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Literary History of Mutthollayiram

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Literary History of Mutthollayiram The International journal of analytical and experimental modal analysis ISSN NO: 0886-9367 Ms.V.Poorna, Research Scholar, Department of Tamil, Periyar University, Salem- 11. ABSTRACT Literature is a collection of fantasies that develop in the mind of poet, when aesthetic and Nature were presented in front of the legends. They transform the feelings into literary words. Thus, the literature reflects the culture of mankind and the morals of life. This reflects their life into two categories of Internal and External life(Agam & Puram) knowing the origin and life of Agam and Puram we can reveal that the life of the ancient time and their history. This is the way the classical literature of “Mutthollayiram” is prominent in the history of Tamil Literature. In those days the citizens in Tamil Nadu were Tamilians. Tamil Nadu was totally ruled by the great Kings named Cherran, Cholan and Pandiyan. Under their ruling there were only One Language and Culture which is Tamil. Furthermore, the common names in Sangam Literature are also presented in Mutthollayiram which is explained below. Literary History of Mutthollayiram Literature is a collection of fantasies that develop in the mind of poet, when aesthetic and Nature were presented in front of the legends. They transform the feelings into literary words. Thus the literature reflects the culture of mankind and the morals of life. This reflects their life into two category of Internal and External life(Agam & Puram) knowing the origin and life of Agam and Puram we can reveal that the life of the ancient time and their history. This is the way the classical literature of “Mutthollayiram” is prominent in the history of Tamil Literature. Mutthollayiram: The ancient collections of poems came in 5th century and the author is unknown. The Title implies that there were 2700 poems, out of 130 poems have survived as mentioned in the book of Sethu Ragunathan. Many poets fragmented that the collections has divided 61 songs Volume XI, Issue XII, December/2019 Page No:1483 The International journal of analytical and experimental modal analysis ISSN NO: 0886-9367 for Pandians, 46 songs for Cholan and 23 songs for Cheran. The writing style indicates that it is the work of one author and it is written in a few centuries after the Sangam Poems. The Poems have been preserved in the anthology of “PURATHIRATTU”, were it is embedded in Purathirattu which is a collection of 1570 poems. The kings are not mentioned by their names. The general Titles were used for the common names of Cheran, Cholan and Pandiayan. These poems have drawn inspirations from Sangam Literature Poems. Perasiriyar, Kunasakarar, Illampuranar and Nachinarkiniyar are those the ancient Poets who quoted the Mutthollayiram poem in their works. According to ancient commentators Mutthollayiram belonged to a category called “VIRUNTHU” which means “New”. It is supposed to be fresh poetic composition in a new style. Perasiriyar quoted in their verse that 239 Poems of Tholkappiyam states that Mutthollayiram is an example of a new forms of poetic composition. Literary History of Mutthollayiram: Mutthollayiram has two properties Agam and Puram. It has received many varied views on Literary history about Mutthollayiram whichgained different opinions among researchers regarding the songs (Poems) and its count. Mutthollayiram Kaikilai Padalgal(Songs) express about one side love which plays a major role with the ratio of 75. And some of the verse in Mutthollayiram is Pura Padalgal which describes about the life history of kings and their heroism in war. The fact that all the verse in Mutthollayiram are composed in the „Venpa‟(not in Aasriyappa or Kallipa) which clearly indicates their period of composition is being later than that of the first libraries of the Sangam period Viz. The Ettuthokai, and Pattupattu which contain no verse in the „Venpa‟. In Kalithokai some of the verse describes that the Kaikilai Kadhal (One side Love). Kaikilai is nothing but the Thalavi (Heroine) is falling in love for the Thalavan(Hero). In Tamil Literature it is called as Feminine one side love(Penpaar Kaikilai). The Poems were published in 1905 by Raghava Iyengar in the magazine “SENTHAMIL”. Later the publications of this poem were published by the Tamil Sangam, Madurai in 1935. In 1938, the Third Publication released by the scholars in the edition of “PURATHIRATTU”. This made so many variables in counting of Poem and in Poems order of the writers. These Poems are about the young women adoring the Kings and they fall in one side love(Unrequited Love). This collectionis presented first in this order. These poems are about Volume XI, Issue XII, December/2019 Page No:1484 The International journal of analytical and experimental modal analysis ISSN NO: 0886-9367 deep admirations and strong romantic affections for the King. Whatever the verse of Mutthollayiram contains only four lines and no more. In Tamil Grammar it is called as “NERISAI VENPA”. This is a condensation and not the original. Mutthollayiram consists of 42 purapadalgal (Pura Songs). The Myth of Ancient Literature (Sanga Illakiyam) portrayed Cheera, Cholan and Pandiayan as Moovendaragal. In this Sangam Literature, the Emperor was majority referred in the word as “VENDHAN”. Arnga Ramalingam says that all the Poets who wrote about the kings and complied about them reffered as “MOOVENDER”(not as Cheeran, Cholan and Pandiyan). “Thalaipadupa Tharvendhar Maarpu Thennavan thervendha theruteir koodalar”(Mutthollayiram Song: 92) In the above mentioned Poem the word vender is presented which stands as an example for Mutthollayiram belongs to Sangam period. In those days the citizens in Tamil Nadu were Tamilians. Tamil Nadu was totally ruled by the great Kings named Cherran, Cholan and Pandiyan. Under their ruling there were only One Language and Culture which is Tamil. Furthermore the common names in Sangam Literature are also presented in Mutthollayiram which is explained below. Cheran: Vannavan The word Vannavan in Sangam Literature referred the king named Cheran. In Mutthollayiram “vallithal vendatha vaanorum vaanavan”(Mutthollayiram song:17), the same word Vannavan is also mentioned for Cheran. In Agananooru (song33:14), (143:10), (77:15) The above mentioned song referred the Cheeran King as in same name. Even in Paripadal (song 9:58), and in Purananooru (song 39:16) Cheeran is portrayed only as Vannavan in the songs of Sangam Literature and Mutthollayiram. Cholan (Sembiyan) The word Sembiyan referred only for the name Cholan. In Mutthollayiram and Sangam Literature the same word is presented to describe about Cholan. For Example “Alanguthar Sembiyan” (Mutthollayiram Song: 28) “Pettrithaa Sembiyan”( Mutthollayiram Song: 51) Volume XI, Issue XII, December/2019 Page No:1485 The International journal of analytical and experimental modal analysis ISSN NO: 0886-9367 And in Sangam Literature: Nattrinai (Song 14:4), Purananooru (Song 37:6) and Sirupaanattrupadai(Song:82) Pandiyan (Thennavan) Thennavan word is referred for Pandiyan in many places in Mutthollayiram, “Kaliyanai Thennavan”(Song:56) “Kottanai Thennavan”(Song:77) “Semmattre Thennavan”(Song:88) And in Aagananooru (Song 342:10). Thus it proved that Mutthollayiram is followed by Sangam Literature. The word, names and places which is mentioned in Mutthollayiram is reflected from Sangam Literature. Traditions of Sangam Poetry and Mutthollayiram: Literary Conventions matter a great deal to poets anywhere, at anytime. But Sangam Poets had a tightly knit, all embracing network of conventions to guide as well as to regulate them. And they have conformed to a remarkable degree to those conventions. Even though the Mutthollayiram does not follow quite a few of these conventions, it may useful to study them, as they have undoubtedly significant influence over all the poetry composed in the centuries followed in the Sangam Age. Sangam Agam Poetry set such a high value on the evocative role of the natural backdrop that they associated a stage and mood of love with each type of landscape. Thus mountain slopes and premarital love and organically related. The desert walks are associated with long and anguished parting. The grassy meadows, seashore, villages are associated with separations, best of lesser impact. The River in plains serve as the background for marital misunderstanding arising out of the man straying from the narrow path of virtue. A little reflection will convince the reader how natural and logical these associations are. Some of the authors have referred to the misunderstanding between man and wife; a basic tenet of Sangam convention is that love is so strongly entrenched in their hearts; they cannot part for ever but have to come together. Neither one sided love not frustration arising from the death of one of the parties can be delineated in Agam poetry. Another important convention observed with ruthless fidelity by the love poets of the sangam age is the total ban on the poets revealing the names or other identifying details of the characters. Volume XI, Issue XII, December/2019 Page No:1486 The International journal of analytical and experimental modal analysis ISSN NO: 0886-9367 On the surface it may not appear to make much of a difference as, in any case, even where a character speaks the passage is composed by the poet. But the questions of who speaks or whose version is presented are of vital importance, for the speakers mental attitude are very strongly influences is presented. As literature is all about mental states and attitudes, the importance of this will become apparent to the intelligent reader. Deep emotional and whole subjective remarks can be made by a character that is involved in the situation and these remarks will look natural. Indeed inevitable in its version while they will sound unnatural in a poets version. The below example will suffice to make the point clear. In quite of few of the pieces, the girl in love anticipates parental objection and speaks in despair of her love dreams failing to materialize and of her gradual emaciation and death.
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