TAMIḺ ILAKKIYAṄKAḶIL TOṈMAM [MYTH IN TAMIL LITERATURE]

This article is about the use of Myth in Tamil literature. The stories and philosophical sayings of the inevitable god are termed as “MYTH". The antiquity of language is based on the diversity of myths used in that language. Myth is considered the spirit of the literature. In foreign countries, myth plays a unique and professional role. The author applies the idea of myth to make his work efficient. The beliefs of the end of the world and thoughts beyond the reach of human beings are seen in myths. The roots of myth have been gowned dup from the ancient Tamil literature to revival poetry of the 20th century. Myth is even present in secular literature works as the Sangam literature Heritage period went to its peak. Myth played a diverse role in Tamil literature. Library research was made for this study and an explanatory method was used to write this article. The findings of this article are Culture and Tradition of Race are influencing myth and how the myth was seen in the literature. This study summarizes the uses of myths and ideology in Tamil literature.

Silapathikaram quotes in grammatical text

Epics has been created in various languages such as Greek, Latin, Persian and Tamil in the world. Even in Tolkappiyam, there is no reference the existence of epics in Tamil. Dandiyalankara is the first script recorded about epics in Tamil. Silappathikaram is the first epic to appear in Tamil literature. This epic and Tolkappiyam were appeared during Sangam literature followed by AD Appeared in the second century. The author of this epic is Ilangovadi. He is the son of Cheramannan Neduncheralathan and the brother of Cheran Senkuttuvan. Silappathikaram is one of the greatest epics that appeared in the Tamil language. It is no exaggeration to say that as the epics were developed next to vintage literature appeared. Grammar rules are composed and written by Vaithiyanatha Desikar in the AD seventeenth century. He has used quotations from various grammatical texts in the context of the text with rich evidence for the text. He has used these quotations to clarify grammatical explanatory threads, for further explanation and for textual concentration. The purpose of this article is to illustrate how grammatical lyricism supports grammatical interpretation.

The Past as an Exponent of the Present in Modern Tamil Literature: Story-(re)-Telling and Telling History in Selected Works of Indira Parthasarathy

Indira Parthasarathy is the author of many works that touch upon historical issues but are in fact reflections on contemporary India. Although the narrative of some of them takes place in the past, they cannot be called historical literature. While the author is not really interested in describing the past per se, as is also often the case with other contemporary Tamil writers, clear references to the past and history help him showcase contemporary issues, current problems, and life as it is here and now. The article briefly discusses two plays, whose protagonists are historical figures; a novel based on a contemporary event that has become an integral part of the history of Tamil Nadu; and two other works which came to be written on the basis of writer’s own life experience in Poland and are in a way related to the history of that country.

Destiny in Nālaṭiyār and Tirukkuṟal – A Comparative Study

Influence of idea of destiny in Tamil society could be traced back to sangam period. It is regarded that eighteen lesser works (patiṇ̱eṇkḹḻkkaṇakkunūlkal) emerged in the post- sangam period in which Jainism and Buddhism had abundant influenced in life and literature of Tamils. This period is also conceived the period of righteousness (aṟaneṟikkālam) by scholars of Tamil Literature. Tirukkuṟal and Nālaṭiyār comes under the collection works known as patiṇ̱eṇkḹḻkkaṇakkunūlkal (didactic works) Even though the twosome works narrate moral maxims for humanity in universal manner, the concept of destiny occupies prominent place in the aforesaid works. Jainism and Buddhism lay more emphasis on human effort than destiny in the path of liberation and religious life proposed by the two isms is logically vehemently opposed to supremacy of destiny. Pañca mahā vratas of Jainism and eightfold path of Buddhism challenge command of destiny. Ajivikas’ contribution to very concept of destiny cannot be completely ruled out from the sangam period of early Tamils and it can be found that destiny plays a pivotal role in Hindu epics and purāṇas and there is no contradiction between God’s will and destiny in a vaiṣṇava tradition. On the contrary, pure devotion and self-surrender are the unconquerable weapons to conquer destiny in Saivā tradition. This study analyses destiny in Tirukkuṟal and Nālaṭiyār in the wider and complex social, historical and philosophical back ground of Tamil Nadu.

Types and Forms of Folk Songs Tradition in Malayalam Literature

The folk songs have been well flourished in Malayalam Literature. The Malayalam folk songs entirely different from the Tamil folk songs. But it is fact that the structure of Malayalam Pattu has been adopted from the Tamil Literature and we could understand that the Tamil structure has been following even today. Folk songs have a special place in Malayalam Literature. Folk songs in Malayalam are categorized into community songs, Worship songs, Professional songs and celebration songs etc. This study has been analysis the Types and forms of folk songs which related to worshiped.

Hanuman’s Characteristics among the characters of Kambar

Kambar was a star of Tamil Literature Ramayanam Written by Valmiki was translated from Sanskrit Languages to Tamil by the great Poet Kambar. Eventhough is was a translated one, it seems to be a new epic written on his own with some added flavours that is why Ramayana was called to the Kambaramayanam along with the name of the poet which has been a fame till to day. Hanuman the son of Vayu is one of the unparalled fables created by kamber in the Kambaramayanam. In the Myth stories characters plays a vital role the characters are being seen as the one who give life to the story. According to S. Balachandran, “Each and every word spoken by the character has to show the special characteristics of the character”. This article Hanuman is shown as a connectivity bridge between the character, the one who has good characteristics, the one who with good speaking skills and the one who gave life and emotions to the story.

The Theory of Language in Women Poem

This Article treats the theory of Language in women poem from Sangam Literature to Modern Literature with the help of the Russian Linguist BHAKTIN on his language and history. He used ‘’Dialogism’’ in his language theory. This Dialogism helps to understand the multiple meaning of the poem. This theory has evolved the author and the reader could understand the context by social and political arena. We could identify this in Tamil Literature too, even though it has been published late in the social arena the Tamil Literature has all the later came theories in it before hand it came to mainstream. That is what the theory of language in women poem has been introduced many multiple meanings for the understating of the readers.

TAMIḺMOḺI ILAKKAṆAC CIṞAPPUKAḶ ŌR ĀYVU [NUANCES OF GRAMMAR IN TAMIL LANGUAGE]

There is no book that states the grammatical attribute of tamizh literature more elegantly than Tolkāppiyam. Tolkāppiyam is one of the oldest Tamil literature which was written in the third century by Tolkāppiyar. Tolkāppiyar divided Tolkāppiyam into three chapters: letters (Eḻuttu), word (Col), and meaning (Poruḷ). The first chapter is letters (Eḻuttu). The noun (Eḻuttu) is made out of the verb (ezhu). Even though the word ezhu can come with various meanings, in this case it indicates something that has taken shape. Tolkāppiyar has divided the grammar of letters into two different types: The First (Muthal) and The Dependant (Charpu). The First type letters can be divided into two more types which are vowels (Uyir) and consonants (Mei). The vowels (Uyir eḻuttu) also can be divided into two types called (kuril) which produce short sounds and (nedil) which produce long sounds. The consonants have their own types, which are (Valliṉam), (Melliṉam) and (Iṭaiyiṉam). Valliṉam letters produce hard sound while melliṉam consonants produce soft sound and iṭaiyiṉam consonants produce medium sound. Moving on from the The First letters type, The Dependant type letters can be divided in three types: (Kuṟṟiyalukaram), (Kuṟṟiyalikaram), (Āyutam). Besides Tolkāppiyar, Agathiyar also have described the grammar of tamizh literature very precisely. Agathiyam which written by Agathiyar describes grammatical features of letters (Eḻuttu), word (Col), meaning (Poruḷ), consecration (Yaappu), team (Ani).

KUṞUNTOKAIYIL UḶḶUṞAI – IṞAICCI [INNER MEANING AND METAPHOR IN KURUNTHOGAI]

This study explains the inner meaning and methaphor in kurunthogai: Piece of Tamil literary work. “Tholkappiyam” is a very ancient Grammar work in Tamil Literature. He is the earliest person to develop the literary principles for the Tamil Language and literature. It also codes the ethical way of living. The article focuses on the “Ullurai – Iraichi” in Kurunthogai. ‘Kurunthogai’ is a classical Tamil poetic work in the second book of the “Ettuthogai” (Eight Anthologies). It is content matters were poem contains love and separation. The ancient Sangam literature had witnessed the life style of the people in five phases of lands as Kurinji, Mullai, Neythal, Palai and Marutham. There are many Uvamams in Kurunthogai. The study involved library research and was followed by explanatory analysis. This research paper explains and trying to prove that the Tholkappiyar’s Poetics Ullurai – Iraichi found in ‘Kurunthogai Songs’ make the literary work fabulous.

Religiosity in Pulamai ilakkanam

Until the Sangam literary period (till 200 AD), Tamil language was secular and Tamil literature was created with an emphasis on virtue in both internal and external life. After that, religious literature started appearing in Tamil language. Tamil grammar texts are based on literature that appeared in different periods. Thus the “Pulamai ilakkanam” (grammar for scholarliness) composed by Vannacharabam Dantapani swami reveals the literary context that prevailed in the 19th century when he lived. Pulamai ilakkanam shows the author's religiosity and the religious beliefs and devotion in the field of education and literature at that time. Grammar is the rules for creating literature. If so, constructing Tamil scholarliness in relation to a particular religion would be tantamount to narrow down the breadth of the Tamil language. Based on the content of Pulamai ilakkanam and the literary context of the time, this article discusses the dominance of the religions over Tamil literature and the use oflanguage by religions for their development.