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Literary Tradition of Tamilettuthokai pathupattu pathinen melkanakku

Dr.S.SundarabaluAssistant Professor

Department of LinguisticsBharathiar University,Coimbatore-46

Visiting Professor ,ICCR’s Tamil Chair Institute of Oriental Studies, Dept. of IndologyJagiellonian University, Krakow-Poland

sunder_balu@yahoo.co.in

Literary Tradition of Tamil

http://sangamtranslationsbyvaidehi.com/kurunthokai-301-400/

குறள் 2 கற்றதனா�ல்ஆயபயனெனான்னெக�ல்வா�லற�வான்

நற்ற�ள்னெத�ழா�அர் எனா�ன்வா�ளக்கம்:

தன்னைனாவா�டஅற�வா�ல்மூத்த னெபருந்தனைகய�ளரி�ன்முன்னேனாவாணங்க' ந'ற்கும் பண்புஇல்ல�வா�டில் என்னாத�ன் ஒருவார் கற்ற�ருந்த�லும்அதனா�ல்என்னாபயன்? ஒன்றுமி�ல்னைல

Couplet .2 ThirukkuralNo fruit have men of all their studied lore,Save they the 'Purely Wise One's' feet adore

ExplanationWhat Profit have those derived from learning, who worship not the good feet of Him who is possessed of pure knowledge ?

http://www.gokulnath.com/thirukural/thirukurals.aspx

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cittaantarettinam Dr.S.SundarabaluAssistant Professor

Department of LinguisticsBharathiar University

Coimbatore-46Sunder_balu@yahoo.co.in

9715769995

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• The Tamil Sangams or Tamil Cankams were assemblies of

Tamil scholars and poets that, according to traditional Tamil

accounts, occurred in the remote past. Scholars believe that

these assemblies were originally known as kooṭal or

gathering. which was also a name for Madurai.

• Three assemblies are described. The legend has it that the

first two of which were held in cities since "taken by the

sea", and the third of which was held during the 5th century

BC in the present-day city of Madurai.

• The word sangam has its mention in the sense of an

'academy’

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Sangam Place of Organisation Chairman Kingdom Books

First Thenmadurai Agastya Pandiya No books survived

Second KapatapuramEarlier- AgastyaLater- Tolkappiyar (a disciple of Agastaya)

Pandiya Tolkappiyam (author - Tolkappiyar)

Third Madurai Nakkirar Pandiya covers entire corpus of Sangam Literature

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Sri Agasthiyar It is believed that sage Agasthiyar was instrumental in spreading the Vedic religion in southern India. Agastya is also recognized as one of Seven Great Sages (Saptarishis). Sage Agasthiyar has also contributed immensely to the four Vedas.

Agasthiyar is also the leader of all Siddhas. His contributions are mainly in the fields of Medicine (Siddha) and Astrology - especially Nadi Jodhidam (Jos(i)yam or Jothisyam). He is said to have lived for over 5000 years, and that one of his medicinal preparations, Boopathi Kuligai, is so powerful that it can even bring the dead back to life. Two of his students and disciples were Therayar and Tholkappiar. He is also considered to be the guru of many other Siddhars.

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• Sangam literature refers to a body of classical Tamil literature created between the years c. 600 BCE to 300 CE. This collection contains 2381 poems composed by 473 poets, some 102 of whom remain anonymous .

• The period during which these poems were composed is commonly referred to as the Sangam period, referring to the prevalent Sangam legends claiming literary academies lasting thousands of years, giving the name to the corpus of literature. Sangam literature is primarily secular dealing with everyday themes in a Tamilakam context.

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• The poems belonging to the Sangam literature were

composed by Tamil poets, both men and women,

from various professions and classes of society.

These poems were later collected into various

anthologies, edited, and with colophons (A brief

description of publication) added by anthologists and

annotators around 1000 AD.

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• Compilation of literature• The available literature from this period was

categorized and compiled in the 10th century into two categories based roughly on chronology. The categories are:

• The Major Eighteen Anthology Series (பத'னெனாண்னேமில்கணக்கு) comprising

• (1)The Eight Anthologies (எட்டுத்னெத�னைக) and (2)the Ten Idylls (பத்துப்ப�ட்டு) and

• The Minor Eighteen Anthology Series (பத'னெனாண்கீழ்கணக்கு)

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• Classification• Sangam Poems falls into two categories: the 'inner field'

(Agam – அகம்), and the 'outer field'(Puram – புறம்) as described even in the first available Tamil grammar, the Tolkappiyam.

• The 'inner field' topics refer to personal or human aspects, such as love and sexual relationships, and are dealt with in a metaphorical and abstract manner. The 'outer field' topics discuss all other aspects of human experience such as heroism, valour(courage), ethics, benevolence(kindness), philanthropy(humanity), social life, and customs.

Agam in the Sangam literature denotes the subject matters that deal with the intangibles of life such as human emotions, love, separation, lovers' quarrels, etc.

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• Nature Poetry: Sangam poetry is nature poetry. The elements of nature are intertwined with love,

valor (Courage and boldness),

agony (The suffering of intense physical or mental pain), ecstasy (A state of emotion so intense that one is carried beyond rational thought and self-control:) , kindness, war, Cruelty(Causing suffering; painful),

honor, (High respect, as that shown for special merit)

charity, (relief to the poor) friendship and many more facets of humanity.

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• A poem is a literary creation, and poetry is the art form. A poem is a single piece of poetry, complete in itself.

• Poetry is the collective term used to describe a group of poems, which may or may not be related by theme, author, or style.

poemPoetry

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• The Sangam poets never lost sight of the physical world around

them. Keenly observing nature, they brought to life the fauna (A

catalog of the animals of a specific region or period) and flora (Plants considered as a group, especially the plants of a particular

country, region, or time), and used them effectively in almost every poem, to

make known human emotions, thereby creating beautiful

characters part.

• There are over one hundred trees described in the poems. One

can travel back in time and see many mammals, reptiles, insects,

birds, bushes, vines, flowers, mountains, forests, ponds,

waterfalls, rivers and streams in the Tamil country. The sky with

the constellations, sun, moon, stars and planets are also used

effectively.

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• Akam: Poems that view life from inside the family, and concern the love between man and woman.

• Puram: Poems that view life from outside the family, and deal with topics such as the king, heroism, battle, ethics, and the life of wandering bards and poets

• Akam- akathinai• Puram-purathinai

• Thinai- behaviour, conduct, character, virtue

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• The Sangam landscape (Tamil: அகத்த'னைண "inner classification") is the

name given to a poetic device that was characteristic of love poetry in classical Tamil Sangam literature.

• The core of the device was the categorisation of poems into different tiṇais or modes, depending on the nature, location, mood and type of relationship represented by the poem.

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• Each tiṇai was closely associated with a particular

landscape, and imagery associated with that

landscape - its flowers, trees, wildlife, people,

climate and geography - was woven into the poem

in such a way as to convey a mood, associated with

one aspect of a romantic relationship.

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• Symbolism

• Classical Tamil love poetry assigns the human

experiences it describes, and in particular the

subjective topics that those experiences relate to, to

specific habitats(The place where a person or thing is most likely to be found).

Every situation in the poems is described using

themes in which the time, the place and the floral

symbols of each episode are codified.

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• These codifications are used as symbols to imply a socio-economic order, occupations and behaviour patterns, which, in turn, are symbolized, by specific flora and fauna.

• Details of secondary aspects are just as rigidly codified - the seasons, the hour a god, musical instruments and, above all, the sentimental connotations of each landscape: lovers' meetings, patient waiting, lovers' quarrels, separation, and the nervously awaited return.

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Geographical and non-geographical thinais

• Under this codification, the inner universe

associated with love is divided into seven modes,

or thinai, five of which are geographical and

associated with specific landscapes, and two of

which are non-geographical and not associated with

any specific landscape. Four of the geographical

landscapes are described as being landscapes that

occur naturally in the Tamil lands.

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• These are: 1. kuṟiñci (குற�ஞ்சி�) - mountainous regions,

associated with union, 2. mullai (முல்னைல) - forests, associated with

waiting, 3. marutam (மிருதம்) - cropland, associated with

quarreling, and 4. neytal (னெநய்தல்) - seashore, associated with

pining. 5. The fifth - pālai (ப�னைல), or desert, associated

with separation - is described in the Tolkappiyam as not being a naturally existing landscape.

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• As we may see, considering both kalavu and karpu,

pre–marital and wedded (plus extramarital) love,

and both well–matched and ill–matched union, the

theory provides for a minute description of the

entire range of human erotic experience, for the

total love–experience of man and woman.

• http://www.natyam.ru/fivelands.html

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Phase of love Landscape

Union of lovers Kurinci – Hills

Domesticity, patient waiting Mullai – Forests

Lover’s infidelity (unfaithfulness), sulking scenes

Marutam – Cultivated fields

Separation, anxious(nervous) waiting Neytal – Sea–coast

Elopement (To run away with a lover, especially with the intention of

getting married), hardships, separation from lover or parents

Palai – Wasteland

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• The two non-geographical modes - kaikkilai and

peruntiṇai - were seen as dealing with emotions

that were unnatural, and therefore were not

associated with any specific landscape. Kaikkilai,

dealt with unreciprocated or one-sided love,

while peruntiṇai, dealt with improper love or love

against the rules of custom.

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Name of the region and poetic name Kurinci Mullai Marutam Neytal Palai

Landscape Mountains Forest, pasture Cultivated countryside Seashore Wasteland

Season Cold season, early frost Rainy season All seasons All seasons Summer, late dew

Time Night Evening Dawn(to begin to grow light after the night) Sunrise Midday

Hero Poruppan, verpan, cilampan, natan Natan, tonral Uran, makilnan Cerppan, pulampan Vitalar, kalar, mili

Heroine Kuratti, koticci Manaivi, kilatti Kilatti, manaivi Nulaicci, paratti Eyini

People Kuravar, kanavar Itaiyar, idaicci Ularar, kataiyar Nulavar, paratai, alavar Eyinai, maravar

Occupation Guarding millet fields, honey gathering

Pastoral occupation, field work Agriculture Drying fish, selling salt Wayfarers, robbery,

fighting

Pastimes Bathing in water–falls and streams

Bull–fight, kuravai dance

Bathing in ponds, festivals, arts Bathing Dancing, fighting

Settlements Cirrur, cirukuti Cirrur, pati Perur, mutur Pakkam, pattinam Kurumpu

Waters Water–fall, hull–pond Pond, rivulet River, pool, well Well, sea, salt–marches

Waterless well, stagnant water

Beasts Monkey, tiger, bear, elephant Deer, harc

Buffalo, freshwater fish, otter (Animals) any freshwater)

Crocodile, shark Wild dog, tiger, lizard, elephant

Birds Peacock, parrot Jungle hen, sparrow Heron, stork, swan Sea–gull, marine crow Dove, eagle, kite, hawk

Trees Teak, sandal, bamboo, jack

Konrai, waterlily, red kantal, pitavam Mango, lotus Punnai, talai–shrub,

muntakam, atampu Ulinai, oman, cactus

Food Millet, mountain–rice Varaku, tuvarai Rice Fish –

Instrument Tontaka–drum, mountain lute Erru–drum, forest–lute Mana–drum, kinai,

field–lute Pampai–drum, vilari lute

Utukkai–drum, desert–lute

Melody type Kurincippan Catari Marutappan Cevvali Curam

God Murugan Mayon (Tirumal) Intiran Verunan Korravar (Kali)

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Pastoral occupation

Rivulet

Swan

Dawnstork

Heron

shark

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• A literary tradition is a language that is written and spoken as well. Literary traditions are thought to have a form of an underlying interconnectedness and coherence making them more than work that is from similar geography or group.

• The continuity of a literary tradition is derived from two social factors:

• first, authors directly and indirectly react to the works of other authors in their tradition; and

• second, that authors express themes in their writings that derive from a common cultural tradition with other writers in this literary tradition.

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• TAMIL LITERATURE

The recorded history of the Tamil literature can be grouped broadly into seven periods. They are:

1. Sangam Period - 3rd Century BCE-2nd Century CE

2. Later Sangam Period - 2nd Century CE- 6th Century CE

3. Pallava Period - 6thCentury CE-9the Century CE

4. Chola Period - 9th Century CE-12th Century CE

5. Nayak Period – 13th Century CE-17th Century CE

6. European Period - 17th Century CE-19th Century CE

7. Present Period - 20th Century CE onwards

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• For our purposes, the Tamil literature may broadly be classified into:

(i) Sangam Classics

(ii) Bhakthi or Devotional Literature

(iii) Ethics, and

(iv) Modern Literature

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• (i) Sangam Classics

The early Tamil literatures are called Sangam

Classics. Sangam Classics are mostly descriptive. They

describe nature, human feelings, love, lovers,

husband-wife relations, war, etc.

Pathuppattu, an anthology of ten poems, and

Ettuthokai, a collection of eight anthologies, are two

major Sangam Classics.

Above mentioned 36 anthologies has divided in two in the name

of Pathinenkizhkankku and Pathinenmelkankku

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The following are known as Pathuppattu. The following are known as Ettuthokai.

1 Thirumurukarruppadai 1 Narrinai

2 Porunararruppadai 2 Kurunthokai

3 Perumpanarruppadai 3 Aynkurunuru

4 Sirupanarruppadai 4 Pathirruppathu

5 Mullaippattu 5 Paripadal

6 Maduraikanchi 6 Kalithokai

7 Nedunalvadai 7 Agananuru

8 Kurinchippattu 8 Purananuru

9 Pattinappalai

10 Malaipadukadam

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1.Ainkurunuru (Tamil: ஐங்குறுநூறு, Aiṅkuṟunūṟu )

a classical Tamil poetic work containing five hundred

short poems, and is part of Ettuthokai, an anthology

of Sangam literature. The poems in this book were

written by five authors and were compiled by Kudalur

Kizhar at the request of Chera King Yanaikkatcey

Mantaran Ceral Irumporai.

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ஐங்குறுநூறு 255, கபி�லர், – குறி�ஞ்சி�த் தி�ணை� திணைலவன்தோதி�ழனி�டம்சொசி�ன்னிது

குன்றக்குறவான்க�தல்மிட மிகள் வானைரியரி மிகள�ர்ப் புனைரியும் சி�யலள்

ஐயள்அரும்ப�யமுனைலயள் னெசிய்யவா�ய�னாள்மி�ர்ப�னாள்சுணங்னேக.

Kuṉṟak kuṟavaṉ kātal maṭamakaḷVaraiyara makaḷirp puraiyuñ cāyalaḷAiyaḷ arumpiya mulaiyaḷCeyya vāyiṉaḷ mārpiṉaḷ cuṇaṅkē

Meanings: குன்றிக்குறிவன்க�தில்மடமகள்– loving daughter of the mountain man, – வணை#ய#மகளி�ர் mountain deities, – புணை#யும் like,

– சி�யலள் looks, – ஐயள் beautiful/delicate girl, – அரும்பி�யமுணைலயள் bud like breasts,

– சொசிய்யவ�ய�னிள் she has red mouth, – ம�ர்பி�னிள்சு�ங்தோக spots of her breast

Ainkurunūru 255, Kapilar, Kurinji Thinai – What the hero told his friend

The loving innocent daughterof the mountain man has thelooks of mountain deities.She is pretty with her red mouthand budding breasts with spots.

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• ஐங்குறுநூறு 256, கபி�லர், – குறி�ஞ்சி�த் தி�ணை� திணைலவன்தோதி�ழ�ய�டம்சொசி�ன்னிது

Ainkurunūru 256, Kapilar, Kurinji Thinai – What the hero said to the heroine’s friend

குன்றக்குறவான்க�தல்மிடமிகள் வாண்டுபடுகூந்தல்தண்தனைழாக்னெக�டிச்சி�

வானைளயள்முனைளவா�ள்எய�ற்றள் இனைளயள்ஆய�னும்ஆர்அணங்க'னானேள.

Meanings: – குன்றக்குறவான் mountain dweller,

– க�தல்மிடமிகள் loving naive((naɪˈiːv) simplicity of nature) daughter, – வாண்டுபடுகூந்தல் bee swarming (A large number of insects) hair,

– தண்தனைழா cool leaves made into garments, – னெக�டிச்சி� mountain girl, – வானைளயள் bangled girl,

– முனைள sprouts (To begin to grow;),

– வா�ள் bright, – எய�ற்றள் teeth,

– இனைளயள் ஆய�னும் ஆர் அணங்க'னானேள young girl, but has caused me pain (agony -The suffering of intense physical or mental pain)

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

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In the poems on Akam, the aspects of love of a hero and a heroine are described. The story of love is never conceived as a continuous whole. A particular moment of love is captured and described in each poem as the speech of the hero or the lady-companion or somebody else. A young man leading a peaceful life of love and affection with his wife is referred as "A bird with two heads and one soul"

2.AkanaṉūṟuIt contains 400 Akam (subjective) poems dealing with matters of love and separation. Other names for Akananuru include Neduntogai or ("the long anthology")

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அகநா�னுறு 318, கபி�லர், குறி�ஞ்சி� தி�ணை�, திணைலவ� திணைலவனி�டம்சொசி�ன்னிது

க�னாமி�அதர் ய�னைனாயும்வாழாங்கும் வா�னாமீமி�னைசிஉருமுநனா�உரிறும்

அரிவும் புலியும்அஞ்சுதகவுனைடய இரிவாழாங்குசி�றுனெநற� தமி�னையவாருத'

வானைரிஇழா� யருவா�ப் ப�ட்னெட�டு ப�ரிசிம் முழாவுச் னேசிர் நரிம்ப�ன்இம்னெமினாஇமி�ரும்

பழாவா�றல் நனாந்தனைலப் பயமினைலந�ட மின்றல் னேவாண்டினும்னெபறுகுனைவா ஒன்னேற�

இன்றுதனைலய�கவா�ரில்வாரி�னேனா ஏமுறுதுயரினெமி�டுய�ம்இவாண்ஒழா�ய

எம் கண்டுனெபயரும்க�னைலய�ழா ந'ன் கல்னெகழு சி�றுகுடி எய்த'ய ப�ன்னைற

ஊதல்னேவாண்டுமி�ற் சி�ற�னேத னேவாட்னெட�டு னேவாய் பய�ல்அழுவாத்துப் ப�ரி�ந்த ந'ன்

ந�ய் பய�ர் குற� ந'னைலனெக�ண்ட னேக�னேட.

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Akanānūru 318, Kapilar, Kurinji Thinai – What the heroine said to the heroYou come alone in the fearful night,when forest animals walk onthe paths, elephants roam, loud (roam-To move about without purpose )thunder roars on the skies above, (roars -deep, prolonged sound )and there are snakes and tigers onthe narrow paths.O man from the country withfruitful mountains, ancient victories,wide spaces, music of waterfalls thatmingle with the sounds of humming bees like drumbeats that mix with lute strings!

If you desire marriage, you will getit. But one thing!From today onward, do not comeat night!

Should you come, for my confusionand suffering to go away, when youleave after visiting me, once you reachyour small town filled with boulders,blow it a little bit,your long horn that you use in thebamboo jungle to signal your position toyour straying hunters and dogs.

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3.Purananuru is one of the eight books in the secular anthology of Sangam literature .Purananuru contains 400 poems of varying lengths in the Akaval meter. More than 150 poets wrote the poems. It is not known when or who collected these poems into these anthologies.

Purananuru is a source of information on the political and social history of pre-historic Tamil Nadu. There is information on the various rulers who ruled the Tamil country before and during the Sangam era (1000 BCE – 300 CE).

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• Meanings:

ய�தும்ஊனேரி – every town is our town, ய�வாரும் னேகள�ர் – everyone is a relative,

தீதும் நன்றும் ப�றர் தரிவா�ரி� – evil and goodness do not come to us because of what others did,

– னேந�தலும்தண�தலும்அவாற்னேற�ரின்னா nor do suffering and end of suffering,

– சி�தலும் புதுவாதுஅன்னேற death is not anything new,

வா�ழ்தல்இனா�து எனாமிக'ழ்ந்தன்றும்இலனேமி – we do not rejoice that living is sweet,

– முனா�வா�ன்இன்னா�துஎன்றலும்இலனேமி we do not say that living is miserable,

– மி�ன்னெனா�டு with lightning, – வா�னாம்தண்துள� தனைலஇ skies pour cold rain,

– ஆனா�து without end, – கல்னெப�ருது hitting against and rock,

– இரிங்கும் roaring, – மில்லல் னேபர் ய�ற்று powerful huge river,

– நீர்வாழா�ப் படூஉம் புனைணனேப�ல like a raft caught in the water,

– ஆருய�ர் precious life, – முனைறவாழா�ப் படூஉம் makes its way,

என்பதுத'றனேவா�ர் க�ட்சி�ய�ன்னெதள�ந்தனாம் – through the vision of those who have understood,

ஆகலின், மி�ட்சி�ய�ன்னெபரி�னேய�னைரிவா�யத்தலும்இலனேமி – so, we are not awed by those who are great,

சி�ற�னேய�னைரிஇகழ்தல்அதனா�னும்இலனேமி – and even less, we do not despise those who are weak

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ய�தும்ஊனேரி, ய�வாரும் னேகள�ர்,

தீதும் நன்றும் ப�றர்தரி வா�ரி�,

னேந�தலும் தண�தலும்அவாற்னேற� ரின்னா

சி�தலும் புதுவாதுஅன்னேற, வா�ழ்தல்

இனா�துஎனாமிக'ழ்ந்தன்றும்இலனேமி, முனா�வா�ன்

இன்னா�துஎன்றலும்இலனேமி, ப�ன்னெனா�டு

வா�னாம்தண்துள� தனைலஇஆனா�து

கல்னெப�ருதுஇரிங்கும் மில்லல் னேபர்ய�ற்று

நீர்வாழா�ப் படுஉம் புனைணனேப�ல்ஆருய�ர்

முனைறவாழா�ப் படுஉம் என்பதுத'றனேவா�ர்

க�ட்சி�ய�ன் னெதள�ந்தனாம்ஆதலின்மி�ட்சி�ய�ன்

னெபரி�னேய�னைரிவா�யத்தலும்இலனேமி,

சி�ற�னேய�னைரிஇகழ்தல்அதனா�னும்இலனேமி.

( கண�யன்பூங்குன்றன், புற ந�னூறு, 192).

Puranānūru 192, Poet Kaniyan Poonkundranār, Thinai: Pothuviyal, Thurai: Porunmoli KānjiAll towns are ours. Everyone is our kin.Evil and goodness do not come to usbecause they are given by others.Nor do suffering and the ending of suffering.Death is nothing new. We do not rejoicewhen living is sweet. When we sufferwe do not say that living is miserable.Through the vision of those who have understood,we know that precious life makes its waylike a raft riding a powerful huge riverthat roars endlessly, fed by cold rains withwith bolts of lightning as it crashes against rocks.So, we are not awed by those who are great.Much less, we do not despise those who are weak!Notes: This is the only Puranānūru poem written by this poet, who came from a town called Poonkundram near Ramanathapuram. The town goes by the name Makipālanpatti now.

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Dr Abdul Kalam_s speech in European Union.mp4

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புறிநா�னூறு 187, பி�டியவர்: ஔணைவய�ர், தி�ணை�: சொபி�துவ�யல், துணைறி: சொபி�ருண்சொம�ழ�க் க�ஞ்சி�

ந�ட�க ஒன்னேற� க�ட�க ஒன்னேற� அவால�கஒன்னேற� மி�னைசிய�கஒன்னேற�

எவ்வாழா� நல்லவார்ஆடவார் அவ்வாழா� நல்னைலவா�ழா�ய ந'லனேனா.

Puranānūru 187, Poet Avvaiyār, Thinai: Pothuviyal, Thurai: Porunmoli KānjiMay you live long, land!Whether you are cleared land,forests valleys or mountains,if men who live there are good,there will be goodness there!

Meanings:

நா�ட�கஒன்தோறி� – whether you are just land, க�ட�கஒன்தோறி� – whether you are forests,

அவல�கஒன்தோறி� – whether you are valleys, ம�ணைசிய�ஒன்தோறி� – or land above/mountains,

எவ்வழ� நால்லவர்ஆடவர் – where men are good, அவ்வழ� நால்ணைல – there you will be goodness

there, வ�ழ�யநா�லதோனி – may you live long, land/country

Valleys- An elongated lowland between ranges of mountains, hills,

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– சொதிண்கடல்வளி�கம் place/round place surrounded by clear water,

– சொபி�துணைமஇன்றி� not considering that it is common/ruling with strength,

சொவண்குணைடநா�ழற்றி�யஒருணைமதோய�ர்க்கும் – those who rule with their white umbrellas,

நாடுநா�ள்ய�மத்தும்பிகலும்துஞ்சி�ன்

– he does not sleep in the middle of the night or during the day,

– கடும�ப் பி�ர்க்கும் stalking fast animals,

– கல்ல�ஒருவற்கும் one who is uneducated,

– உண்பிதுநா�ழ� what we eat is a measure of food to eat,

– உடுப்பிணைவஇ#ண்தோட there are only two clothes to wear,

– பி�றிவும்எல்ல�ம்ஓசொ#�க்குதோம others are all comparable,

– அதினி�ல்சொசில்வத்துப்பியதோனிஈதில் so, the benefit of wealth is charity, (charity-

Provision of help or relief to the poor;)

– துய்ப்தோபிம்எனி�தோனி if you think of enjoying it, – திப்புநா பிலதோவ many matters will

fail .

Puranānūru 189, Poet Mathurai Kanakkāyanār Makanār Nakkeeranār, Thinai: Pothuviyal, Thurai: Porunmoli Kānji

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uranānūru 189, Poet Mathurai Kanakkāyanār Makanār Nakkeeranār, Thinai: Pothuviyal, Thurai: Porunmoli KānjiBetween those who rule with white umbrellas,not sharing with others this earth surrounded byclear waters, and an uneducated man who stalksfast animals in the middle of the night and duringthe day without sleeping, there is everythingin common: the need for a measure of food to eatand two sets of clothes.So, the purpose of wealth is charity. If one thinksof enjoying wealth themselves, many matters will fail!

புறிநா�னூறு 189, பி�டியவர்: மதுணை#க்க�க்க�யனி�ர் மகனி�ர் நாக்கீ#னி�ர், தி�ணை�: சொபி�துவ�யல், துணைறி: சொபி�ருண்சொம�ழ�க் க�ஞ்சி�

னெதண்கடல்வாள�கம்னெப�துனைமிஇன்ற� னெவாண்குனைடந'ழாற்ற�யஒருனைமினேய�ர்க்கும்

நடுந�ள்ய�மித்தும் பகலும்துஞ்சி�ன் கடுமி�ப் ப�ர்க்கும் கல்ல�ஒருவாற்கும்

உண்பதுந�ழா� உடுப்பனைவாஇரிண்னேட ப�றவும் எல்ல�ம்ஓனெரி�க்குனேமி

அதனா�ல்னெசில்வாத்துப் பயனேனா ஈதல் துய்ப்னேபம் எனா�னேனாதப்புந பலனேவா.

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ஈஎனிஇ#த்தில்இழ�ந்தின்று

– it is a dishonor to beg,

அதின்எதி�ர் ஈதோயன்என்றில்அதினி�னும்இழ�ந்தின்று

– on the other hand, it is even more dishonor to say “I won’t give”,

சொக�ள்எனிக்சொக�டுத்தில்உயர்ந்தின்று

– it is superior to say, “Take this” and give,

அதின்எதி�ர் சொக�ள்தோளின்என்றில்அதினி�னும்உயர்ந்தின்று

– it is even higher than that to say “I will not accept it”,

Puranānūru 204, Poet Kalaithin Yānaiyār sang to Valvil Ōri, Thinai: Pādān, Thurai: Parisil

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4.Kalithogai is an anthology of 150 poems in kali metre of varied length dealing with all phases and types of love experience. The poems are categorised into the five thinais according to the mood and subject matter conforming to the Sangam landscape.

The first part (2-36) deals with paalai setting, the second (37-65) with kurinchi, the third (66-100) with marutam, the fourth (101-117) with mullai and the fifth (118-150) with neital. These five section were each written by a separate author.

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One of the best examples from this compilation is the one attributed to Nallanthuvanar.

1. ஆற்றுதல்' என்பது, ஒன்றுஅலந்தவார்க்குஉதவுதல்;‘2. னேப�ற்றுதல்' என்பது, புணர்ந்த�னைரி ப�ரி�ய�னைமி;‘3. பண்பு' எனாப்படுவாது, ப�டுஅற�ந்துஒழுகுதல்;‘4. அன்பு' எனாப்படுவாது, தன்க'னைளனெசிற�அனைமி;‘5. அற�வு' எனாப்படுவாது, னேபனைதய�ர் னெசி�ல் னேந�ன்றல்;‘6. னெசிற�வு' எனாப்படுவாது, கூற�யதுமிற�அனைமி;‘7. ந'னைற' எனாப்படுவாது, மினைறப�றர்அற�ய�னைமி;‘8.முனைற' எனாப்படுவாது, கண்னேண�ட�துஉய�ர் னெவாOவால்;‘9. னெப�னைற' எனாப்படுவாது, னேப�ற்ற�னைரி னெப�றுத்தல்.

1.Goodness is helping one in distress (pain);

2.Support is not deserting(leave) one who is dependent;3.Culture is to act in unison(Identity of pitch) with the ways of the world;4.Love is not surrendering ties with one’s kin;5.Wisdom is to ignore the advice of the ignorant;6.Honesty is not to go back on one’s words;7.Integrity is to ignore others’ faults;8.Justice is awarding punishment without partiality;9.Patience is to suffer the ill-disposed.(Kalithogai 133) (Translated by C.K. Swaminathan)

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

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Poems of Love from KurunthogaiKurunthokai 3, Thēvakulathār, Kurinji Thinai – What the heroine said about her love for the hero, as he listened nearby

ந'லத்த'னும்னெபரி�னேத வா�னா�னும்உயர்ந்தன்று நீரி�னும்ஆரிளவா�ன்னேற சி�ரில்

கருங்னேக�ல்குற�ஞ்சி�ப் பூக் னெக�ண்டு னெபருந்னேதன்இனைழாக்கும் ந�டனெனா�டு நட்னேப.

Nilathinum Peridhe Vaninum UyarndhanruNeerinum aarala vindrae saaralkarunkot kurinji pookkonduPerun thaen ilaikkum naadanodu natpe

Meanings: ந'லத்த'னும்னெபரி�னேத – larger than the earth,

வா�னா�னும்உயர்ந்தன்று – taller than the sky, நீரி�னும்ஆரிளவா�ன்னேற – deeper to measure than the waters/ocean,

சி�ரில் – mountain slopes, கருங்னேக�ல்குற�ஞ்சி� – black-stalked kurinji, (Strobilanthes Kunthiana),

பூக்னெக�ண்டு – with the flowers, னெபருந்னேதன் – rich honey/rich honey combs,

இனைழாக்கும் ந�டனெனா�டு – man from (honey) yielding country, நட்னேப – friendship, love

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Poems of Love from Kurunthogai

Bigger than earth, certainly, higher than sky,more unfathomable (impossible to measure:) than the watersis this love for this man

of the mountain slopeswhere bees make rich honeyfrom the flowers of Kurinjithat has such black stalks

- Devekulathar - Kurunthogai 3

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Meanings:

ய�யும் – (my) mother, ஞா�யும் – your mother,

ய�ர் ஆக'யனேரி� – who are they to each other,

எந்னைதயும் – my father, நுந்னைதயும் – your father,

எம்முனைற – in what way, னேகள�ர் – relatives,

– ய�னும்நீயும் myself and you, – எவ்வாழா� in what way, – அற�தும் knew,

னெசிம்புலப்னெபயல்நீர் னேப�ல – like rain falling on the red earth,

அன்புனைடனெநஞ்சிம் – loving hearts,

த�ம் கலந்தனானேவா – have merged

Kurunthokai 40, Sempulapēyaneerār, Kurinji Thinai – What the hero said to the heroine, about their love

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ய�யும்ஞா�யும்ய�ர்ஆக'யனேரி�? எந்னைதயும்நுந்னைதயும் எம்முனைறக் னேகள�ர்?

ய�னும்நீயும் எவ்வாழா� அற�தும்? னெசிம் புலப் னெபயல்நீர் னேப�ல

அன்புனைடனெநஞ்சிம் த�ம் கலந்தனானேவா

What could be my mother be to yours?what kin is my father to yours anyway?And how did you and I meet ever?But in love our hearts are as redearth and pouring rain:mingled beyond parting.

Kuruntokai - 40)

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• குறுந்சொதி�ணைக 18, கபி�லர்,   – குறி�ஞ்சி�த்தி�ணை� தோதி�ழ� திணைலவனி�டம்சொசி�ன்னிது

னேவாரில் னேவாலினேவார்க் னேக�ட்டு பலவா�ன் சி�ரில் ந�ட னெசிவ்வா�னையஆகுமித'

ய�ர்அஃதுஅற�ந்த'சி�னேனா�னேரி சி�ரில் சி�று னேக�ட்டுப் னெபரும் பழாம்தூங்க'ய�ங்குஇவாள்

உய�ர் தவாச் சி�ற�து க�மினேமி� னெபரி�னேத.• Kurunthokai 18, Kapilar, Kurinji Thinai – What the heroine’s friend said to the hero

O man of the mountain slopes,where jackfruits grow near rootsin bamboo-fenced land!Do the right thing! Think of marriage!Who knows her state of mind?Like the large jackfruitsthat hang on short boughs of trees,her love is large, and her breath(soul) is short!

– இவாள்உய�ர் தவாச் சி�ற�து her life is short, – க�மினேமி� னெபரி�னேத (but her) love is large

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

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• நாற்றி�ணை� 172, பி�டியர்சொபியர்க�ணைடக்கவ�ல்ணைல, – சொநாய்தில்தி�ணை� திணைலவ� திணைலவனி�டம்சொசி�ன்னிது

• வா�னைளய�டுஆயனெமி�டுனெவாண்மிணல்அழுத்த'

மிறந்தனாம்துறந்த க�ழ்முனைளஅனைகய னெநய்னெபய்தீம் ப�ல்னெபய்துஇனா�துவாளர்ப்ப

நும்மி�னும் சி�றந்ததுநுவ்னைவாஆகும்என்று அன்னைனாகூற�னாள்புன்னைனாயதுநலனேனா

அம்மி ந�ணுதும்நும்னெமி�டு நனைகனேய வா�ருந்த'ன் ப�ணர்வா�ளர்இனைசிகடுப்ப

வாலம்புரி� வா�ன் னேக�டு நரிலும்இலங்குநீர்த் துனைறனெகழுனெக�ண்கநீ நல்க'ன் இனைறபடுநீழால் ப�றவுமி�ர்உளனேவா.

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Meanings:

வா�னைளய�டுஆயனெமி�டு – with playmates,

னெவாண்மிணல்அழுத்த' – pressed into white sand, மிறந்தனாம் – we forgot,

துறந்த க�ழ் – abandoned seed, முனைளஅனைகய – sprouted seedling flourished,

னெநய்னெபய் தீம் ப�ல் னெபய்துஇனா�துவாளர்ப்ப – poured ghee and sweet milk for it to grow,

நும்மி�னும் சி�றந்ததுநுவ்னைவாஆகும்என்று – she is your sister who is better than you,

அன்னைனாகூற�னாள் – mother said,

புன்னைனாயதுநலனேனா– beauty of punnai, Indian laurel, mast wood tree,

அம்மி ந�ணுதும்நும்னெமி�டு நனைகனேய – I’m shy to laugh with you,

வா�ருந்த'ன் – in a festival, ப�ணர்வா�ளர்இனைசி கடுப்ப – like the bards’ new tunes,

வாலம்புரி� வா�ன் – white right-whorled, னேக�டு நரிலும் – conch shell sounds,

இலங்குநீர்த்துனைறனெகழுனெக�ண்க – lord of the splendid shores,

நீ நல்க'ன் – if you desire, இனைறபடுநீழால் -shade of tall trees,

ப�றவுமி�ர்உளனேவா – there are others

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• Natrinai 172, Unknown Poet, Neythal Thinai – What the heroine said to the heroWhen I was playingwith my friends on the seashore,we pressed a mature punnai seedon the white sand and forgot allabout it.  The seedling thrived.Mother fed it with ghee and milkand raised it with love.“It is your sister,and she’s better than you,” she said.

• Lord of the thriving seaport withvibrant waves where white,right-spiraled conch shells soundlike the new tunes of bards!I’m shy to laugh and play with youunder this tree.  If you desire,we can seek another shade tree!

• Notes: This is a rare poem where a tree is thought of as a sibling.

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• 7.Paripaatal contains seventy poems on various deities of the Hindu pantheon. This is a rare example of religious poetry we find in Sangam literature and is possibly the oldest religious composition in Tamil.

• The poems have associated music (பண்) so that these can be classified as songs (இனைசிப்ப�). There are eight songs on Thirumaal (Vishnu), 31 songs on Kumaran (Muruga), one song on the Sea God, 26 on the mother Vaigai and four songs on Madurai. These songs are written in the 'Paripaatal' meter.

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To த'ருமி�ல் (Vishnu): தீய�னுள் னெதறல் நீ; பூவா�னுள் ந�ற்றம் நீ; கல்லினுள் மிண�யும் நீ;

னெசி�ல்லினுள்வா�ய்னைமி நீ; அறத்த'னுள்அன்பு நீ; மிறத்த'னுள்னைமிந்துநீ; னேவாதத்து மினைற நீ; பூதத்து முதலும் நீ; னெவாஞ் சுடர் ஒள�யும் நீ;

த'ங்களுள்அள�யும் நீ; அனைனாத்தும்நீ; அனைனாத்த'ன்உட்னெப�ருளும்நீ;

You are the heat within the fire; Fragrance within the flower;

Gem within the stone; Truth within the word; Mercy within

justice; Might behind valour; Secret within the scripture(vetham);

Foremost among elements; Splendour in the sun; Coolness in

the moon; You are everything; and also the inner substance of

these. (Paripadal, iii: 63-68)

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

PathuPattu (Tamil: பத்துப்ப�ட்டு)

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The following are known as Pathuppattu. The following are known as Ettuthokai.

1 Thirumurukarruppadai 1 Narrinai

2 Porunararruppadai 2 Kurunthokai

3 Perumpanarruppadai 3 Aynkurunuru

4 Sirupanarruppadai 4 Pathirruppathu

5 Mullaippattu 5 Paripadal

6 Maduraikanchi 6 Kalithokai

7 Nedunalvadai 7 Agananuru

8 Kurinchippattu 8 Purananuru

9 Pattinappalai

10 Malaipadukadam

• PathuPattu (Tamil: பத்துப்ப�ட்டு) – The ten Idylls, is an anthology of ten mid length books and is one of the oldest surviving Tamil Poetry. This collection is considered part of the Sangam Literature and dated approximately between 300 BCE and 200 CE.

• This collection had been lost for some centuries until U.V.Swaminatha Iyer travelled around Tamil Nadu in the late nineteenth century to collect ancient palm-leaf manuscripts.

• The PathuPattu collection contains lengthy and picturesque descriptions of the Tamil country and its seasons. Most of them are in the form of Aarruppatai, a literary device by which a poet or a minstrel (A medieval

entertainer who travelled from place to place, especially to sing and recite poetry. ) who has received bountiful(numerous) gifts from some wealthy patron is supposed to direct another to the same Maecenas((miːˈsiːnæs- a wealthy patron of the arts).

• This gives the occasion to the poet, among other topics, to describe in great detail the natural beauty, fertility, and resources of the territory that has to be traversed to reach the palace of the patron. The Aarruppatai is of a piece with Tamil realism and describes the journey as experienced by a human traveller, and that on dry land.

• 1.Tirumurugarruppatai(Tamil: த'ருமுருக�ற்றுப்பனைட) by Nakkirar,a Tamil poetic work, is one of the most important works of Sangam Literature. It is the first poem of the Pattupattu anthology.

• Tirumurugarruppatai follows the Arruppadtai style. The poems in this book were composed towards the end of the Sangam period - between the fifth and the sixth centuries C.E. Tirumurugarruppatai is also called Pulavararuppatai.

• 2.Porunaraatruppadai,(Tamil: னெப�ருநரி�ற்றுப்பனைட)

is a Tamil poetic work in the Pathinenmaelkanakku anthology of Tamil literature, belonging to the Sangam period corresponding to between 100 BCE – 100 CE.

• Porunaraatruppadai contains 250 lines of poems in the Achiriyappa meter. The poems were written by the poet Mutathaamakkanniyaar in praise of the Chola king Karikala Chola.

• 3.Perumpanarruppatai,(Tamil:னெபரும்ப�ண�ற்றுப்பனைட) is a Tamil poetic work in the Pathinenmaelkanakku anthology of Tamil literature, belonging to the Sangam period corresponding to between 100 BCE – 100 CE. Perumpanarruppatai contains 500 lines of poetry in the Achiriyappa meter.

• The poems were written by the poet Kadiyalur Uruttirangannanar in praise of king Tondaiman Ilandiraiyan.

• 4.Cirupanarruppatai,(Tamil:சி�றுப�ண�ற்றுப்பனைட) is a Tamil poetic work in the Pathinenmaelkanakku anthology of Tamil literature, belonging to the Sangam period corresponding to between 100 BCE – 100 CE.

• Cirupanarruppatai contains 269 lines of poetry in the Achiriyappa meter. The poems were written by the poet Nathattanaar in praise of a minor Velir tribal chief named Nalliyakkotan, a Nāka king of Nāka Nadu (ancient Malabar North Ceylon).

• 5.Mullaippattu,(Tamil: முல்னைலப்ப�ட்டு) is a Tamil

poetic work in the Ettuthokai anthology of Sangam

literature, belonging to the Sangam period

corresponding to between 100 BCE – 100 CE.

"Mullaippattu" contains 103 lines of poetry in the

Akaval meter. The poems were written by the poet

Nappoothanaar.

• The subject matter of "Mullaippattu" is classified as akam, the Sangam literature's classification of the subjective matters such as love and human relationship. "Mullaippattu" is a pure love poem, and talks about the heroine longing for the hero who had left her to fight a war.

• In the olden days the soldiers used come back to their home country during the rainy season to look after their primary profession of agriculture.

• The heroine laments(literature, music a song, poem, piece of music etc in which sadness is

expressed about a death or loss) that although the rainy season had already started, the her lover hadn't returned from battle. The description of the country in the rainy season is particularly enjoyable in this book.

• 6.Mathuraikkanci,(Tamil: மிதுனைரிக் க�ஞ்சி�) is a Tamil poetic work in the Pathinenmaelkanakku anthology of Tamil literature, belonging to the Sangam period corresponding to between 100 BCE – 100 CE.

• Mathuraikkanci contains 583 lines of poetry in the Achiriyappa meter. The poems were written by the poet Mankuti Maruthanaar in praise of the Pandya king Nedunchezhiyan on the occasion of his victory at the battle of Talayanankanam.

• 7.Netunalvatai,(Tamil: னெநடுநல்வா�னைட, neṭunalvāṭai, Long Pleasant Breeze of Winter) is a Tamil poetic work in the Pathinenmaelkanakku anthology of Tamil literature, belonging to the Sangam period corresponding to between 100 BCE – 100 CE.

• Netunalvatai contains 188 lines of poetry in the akaval meter. The poet Nakkirar wrote Netunalvatai. Netunalvatai poems belong to the Akam, or subjective themes of love and human relationships and utilises the location of the story to spins a bright picture of the ancient Tamil country.

• Netunalvatai contains descriptions of the palace of the Pandya king Nedeunchezhiyan.

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

• Nature of Netunalvatai:The story of Netunalvatai is about the heroine who prays to the goddess for the return of her lover from the battlefield. Seeing the suffering of the heroine, her maids (A virgin) in the palace also pray to the goddess for the hero to quickly win the battle and return home to their mistress(A woman who has a continuing sexual relationship with a usually married man who is not her husband and from whom she generally receives material support.).

• Around this centre core, the poet paints a beautiful picture with descriptions of the heroine's palace, the hero in the battlefield and the description of the cool breeze that flows through the palace and the battlefield to cool the hearts of the pining lovers.

• The cool breeze with the hint of rain, moisture

carrying, spreads everywhere. This breeze promises

rain and brings coolness to the weather making the

shepherds and their flock shiver. The monkeys in

the forest are hurt by the cold weather, birds struck

by the coolness fall from the sky; suckling calves are

turned away by the cows. The cold weather flowing

through the streets of the towns spread the people

and drive them indoors.

• Only drunks are to be found in the streets. They are

so inebriated they cannot feel the cold. The cold

weather darkens the sky so that the people have no

means of telling the time to light the lamps. The

cruel cold breeze flows through the battlefield

keeping the hero awake. He goes around at

midnight to converse with his wounded soldiers and

look at his horses.

• 8.Kurincippattu (Tamil: குற�ஞ்சி�ப்ப�ட்டு) "Kurincippattu" contains 261 lines of poems in the Achiriyappa meter.

• Kurincippattu tells the story about the love affair between the hero and the heroine. The poems were written by the poet Kapilar. An ancient note at the end of this poem notes that Kapilar wrote this to explain the beauty of Tamil poetry to a north Indian king names Brhadatta.

• "Kurincippattu" describes the kurinchi landscape of the mountainous landscape and mentions almost 100 different plant names. Some of these are Atumpu (Ipomoea pes-caprae), Aati (Lablab bean), pinti (Saraca indica), tumpai (Leucas aspera) and nanti (Ervatamia divaricata)

• The hero and the heroine fall in love. They do not

want their parents to know of this relationship.

Perhaps they fear their disapproval. Perhaps they

are attracted by the forbidden(illegal)! The hero and

the heroine try to arrange frequent secret meeting,

but sometimes it is impossible. Whenever she

cannot meet with her dear lover, she pines (painz)

for him and harsh environment away.

• Her parents are at a loss to the reasons for her

apparent sickness. They try various remedies but

the heroine shows no sign of recovery. Such state

of affair lasts for a while and one day a friend of the

heroine come to her parents and divulges (something private or secret)

the reason for heroine's 'sickness‘(pacalai). She

makes known the secret affair of the hero and the

heroine, but in a manner that makes the parents

feel favourable towards the love affair.

• 9.Paṭṭiṉappālai,(Tamil: பட்டினாப் ப�னைல)

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

• Pattinappaalai contains vivid descriptions of the

ancient Chola capital of Kaveripattinam (Puhar),

which was located at the mouth of the river Kaveri.

Food from Eelam is imported to the Chola country

at the port. The flourishing sea-trade and the antics

of Yavanas, the merchants from ancient Greece and

Rome, their living quarters, etc. are colourfully

described by the poet.

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

• This, the entire story of Pattinappaalai forms a mere six lines of poetry. The rest of the poem is devoted to the description of Puhar and of Karikala's might and valour.

• 10.Malaipatukatam,(Tamil: மினைலபடுகட�ம்) is a Tamil poetic work in the Pathinenmaelkanakku anthology of Tamil literature, belonging to the Sangam period corresponding to between 100 BCE – 100 CE. Malaipatukatam contains 583 lines of poetry in the Achiriyappa meter.

• The poems were written by the poet Perunkosikanaar from Perunkunrur. In praise of a minor chieftain named Nannan Venmaan. Malaipatukatam belongs to the Pattupattu collection and follows the Arruppadtai style, a device used by most of the books in the Pattupattu collection.

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