Life values represented by the Eight Anthologies

Love is an expression of the inner feelings of the people who have been living continuously since the Sangam period and the purpose of philosophy is to express men's bravery and to live and prosper through them. The people of the Sangam period were divided into two groups as internal and external. The ancient Tamil suppressed the love life internally and divided the inner life into two types: theft and chastity. Tholkkappiyar and iraiyanar have explained the theft and chastity through poems. The excellence of Mens love the theft and womens love the chastity are explained thoroug it. The internal messages of folk songs are similar as the sangam poems. which are oral songs that have been performed in Tamil Nadu since time immemorial. Oral songs appeared long before writing. So it can be said that oral songs are the source of internal messages found in literature

Transgenders in Tamil Literary Tradition

All living things have the right to live on the Earth. There should be no difference even among high-ranking people. Transgenders are human beings like male and female. They should also be treated as equals and be respected as a living being. But they are ridiculed and teased in society. People who are inferior in levels of caste, occupation, politics, sexual status, economic status can be termed as marginal. But the Dalits, black women, transgenders etc. Are always considered as the margins. Among such marginalized ranks, the social esteem of transgenders are very low. Caste-based atrocities treat women as inferior because they are women. Overall they are human beings and should be treated equally in society. This article investigates about the notes on transgenders in Tamil literary works

Sangam Era Marriage in Anthropological Perspective

Tolkappiyam divides the life of Sangam people in a grammatical way and establishes that this (something) as the material necessary for life. However, the opinions of the commentators explaining this idea are not the same, and it can be seen that there has been a change in thinking according to the change of time. Therefore, only explanations given by grammar and literature cannot provide sufficient information while studying the life of human beings in society. It can be known by understanding the people of the Sangam period that the Sangha people lived the life of an ethnic group. However, they do not follow the ritual system of marriage. It was only after the arrival of the Aryans that the system of marriage came into existence. They divided it into eight numbers. Ilampuranar suggests that among them Gandharva marriage is for Tamil people. Answers and proofs for this are available in Sangam literary hymns when studying the evolution of man through anthropology. It can be seen from the outside that certain rituals were followed in the wars. Therefore, Sangam people who shaped their lifestyles based on internal life rather than war, were either married, robbed or chastised. Based on this, this article presents the rituals of the Sangam period from an anthropological perspective

Moral Principles in Naladiyar or Vaelanvaetham

History says Tamil literature is very old and unique. There are many types of literature that have flourished in the Tamil language and among them Didactic literature have gained distinction. This Didactic literature guides people in a good way. After the Sangam period, the literature emphasized justice and morals in abundance. During the rule of Kalapirar who came from the north, both the internal and external literature of Sangam literature lost its values. The way of life of Tamil people changed. Justice and virtue were needed in that context. The collection of books that appeared then is Eighteen Anthologies. Naladiyar or Vaelanvaetham is one among those Eighteen Anthologies. This book is a collection of songs written by many Jain sages. Like Thirukkural, Naladiyar is divided into three major divisions. The purpose of this article is to analyse the ideas, thoughts and opinions described in Naladiyar to improve the human society

Highlights of Poet Kannadasan's Poems

Kannadasan, the king of all poets. He is living as a poet who has taken a noble place for himself in the ranks of poets who have left an indelible mark in literature. It is as if the Tamil mother had given all the knowledge of Tamil available to only one poet named Kannadasan, and his poems leave us in awe. The purpose of this article is to explore the highlights found in poet Kannadasan's poems. This study was carried out with a qualitative approach. This research has been carried out in a descriptive approach using books, and research articles suitable for library research. All information has been analyzed based on the objective of the study. The research data has been classified according to the purpose of the study and analyzed in the text analysis method. Aesthetics, simple style, the personality of the Tamil language, life philosophies, realism, screenplays, and poetry have been identified as the highlights found in poet Kannadasan's poems. Therefore, the highlights of poet Kannadasan's poems are evident in this article

Specialties of Tamil in Vaanidasan's Works

Poet Vaanidasan can be admired as "poets are born not made". Poet Kannadasan has mentioned in Thentral magazine that if his works are translated into English, he may win the Nobel Prize. In the history of twentieth century literature, he is distinguished as an ideal poet and influenced by poet Bharathidasan. He is Bharathidasan's first student. He has received all the special titles like Tamil Kaatha Pudumai kavinar, Poet of Nature, Bhavalar Mani, Kavinareru Bhavalar Mannan. Awarded "Chevalier" by the French Government. All his poems are about Tamil language, Tamil people, it's culture, features and so on.  He gave importance to nature. A poetic voice for the advancement of women. This article aims to highlight the special features of Tamil that are revealed in the works of Vaanidasan

'Staying True to Theatrical Life': Bicycle Theatre Group in Northern Sri Lanka

During the war in the northern part of Sri Lanka, theatre committees functioned on a monthly allowance basis. This activity has been going on continuously for many years. These theatre groups have travelled relying on people. The people have fed them. Here the salary allowance was not paid according to the quality of the actor in the theatre group, but according to the number of his family members. Instead of 'qualified wages', the allowance of 'wages as per requirement' has been given. A group of equal numbers of women and men have cycled and staged plays. The play has been staged in at least three places every day, travelling day and night continuously for 22 days in a month. The actors, who went on bicycles professionally and staged plays, performed real life on stage. They saw the reality of the stage in life. There are no differences between fiction and reality in this theatre journey. The real story becomes a drama. A drama story becomes a reality. Here the dramaturgy fits in with many true stories and becomes visions of realities. At the same time, after a play is over, more plays are created. Moreover, more and more have evolved. Here, the play has helped the affected people reach the stage of 'despair'. It leads to a state of repentance, collective empathy, gaining confidence, and a desire to live. This study is based on the stage definition of liberation, on the basis of the ethnographic point of view, on the basis of which the researcher himself lived at a given time, and on the basis of witnessing the plays. But there are gaps in this study. To further enrich the study, the fonts of the plays produced by the theatre groups recorded sound, and cinematography is also required. Observation studies are also required. They are limited in the context of a military crisis

Biographical Thoughts of Pattinapalai

Pattinapalai is one of the literatures that testifies to the life lived by the ancient Tamil people. This book is composed by the poet Uruthirakannanar. The specialty of the ancient Chola country, its wealth, the heroic deeds of Charikalan and the way of life of the people are highlighted. The song is set at 301 feet. Pattinapalai is the epitome of the charcoal Chola specialty of Kavirippoompattinam. Sangam literature holds a unique place in the creative context of Tamil literary history. The Sangakkala people can be discriminated against as natural morality because they lived with natural morality and as heroic age because of the emphasis on heroic sentiments. Songs are a mixture of literature and life. Sangakkala songs are also known as people's life songs. Most of them are spontaneous poems that express their innermost feelings. The study is set to explore the emotions of the poets, the lifestyles of the people, and the thoughts of life

The Holy Revival of Thirumurugan at Arupatai Veedu

The Thirumurugatrupadai worships Murugu, the ancient deity of the past. Literature guides spiritual attainment through civilised world life. "Thirumurugatrupadai" stands as proof of such a purpose. Thirumurugatrupadai guides us to attain freedom from birth with the highest aim of 'listening to the greatness of the great'. The ideological aim is that the Lord himself will come as a wise teacher to conquer the mature soul. It may be said that the concept of the poet who has been presented with a gift orienting the poet who is yet to receive the prize is similar to the position in which Gnanaguru directs the matured soul towards God. The manner, in which the holiness of God is conveyed in the Arupatai Veedu (The Six Abodes of God Murugan), such as Nakkeerar, Thiruparankundram, etc., signifies the realisation of the divine power in all the six yogic states of the body and the eternal attachment to the path of bliss. Moreover, the way in which the worship of Lord Murugan has been put forward in the form of hill-topography is the guidance of the realisation of "sovereignty in nature'. Thirumurugan's position as the inner light in all objects can be seen in Thiruparankundram, the greatness of Thirumurugan, the precious being, with six faces and twelve hands because of his great grace to the living beings, in Thiruchiralaivai, in Thiruavinankudi, where Thirumurugan is the great object worshipped by all, in Thiruvinankudi, where Thirumurugan is the inner object of the six letters, in Thiruveragam, and in Thiruthanikai, the greatness of Kumaran resides. In addition, Thirumurukatrupatai enables the devotees to realise the ability of Thirumurugan to reside everywhere and is praised as a temple for redressal of grievances by placing it in the eyes of Pazhamuthir Solai. Moreover, Thirumurugan's ability to show his great form, which transcends the sky, as a small one for his devotee to see, is indicative of the devotional principle that 'God is always humble to his devotees'

Transgender in Silappathikaram

Silappathikaram is the first Tamil epic. In this epic that is written by Ilangovadikal, there are records of transgender people living on the margins of society. As Tolkappiyar has recorded transgender people as masculinity challenged, Ilangovadikal too referred transgender as masculinity challenged. Silappathikaram talks about ‘Pedik Koothu (folk play)’ which can only be played by transgender people. Madurapathi, the deity of the Pandyas, one of the three crowned Kings, is understood to be in the bisexual transgender form. Silappathikaram beautifully captures the transcendental imagery of transgender people. It also records that transgender people worked as maids in the harem for Venmaal, the wife and queen of Senkuttuvan. Besides, Silappathikaram registers transgender people as trustworthy. Furthermore, worshiping them in the form of deities and through recording their images, it is clear that the society of the day regarded transgender people as equals without distinction