South Indian Music Irrefutable evidences adduced clearly establish that Karaikkal Ammaiyar has a distinctive place of eminence by any criteria, be it antiquity of time, elegance of composition, depth of meaning, spread of philosophy or inspirer of new excellence. Compared to great musical exponents who had been given appropriate titles as "Sangeetha Mummoorthigal", "Aadhi Mummoorthigal", "Sirpy of Padams", "Sangeethaa Pithamagar", "Chanthap paavala peruman" and "Thevaara Moovar" and are being remembered today, Karaikal Ammaiyar is the sole exception who has not been given adequate and meaningful recognition.

Judged by the criterion of time, Karaikal Ammaiyar is by far the oldest in this great galaxy of musical exponents and can therefore rightly lay claim as the "Mother of South Indian Music"

ALVARS
The Alvars (Tamil: ) ( ho e imme ed in god) we e Tamil poe saints of ou h India who li ed be ween ix h and nin h cen u ie and e pou ed emo ional de o ion o bhak i o Vi nu-Krishna in their songs of longing, ecstasy and service. Usually twelve Vaishnava saints, who, during the early medieval period of Tamil history, helped revive devotional Hinduism (bhakti) through their hymns of worship to Vishnu and his avatars. They included a woman (Andal). The collection of their hymns is known as Divya Prabhandham The Bhakti literature that sprang from these Alvars has contributed to the establishment and sustenance of a culture that broke away from the ritualoriented Vedic religion and rooted itself in devotion as the only path for salvation. In addition they helped to make the Tamil religious life independent of a knowledge of Sanskrit. As part of the legacy of the Alvars, five Vaishnava philosophical traditions (sampradayas) has developed at the later stages. Etymology Alvars or 'Azhwars' literally means 'people who are immersed'. They are so called because they were immersed in their devotion and love to their Lord, Vishnu. Legacy The twelve Alvars were all inspired and ardent devotees who transmitted their divine infatuation to millions. They have left behind an imperishable legacy of devotional Tamil poetry - naalaayira Divya Prabhandham (considered to be the essence of the Vedas, in Tamil, and all in praise of Lord Vishnu). These have been rarely equalled either in quantity or in quality ever after. The one held in greatest esteem among the Alvars is Nammalvar. He lived during the seventh century CE. His contribution to the four thousand prabandhams is as many as 1352. His hymns are considered by the Vaishnavites to contain the essence of the Vedas. His works - Thiru Aasiriyam, Thiru Virudham, Periya Thiruvandhadhi correspond to the Yajur, Rig and Atharva Vedas respectively. His other work Periya Thirumozhi (Divine words) is the one of the key works of Vaishnavism. Periyalvar delighted in worshipping Vishnu as mother, nurse, devotee and lady love. Andal, who grew up in Periyalvar's home, is attributed the Tiruppaavai, a most beautiful collection of 30 verses giving expression to the purest love of God. Thirumangai Alvar has done mangalasasanam (sung in praise) of maximum number of Divya Desams. Caste: The revered alvars came from all castes, a symbolic notion in SriVaishnavism to show that devotion to God transcends above caste. Nammalvar, or Satakopan, belonged to the Vellala caste. Tirumangai Alvar belonged to the Kallara tribe.

Thirumalisai Alvar belonged to Paraiyar untouchable caste. Tiruppani Alvar belonged to Panar untouchable caste , Kulashekhara was a ruler. Vishnu Chitta, or Periyalvar, was a Brahmin.

ALVARS
1 . Poigai Alvar 2 . Bhoothathalvar 3 . Peyalvar 4 . Thirumalisai Alvar 5 . Nammalvar 6 . Madhurakavi Alvar 7 . Kulashekhara Alvar 8 . Periyalvar 9 . Andal 10 . Thondaradippodi Alvar 11 . Thiruppaan Alvar 12 . Thirumangai Alvar

POIGAI ALVAR
Poigai Alvar was one of the twelve Alvars and was a Hindu saint. He belonged to the Vaishnava (worshiper of Vishnu) denomination of Hinduism. Poigai Alvar was born in a village near Kanchipuram in the seventh century CE. Poigai (pond in Tamil) was found as a baby near a pond of a Vishnu temple. Some Vaishnavas consider him to be an incarnation of Panchajanyam, the divine conch of Vishnu. Poigai Alvar's 100 hymns form the beginning of the Naalayira Divyap Prabhandham. Poigai Alwar's hymns start with the words Vaiyam Tagaliya, Varkadale Neyyaaga (I am singing these garland of verses(pasurams) and dedicating to Him, whose vision I had is the light of the lamp of the earth, and oil being the seas, the sun being the source of the light). Divya Prabandha The Nalayira Divya Prabandham (Tamil: ) is a collection

of 4,000 verses (Naalayira in Tamil means 'four thousand') composed before 8th century AD, by the 12 Alvars, and was compiled in its present form by Nathamuni during the 9th 10th centuries. The work is the beginning of the canonization of the 12 Vaishnava poet saints, and these hymns are still sung extensively even today. The works were lost before they were collected and organized in the form of an anthology by Nathamuni. The Prabandha sings the praise of Narayana (or Vishnu) and his many forms. The Alvars sung these songs at various sacred shrines. These shrines are known as the Divya Desams. In South India,

especially in Tamil Nadu, the Divya Prabhandha is considered as equal to the Vedas, hence the epithet Dravida Veda. In many temples, Srirangam, for example, the chanting of the Divya Prabhandham forms a major part of the daily service. Prominent among the 4,000 verses are the 1,100+ verses known as the Thiru Vaaymozhi, composed by Nammalvar (Kaaril Maaran Sadagopan) of Thiruk Kurugoor. The Tiruvaymoli ("words of the sacred mouth") is one of the Divya Prabandha, an important liturgical compilation of the Tamil Alvar Bhaktas, collected in the 9th century by Nammalvar. The author selfidentifies as a lovelorn Gopi pining for Krishna. Compilation These once thought of being lost were collected and organized in the form of an anthology by Nathamuni.

BHOOTHATHALVAR
Bhoothathalvar was one of the twelve Alvars and was a Hindu saint. He belonged to the Vaishnavite (worshiper of Vishnu) faith. Bhoothathalvar was born in the Pallava country near Mamallapuram in the seventh century CE. Bhoothathalvar's 100 hymns form the second part of the Naalayira Divyap Prabhandham. Bhoothathalvar's hymns start with the words Anbe Tagaliya, Aarvame Neyyaaga ( with love as the lamp and devotion as the oil). He is considered an incarnation of Vishnu's mace, Kaumodaki. Anbe Thagliyaa Aarvame Neyyaaga Inburugu Chintai Idu Thiriyaa Nanpurugi Gnaana Chudar Vilakku Etrinen Naaranarku Gnaana Thamizh Purindha Naan "I who wrote this song that bestows wisdom, with love as the lamp, endearing involvement as the lubricant ghee, and knowledge as the wick of the burning torch, dedicated myself to the service of the Lord".

PEYALVAR
Payalvar was one of the twelve Alvars and was a Hindu saint. He belonged to the Vaishnavite (worshiper of Vishnu) faith. Payalvar was born in Tirumayilai (Mylapore, now part of he city of Chennai om the seventh century CE. Vaishnavite traditions states that Peyalvar was found on a lily flower in the pond of the Adi Kesava Perumal Temple in Mylapore. They also believe that he was an incarnation of the sacred sword of Vishnu, Nandaki. Payalvar's 100 hymns in the Naalayira Divyap Prabhandham are the third 100 and start with the words Tiruk Kanden, Pon Meni Kanden ('I found the glorious, golden form of the Lord').

Tiruk Kanden Pon Meni Kanden- Thigazhum Arukkan Ani Niramum Kanden-Seruk Kilarum

Pon Aazhi Kanden Puri Sangam Kai Kanden En Aazhi Vannan Paal Inru.

"On witnessing the glorious vision in which the entire universe was the very body of Lord Narayana, the Alwar proceeds to describe all that he had seen." Peyalvar's hymns are of the Anthathi style, in which the last word of the previous hymn is used as the first work in the next hymn.

THIRUMALISAI ALVAR
Thirumalisai Alvar is a tamil mendicant-saint revered in the srivaishnavism school of south india between the 4th to 9th century CE in Tondai Nadu [now called Kanchipuram and Tiruvallur districts]. There are only little historical records of this alvars. The legend of this saint devotees of srivaishnavism say that he was the incarnation of vishnu's disc, Sudarshana. He belonged to untouchable Paraiyar caste, he proclaimed that he was "not of the 4 castes" (Brahmin, Kshatriya, Vaishya & Shudra) in one of his couplets as he was considered (Avarna) untouchable and casteless person. He had the access and resources to learn about various religions because in one of his couplets he says "After my futile efforts to know the supreme principle through Jainism, and Buddhism I am blessed by sriman Narayana to take refuge at the Lotus feet of Sri Devi and have escaped all problems and misfortunes since then". There is also evidence in his couplets that show that he was discriminated against by brahmins and asked God to help reveal their ignorance to them. Legend also says that when he displeased the pallava king and was banished, he asked the God from the temple, Yathotkari, to leave with him. Vishnu is said to have rolled up the snake Sesha like a matress and left with him. There are 216 of his paasurams in the 4000 Divya Prabhandham.

NAMMALVAR
Nammalvar (also Nammaazhvaar, Nammazhvar, Nammaalvaar, Nammalwar) was one of the twelve Alvars, well-known for his many hymns on devotion to Vishnu. Tradition gives him the date 3102 B.C. (i.e., the beginning of the kali yuga), but scholars give him a date 880930 A.D which is more realistic based on the events recorded. He was born in the asterism Visakham, in what is now Alvartirunakari (also known as Tirukkurugur), Tamil Nadu. His name means "our own alvar" (alvar means "one immersed in God"). He was also known as Maran and Sadagopan. Child Prodigy Discovered It is better to make a distinction between traditional scholars and academic, or critical, scholars. The academy does not own the term scholar, which does carry some prestige. In the politics of representation, traditional scholars want to be identified as such, not excluded from "scholarship". He must have been born fully enlightened because as a baby he never cried or suckled and never opened his eyes. According to tradition, as a child he responded to no external stimuli and his parents left him at the feet of the statue of Vishnu. The child then got up and climbed into a hole in a tamarind, sat in the lotus position, and began to meditate.

It appears he was in this state for as long as sixteen years when a Tamil poet and scholar in North India named Madhurakavi Alvar saw a bright light shining to the south, and followed it until he reached Nammalvar's tree. First Disciple Madhura-kavi was himself in a state of high spiritual evolution when he asked Nammalvar the "right" question and made him speak. Immediately he took him for his Acharya (Teacher, Guru). Nammalvar consented to being his guru, instructed him in the secret doctrines of Vaishnavism and thereafter could not resist the urge of singing about God and trumpeting about Him. He composed on the spot a thousand hymns praising Vishnu, each one starting with the last word of the previous poem. We owe it to Madhurakavi for setting them to music. Madhurakavi became the boy's student and went on to compose poems about his prodigal master. The following is an interesting episode regarding the way the two of hem met. MadhuraKavi Alwar was on a pilgrimage in North India, where all of a sudden, he began to observe a bright light shining forth from in the general southern direction. This seemed to be beckoning him and so he began to proceed in the direction of its source. His travails brought him to the scenic banks of the River tamraparani, to the Hamlet/town if Kurugoor. He observed that the light that drew him emanated from a divine being, one seemingly in his teens sitting within the hollow of a tamarind tree. He spent his time scrutinizing all these. He then proceeded to try and gain the attention of the one under the tree by various means, finally resorted to asking him a question

WRITINGS
His contribution of four works (numbering 1296 hymns) to the four thousand of the Divya Prabhandham includes the entire fourth thousand and part of the third thousand. these works are Ti u Aymozhi (1102 e e ) Ti u i u am (100 e e ) Ti u A i iam (7 verses) and Pe iya Ti u an hadi (87 e e ). tiruvaymozhi describes ranganatha as a metaphor to discussing the philosophical details in he na u e of he pa ama ma he na u e of he jee a ma he means for the jeevatma to attain the goal of Paramatma he block and hu dle on he way and he goal mok ha. The latter 2 are described in detail in the srivaishnava website. In the Srivaishnava canon these four represent in the Tamil language the four Sanskrit vedas, respectively, the Sama Veda, Rig Veda, Yajur Veda and Atharva Veda. According to tradition "He poured the cream of these vedas" into his songs and poetry that were the result of deep mystic experience.Though Nammalvar did not visit any of the 108 divyadesam temples

talked about in the Vaishnava religion it appears from his works he must have had the vision of all the archa forms in the temples he had glorified in his hymns.

MADHURAKAVI ALVAR
Madhurakavi (literally meaning Poet of sweet words ) was a Tamil saint/composer of the 6th to 9th century. He composed 11 couplets in praise of his guru, Nammalvar in the 4000 divya Prabhandham. He is considered one of the alvars. He is venerated as the dawn Ushas before the sun rise of nammalvar as he was born before Nammalvar. Legends say that he was a well read and well traveled Brahmin with a gift for music. He set Nammalvar's compositions to music. Early life Madhura Kavi aazhwar was born before Swami Nammazhwar, in a Brahmin family, in the month of Chittirai and in the chitra star in the divya desam called Thirukkolur near Aazhwar Thirunagari. The perumal in this divya desam is called Vaitha Maanidhi (Storage of great wealth). Madhura Kavi Aazhwar learnt the Vedas and was well versed in both Tamil and Sanskrit. He used to compose poems in the praise of Bhagavan. At one stage in his life, he decided to abandon all the chains of samsara and strive towards moksham. In this pursuit he undertook a pilgrimage to the Vada naattu divya desams like Ayodhya, Mathura etc. Meeting his guru When Madhura Kavi aazhwar, after long tour had reached Ayodhya and completed the mangalaasasanam of the enchanting forms of Sri Rama, Sita piratti, Lakshmana, Hanuman and others he noticed a glowing ball of fire in the sky. However much he tried, he could not understand the reason for this phenomenon. He also noticed that the ball of fire started to slowly move southwards. He decided to follow the light which led him to Aazhwar Thirunagari and finally disappeared. Madhura Kavigal had already heard about a sixteen year old youth [Nammalvar] who had spent his life since birth under a Tamarind tree without eating anything and emitting a divine glow. Madhura kavi aazhwar proceeded straight to the Thiru puli aazhwar (seat of Swami Nammalvar) and found Swami in a trance. In order to test Swami [Nammalvar], Madhura kavigal dropped a stone, on hearing which Swami opened his eyes and smiled at Madhura Kavi aazhwar. Now Madhura Kavi aazhwar wanted to test Swami for his spiritual wealth, and posed the following question to Swami: Seththathin vayitril siriyadu pirandaal Eththai thindru enge kidakkum? (literal translation - If the small one is born inside the dead one, what will it eat and where will it lie?) Swami Nammzhwar's reply was: Aththai thindru ange kidakkum (literal translation - It will eat that and lie there) Madhura kavi aazhwar instantly recognized the greatness of Swami Nammazhwar and fell at his feet and resolved to become Swami Nammazhwar's disciple. Madhura Kavi aazhwar remained with Swami Nammazhwar for the rest of Swami Nammazhwar's life. The philosophical meaning of this conversation is as below.

The question: If the jeevatma (soul) is born in the body which is attached to the samsara, what will it feed on and where will it live? The answer: The soul will eat the alternating fruits of good and bad deeds done through the body and enjoy its existence in the samsara

KULASHEKHARA
Kulashekhara was an Indian King from modern day Kerala and one of the Alvars, a prominent group of Vaishnava saints. From historical estimates it is believed he lived in or around the 8th century. Born in he a e i m Puna Kerala. After ruling for a few years, he gave up his throne, became a sanyasi and is revered as the 9th of the alvars (one of 12 mendicant saints venerated by South Indian Sri Vaishnavism) and wrote bhakti songs filled with yearning towards God called paasurams which are an important part of Carnatic classical music repertory. A great devotee of Rama, he considered the painful experiences of Lord Rama to be his own. He is he efo e al o known a Pe um-al meaning The G ea which is usually the epithet for the Lord. His devotion was so intense that he worshipped the devotees of the Lord as the Lord Himself. He lived in Srirangam and was serving the deity Ranganatha in the temple there. Much of the details of Kulashekhara's personal life have been lost. He was an exceptional poet of devotional hymns and songs (including the famous Mukundamalastotra). He wrote a set of ten exquisite poems in Tamil, and the work is called "Perumal Tirumoli". His poems are devotional in nature, being dedicated to the most prominent avatar's of Vishnu (Rama and Krishna). The rock band Kula Shaker is named after King Kulashekhara as is their music company, Alvar Music. a u a Kulaekha a Va ma he wa king of he Che a Dyna y and li ed in Kollam in

PERIYALVAR
One of the alvars, he was born into a Brahmin family in Srivilliputhur, near Madurai in the 6th or 9th century(conflicting reports) CE and was named Vishnuchittar meaning "one who has Vishnu in his mind". Legend says he rejected the vedic philosophical debates of his upbringing to focus on Bhakti, especially on doing simple tasks for God. He would make garlands of flowers for the deity of the temple. One day the Pallava king of the land had a competition between scholars to find one who would explain philosophical principles. Vishnuchittar won the competition by explaining that the path to moksha is by service to God. Legend goes that the king honored Vishnuchittar and God himself came down to earth to see this. Vishnuchittar composed a couplet called Ppallandu" (also called Thirup-Palandu out of respect) translating to "Long live for many years, Long live for many years for Hundreds of thousands of years!" to God. This is a very important prayer in Srivaishnava liturgy today. Vishnuchittar composed some pasurams in the 4000 Divya Prabhandham called Perialvar Tirumozhi where he explores a devotee's love for God

through the metaphor of Yashoda's motherly love for Krishna. He was the adopted father of Kodhai or Andal, the only woman alvar.

AANDAAL
Aandaal (Tamil: ) is a 10th century Tamil saint and one of the twelve Alvars (saints) and the only woman Alvar of Vaishnavism. She is credited with the great Tamil works of Thirupavai and Nachiar Tirumozhi that are still recited by devotees during the Winter festival season of Margazhi. Aandaal is known for her unwavering devotion to Lord Vishnu. The Srivilliputhoor Temple is dedicated to her and marks her birth place. Adopted by her father, the famous saint Periyalvar who found her as a baby, Aandaal avoided earthly marriage, the normal and expected path for women of her culture, to "marry" Lord Vishnu, both spiritually and physically. In many places in India, particularly in Tamilnadu, Aandaal is treated more than a saint and as a form of God herself, similar to tradition of Lord Buddha and Jesus Christ. Early life Aandaal is believed to have been discovered under a Tulsi(Basil) plant in the temple garden of Srivilliputtur, by a person named Vishnucitta who later became one of the most revered saints in Hinduism, Periyalvar. The child was named Kodhai (meaning, a beautiful garland, in Tamil) and she was raised by Vishnucitta. Goda (Sanskrit version of Kodhai) grew up in an atmosphere of love and devotion. Vishnucitta doted on her in every respect, singing songs to her about Lord Krishna; teaching her all the stories and philosophy he knew; and sharing with her his love for Tamil poetry. As Goda grew into a beautiful maiden, her love and devotion for the Lord grew to the extent that she decided to marry none but the Lord Himself. As days progressed, her resolve strengthened and she started to live in a dream world with her beloved Lord and was constantly fantasizing about marrying Him. Vishnucitta had the responsibility of delivering flower garlands to the Lord's temple, everyday. Goda made these garlands and sent it to her beloved Lord through her father. Eventually she started acting unusual by wearing the flower garland which was meant to be offered to the Lord. This is generally considered sacrilege in Hinduism because the scriptures teach the devotees not to offer to the Lord, a thing that has already been used by a human being. However, Goda felt she should test to see how the garland suited her and only if it did, she should offer it to the Lord. One day, she was caught red-handed by her father in this strange act, and as an orthodox devotee he was extremely upset. He rebuked her and told her not to repeat the sacrilegious act in the future. Frightened and apologetic, Goda made a new garland for the offering that day. Legend says that that very night the Lord appeared to Vishnucitta in his dream and asked him why he had discarded Goda's garland instead of offering it to Him. The Lord is believed to have told Vishnucitta that He had whole-heartedly accepted Goda's offering all this time. This moved Vishnucitta so much even as he started to realize the Divine Love that existed between the Lord and his daughter. From this day on, Goda is believed to have been respected by the devotees and came to be known as "Aandaal", the girl who "ruled" over the Lord. She is also known by a phrase

"Soodi kodutha Sudarkodi" which means "The bright creeper-like woman who gave her garlands after wearing them".

MARRYING THE LORD

As Aandaal blossomed into a fifteen-year-old beautiful young woman of marriageable age (girls were married at a much younger age in those days), her father prepared to get her married to a suitable groom. Aandaal, however, was stubborn and insisted that she would marry only the Lord at Srirangam. This perplexed and worried her father. Legend has it that he had a vision give by the Lord, once again, and was instructed to send Aandaal to Srirangam; the lord simultaneously commanded the priests at Srirangam, in their dreams, to prepare for the wedding. Aandaal who was anxious to reach Srirangam was unable to control herself in her urgency to meet her beloved Lord. She ran into the sanctum sanctorum of the Lord and is believed to have merged with Him completely at that point. Literary Works Aandaal composed two works in her short life of fifteen years. Both these works are in Tamil verse form and are exceptional in their literary, philosophical, religious, and aesthetic content. Her contribution is even more remarkable considering that she was a girl of fifteen when she composed these verses and her prodigiousness amazes readers till date.

Her first work is the Thiruppavai, a collection of thirty verses in which Aandaal imagines herself to be a Gopi or cowherd girl during the incarnation of Lord Krishna. She yearns to serve Him and achieve happiness not just in this birth, but for all eternity, and describes the religious vows (pavai) that she and her fellow cowherd girls will observe for this purpose. The second is the Nachiar Tirumozhi, a poem of 143 verses. Tirumozhi, literally meaning "Sacred Sayings", is a Tamil poetic style. "Nachiar" means Goddess, so the title means "Sacred Sayings of the Goddess." This poem fully reveals Aandaal's intense longing for Vishnu, the Divine Beloved. Utilizing classical Tamil poetic conventions and interspersing stories from the Sanskrit Vedas and Puranas, Aandaal creates imagery that is possibly unparalleled in the whole gamut of Indian religious literature. However, conservative Vaishnavite institutions do not encourage the propagation of Nachiar Tirumozhi as much as they encourage Tiruppavai. This is because Nachiar Tirumozhi is belongs to an erotic genre of spirituality that is similar to Jayadeva's Gita Govinda.

THONDARADIPPODI ALVAR
Thondaradippodi Alvar, who is also named as "Vipra Narayanar" led his life as the slave to the Perumal and worked for the Perumal by dedicating him with Garlands. He is one of the 12 Alvars. Birth and Early life Thondaradippodi Alvar was born in a small village by name 'Thiru mandaggudi' in Prabhava year, Margazhi month, Krishna chaturthi, Tuesday in Kettai Natshatram (star).

Hi fa he Veda Vi a adha belonged o "Kudumi Sozhiyap B ahmana " community also called as "Vipra" people, whose routine work is to praise about Sri Vishnu. On the 12th day after his birth, he was named as "Vipra Narayanar". He was properly taken care of and proper education along with the bhakti towards Sri Vishnu was taught to him. He grew up with all good characters and had a good structured body, too. In spite of being good and beautiful and dedicated to Sri Vishnu bhakti, he treated all the aged persons and persons who are younger to him in the same way and gave proper respect to them. Reaching Srirangam
One day, viswakshenan, who was the commander-in-chief of Sri Vishnu's troop came down to the earth and explained to Vipranarayanar, why he was born in this mighty world and what are the things that he should follow to attain Mukthi. On hearing the truth of his birth, he showed much love, affection and bhakti towards Sriman Narayanan. As an extension to it, he started thinking what should be the next step to be taken to explore his bhakti. He thought of traveling to all of the temples where the Emperumaan is giving his seva. But, he had a question that from which sthalam he should start with. After a long thinking, he finally decided that he should start from the greatest of all of the Vishnu sthalams, the Srirangam, which is located on the banks of cauvery river should be the starting sthalam he should worship and started traveling towards it. After reaching the temple, he went inside the moolavar sannadhi and was very happy to see the perumal on the Aadhiseshan (the snake) who is found in sleeping posture. After seeing the beauty of Sri Ranganathar, he did not want to see any of the things around and thought his bhakti and the remaining life should be spent completely for Aranganathan. He thought in what way he can express his bhakti towards the emperumaan and finally he thought he can offer him with the Garland daily to the perumal. Soon after this thought, he constructed a big Nandhavanam (flower park) in Srirangam, where various beautiful and fragrance flower plants are grown. He built a small hut in the midst of the park. Daily, in the morning, as a daily work, he dedicated the Garland to Sri Ranganathar and only then did his routine jobs. Since, he thought, only Sri Aranganathar is the beautiest thing in this world, he didn't turn up towards any of the women around him. Because of this, all the people thought he doesn't have any feelings towards the people around him. On seeing these kinds of scenes from Sri Vaikundam, thirumagal, Sri Lakshmi questioned Sriman Narayanan that because of having the affection towards him (Sri Ranganathar) and in spite of being a male he doe n know how he lo e hould be exp e ed owa d a women and con inued ha which women can show her love towards a person like Vipra Narayanan? Knowing the future and what is going to happen, Sri Vishnu casually answered Sri Lakshmi that she is going to see what is going to happen for him. Devi and Devadevi

In thirukkarambanoor, there lived two Daasis (Women who dances in front of the king to earn money) by named Devi, who is the elder sister and Devadevi, who is the younger sister. They wanted to dance to the Urayoor king and to get prize from him. Then both of them went to Sri Rangam temple to worship Aranganathar. When they were going to the temple, they had the chance to see the Nandhavanam, which belonged to Vipra Narayanar. Devadevi wanted to see him and they both went to the small hut. Devadevi, on seeing him, was very much attracted towards him and started loving at the first sight. She expressed her love in words and continued with his work. She did service to convert him towards her side. Soon she completely turned Vipra Narayanar towards her and they both started to live together. One day, Devadevi said to Vipra Narayanar that she wanted to see her parents and her sister. Vipra Narayanar said that he would too come along with her, since he could not live without leaving her for a second. But her mother did not want him to be in the house and asked Vipra Narayanar to get out of the house for he did not have any wealth. Since, Vipra Narayanar is helpless, he came out of the house and entered a Nandavanam and being so tired, he slept for a while. On seeing this, the Emperumaan wanted him to get of the Maya and wanted him to get along with the right path, which leads to the Thiruvadi of Him (Sri Vishnu). He changed himself as a Student of Vipra Narayanar and went straight to Devadevi's house and gave him a big silver vessel as given by his Guru to Devadevi. On getting that her mother thanked him and asked his Guru, Vipra Narayanar to return back to her house. On hearing this, Vipra Naryanar walked fast to the house and hugged Devadevi. The Next morning, the archakar entered into the Sri Ranganathar sannadhi and found one Vattal (Vessel which is used to do the daily pooja) was missing and complained to the king about this. The king ordered his servants to go in search of the Vattal and they found that in Devadevi's house. Vipra Narayanar was jailed for one night. On that night, Vipra Narayanar cried and asked the Emperumaan why like this has happened to him and prayed towards him. On the same night, the Emperumaan arise in the dream of the king and explained him what had happened and asked him to free Vipra Narayanar. The king explained that this is a small thiru Vilayaadal (game) of Sri Emperumaan. Knowing the real truth why he came to the world, he went to Sri Ranganathar temple and praised the Lord. Then, he worshipped all the bhaktas of Sri Vishnu and put the podi (Small tiny dust particles), which is found under the feet of them in his head and sang songs in praise of Sri Ranganathar. From then, he was called as "Thondaradipodi Alwar". Finally he realised for what he came for to the earth and went to all the Vishnu temples to praise him.

THIRUPPAAN ALVAR
Thiruppaan Alvar is one of the 12 Alvars. He was born in an untouchable community, but as a result of his devotion towards Sriman Narayanan, he was listed among the great twelve Alvars. Paan Alvar has done Mangalasasanam on Srirangam divya desam with 10 paasuram of amalanAdhipirAn. Birth in Baanar community.

Thiruppaan Alvar was born in Purthurmadhi year, Kaarthigai month, Wednesday in Rohini Natshatram in a small village of "Alagapuri" near Srirangam in 8th or 9th century C.E. He was born in "Baanar Cheri". Baanar are musicians who are capable of arresting the minds of all people and even the Devas and Rishis. But these baanars are kept as a separate categorized peoples and who were treated as untouchables. It is said that Alvar is the hamsam of the small mole, called as "Srivatsam" which is found in the chest of Sriman Narayanan. Having a veena in his hand, he always sang on Sri Vishnu and his fame and spread his capabilities and the love he offers to his bhaktas, in his songs. Because of this, he is also named as "Paan perumal". The untouchable people were ordered not to keep their feet on Cauvery river. Because of this and to obey the order, Paan Alvar did not touch the Kaveri river, but stood along the banks of the river facing Thiruvaragam temple and sung various songs, praising the Lord. Reaching Srirangam Legend is that Emperumaan wanted to explain the greatness and Bhakthi of Thiruppaan Alwar towards Him and as an action to it, he started to play a small drama. The Cauvery water is used for the Thirumanjanam for Sri Ranganadhar. Loga Saaranga Maha Muneetharar, a devoted bhakta of Sri Ranganathar, would daily bring the Cauvery water for Thriumanjanam. One day, when he was sleeping, he had a dream in which the Aranganadar explained about Paan Perumal and he should be taken on the shoulders of Loga Saaranga muni, without having the mind that he is an untouchable person. Loga Saarangamuni, who being the strong follower of Sri Vishnu, got up early next morning and went to the other side of Cauvery river and met Thiruppaan Alwar. On seeing him, he explained about the dream he had last night and asked him to climb on his shoulders, so that he can be taken to the other side of the Cauvery river, where Sri Ranganathar is giving his seva. Thirupaan Alwar could not convince him otherwise and finally he sat on on his shoulders. Saranga Muni started walking towards him Sri Arangathan through the Cauvery river. Everyone was surprised to see this scene and stood in silence. After reaching the temple, Thiruppan Alwar could not believe his eyes because he was seeing Perumal whom he thought that he could not see him in his life. He raised his hands above his head and started to sing slokas on Sri Aranganathan. Ten Paasurams The first pasuram sung by Alvar is on Arangan's feet. On seeing the Thiruvadi(lotus feet)of Aranganathan he sang: Neel madhil Arangathamman thrukkamalpadham vandhu en Kanninullana okkinrathe. He then started to see the whole thirumeni (body) of Emperumaan and he sung a total of ten paasurams which explain the beauty of Sri Ranganathar from his thiruvadi (foot) to thirumudi(head). He explains in his ten paasuram about the clean saffron cloth which is worn on the body of Ranganathar, his jewels the thiru vayiru(stomach) from where Lord Brahma originated, the broad chest, the red lips and finally on explaining the beauty of the two broad eyes, he fell down.

After some time, Thiruppaan Alwar was not found and he went in to the body of Thiruvaranganathan. Like Andal, whose thought was always on Aranganathan, who was captured by the love of the Perumal, Thiruppaan Alwar was also captured by the love and he went towards the Aranganathan. Thiruppaan Alwar has sung only ten paasurams, where he has explained about how a human should be. He explains in that ten paasurams that Perumal is the leader and our aim should be to reach Him and to get the complete Saranagathi(total surrender) in His thiruvadi, and that is the final place, where all of us has to reach.

TIRUMANGAI ALVAR
Tirumangai Alvar or Tirumankai Alvar or Thirumangai Mannan (8th century AD) is the last of the 12 Alvar saints of south India, who are known for their affiliation to Vaishnava tradition of Hinduism. He is considered one of the most learned Alvar and the most superior Alvar in the context of composition of verses. He holds the title Narkavi Perumal, the mark of an excellent poet,and Parakala (Beyond Time). Though he is respected as a Vaishnava saint-poet, he, initially, worked as a military commander, a chieftain and then a robber. After his conversion to Vaishnavism, he confronted practitioners of rival Hindu sect of Shaivism as well as Buddhism and Jainism. Dating and hagiography The traditional date attributed to Thirumangai is year 399 of Kaliyuga, that is 2702 BC, making him traditionally the last of the Alvar saints. Modern scholars have placed the Alvars in beetween 5th to 9th centuries based on few historical evidence. Dr. N. Subba Reddiar summarizes their views and arrives at the date 776 AD for Thirumangai, making him chronologically the eighth Alvar, though even these dates are disputed. The hagiographies detailing the life of Thirumangai and other Alvars are Divya charitam (11th century) and Guruparampara-prabhavam-arayirappadi (13th century) and Guruparampara-prabhavammuvayirappadi (14th century). Other Vaishnava sholars have written hagiographics based on the above works later. Early life Thirumangai was born in Thirukuraiyular, a small village in Tamil Nadu, in a non-Brahmin, tribal family. Thirumangai's real name was Kaliyan or Kalikanti. Thirumangai's father was Nilam, a general under the Chola empire. He was skilled in archery and worked as a military commander himself for the Chola king. In recognition of his valour, he was conferred upon the title Parakala and rewarded a small terrority called Ali Nadu to govern, for his military services. Its capital was Thirumangai. He earned the title Thirumangai Mannan or chief of Thirumangai, a name he maintained even when he became a saint. According to the traditional account, he married Kumudavalli, a Vaishnava doctor's adopted daughter and became a Vaishnava, devotee of the Hindu god Vishnu, under her influence. She also got him to promise that he would feed a 1008 Vaishnavas every day for a year. Unable to bear the heavy expense of feeding a thousand people, Thirumangai resorted to highway robbery. One day, Thirumangai tried to remove rings from the toes of a bride but could not do so. Then he realized the bride was none other than goddess Lakshmi, the consort of god Vishnu.

God Vishnu (Narayana) revealed himself to Thirumangai and transformed him by teaching the Narayana mantraor Ashatara (the eight syllabled) - "namo narayanaya", turning the robber into a saint As a Vaishnava saint Transformed by his encounter with God, Thirumangai gave up his chieftainship and became a devout Vaishnava, dedicated to god Vishnu. To atone for his sins, he visited 88 of the Divya Desams, a group of 108 Vishnu shrines primarily in south India. He spread the poems of older Alvars in his wandering. He was also well versed in earlier Tamil literature like Naaladiyar, Thirrukkurai, Sangam literature and Jain literature. Thirumangai preached against penance and advocated bhakti (devotion) as way to attain salvation. He composed 6 poems in Tamil, together acoounting for 1361 verses. In the book Divya Prabandham, 1361 verses of Thirumangai are included, making them the most composed by any Alvar. Tamil Vaishnavas consider them as the six Tamil Vedangas or Angas of the 4 poems of Nammalvar, which are considered as Vedas. His most important work is Periya Tirumoli, composed of 1084 hymns. The others are: Tirunedunthandakam (30 verses), Tirukuruthandakam (20 verses), Tiruvelukkutirukkai (a single long poem of 47 lines), Siriya Tirumadal (155 lines) and Periya Tirumadal (297 lines). A late ninth century text, Tamilalangaram by Dandapani Swanigal describes him of having the rare privilege of biting god Vishnu's toes and being pardoned for all his sins, as he wrote in Tamil. Vaishnavas consider him as a divine incarnation of Sharanga, Vishnu's bow. Works Periya Tirumoli is the composition of hymns illustrating the greatness of Vaishnava shrines and their presiding deity as well as God's numerous attributes. His songs extol the largest number of shrines over 40 forms of Vishnu, from Badrinath in North India to Tirukkurungudi in the extreme South. Thirumangai also discusses causes of human suffering and ways to overcome it to achieve salvation. Vedanta Desika praises the work as "a deep insight in spiritual knowledge". The word thandakam in Tiru-nedun-thandakam and Tiru-kuru-thandakam refers to the staff used for support for climbing a hill, this refers to God as the support for sustence of the soul in context of the poems. The words nedu and kuru signify the length of the compositions and it's poetic meter. In Tirunedunthandakam, Thirumangai speaks as a nayaki (or nayika ie consort of the Lord), who separated from her beloved God (Nayaka). Tirukuruthandakam speaks dependency of the soul on God and it's way to escape suffering being God, who is the sole supporter. Tiruvelukkutirukkai deals with the concept of surrender to God to attain freedom from suffering, the nature of God and the means of attaining Him. His songs are also based on akam love poems, and talk of employing bees and storks are messengers to God. He goes to the length of calling himself Thirumangai Alvar, literally "the woman Alvar", portraying himself as the nayaki, pining for the love of Lord Vishnu. Interaction with other faiths Thirumangai shared a bitter hatred for other traditions, which he considered heretical. He was instrumental in the decline of Jainism in south India. He is known for building of the third wall at the Vishnu temple, Srirangam for which he melted a gold Buddha statue from the Negapatam monastery.

This indicates a conflict with Buddhism. Thirumangai plundered many rival Shaivas (devotees of the Hindu god Shiva) and lived on the acquired wealth He is described as cold-hearted Vaishnava who defeated the rival Shaivas (devotees of Hindu god Shiva) by his words or even "argumentum ad baculum". Vaishnava texts like Divyasuri charitam and Guruparamparai prabhavams tell of his meeting with Thirugnana sambandhar, a Shaiva saint. who went to meet Thirumangai on his own and invited Thirumangai to his home town Sirkazhi.d that Thirumangai compose a poem in praise of the local dei At Sirkazhi, Thirugnana sambandhar requestety Thadaalan. So Thirumangai composed a poem on the spot, which was admired by the Shaiva - who granted Thirumangai a trident as a mark of appreciation.

NAYANMARS
The Nayanars or Nayanmars were Shaivit devotional poets of Tamil Nadu, active between the fifth and the tenth centuries CE. The Tamil Shaiva hagiography Periya Puranam, a volume of the Tirumurai, written during the thirteenth century CE, narrates the history of each of sixty-three Nayanars, though the number was probably selected for its symbolism. The Jain hagiography Mahapurana, a ninth century Sanskrit work by Jinasena, which lists 63 Jain saints, probably formed the basis of Periya Puranam as well as the number of Nayanars. Cuntarar's eighth century work Tiruttondar tokai lists 60 Shaiva saintsbut gives none of the legends associated with them. In the tenth century Nambiyandar Nambi composed the Tirrutontar Antati, adding Cuntarar himself and his parents to the list, thus creating the canonical list of sixtythree, with brief sketches of their legends. Nayanars were from varied backgrounds, ranging from kings and soldiers to untouchables. The foremost Nayanars are Appar, Cuntarar and Campantar. Together with the twelve Vaishnava Alvars, the Nayanars are sometimes accounted South India's 75 Apostles of Bhakti because of their importance in the rise of the Hindu Bhakti movement.

THE SIXTY-THREE NAYANMARS

1. Anaya 2. Adipaththa 3. Aiyadigal Kaadavarkon, Pallava King Aiyadigal Perumaanaar 4. Amarneeti 5. Appudhi Adigal 6. Arivattaya 7. Chandeshvara Nayanar 8. DhandiyadigaL 9. Enatinatha 10.Eripaththa 11.Eyarkon Kalikkaama 12.Gananatha 13.Idankazhi 14.Ilayankudimara 15.Isaijnaniyaar Female Nayanar 16.Iyarpahai 17.Kaari

18.Kalikkamba 19.Kaliya 20.Kanampulla 21.Kannappa Nayanar 22.Karaikkal Ammeiyar, Female Nayanar 23.Kazharchinga 24.Kazharir-rarivaar, Chera King, also Cheraman Perumal 25.Kochchenkat Chola, A Chola King 26.Kootruva 27.Kotpuli 28.Kulachchirai 29.Kungiliyak Kalaya 30.Manakkanychaara Nayanar 31.Mangayarkkarachiyar, Female Nayanar 32.Meypporul 33.Murkha 34.Murti 35.Munayaduvaar 36.Muruga 37.Nami Nandi Adigal 38.Narasingha Munayaraya 39.Nesa 40.Ninra Seer Nedumaara 41. Perumizhalaik Kurumba

42. Poosalaar 43. Pugal Chola, A Chola King 44. Pukazth Tunai 45. Saakkiya 46. Sadaiya 47. Saththi 48. Seruthtunai 49. Sirappuli 50. Siruttonda 51. Somaachi 52. Sundarar 53. Sambandar 54. Tirukkuripput Tonda 55. Tirumular 56. Thirunalai Povar Nayanar, popularly known as Nandanar 57. Tirunavukkarasar, popularly known as Appar 58. Tirunilakanda 59. Tirunilakanda Yaazpaana 60. Tirunilanakka 61. Uruttira Pasupati 62. Vaayilaar 63. Viranminda

SUBRAMANYA BHARATHI
Subramania Bharati (Tamil: ) (December 11, 1882 - September 11, 1921) was a Tamil poet from Tamil Nadu, India, independence fighter and reformer. Known as Mahakavi Bharati (the laudatory epithet Maha Kavi meaning Great Poet in Tamil), he is celebrated as one of India's greatest poets. Bharati was prolific and adept in both the prose and poetry forms, and his rousing compositions helped rally the masses to support the Indian independence movement in South India. Bharati lived during an eventful period of Indian history; his

contemporaries included other prominent leaders of the Indian independence movement such as Mahatma Gandhi, Bal Gangadhar Tilak, Sri Aurobindo and V.V.S.Aiyar. Early life Bharati was born to Chinnasami Subramania Iyer and Elakkumi Ammaal on December 11, 1882 in the Tamil village of Ettayapuram. Bharati was educated at a local high school called "The M.D.T.Hindu College". He learnt music from very young age and at 11 was invited to a conference of Ettayapuram court poets and musicians for composing poems and songs. It was here that he was conferred the title of "Bharathi" (one blessed by Saraswathi, the Goddess of learning). Bharati lost his mother at the age of 5 and his father at the age of 16. He was brought up by his disciplinarian father who wanted him to learn English, excel in Arithmetic, become an engineer and lead a comfortable life. However, Bharathi was given to day dreaming and could not concentrate on his studies. In 1897, perhaps to instill a sense of responsibility in him, his father got the 14 year old Bharathi married to to his cousin Chellamal, seven years younger to him. After an early marriage, Bharati, curious to see the outside world, left for Benares in 1898. The next four years of his life served as a passage of discovery, when Bharathi discovered a country in tumult outside his small hamlet. Bharati worked as a school Tamil teacher in Madurai Sethupathy High School (Now a Higher Secondary School) and as a journal editor at various times in his life. Nationalist During his stay in Benares, also known as Kashi and Varanasi, Bharati was exposed to Hindu spirituality and nationalism. At Benares his outlook broadened and he learned Sanskrit, Hindi and English. Outwardly too he changed. Impressed by the turban of the Sikhs, he began to wear one. He grew a beard and walked with straight back. Bharati's enquiring mind began to see beyond the social taboo superstition that held sway amidst the orthodox South Indians. In December 1905, he attended the All India Congress Session held in Benaras. On his way back he met Sister Nivedita, Vi ekananda pi i ual daugh e and came unde he pell. F om he a o e ano he of Bha a i iconocla m hi and o ecogni e he p i ilege of women. The emancipa ion of women exe ci ed Bha a i mind g ea ly. He i uali ed he new woman a an emana ion of Shak i a willing helpma e of man o build a new ea h through co-operative endeavour. During this period, Bharati Understood the need to be well-informed of the world outside and took avid interest in the world of journalism and the print media of the West. Bharati joined as Assistant Editor of the Swadeshamitran, a Tamil daily in 1904. By April 1907, he had started and along with M.P.T. Acharya, edited the Tamil weekly India and the English newspaper Bala Bharatham. These papers not only served the purpose of enlightening the masses on the affairs of the nation and the world outside,

but also were a means of expressing Bharathi's creativity, which began to peak during this period. Bharathi started to publish his poems regularly in these editions. From complex religious hymns to rousing nationalist anthems, from contemplations on the relationship between God and Man to songs on the Russian and French revolutions, Bharati's subjects were truly diverse. He was simultaneously up against personal and social poverty, society for its mistreatment of the downtrodden people, and the British for occupying India. Though he lived a life of abject poverty, he was always positive. Exile in Pondicherry In 1908, he gave evidence in the case which had been instituted by the British against V.O. Chidambaram Pillai. In the same year, the proprietor of the 'India' was arrested in Madras. Faced with the prospect of arrest, Bharati escaped to Pondicherry which was under French rule. From there Bharati edited and published the weekly journal India, Vijaya, a Tamil daily, Bala Bharatha, an English monthly, and Suryothayam a local weekly of Pondicherry. The British tried to suppress Bharathi's output by stopping remittances and letters to the papers. Both India and Vijaya were banned in British India in 1909. During his exile, Bharati had the opportunity to mix with many other leaders of the militant wing of the Independence movement such as Aurobindo, Lajpat Rai and V.V.S. Aiyar, who had also sought asylum under the French. Bharathi met with Aurobindo in Pondicherry and the discussions often turned to religion and philosophy. He assisted Aurobindo in the Arya journal and later Karma Yogi in Pondicherry. Bharathy met with Mahatma Gandhi in 1919 in Rajaji's home. Bharathi entered British India near Cuddalore in November 1918 and was promptly arrested. He was imprisoned in the Central prison in Cuddalore in custody for three weeks - from 20 November to 14 December. Nationalistic poems Bharathi is considered a nationalistic poet due to his number of poems of the patriotic flavour through which he extolled the people to join the Independence struggle. He wrote "The glorious Himalayas are ours and there is none to compare with it on this earthThe good i e Gange i ou i e and he e i no i e o i al i goodne ! ! !

! .

Instead of merely being proud of his country he also outlined his vision for a free India. He w o e 'When you ay Bha a you will lo e you fea of you enemie We will

make weapons, produce good paper, we will build big factories and create great chool . We will ne e e no leep; we will be u hful and excel' Bha a hi' strong nationalistic sense may be illustrated by this: , !

We may have thousand of sects; that, however, does not justify a foreign invasion. Carnatic Music compositions Bharati set tunes for a number of his songs, however not all of them have been recovered. Some of the songs of Bharati that are currently very popular in the Carnatic music concert circuit include: Theeratha Vilaiyattu Pillai, Chinnanchiru Kiliye (tuned by him in Raga Bhairavi, but popularised in Ragamalika), Suttum Vizhi, Thikku Theriyaatha, Senthamizh Nadenum, and Paarukkule Nalla Naadu Journalism As a journalist, Bharati was the first in India to introduce caricatures and political cartoons to his newspapers; they were satirical and angry hand-drawn illustrations of the poet that improvised heavily on the works of his inspiration Thomas Nast. He published and edited various journals such as Swadeshamitran, India, Vijaya, and Bala Bharatham. Innovation in Tamil poetry Bharati was a pioneer in introducing a new style of Tamil poetry. Until then the poems had to follow the strict syntactic rules set down by the ancient Tamil grammatical treatise Tolkappiyam. Bharati broke this syntactic bonds and created a prose-poetic style known as the puthukkavithai (modern poems). Death Bharati's health was badly affected by the imprisonments and by 1920, when a General Amnesty Order finally removed restrictions on his movements, Bharati was struggling in penury and failing health resulting in his tragic premature death. Bharati was struck by an elephant at Parthasarathy temple, Thiruvallikeni, Chennai. It is an irony of fate that a temple elephant, whom he used to feed regularly, attacked him one day from which he got very sick. He however survived the mishap. A few months later his health deteriorated and he died on September 11, 1921, threemonths short of his thirtyninth birthday. Though Bharati was a people's poet there were only around fifteen people to attend his funeral. The last years of his life were spent in a house in Triplicane, Chennai. This house was bought and renovated by the Government of Tamil Nadu in 1993 and named 'Bharathiyar Illam' (Home of Bharathiyar).

BHARATHIDASAN

Bharathidasan (Tamil:

) (April 29, 1891 - April 1, 1964; also spelt

Bharatidasan) was a twentieth century Tamil poet and rationalist whose literary works handled mostly socio-political issues. His writings served as a catalyst for the growth of the Dravidian movement in Tamil Nadu. In addition to poetry, his views found expression in other forms such as plays, film scripts, short stories and essays. He was mentored by Mahakavi Subramanya Bharathi (after whom he called himself "Bharathidasan"). But Bharathidasan, unlike Bharathi rarely used words derived from Sanskrit in his works; also Bharathidasan's works were more political. Life Bharathidasan was born in Pondicherry. His original name was Subburathinam. He underwent formal education in Tamil literature, Tamil grammar and Saiva Sidhantha Vedanta under reputed scholars. He also studied at the Collge Calv in Pondicherry. In 1909, he was introduced to Subramanya Bharathi, and his interactions with the Mahakavi had a major impact on him. He initially worked as a Tamil teacher in the French territory of Karaikal. He actively participated in the Indian Independence Movement and through his writings openly opposed the British and the French Government. He was sentenced and imprisoned by the French Government for voicing views against the French Government that was ruling Pondicherry then. He was a strong supporter of Periyar and an important member of the Suya-Mariyadhai (meaning Self-Respect) Dravida Movement (also known as the Anti-Brahmin movement), founded by Periyar. Biggest leader Pavalareru Perunchitthiranaar's Friend. During the Atheist's conference in Chennai, he signed a document having the words "I am an undying atheist". Throughout his writing career he was encouraged by political leaders such as Annadurai and M. G. Ramachandran. In 1954 he was elected to the Pondicherry Legislative Assembly. He remained a prolific writer until he died in 1964 in a hospital in Chennai. Literary Works Bharathidasan penned his works under different pseudonyms such as Puduvai Kalaimakal, Desopakari, Desabhaktan, Anantapotini, Swadesamitiran, Tamilarasu, Tupleks, Kirukkan, Kindalkaran and the name by which he known today Bharathidasan. As he was a staunch follower of Anti-Brahmanism, many of his works were antiBrahmin in nature. Often he talked of "Tamil Race" and "Aryan Race" as polar opposites. His works include S imayilam Suppi amania Thu hiyamu hu Sanji i Pa a hin Saa al

Edhi paa aadha Mu ham

 Kaadhal Ninaivugal Nalla Thee ppu Alagin Si ippu Kudumba Vilakku Pandiyan Pa i u I unda Veedu Tamil Illakiyam Amaidhi - Oomai Saumiyan Ka ingya Pe ugi aa Kadhala Kadamaiya Hindi E hu ppu Paadalgal Kannagi Pu a chik Kaapiyam Manimekalai Venpa Panmani hi al Tena u i I ai Paadalgal

AGATTIYAM
Agattiyam Tamil: ( ), according to mentions in Sangam Literature, was the first known book on Tamil grammar. This was supposedly written by the sage Agastya, and believed to be lost beyond redemption. No authentic text from this work has been found so far and hence its existence is a matter of conjecture. The sage Agastya, according to Hindu legends, brought the Tamil language and its syntax to the Dravidian Tamil people from the god Siva. Tolkappiyar (epithet), the author of Tolkappiyam, which is believed to be the oldest extant Tamil grammar, is held to be a disciple of Agastya. Mentions in Sangam Legends.According to the Sangam Legends, Agastya was a participant in the first Tamil Sangam. This session was held at "Then Madurai" (South Madurai) on the banks of the river Kanni under the patronage of a Pandya king called Ma Kirti. Sage Agastyar convened this session and wrote Agattiyam Sage Agastya is said to have had twelve students. Chief among them was Tolkappiyar, a member of the second Sangam. Little is known of the First Sangam. None of the writings attributed to this Sangam are present in their entirety.

TOLKAPPIYAM

The Tolkppiyam (Tamil:

) is a work on the grammar of the Tamil

language and the earliest extant work of Tamil literature. It is written in the form of noorpaa or short formulaic compositions and comprises three books - the Ezhuttadikaram, the Solladikaram and the Poruladikaram. Each of these books is further divided into nine chapters each. Based on linguistic and other evidence, it has been dated variously between the eighth century BCE and the 3rd century BCE. Some modern scholars prefer to date it not as a single entity but in parts or layers. There is also no firm evidence to assign the authorship of this treatise to any one author. Etymology of the name There are two different etymologies proposed. One of them proposes that the name Tolkppiyam i de i ed f om he combina ion of he wo wo d Tol and kppiyam. Tol means ancient and Kappiam means literature. Another proposes that it is derived from he au ho ' name Tolkppiyan. The la e eem mo e likely a he e i a long tradition in the ancient Tamil milieu of naming treatises, especially grammatical ones, af e he au ho . Fo example Kkkaipiniyam af e Kkkaipini A inayam af e A inayan Vyppiyam af e Vyppiyan. Mo eo e he e a e a e ed poe f om he ame e a wi h name con aining kppiyan a in Kppiy uk Kppiyan (Kppiyan f om Kppiy u) he au ho of one of he decad in Pa i uuppa u.

OVERVIEW
Tolkappiyam, deals with orthography, phonology, morphology, semantics, prosody and he ubjec ma e of li e a u e. The Tolkppiyam cla ifie he Tamil language into "sentamil" and "kotuntamil". The former refers to the classical Tamil used almost exclusively in literary works and the latter refers to the dialectal Tamil, spoken by the people in the various regions of ancient Tamilakam. Tolkappiyam catergorises alphabet into consonants and vowels by analysing the syllables. It grammatises the use of words and syntaxes and moves into higher modes of language analy i . The Tolkppiyam fo mula ed hi y phoneme and h ee dependen sounds for Tamil. The dating of the earliest Tamil grammatical treatise Tolkappiyam has been debated much and it is still imprecise and uncertain and has seen wide disagreements amongst scholars in the field. It has been dated variously between 800 BCE and 10th CE. While most of the antediluvian datings which stem mostly from a descriptive commentary in an 8th century work called Iraiyanar AgapporuL, about the existence of three Tamil Academies, which have been rejected as being devoid of any evidence, the genuine disagreements now center around widely divergent dates lying between the third century BCE and 10th CE. Some modern scholars prefer to date it not as a single entity but in parts or layers which are estimated as written between the third century BCE and the fifth century

CE. There is also no firm evidence to assign the authorship of this treatise to any one author. The most proiminent dating of Tolkappiyam is 500 BCE by the worldwide recognised Iravatham Mahadevan

AUTHORSHIP
Not much is known about who the author was or when he lived. Traditionally, it was thought that there could have been only one author but given the fairly long time it seems to have taken for the final redaction of the book to become available, it is reasonable to ascribe the work to multiple authors. Zvelebil speculates that the final redaction may even have been the work of a systematised school of grammar than the work of individuals. Many authors however, ascribe the work to Jaina traditions and the earliest of the possibly many authors, who has been identified as Tolkappiyanaar to a heterodox Jaina order. Some authors have also speculated that Tolkappiyanaar might have been a Brahmin belonging to the village of kappiya. Vaiyapuri Pillay has suggested that Tolkappiyanaar may have belonged to a heterodox Jaina grammatical tradition called aintiram(a view which other scholars like Burnell, Takanobu and Zvelebil share) and that he was a native of Tiruvatankotu in present day Southern Kerala.

COMMENTARIES
Starting the 11th-12th CE, several commentaries came to light. Of these, the one by Ilampuranar dated to the 11th or 12th CE is considered one of the best and most comprehensive. This was followed by a commentary dateable to 1275 AD by Cenavaraiyar which however, dealt only with the Collatikaram. A commentary by Pe aci iya which i hea ily indeb ed o he Nannl followed. This commentary which can be dated to the 12th or 13th CE, if not later, frequently quotes from the Dandiyalankaram and Yapparunkalam, the former being a standard medieval rhetorica and the latter being a detailed treatise on Tamil prosody. Naccinarkiniyar's commentary, which can be dated to the 14th if not 15-16th century follows. Naccinarkiniyar, himself being a scholar of both Tamil and Sanskrit quotes from Parimelalakar's works. Teyvaccilaiyar's commentary follows in the 16th or 17th century. Finally, the latest available commentary, that of Kallatar comes to light. Of these commentaries, those of "Ilampooranar", "Deivachilaiyaaar" and "Natchinaarkiniyar" is regarded highly and the triumvarate are also called "Urai-asiriyargal"Starting the 11th-12th CE, several commentaries came to light. Of these, the one by Ilampuranar dated to the 11th or 12th CE is considered one of the best and most comprehensive. This was followed by a

commentary dateable to 1275 AD by Cenavaraiyar which however, dealt only with the Colla ika am. A commen a y by Pe aci iya which i hea ily indeb ed o he Nannl followed. This commentary which can be dated to the 12th or 13th CE, if not later, frequently quotes from the Dandiyalankaram and Yapparunkalam, the former being a standard medieval rhetorica and the latter being a detailed treatise on Tamil prosody. Naccinarkiniyar's commentary, which can be dated to the 14th if not 15-16th century follows. Naccinarkiniyar, himself being a scholar of both Tamil and Sanskrit quotes from Parimelalakar's works. Teyvaccilaiyar's commentary follows in the 16th or 17th century. Finally, the latest available commentary, that of Kallatar comes to light. Of these commentaries, those of "Ilampooranar", "Deivachilaiyaaar" and "Natchinaarkiniyar" is regarded highly and the triumvarate are also called "Uraiasiriyargal"

CHAPTERS
The Tolkppiyam consists of three books each of which is divided into 9 chapters. The books are called atikarams (Sanskrit:adhikara). The three books are 1. Ezhuththathikaaram 2. Sollathikaaram 3.PoruLathikaaram

Patinenmelkanakku
ETTUTTOKAI

Ainkurunuru Akananuru Purananuru Kallitokai Pathirupattu

Kuruntokai Natrinai Paripatal

Patinenkilkanakku

PATINENKILKANAKKU

Naladiyar Nanmanikkatigai Inna Narpathu Iniyavai Narpathu Kar Narpathu Kalavazhi Narpathu Ainthinai Aimpathu Thinaimozhi Aimpathu Ainthinai Ezhupathu

Thinaimalai Nurru Aimpathu Thirukkural Thirikatukam Acharakkovai Pazhamozhi Nanuru Siruppanchamulam Muthumozhikkanchi Elathi Kainnilai