Language Families in India - Dravidian Languages – Tamil as a Classical Language - Classical Literature in Tamil – Secular Nature of Sangam Literature – Distributive Justice in Sangam Literature - Management Principles in Thirukural - Tamil Epics and Impact of Buddhism & Jainism in Tamil Land - Bakthi Literature Azhwars and Nayanmars - Forms of minor Poetry - Development of Modern literature in Tamil - Contribution of Bharathiyar and Bharathidhasan

1. Presented by,
Dr. S.Sivaranjani,
1
HERITAGE OF TAMILS
Module I - Language and Literature

2. Language Families in India - Dravidian Languages
– Tamil as a Classical Language - Classical
Literature in Tamil – Secular Nature of Sangam
Literature – Distributive Justice in Sangam
Literature - Management Principles in Thirukural -
Tamil Epics and Impact of Buddhism & Jainism in
Tamil Land - Bakthi Literature Azhwars and
Nayanmars - Forms of minor Poetry -
Development of Modern literature in Tamil -
Contribution of Bharathiyar and Bharathidhasan.
Module I - Language and Literature

3. Language Families in India
Total Languages – 10,000
• 216 Mother Languages
• 22 Scheduled Languages
• 114 other languages
• 96 non specified languages
Classification:
1.Indo-Aryan
2. Dravidian
3. Sino – Tibetan
4. Negroid
5.Austric
6.Others

4. Indo-Aryan
• Part of Indo-European family of languages
• Comprises of all principle languages such as
Hindi, Bengali, Marathi, Gujarathi, Punjabi,
Rajastha etc.,
• Biggest group of the language groups.

5. Dravidian
• Second most important group
• Spoken in Southern India
• 21 Dravidian languages
Classification:
a.Northern Group(3) – Brahuri,Malto and Kudukh
b.Central Group(11) – Gondi, khond, Kui,
Manda,Parji,Gadaba, Kolami, Pengo, Naiki, Kuvi and
Telugu
c.Southern Group(7)- Kannada,
Tamil,Malayalam,Tulu,Kodagu,Toda and Kota

6. Sino-Tibetan – Mongoloid
• Sub Himalayan tracks
• Older than Indo-Aryan
• Referred as oldest Sanskirit literature – Kiratas
Groups:
a.Tibetan
b.Himalayan
c.North Assam
d.Assam-Burmese –Kuki-chin, Mikir, Bodo and Naga
– again there are sub groups under each

7. Austric
• Belongs to Austro-Asiatic sub family
• Language of Munda or Kol Group
• Spoken in Central, Eastern and North eastern
India
• Referred in Sanskrit literature as Nisadas
• Most important language is Santhali – spoken by
5 million Santhals (Adivasi)
• Mundari – Spoken by Mundas (another group of
people)

8. Others
(Adivasi languages)
• Gondi, Oraon, Mal Pahariya, Khond and Parji –
Very distinct
• Pali-Prakrit-belong to Indo-Aryan period
• Prakrit – used in early Buddhist and Jain
literature

9. Official Languages
• Hindi and English(subsidiary official language)
• Each state has its own official language
• Totally 22 official languages – Assamese,
bengali, Bodo, Dogri, Guajarati, Hindi,
Kannada, Kashmiri, Konkani, Maithili,
Malayalam, Manipuri, Marathi,Nepali, Odiya,
punjabi,, Sanskrit, Santhali, Sindhi, Tamil,
Telugu, and Urdu

10. Classical Languages
Criterion
1. High antiquity
2. Valuable heritage of generations of speakers
3. Originality – not borrowed from another
community
4. Distinct from modern forms

11. Current classical Languages
• Tamil(2004)
• Sanskrit(2005)
• Telugu(2008)
• Kannada(2008)
• Malayalam(2013)
• Odiya(2014)

12. Dravidian Languages
• Spoken mostly in southern India
• Even extent to Sri Lanka, Nepal and lesser
extent to Pakistan
• Important to the culture of South Asia
• In world – currently around 70 languages
belonging to the Dravidian
• Earlier related to Uralic Language family
• Now believe a part of Indo - European

13. Similarity between Dravidian languages

14. Tamil Religious Books
• Tamil literature has a rich and long literary tradition
spanning more than 2000 years.
• Tamil Literature follows Social, Economical, Political
and Cultural trends of various periods
• Early Sangam literature authored by Shaivite,
Vaishnavite, Ajivika, Jain, and Buddhist authors.
• Tamil devotional poems written by Nayanmars(Sages
of Shaivism) and Alwars(Sages of Vaishnavism)
• During this era (300 BCE) classics like
Kambaramayana and Periya puranam were
authored.

15. Sangam Age
• Comprises some of the oldest extant Tamil
literature, and deals with traditions, war, trade,
governance and love.
• Sangam literature, often known as "the poetry
of the noble ones," refers to ancient Tamil
language and is South India's earliest known
literature. The earliest accessible Tamil literature
is known as Sangam literature. The Sangam
period is roughly between 300 BC and 300 AD,
while the majority of the work is thought to
have been created between 100 CE and 250 CE.

16. Sangam Literature
• 'Sangam' literally means 'association.' It refers to a
group of Tamil poets who flourished in ancient
southern India.
• From the first through the fourth centuries CE, the
Ancient Tamil Siddhar Agastyar is thought to have
presided over the first Tamil Sangam at Madurai.
• Sangam texts may be unusual in early Indian literature,
which is virtually completely religious.
• The Sangam literature was written by 473 poets, 102
of whom were anonymous. The poets came from a
variety of backgrounds: some were from royal families,
others were businessmen, and some were farmers.
• Women made up at least 27 of the poets.

17. Sangam Literature
• These poets arose in an environment in which Tamil
(Dravidian) civilization had previously engaged and
inseparably fused with north Indians (Indo-Aryans), and
both sides shared mythology, morals, and literary norms.
• Many of the poems, particularly those about heroism, have
a great deal of freshness and vitality and are strikingly
devoid of the literary conceits that pervade most of India's
other early and medieval literature.
• They deal nearly solely with nonreligious issues, these
poems are also devoid of the rich legendary references
that distinguish most Indian art forms.
• Nonetheless, religious compositions may be found in
sangam poetry. Poems on Vishnu, Shiva, Durga, and
Murugan, for example, maybe found in Sangam Literature.

18. Sangam Literature - Classification
• Sangam literature is divided into two categories:
akam and puram.
• Akam poetry is concerned with emotions and
sentiments in the context of love and sensuality.
• Puram poetry is concerned with exploits and heroic
achievements in the setting of battle and public life.
• Three-fourths of the Sangam poetry is akam-
themed, while one-fourth is puram-themed.
• Sangam literature, including akam and puram, is
divided into seven minor genres known as tinai.
• This minor genre is centred on the setting or
scenery of the poetry.

19. Sangam Literature - Classification
• Kurinci refers to mountainous regions; mullai refers to
pastoral woods; marutam refers to riverine agricultural
land; neytal coastal regions; and palai refers to arid
regions.
• In addition to landscape-based tinais, ain-tinai (well-
matched, mutual love), kaikilai (ill-matched, one-sided),
and perunthinai (unsuited, big genre) categories are
employed for akam poetry.
• The Ainkurunuru — a collection of 500 short poems – is
an example of reciprocal love poetry.

20. Sangam Literature - Classification
• Similar tinais apply to puram poetry as well; categories
include vetchi (cattle raid), vanchi (invasion, preparation
for war),
kanchi (tragedy), ulinai (siege), tumpai (battle), vakai (vic
tory), paataan (elegy and
acclaim), karanthai, and pothuval.
• The akam poetry employs metaphors and images to build
the atmosphere; it never contains names of people or
places, and it frequently leaves out context, which the
community would fill in and comprehend given their oral
history.
• Puram poetry is more direct and utilises names and
locations.

21. Sangam Literature - Major Works
• The period of Sangam literature is still debated because the three
major epics of the time, Silappathigaram, Dipavamsa, and
Mahavamsa, show that Gajabhagu II of Sri Lanka and Cheran
Senguttuvan of the Chera dynasty were contemporaries.
• Also, coins struck by the Roman Emperor in the first century may
be found in considerable quantities in various parts of Tamil
Nadu.
• Furthermore, Greek authors such as Megasthenes, Strabo, and
Pliny claimed trading links between the West and South India.
• Inscriptions from the Ashokan Empire described the Cheras,
Chola, and Pandya monarchs to the south of the Mauryan
Empire.
• On the basis of literary, archaeological, and foreign evidence, the
dating of the Sangam literature has been placed between the
third century B.C. and the third century A.D.

22. Sangam Literature - Major Works
• Tolkappiyam, Ettutogai, Pattuppattu, Pathinenkilkanakku, and the two
epics Silappathikaram and Manimegalai comprise the Sangam literature.
• Elango Adigal's Silappathigaram and Sittalai Sattanar's Manimegalai were
both published during the postmodern era.
• These works include important information on the Sangam political
system and society.
• The Kalugumalai inscription provides information about Tamil Brahmi
writing, which dates back to the 15th century.
• The Tirukkovalur inscription mentions local chieftains as well as the
terrible fate of Tamil poets.
• The Tolkappiyam, written by Tolkappiyar, was the first of these works, and
it contains information about the social, economic, and political situations
of the Sangam Age, as well as Tamil grammar.
• Ettutogai were the eight Anthologies, each of which had eight pieces.
• Ettutogai and Pattuppattu were both separated into two major groups:
Aham (love) and Puram (valour).

23. Sangam Literature - Silappathikaram
• The earliest Tamil epic is Silappatikaram. It's a 5,730-line poem
written nearly entirely in akaval (aciriyam) metre.
• Silappatikaram is credited to Ilango Adigal in Tamil tradition.
• He is said to be a Jain monk and the younger brother of Chera
king Senguttuvan, whose family and rule are detailed in the Fifth
Ten of the Patiuppattu, a Sangam poetry.
• Kannaki and her husband Kovalan are the protagonists of the
epic, which tells the sad love tale of an average couple.
• Kannaki and other characters from the narrative are addressed
or alluded to in Sangam literature like the Naiai and later works
such as the Kovalam Katai, indicating that the Silappathikaram
has deeper roots in the Tamil bardic tradition.
• It is said to have been written in the 5th or 6th century CE by a
prince-turned-monk named Iak Aika.

24. Sangam Literature - Manimegalai
• Kulavika Seethalai Sataar created Manimekalai, also known as
Manimekhalai or Manimekalai, a Tamil-Buddhist epic, most likely
in the 6th century.
• It's a "anti-love narrative," a sequel to the "love story" in the first
Tamil epic Silappadikaram, including some of the same
characters and their descendants.
• The epic is divided into 30 cantos and contains 4,861 lines in
akaval metre.
• Manimekalai is also the name of Kovalan and Madhavi's
daughter, who follows in her mother's footsteps as a Buddhist
nun and dancer. Her tale is told in the epic.

25. Sangam Literature - Tolkappiyam
• The oldest existing Tamil grammar text and the oldest extant
lengthy work of Tamil literature is Tolkappiyam.
• Some believe Tholkapiyam was authored by a single author
named Tholkappiyar, a disciple of Vedic sage Agastya, who is
attested in the Rigveda.
• The Tolkappiyam consists of three volumes (athikaram), each
having nine chapters (iyal), for a total of 1,610 sutras in the nurpa
metre in the extant manuscripts.
• Sutras on spelling, phonology, etymology, morphology, semantics,
prosody, sentence structure, and the importance of context in
language are included in this comprehensive grammar work.
• It's impossible to put a date on the Tolkappiyam.
• Some Tamil scholars situate the passage in the mythological
second sangam, which date to the first millennium BCE or earlier.

26. Sangam Literature - Ettuthogai
• The Eight Anthologies, also known as Ettuttokai or "Eight
Collections," is a great Tamil literary work that is part of
the Sangam Literature's Eighteen Greater Texts (Patinen-
melkanakku) anthology series.
• The Eight Anthologies (Pattuppattu) and its companion
anthology, the Ten Idylls (Pattuppattu), are the earliest
Tamil works extant.
• Aingurunooru, Narrinai, Aganaooru, Purananooru,
Kuruntogai, Kalittogai, Paripadal, and Padirruppatu are
the eight works that make up Ettuthogai (Eight
Anthologies).

27. Sangam Literature - Pattuppattu
• The 10 Idylls, also known as Pattupattu or Ten Lays, is a
collection of ten lengthier poetry from Tamil literature's
Sangam period.
• They include between 100 and 800 lines, and the collection
contains the well-known Tirumurukarruppadai by Nakkirar.
• The Pattupattu collection is a later-dated collection, with the
first layer dating from the 2nd to 3rd century CE, the middle
layer from the 2nd to 4th century CE, and the last layer from
the 3rd to 5th century CE.
• Thirumurugarruppadai, Porunarruppadai,
Sirupanarruppadai, Perumpanarruppadai, Mullaippattu,
Nedunalvadai, Madurai Kanji, Kurinjippatttu, Pattinappalai,
and Malaipadukadam are the 10 works that make up the
Pattupattu (Ten Idylls).

28. Sangam Literature - Pathinenkilkanakku
• The Pathinenkilkanakku, also known as the Eighteen Lesser
Texts in literature, is a collection of eighteen poetry
compositions, most of which were written during the 'after
Sangam period' (between 100 and 500 CE).
• Eighteen texts on ethics and morality are included in
Pathinenkilkanakku.
• Tirukkural, written by Thiruvalluvar, a renowned Tamil poet
and philosopher, is the most important of these texts.
• The poems in this collection differ from those in the Eighteen
Greater Texts, which are the oldest known Tamil poetry, in
that they are written in venpa metre and are very brief.
• The single anthology in this collection is Naladiyar, which has
been sung by 400 poets.

29. Sangam Literature - Significance
• During this period, there were three major Tamil
kingdoms: the Cheras, the Cholas, and the Pandyas.
• The Sangam literature provides historical evidence of
indigenous literary growth in South India parallel to
Sanskrit, as well as the Tamil language's classical rank.
• While little evidence exists for the first and second
mythological Sangams, the surviving literature attests to
a group of intellectuals based on ancient Madurai
(Maturai) who affected the "literary, academic, cultural,
and linguistic life of ancient Tamil Nadu.

30. Sangam Literature - Significance
• The Sangam literature provides insight into various
aspects of ancient Tamil society, secular and religious
ideas, and individuals.
• The Sangam literature contains evidence of Sanskrit loan
words, implying ongoing linguistic and literary
collaboration between ancient Tamil Nadu and other
areas of the Indian subcontinent.
• Sangam poetry is concerned with culture and people.
Except for the odd reference of Hindu gods and more
major allusions of numerous gods in the shorter poems,
it is virtually exclusively non-religious.

31. Management Principles in Thirukural
• Approach towards higher authorities
• Decision Making
• Leadership
• Administration
• Project planning
• Communication
• Recruitment
• Delegation of powers
• Motivaton
• Diplomacy

32. Approach towards the higher
authorities
• In modern days, in
any Management, the hierarchy is playing an
important role.
• Hierarchy is the system of executives or officials
arranged one above another.
• Those who are in the above level enjoy more
powers and perks.
• Hierarchy can typically be depicted as a pyramid
where the height represents the level's status.

33. • Persons in king's service, should neither go too
close nor too far, they should remain like people who
sit in an apt place beside the fire for warmth ( Kural
691)
அகலாது அணுகாது தீக்காய்வார் ப ால் க
இகல்பவந்தர்ச் பசர்ந்து ஒழுகுவார் (691)
Approach towards the higher
authorities

34. Decision Making
• Thiruvalluvar says that any decision should be made
after a deep thinking. Later there should not be any
attempt to reconsider the decision that was made.The
decision once finally made should be
executed immediately without delay.
• "Any task should be started after a deep thinking.
Reconsidering the decision later is a disgrace."
எண
் ணித் துணிக கருமந் துணிந்தபின
்
எண
் ணுவ மமன
் திழுக்கு.( 467)

35. LEADERSHIP
• Thiruvalluvar had identified some basic qualifications for
a good king which is very much applicable in the modern
context to the top leaders. Kural 382 says a king should
have courage, generosity, knowledge, zeal and alertness
(alertness added in the kural 383)
• Essence of Kural 382:
Courage, generosity, knowledge (wisdom), motivation
(Zeal) are the four essential elements of a successful
leader (King)
அஞ்சாமை ஈமை அறிவூை்ைை் இந்நான
் குை்
எஞ்சாமை வேந்தற் கியல்பு. ( 382)

36. ADMINISTRATION
• P = Planning
• O = Organising
• S = Staffing
• D = Directing
• CO = Co ordinating
• R = Reporting
• B = Budgetting.
Thiruvalluvar speaks of these skills required for an able
administrator in many kurals.
• The strength of the project, strength of our own, strength of the
opponents and strength of the partners should be weighed.
வினன வலியும்/ தன
் வலியும்/ மாறறான
் வலியும்/
துனண வலியும்/ தூக்கிக் மசயல் ( 471 )

37. Project Planning
• Considering all factors, a project should be devised, properly
evaluated and probed to see whether the project will be
successful or not. Successful project should be executed keeping
in mind certain unexpected
hindrances.In kural 466 Thiruvalluvat cautions that even with a
well conceived project plan, the project may ruin,
"A project will fail, if a manager does what he should not and
fails to do what he should" ( Kural 466)
மசய்தக்க அல்ல மசயக்மகடுஞ் மசய்தக்க
மசய்யானம யானுங் மகடும்.(466)

38. Communication skills
• A learned person (scholar) is an individual with a profound
knowledge. One has to study either formally or informally for
many years to become a scholar. Thiruvalluvar says that a
scholarly person with all his learning, if unable to communicate
his knowledge to others is useless to the society,
• Kural 645 gives a guide line:
"The words used should be carefully selected so that no other
words can effectively replace them." Which means, there should
not be any ambiguity in the words used.
சசால்லுை சசால்மலப் பிறிவதார்சசால் அச்சசால்மல
சேல்லுஞ்சசால் இன்மை அறிந்து.( 645)

39. RECRUITMENT
• Thiruvalluvar speaks of effective recruitment in the Kural
507. Recruitment is the process of finding a potential
candidate for a particular post. Variety of parameters like
academic background, personality traits, experience,
team spirit, etc, are considered.
• Recruiting a right person is a challenging task for every
manager or HR Personnel.
"Trusting unworthy and doubting worthy" - both
will cause constant worries (Kural 510)
வதரான
் சதளிவுந் சதளிந்தான்ைண
் ஐயுறவுை்
தீரா இடுை்மப தருை்.( 510)

40. Delegation of Powers
• Thiruvalluvar says-
Consider the person's loving nature, knowledge in
the field, firm determination to execute the work and a mind
with no greediness for money and then select. (513)
அன் பறிவு வதற்றை் அோவின்மை இந்நான
் குை்
நன் குமையான் ைை்வை சதளிவு. (513)
"A manager should select a right person for a particular
work after considering that he would complete the work
by using these means and then allow him to complete
the work without any interference"
இதமன இதனால் இேன் முடிை்குை் என
் றாய்ந்
ததமன அேன்ைண
் விைல். (517)

41. MOTIVATION
Thiruvalluvar says in the Kural 593
• Those who are with high motivation , even if they
lose all their possessions, will never feel desperate.
• ஆை்ைை் இழந்வதாை் என்று அல்லாோர் ஊை்ைை்
ஒருேந்தை் மைத்து உமையார். ( 593 )
• The spear that missed to kill an elephant is worth holding
( in the hand ) than the arrow that killed a hare ( rabbit ).
• ைான முயல் எய்த அை்பினில் யாமன
பிமழத்த வேல் ஏந்தல் இனிது (772)

42. DIPLOMATS
• Diplomats are the ambassadors or envoys or
messengers send by one country to another. They are
mainly responsible for maintaining inter country
relationship.
• A top level diplomat is a person who realises very
well the responsibilities of his duties, wait for the right
time to speak and determine correct place to perform
his diplomatic mission using measured words.
கடன
் அறிந்து/ காலம் கருதி/ இடன
் அறிந்து/
எண
் ணி/ உனர ் ான
் தனல. (687)

43. Buddhism in Tamil Land
• Buddhism emerged in a significant manner in the Tamil land with the later
Kalabhras. The Kalabhra dynasty had invaded and ruled Tamil Nadu
between the 4th and the 6th centuries CE.
• Inscriptional and literary evidence indicates that the Chola, Chera and
Pandya kings were ruthlessly suppressed. The Kalabhras patronized
Buddhism and used Prakrit.
• Buddhism remained an urban phenomenon. Most Tamil Buddhist monks
of this period chose to write in Pali, not Tamil.
• This included Buddhadatta Thera from Uragapura (Uraiyur) and
Dhammapala Thera from Tambarattha (Tirunelveli) who traveled to Sri
Lanka to translate the proto-Sinhalese language commentaries into Pali.
• The celebrated Buddhist commentator Buddhaghosha lived for a while in
Madhura-sutta-pattana (Madurai) en route to Sri Lanka to study the
proto-Sinhalese texts.
• Hoole’s contention that Sinhalese literature is a 9th century phenomenon
linked to the suppression of Buddhism in the Tamil land is therefore
flawed

44. Buddhism in Tamil Land
• The Buddhist zeal of the Kalabhras triggered a home-grown Saivite and
Vaishnava revival in the 6th century. This in turn saw the eclipse of Pali
scholarship in the Tamil land and a renewed pride in the Tamil language.
• Buddhism however continued in urban Tamil Nadu until the 14th century.
• The Culavamsa describes Sinhalese kings inviting Tamil monks from South
India to visit Sri Lanka between the 12th and 14th centuries CE.
• The Tamil grammar, the Vira-choliyam, was authored by a Buddhist in the
heyday of Chola rule in the 10th century CE.
• The Saivite Hindu Cholas sponsored this Buddhist author. Meanwhile, the
Jain center of Sittanavaasal continued to flourish between the 7th and 9th
centuries.
• Saivite Hinduism did not annihilate Buddhism or of Jainism in 7th century
Tamil Nadu as Hoole writes.
• The Buddhist presence in Tamil Nadu ended with the establishment of the
Madurai Sultanate in the early 14th century. Tamil Jainism continues to
exist to this day.

45. Jainism in Tamil Land
• Early Tamil-Brahmi inscriptions in Tamil Nadu dated to
the 3rd century BCE and describe the livelihoods of Tamil
Jains.
• The oldest known Tamil kings were recorded to follow
the Jain religion which makes Jainism, the second oldest
religion in Tamil Nadu.
• Inscriptions dating back to 8th century CE were found
in Tiruchirappalli narrating the presence of Jain monks in
the region.
• The Kalabhra dynasty, who were patrons of Jainism, ruled
over the entire ancient Tamil country in the 3rd–7th
century CE.

46. Jainism in Tamil Land
• Pallavas followed Hinduism but also patronized Jainism.
The Trilokyanatha Temple in Kanchipuram and Chitharal
Jain Temple were built during the reign of the Pallava
dynasty.
• The Pandyan kings were initially Jains but later
became Shaivaites.
• Strabo states that an Indian king called Pandion
sent Augustus "presents and gifts of honour".
• The Sittanavasal Cave and Samanar Malai are Jain
complexes that were built during the reign of Pandyan
dynasty.

47. Jainism in Tamil Land
• The Cholas patronized Hinduism, however, Jainism also
flourished during their rule. The construction
of Tirumalai cave complex was commissioned Queen
Kundavai, elder sister of Rajaraja Chola I. The Tirumalai
cave complex consists of 3 Jain caves, 2 Jain temples and
a 16 metres (52 ft) high sculpture of
Tirthankara Neminatha which is the tallest idol of
Neminatha and the largest Jain idol in Tamil Nadu. The
Digambara Jain Temple in Thirakoil and
the Mallinathaswamy Jain Temple in Mannargudi were
both built during the reign of the Chola dynasty.

48. Jainism in Tamil Land
• Royal patronage has been a key factor in the growth as well as the
decline of Jainism. The Pallava king Mahendravarman I (600–630 CE)
converted from Jainism to Shaivism under the influence of Appar.
• His work Mattavilasa Prahasana ridicules certain Shaiva sects and
the Buddhists and also expresses contempt towards Jain ascetics.
• Sambandar converted the contemporary Pandya king to Shaivism.
During the 11th century, Basava, a minister to the Jain king Bijjala II,
succeeded in converting numerous Jains to the Lingayat Shaivite
sect.
• The Lingayats destroyed various temples belonging to Jains and
adapted them to their use.
• The Hoysala king Vishnuvardhana (c. 1108–1152 CE) became a
follower of the Vaishnava sect under the influence of
saint Ramanuja, after which Vaishnavism grew rapidly.

49. Jainism Influence on Tamil literature
• Tamil Jain texts such as the Cīvaka
Cintāmaṇi and Nālaṭiyār are credited to Digambara Jain
authors.
• The Tamil Jain literature, states Dundas, has been "lovingly
studied and commented upon for centuries by Hindus as well
as Jains". The themes of two of the Tamil epics, including
the Silapadikkaram, have an embedded influence of Jainism.
• Silappatikaram, the earliest surviving epic in Tamil literature,
was written by the monk Ilango Adigal. This epic is a major
work in Tamil literature, describing the historical events of its
time and also of then-prevailing religions,
Jainism, Buddhism and Hinduism. The main characters of this
work, Kannagi and Kovalan, who are renowned among
Tamils, were Jains.

50. Jain structures
• There are 26 caves, 200 stone beds, 60 inscriptions, and
over 100 sculptures in and around Madurai.
• The Sittanavasal Cave temple is regarded as one of the
finest examples of Jain art. It is the oldest and most
famous Jain centre in the region. It possesses both an
early Jain cave shelter, and a medieval rock-cut temple
with excellent fresco paintings comparable to Ajantha
paintings; the steep hill contains an isolated but
spacious cavern. Locally, this cavern is known
as "Eladipattam", a name that is derived from the seven
holes cut into the rock that serve as steps leading to the
shelter.

51. Bakthi Literature
• “Bhakti” is a Sanskrit word that translates to
“devotion” or “devoted worship” in English.
• Bhakti Literature refers to a genre of Indian
devotional literature that emerged in the medieval
period, from the 6th to the 18th centuries.
• The nature of Bhakti Literature is characterized by its
focus on devotion to a personal deity and its
emphasis on the experience of divine love.
• This genre of literature is also known for its
emotional intensity and its emphasis on the devotion
of the devotee to the deity.
• Bhakti Literature has its roots in the Bhakti
movement, which was a spiritual revival movement
that spread across India in the medieval period.

52. Bakthi Literature
• The Bhakti movement had a profound impact on Indian
culture and society, and Bhakti Literature played a
significant role.
• Bhakti Literature was written in a variety of regional
languages, including Hindi, Marathi, Bengali, and
Sanskrit, making it accessible to a wide range of people.
• The accessibility allowed the Bhakti message of devotion
and love to reach a large audience, and it helped to
spread the Bhakti movement throughout India.
• One of the key contributions of Bhakti Literature to
Indian culture is its emphasis on the devotional
experience. Bhakti Literature is filled with stories and
poems that describe the intense love and devotion that
the devotee feels for the deity.

53. Bakthi Literature
• Bhakti Literature also played a role in promoting the idea of
equality and inclusiveness in Indian society. The Bhakti
movement was inclusive of people from all castes and social
classes.
• The literature often featured stories of devotees from all walks
of life, and it emphasized the idea that devotion to the deity
was available to everyone, regardless of their social status or
background.
• Another important contribution of Bhakti Literature to Indian
culture is its influence on the arts. Bhakti Literature was often
accompanied by music, and it played a role in the development
of devotional music in India. Bhakti Literature also influenced
visual arts and many paintings and sculptures from the
medieval period depict scenes from Bhakti Literature.

54. Azhwars
• Azhwars composed moving hymns addressed to Vishnu.
• They were compiled in the Nalayira Divviyaprabandham
by Nadamuni, at the end of the ninth century.
• Nadamuni who served as a priest at the Ranganatha
temple in Srirangam is credited with compiling this work
comprising four thousand poems.
• Periyalvar lived in Srivilliputtur during the reign of
Pandyan king Maravarman Srivallabha in the ninth
century.
• The themes are mostly Krishna’s childhood. Krishna is
the hero in Andal’s hymns.

55. Azhwars
• Nammalvar, from Kurugur (Alvar Tirunagari), now
in Thoothukudi district, is considered the
greatest amongst Alvars.
• Nammalvar authored four works that include the
Tiruvaymoli. Vaishnava devotees believe that his
hymns distil the essence of the four Vedas.
• From the twelfth century, the Vaishnava hymns
were the subject of elaborate and erudite
commentaries.

56. Azhwars

57. Azhwars
• The Tamil word azhwar means one who is
immersed in love of God or one who has become
mad in the love of God.
• Therefore, the twelve great saints of the Sri
Vaishnava order who appeared between 5050
BCE and 2800 BCE, and composed the 4000
verses of the Divya-prabandha canon are
called azhwars.

58. Azhwars
01 — Poigai Azhwar
• Poigai Azhwar was born on (sravana-nakshatra) in Thiruvekka,
Kanchipuram. He graced the 100 verses of the Mudhal
Thiruvandhadhi, and is an incarnation of Panchajanya or the divine
conch of Sriman Narayana.
02 — Bhoothathazhvar
• Bhoothathazhvar was born on Aippasi Avittam (dhanishta-
nakshatra) in Thirukadalmallai (Mahabhalipuram). He graced the
100 verses of the Irandam Thiruvandhadhi, and is an incarnation of
Kaumodaki or the divine mace of Sriman Narayana.
03 — Peyazhwar
• Peyazhwar was born on Aippasi Sathayam (satabhishaka-
nakshatra) in Mylapore. He graced the 100 verses of the
Moondram Thiruvanthathi, and is an incarnation of Nandaki or the
divine sword of Sriman Narayana.

59. Azhwars
04 — Thirumazhisai Azhwar
• Thirumazhisai Azhwar was born on Thai Magham (magha-
nakshatra) in Thirumazhisai. He graced the 96 verses of the
Nanmugan Thiruvanthadi and the 120 verses of Thiruchandavirutham,
and is an incarnation of Sudarshana-chakra or the divine discus of
Sriman Narayana.
05 — Nammazhwar
• Nammazhwar was born on Vaikasi Vishakam (vishakha-nakshatra) in
Azhwar Thirunagari (Thirukurugur). He graced the 1102 verses of the
Thiruvaymozhi, 7 verses of the Thiruvasiriyam, 100 verses of the
Thiruvirutham, and the 87 verses of the Periya Thiruvandhadhi. He is
an incarnation of Vishvaksena, the commander-in-chief of the Sriman
Narayana in Vaikuntha.
06 — Madhurakavi Azhwar
• Madhurakavi Azhwar was born on Chitra Chittirai (chitra-nakshatra)
in Thirukolur. He graced the 11 verses of Kanninun Siruthambu, and is
an incarnation of Garuda, the divine mount of Sriman Narayana.

60. Azhwars
07 — Kulashekhara Azhwar
• Kulashekhara Azhwar was born on Masi Punarpusam (punarvasu-
nakshatra) in Thiruvanchikulam in the Chera Kingdom of Makotai. He
graced the 105 verses of Perumal Thirumozhi and is an incarnation of
Kaustubha, the divine jewel on the necklace of Sriman Narayana.
08 — Periyazhwar
• Periyazhwar was born on Ani Swathi (svati-nakshatra) in Srivilliputhur.
He graced the 473 verses of the Periyazhvar Thirumozhi and is an
incarnation of Garuda, or the divine mount of Sriman Narayana.
09 — Andal
• Andal was born on Adi Puram (purva-phalguni-nakshatra) in
Srivilliputhur. She graced the 30 verses of the Thiruppavai and the 143
verses of the Nachiyar Thirumozhi, and is an incarnation of Bhudevi,
the divine consort of Sriman Narayana, and the personification of
Mother Earth.

61. Azhwars
10 — Thondaradippodi Azhwar
• Thondaradippodi Azhwar was born on Margazhi Kettai (jyeshta-
nakshatra) in Thirumandangudi. He graced the 45 verses of the
Thirumalai and the 11 verses of the Thirupalliyezhuchi, and is an
incarnation of Vanamala, the garland of Sriman Narayana.
11 — Thiruppaan Azhwar
• Thiruppaan Azhwar was born on Karthigai Rohini (rohini-nakshatra) in
Uraiyur. He the 10 verses of the Amalanadi-piran, and is an incarnation of
Srivatsa, the divinely auspicious mole on the chest of Sriman Narayana.
12 — Thirumangai Azhwar
• Thirumangai Azhwar was born in Karthigai Krithigai (krittika-nakshatra) in
Thirukurayalur. He graced the 1084 verses of the Periya Thirumozhi;
1 verse of the Thiruvezhukootrikai, 20 verses of the
Thirukurunthandagam; 30 verses of the Thirunedunthandagam; 40
verses of the Siriya Thirumadal; and 78 verses of the Periya Thirumadal.
He is an incarnation of Sharngam or the divine bow of Sriman Narayana.

62. • Alvars, also termed Alvarkal, were Tamil poet-saints who
resided in the south Indian state of Tamil Nadu.
• There, they worshipped the almighty Lord Vishnu or Lord
Krishna, who was Lord Vishnu’s avatar.
• Then they dedicated their entire lives to the worship of
these gods.
• They sang songs of ecstasy, longing, and their service to the
gods to convey their devotion.
• They lived from the span of 5th to 10th Century CE.
• During the medieval period, the Alvars’ spiritual outpourings
aided in the revival of the Bhakti Movement.
• Moreover, the group hymns of adoration for Lord Krishna
and Lord Vishnu saved the bhakti movement.
Azhwars

63. Nayanmars
• The prominent Saiva poets include Tirunavukarasar
(Appar), Tirugnanasambandar and Sundarar, and
Manikkavasagar.
• Nambi Andar Nambi compiled their hymns into an
anthology of eleven books, towards the end of tenth
century.
• The first seven books, commonly known as Thevaram,
contain the hymns of Sambandar (I to III), Appar (books
IV to VI) and Sundarar (book VII) and Manikkavasagar
(book VIII).

64. Nayanmars
• Sekkilar’s Periyapuranam is the twelfth thirumurai of
the Saiva canon.
• It is a hagiography of the sixty-three Nayanmars but
contains an undercurrent of historical information as
well.
• This collection of 12 books is named Panniru Tirumurai.
• The Periyapuranam relates many stories about
Nayanmars and the miraculous episodes in their lives.

65. Nayanmars
• Some of the Nayanmars were gifted singers
inspired by their devotion and have left behind an
imperishable legacy of devotional poetry saved to
posterity by Nambi Andar Nambi who arranged
the available Saiva hymns into eleven tirumumis
(1st seven called Tevuram - collectively the hymns
of Sambandar, Appar and Sundaranar, the 8th
being the work of Manickavachakar, 9th called
Tiruisaippa - a miscellaneous collection, the 10th
contains outpourings of poems from Nakkirar to
Nambi Andar Nambi.

66. Nayanmars
• Manickavachakar and other three great Saiva
Samayacharyars - Appar, Sambandar and Sundarar
flourished in the Tamil country and sounded a clarion
call, a call to self-knowledge, implicit self-surrender at
the feet of the Supreme.
• Besides the 11 thirumurais, the Peria-puranam gives a
comprehensive account of lives of the 63 Saiva saints
revered. It has 4000 stanzas in which fact and legend
mingle freely.
• The saints were drawn from all castes then known -
kings, Brahmins, chieftains, merchants, farmers,
shepherds, potters, weavers, hunters, fishermen,
untouchables etc.

67. Contribution of Bharathiyar
• Subramaniya Bharathiyar was born on 11th December
1882, in a village called Ettayapuram in Tirunelveli
District in Tamil Nadu and his childhood name was
Subbiah.
• At the age of seven, Subbiah started writing poems in
Tamil.
• When he was eleven, he wrote in such a way that even
learned men praised him for his great knowledge and
skill. In the eleventh year, Subbiah felt that he had to
establish his credentials.
• Significantly, a new age in Tamil literature began with
Subramaniya Bharathi.

68. Contribution of Bharathiyar
• Most part of his compositions are classifiable as
short lyrical outpourings on patriotic, devotional
and mystic themes.
• Bharathi was essentially a lyrical poet. “Kannan
Pattu” “Nilavum Vanminum Katrum” “Panchali
Sabatam” “Kuyil Pattu” are examples of
Bharathi’s great poetic output.
• Bharathi is considered as a national poet due to
his number of poems of the patriotic flavour
through which he exhorted the people to join the
independence struggle and work vigorously for
the liberation of the country.

69. Contribution of Bharathiyar
• Instead of merely being proud of his country he also
outlined his vision for a free India. He published the
sensational “Sudesa Geethangal” in 1908.
• Many years of Bharathi’s life were spent in the field
of journalism, Bharathi, as a young man began his
career as a journalist and as a sub-editor
in “Swadesamitran” in November 1904.
• “India” saw the light of the day in May, 1906. It
declared as its motto the three slogans of the French
Revolution, Liberty, Equality and Fraternity. It blazed
a new trail in Tamil Journalism.

70. Contribution of Bharathiyar
• In order to proclaim its revolutionary ardour,
Bharathi had the weekly printed in red paper.
• “India” was the first paper in Tamil Nadu to publish
political cartoons. He also published and edited a
few other journals like “Vijaya”.
• From Pondicherry, he guided the Tamil youth of
Madras to tread in the path of nationalism.
• This increased the anger of the British towards
Bharathi’s writings as they felt that it was his
writings that induce and influence the patriotic spirit
of the Tamil youth.

71. • In his early days of youth he had good relations with
Nationalist Tamil Leaders like V.O.Chidambaram,
Subramanya Siva, Mandayam Thirumalachariar and
Srinivasachari.
• Along with these leaders he used to discuss the problems
facing the country due to British rule.
• Bharathi used to attend the Annual sessions of Indian
National Congress and discuss national issues with
extremist Indian National Leaders like Bipin Chandra Pal,
B.G. Tilak and V.V.S. Iyer.
• His participation and activities in Benaras Session (1905)
and Surat Session (1907) of the Indian National Congress
impressed many national leaders about his patriotic
fervour.
Contribution of Bharathiyar

72. Contribution of Bharathiyar
• Bharathi as a poet, journalist, freedom fighter and
social reformer had made a great impact not only
on the Tamil society but also on the entire human
society.

73. Contribution of Bharathidhasan
• Praised as the kind of poems, Bharathidasan can be
called as the forerunner of modern Tamil poetry. He
named himself as Bharathidasan (slave of Bharathi)
owing to his adoration of Mahakavi Subramanya
Bharati.
• Bharathidasan composed revolutionary poems in Tamil
in a brave fashion. He was drawn towards the great
poetry of Bharathi and hence named himself as
Bharathidasan.
• His original name was Kanaga Subburathinam. Born in
Puducherry, he was a Tamil teacher. He also conducted
a magazine called Kuyil (Cuckoo).

74. Contribution of Bharathidhasan
• Though Bharathidasan studied in the French medium during his
young days, he had a great love for Tamil. He passed his
collegiate education in Tamil and became a Tamil teacher in a
government college.
• Bharathidasan was strongly attached to the Dravidar Movement
and atheism pioneered by Periyar.
• In 1969, his drama titled Pisiranthaiyar secured Sahitya Academy
Award. Bhrathidasan’s poetry also had a lot of humor. He
composed poems in support of atheism, caste, and divisive
forces. Bharathidasan died on April 21, 1964.
• Poet in his own right, writing mostly on socio-political issues like
caste, women’s liberation and rationalism, Bharathidasan was
one of the key figures in the Dravidian rationalist movement. He
was called ‘Puratchi Kavingyar’ by the great rationalist leader and
social reformer, Periyar E V Ramaswami.

75. Contribution of Bharathidhasan
• He remained a prolific writer and poet till he died in 1964. He
was awarded the Sahitya Academy Award posthumously. One
among his famous lines is ‘அறிமே விரிவு சசய்,
அைண
் ைைாை்கு’, ‘Arivai virivu sei, agandamakku’ meaning
“Expand Knowledge – make it universal”. Named after this great
poet, it has been BIM’s endeavour to expand and universalize
knowledge.
• Named after the revolutionary poet Bharathidasan, the
Bharathidasan University was set up in 1982 as an offshoot of the
University of Madras. The motto of the University “We will create
a brave new world” has been framed from Bharathidasan’s
poetic words “புதியவதார் உலைை் சசய்வோை்”. The
University endeavours to be true to such a vision by creating in
the region a brave new world of academic innovation for social
change.

76. Contribution of Bharathidhasan
• Bharathidasan was conferred with the title of "Puratchi
Kavingyar" (meaning the "Revolutionary Poet") by Periyar.
• He won the Golden Parrot Prize in 1946 for his play Amaithi-
Oomai (Peace and Dumbness).
• He was given the Sahitya Academy Award,[2] posthumously in
1970 for his play Pisiranthaiyar (He died in 1964 but he was given
this award in 1970 after he died).
• On 9 October 2001, a commemorative stamp of Bharathidasan
was released by the Postal Department in Chennai.

77. SELECTED POEMS OF BHARATHIDASAN
As a part of the centenary programmes of Poet Bharathidasan in 1991,
Bharathidasan University brought out this translation of some of the
poems of Bharathidasan. A special feature of this translation is that the
Tamil and English versions of the poems are selected and translated by a
team of experts in translation. Some of the translators are: Dr. K.
Chellppan, Thiru. M.S. Venkatachalam, Dr. Prema Nandakumar, Dr. R.
Ganapathi, Dr. P. Marudhanayakam, Dr. Nirmal Selvamoni, Thiru. T.N.
Ramachandran. Now the university has brought out the 2nd edition.
A LUMINOUS HOME
All the 5 parts of Pavendar Bharathidasan's Kudumba Vilakku. i.e., (1) A
Day's Events, (2) Hospitality, (3) Wedding, (4) Begetting children, (5)
Lasting Love of the Aged Pair are rendered in English in lucid style.
PANDYAN'S GIFT
Dr. Kalaignar M. Karunanidhi in his foreword has attested the depth and
dexterity of the translator as keeping the original spirit of the poem.

78. SELECTED POEMS OF BHARATHIDASAN
A LUMINOUS HOME AND A DISMAL HOUSE
The twin poems of contrast livings, portray the importance of
education of women for a good and happy domestic life and the
miserable position of a family which lacks education.
BUBBLES ON THE SEA
A poetic drama with 38 scenes and 14 characters in which the poet
skillfully employed many prosodical forms. A beginner of translation
shall treat this translation as a guide book since the renderings are
given in original and in English side by side.
THE DAGGER OF TAMIL WOMAN
This is one of the narrative poems of Poet Bharathidasan about the
story of village woman Cuppamma, the devoted wife of Timman, a
peasant. Cuppamma's portrayal in this story reminds us Kannaki, the
heroine of Cilappatikaram. The translation is in free style, at the same
time, true to the original.