Relevant bibliographies by topics / Tamil Epic poetry

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Academic literature on the topic 'Tamil Epic poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Tamil Epic poetry"

1

V, Renuka. "Techniques in Tamil Haiku Poetry." Indian Journal of Tamil 4, no. 4 (February 7, 2024): 14–20. http://dx.doi.org/10.54392/ijot2343.

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Tamil haiku poems are characterized by the unique characteristics of expressing the feelings, such as mild sadness, mild humor, it have only three lines, it is very simple, it has emphasis on all life, it resembles the nature of lightning in a vortex system and it also express innermost feelings. Symposium itself has given the boom to Tamil poetry which everyone desires. However, the metaphor technique, irony technique, symbolic technique, question answer technique, narrative technique, title technique, component technique, myth technique, criticism technique, pun technique, figurative variety technique, dark technique, are studied well in this type of poetry. These kind of techniques popularised the Tamil Haiku poems. Tamil haiku poems are written in a question-and-answer format, with present-day justice, matching the justices found in old mythological and epic stories, and criticizing contemporary political and social justice. With such types of Tamil poems, the poet's opinion is revealed in a subtle way, and the value and beauty of the Tamil language is enhanced.
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R, Rajeshwari. "The linguistic personality of the poet Vali through Krishna Vijayam." International Research Journal of Tamil 3, S-2 (April 30, 2021): 46–49. http://dx.doi.org/10.34256/irjt21s29.

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Epics and Puranas are the most prominent elements of the language that show case the importance and importance of a language. These are the mirrors of time, and there are numerous epic stories. The legends of these legends, which have been written and written from time to time, are known to the stories and philosophies of literary taste. The purpose of this article is to explain the linguistic character of the poet Theerata viḷaiyattup pillai in the first part of the book Krishna Vijayam, written by the poet Vaali, with Krishna, the head of Villiparatham, the epic hero. Vaali, who has written over ten thousand film music albums, has made several achievements in the field of cinema but has also contributed to tamil films. His poetry, which had its own place in the history of Tamil poetry, has its own significance.
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Tharmenthira, Shopana. "Physiological norms in Silappatikaram." International Research Journal of Tamil 2, no. 2 (February 17, 2020): 53–59. http://dx.doi.org/10.34256/irjt2026.

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Silappatikaram an epic poetry was written by Ilanko Adikal. Silambu and Context (Athikaram) are combined and becomes Silappatikaram. The story of Silmba (Anklet) is therefore called Silappatikaram. It is called the Citizen's Epic because it was sung by ordinary people like Kovalan and Kannaki. It is the book that makes the life of the people very clear. Individuality, Family, Relative, Community Membership, Citizenship are Physiological Sites and characteristics that human beings need to protect, tasks to perform, and the norms by which an ordinary man can live in everyday life. The integrity of the political life, the rise of femininity, the belief in morality are the high principles of the Tamil people; Silappatikaram explains these. It persuades moral principles through fiction. In this way, it is considered to be the study of the Physiological norms of these People's through dance.
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R, Selvarani. "‘Azhagoviyam’ by Singaporean Poet Pathental Murugadhasan - A Multifaceted Perspective." International Research Journal of Tamil 4, no. 4 (August 26, 2022): 67–79. http://dx.doi.org/10.34256/irjt2248.

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Poetry composed by poets should help in creating a society with lofty ideas and goals that sow the best and most nutritious seeds in the minds of the readers and guide them well. The Singai poet, Paththenral Murugadossan, who attempted to compose poetry with such a lofty mind, was one of the foremost poets of Singai. His work ‘Azhakoviyam', a short poem that has been taken up as a subject of study here, incorporates an epic flavour and describes the status of the country. The author has created this short poem with patriotism as well as the dignity of domesticity with two eyes. In the sixties, there was a chaotic atmosphere in the history of Singhai. There was a great deal of popular hostility towards those countries because of the occupation of Singapore by different nationalities. Its impact was reflected in the literature of the day. One of the most notable pieces of literature is Alakoviyam. This article examines the history of Singai at that time, and the author reveals in this short epic that the Tamil people migrated in search of livelihood, considering Singai as their motherland and working hard for the development of the country. Moreover, the purpose of this article is to examine from a multifaceted perspective the genetic ideas, social ideas, ethical thoughts, and literary merits contained in this short poem.
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A, Rajamaragatham. "Values in ‘Perunkathai’ Family System." International Research Journal of Tamil 4, S-9 (July 28, 2022): 90–103. http://dx.doi.org/10.34256/irjt22s913.

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In the world of Tamil poetry, Perunkathai is held in equal esteem with the five great epics. The original text of Perunkathai was written by Gunadithiyar in the Paisasam language, a vernacular dialect of Prakrit, in the name of Pragatatha. After that, it was written in Sanskrit under the name Prigathkathai by a Ganga king named Durvineethan in the fifth or sixth century AD. Konguvelir wrote it in Tamil under the name of Udhayanan Kathai. He is considered to belong to the Velalar class of Kongu Country. This book, which was written in the seventh century AD by Konguvelir, is also known as Udhayanan Kathai, Konguvel Maakathai, and Perunkathai. This epic poem is composed by focusing on the lives of the kings. The grammar, literature, and epics of the Tamil language are all written with the aim of making the readers refined and virtuous. The aim of this book is that man should live a long time with perfect human nature. A family is a system in which one has children and lives together. This system undergoes many changes from time to time. Family structure is determined based on occupation, job, preference, need, etc. They classify family systems as joint family systems where grandfather, grandmother, paternal aunt, maternal uncle, elder paternal uncle, elder maternal aunt, younger maternal aunt, younger paternal father, grandson, granddaughter, etc., live together and classify them as single family systems where mother, father, and child live together. No matter what the system is, the family system will gain specialness and value only if it accepts the personal feelings, desires, needs, obligations, and duties of each individual. Many changes occur in human characteristics according to the living conditions of the changing and growing living conditions of people. The purpose of this article is to highlight the family values that are mentioned in the story in order to properly refine these changes and make us live in a good way.
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Rubiés, Joan-Pau. "Tamil Voices in the Lutheran Mission of South India (1705-1714)." Journal of Early Modern History 19, no. 1 (December 19, 2015): 71–81. http://dx.doi.org/10.1163/15700658-12342439.

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The English edition of the Bibliotheca Malabarica, a manuscript catalogue of the Tamil works collected by the young Lutheran missionary Bartholomäus Ziegenbalg during his first two years in India (1706-8), attests to his prodigious effort to acquire, read, and summarize all the works of the “heathens” of South India that he could possibly get hold of. Most of this literature seems to have originated from local Śaiva mattams. Besides epics and puranas, the collection included many popular works on ethics, divination and astrology, devotional poetry, or folk narratives and ballads. Ziegenbalg seems to have acquired these through his Tamil teacher in Tranquebar—an elderly schoolmaster—and his son. In this respect, a focus on the social and cultural dynamics by which local knowledge was transmitted to Europeans is no less important than identifying the literary sources for their interpretation of Hinduism. A fascinating work, the Tamil correspondence conducted between 1712 and 1714 by the Lutheran missionaries with a number of learned Hindus reveals their desire to embark on a kind of inter-religious dialogue as a foundation for their Christian apologetics. The replies received from his “heathen” correspondents would inform much of Ziegenbalg’s interpretation of Śaivism as a form of natural monotheism. Translated into German and published in Halle, they also became part of the Pietist propaganda concerning the mission, exerting a much wider impact than Ziegenbalg’s unpublished monographs about Hindu doctrines and theology. But how authentic were these Tamil voices? Close analysis suggests that even if we conclude with the editors that the letters were what they claim to be, that is a direct translation of the work of many independent Tamil correspondents, the extent to which there was a religious “dialogue” based on reciprocity is open to question.
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7

A. SATHISH. "PĀRATIYĀR KAVITAIKAḶIL YĀPPIYAL [YAPIYAL IN BHARATIYAR POEMS]." Muallim Journal of Social Science and Humanities, July 2, 2021, 47–56. http://dx.doi.org/10.33306/mjssh/137.

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Bharathiar is one of the greatest poets of the twentieth century in the history of Tamil poetry for two Thousand years. Poetic personality plays a major role in Bhartiyar's pluralistic personality which led to the theoretical development of 'Bhartiyam'. Bharathiyar, who innovated in taste, substance, richness and words (simple style), has used various forms of Yappu to say Tamil Yappilakkanam in terms of form. In the twentieth century epic Bharathiyar poetry, ‘Yapalumai’ is embodied in various dimensions, such as manipulating various forms of Pa, Pavinam and music, performing Yapir innovations, making some flexibility and making new attempts. Bharati has made some innovations in Yapiyal by dealing with the traditional pa and pavinam forms like venpa etc. and the musical proof yap forms like vannam, sindhu, kirtanai etc. Bharathiar is also the author of poems on scene, power, air, sea, jagasithram and liberation. Bharati, who has followed the tradition and practiced various forms of sacrament, has also sown renewal poetry. These are the many forms of sacramental forms used by Bharatiyar.
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MARAYA, RAVINDARAN, and KAVITHA KANEAPA. "MALĒCIYA TAMIḺ EḺUTTĀḶARKAḶ MATTIYIL, MIṈṈAL PAṆPALAI VĀṈOLI ILAKKIYA NĀṬAKAṄKAḶ EḺUTUVATIL TŌYVU: ŌR ĀYVU [A LACK OF TAMIL LITERARY DRAMA ON RADIO MINNALFM AMONG MALAYSIAN TAMIL WRITERS: A STUDY]." Muallim Journal of Social Science and Humanities, July 2, 2021, 37–46. http://dx.doi.org/10.33306/mjssh/136.

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The Tamil language is primarily comprised of three elements, namely poetry, music and drama. Dubbed the mother of art, the drama element has been through so much of developments over the years. Initially, it was in a street theatre form, which then found its way to stage play and eventually becoming an integral part in the Tamil literature, widely knows as drama in literature. Drama in literature is said to be very significant as it bears the identity of the Tamil community. However, the fate and future of radio drama (or also known as audio theatre) seem to be a question mark. Apparently, there seems to be only a handful who could pen scripts for this art form. Having that said, most writers these days choose only to write about the society, mainly focusing on love, friendship and domestic life. 85% of today’s works are based on social dramas and unfortunately, only 15% consists of radio drama. The lack of knowledge and understanding in epics or ancient literature amongst young writers as well as the scarcity ot such art works are being said to be the two main reasons for this upsetting scenario. In addition, audio theatre requires a special diction which sadly not known to many and as a matter or fact, there aren’t enough writers who could provide guidance on writing this genre. These are findings from a data analytic, which also concluded that Malaysian Tamil writers, not only lack interest and guidance, but also hesitate to come up with such scripts as they feel that it is outdated.
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Books on the topic "Tamil Epic poetry"

1

Caccitān̲antan̲, Ka. Yāl̲ppāṇak kāviyam =: The epic of Jaffna. Māviṭṭapuram: Caccitān̲antan̲, 1998.

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Ṣariputtīn̲, Jin̲n̲āh. Tirunapi kāviyam. Marutamun̲ai: An̲n̲ai Veḷiyīṭṭakam, 2006.

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Cittan̲. Tēva tēvi. 2nd ed. Cen̲n̲ai: Kaṅkai Puttaka Nilaiyam, 2000.

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Mun̲i, Kacci Catāciva. Tiruppuṭai Marutūrp purāṇam: Urainaṭaiyil kataic curukkattuṭan̲. Cen̲n̲ai: Makāmakōpāttiyāya Ṭākṭar U.Vē. Cāminātaiyar Nūl Nilaiyam, 2005.

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Aptur̲-R̲ahīm, Em Ār Em. Napikaḷ nāyakak kāviyam. Cen̲n̲ai: Yun̲ivarsal Papḷiṣars, 2005.

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Muttu, Nā Mā. Patumarākam: Makkaḷ kāppiyam. Cen̲n̲ai: Cuvāti Patippakam, 2004.

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1948-, John Samuel G., Marutamuttu Mo, Venkatachalam M. S, and Institute of Asian Studies (Madras, India), eds. A Kur̲avañci of Riṣivintam =: Riṣivintak kur̲avañci. Chennai: Institute of Asian Studies, 2005.

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8

Aiyar, Vaiyāpuri. Yāl̲ppāṇam Cekarācacēkara makārācāvin̲ camastān̲a vittuvān̲ Vaiyāpuri Aiyar 16ām nūr̲r̲āṇṭir̲ ceyta Vaiyāpāṭal. Kol̲umpu: Kol̲umput Tamil̲c Caṅkam, 2001.

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Kācirācan̲, Irā. Evolution and evaluation of epics in Tamil. Madurai: Mathy Pathippakam, 1990.

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10

Cellappan̲, Cilampoli. Ikkālat Tamil̲ kāppiyaṅkaḷ. Cen̲n̲ai: Aruṇōtayam, 2004.

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Book chapters on the topic "Tamil Epic poetry"

1

Patton, Laurie L. "Introduction." In Jewels of Authority, 3–10. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195134780.003.0001.

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Abstract The pages of this book glitter with the images of jewelry. Yet its chapters are not concerned only with the colorful worlds of Indian myth, epic, and poetry. They are also the ritual manuals of the ancient Indian sacrifice, the legal texts of the Dharma Sastras, the Tamil commentaries of medieval Vaisnavas, and the Hindi manuals of contemporary organizations of Hindu nationalists. Why does jewelry bring together such disparate topics? If there is any one thing that symbolizes the relationship between women and the brahminical textual tradition of India, it is their jewelry.
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Henry, Justin W. "The Many Ramayanas of Lanka." In Ravana's Kingdom, 50—C3.N106. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197636305.003.0003.

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Abstract This chapter collates references to Ravana in Sinhala folklore, poetry, and topographical and historical prose texts from the fourteenth century to the British colonial period. I argue that formative Sinhala Buddhist impressions of Ravana were generated in large part through highly informal contexts; that is, through storytelling and the composition and augmentation of poetic verses, not as a derivation from the canonical sources or “high kāvya” which one might expect (the Vālmīki Rāmāyaṇa or Kampan’s Tamil version of the epic). I argue that the establishment of Ravana’s character in Sri Lankan imagination during the early modern period appears to have been the result of exchanges between ordinary people—largely outside of the purview of courts, salons, and monastic colleges.
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Pillai, Sohini Sarah. "Prayers and Protection." In Krishna's Mahabharatas, 132–64. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197753552.003.0005.

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Abstract Chapter 4 analyzes how Villiputturar and Sabalsingh Chauhan rework two of the most troubling sequences in the Sanskrit Mahābhārata into devotional stories focused on Krishna. The two epic sequences that are examined in this chapter are the attempted disrobing of the Pandavas’ shared wife Draupadi and the entire fifth book, the Book of Effort, about the preparations for the great battle between the Pandavas and the Kauravas. The comparisons in this chapter reveal significant differences and similarities between these two sequences in Villiputturar’s Tamil Pāratam and Sabalsingh Chauhan’s Bhasha (Old Hindi) Mahābhārat. They also show how the poets incorporate elements of local Vaishnava bhakti traditions into their individual regional retellings.
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Pillai, Sohini Sarah. "Many (Krishna-Centric) Mahabharatas." In Krishna's Mahabharatas, 64–96. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197753552.003.0003.

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Abstract Chapter 2 surveys Mahabharatas in regional South Asian languages that were composed between 800 and 1700 CE. While this chapter discusses some Mahabharatas that are unconcerned with Vaishnava bhakti, the chapter’s overview of Assamese, Bengali, Bhasha, Gujarati, Kannada, Konkani, Malayalam, Marathi, Oriya, Tamil, and Telugu retellings shows that there was a virtually continuous centering of the Mahabharata tradition around Krishna in premodern South Asia. This chapter highlights two major themes of the book. The first is that regional Mahabharata poets transform the narrative of the epic into a Krishna-centric work of emotional bhakti in very similar ways including merging the Krishnas of the Mahabharata and Vrindavan and presenting Krishna as a loving, all-powerful god whose main concern is the Pandavas’ safety. The second is that devotional Mahabharata poets regularly utilize expressions of Vaishnava bhakti from their own local literary cultures.
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Hiltebeitel, Alf. "Rasas and Sthāyibhāvas, Wonders and Surprises." In World of Wonders, 38–99. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197538227.003.0002.

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The heart of chapter 2 lies in a table of all usages of adbhutam-cluster terms (adbhutam, āścarya, vismaya) discussed in this book, followed by five questions: Q1, on how the Mahābhārata uses the “proper terms” (svaśabdas) adbhutam and vismaya; Q2, how the epic treats wonder-surprise pairs interactively, and whether there are stray surprises; Q3, on surprise, considered the briefest of all emotions, as a “stable emotion”; Q4, on the lack of a clear statement in the Naṭyaśāstra about the priority of rasas or sthāyibhāvas; and Q5, on the often-assumed frivolity of adbhutarasa among the other eight or nine rasas. That position is refuted by the thirteenth-century Orissan savant Nārāyaṇa, who regarded adbhutam as the essence of all rasas, particularly in endings that should be thrill after thrill, like the bunched-up hair at the end of a bushy cow’s tail. Returning to Q1, addendum 2 examines whether the circa sixth-century kāvya poet Bhāravi structured his Kiratārjunīya on Arjuna’s tapas with the epic’s svaśabdas practice in mind.
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