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The Manimekalai is an anti-love story that starts off with supernatural elements. [3] [14] The Silappadikaram builds on human emotional themes and includes some sections praising Jains, while the Manimekalai is Buddhist propaganda that "attacks and ridicules Jainism", according to Kamil Zvelebil. [25] Notable characters
In the Tamil epic poem, the Manimekalai, she puts the eponymous heroine to sleep and takes her to the island Maṇipallavam (Nainatheevu). In the mythic cycle of the god Devol, when the latter approaches Sri Lanka and his ship founders, it is Manimekhalai, on the instructions of the god Śakra , who conjures up a stone boat to save him.
Manimekalai is a Tamil epic composed by Sithalai Sattanar.. Manimekalai (alternatively spelt Manimegalai) may refer to: . Manimekhala, a Hindu-Buddhist goddess; Manimekalai, the titular character of the epic, first appears as the daughter of Kovalan and Madhavi in a preceding Tamil epic Silappatikaram
Pronounced Sa-tha-naar, the name is derived from (Tamil: சாத்து, sāttu) meaning Buddhist monk. [2] Applying this principle to the name Maturai Kulavāṇikan Cāttan, the author of Manimekalai, we see that the two appellations Maturai and Kulavanikan were prefixed to his name in order to distinguish him from another poet of Maturai with the same name and from a third who lived ...
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Manimekalai is a 1959 Indian Tamil-language epic film directed by V. S. Raghavan and written by Elangovan, starring T. R. Mahalingam and P. Bhanumathi. It is based on the epic of the same name by Chithalai Chathanar .
Manimekalai embellishes the story of the mortal battle Nedunkilli fought with Nalankilli at Kariyaru. According to Manimekalai, the battle was fought by a junior Chola prince in the reign of Mavankilli, also called Nudumudikilli and Killivalavan. We can infer for this that Nalankilli was the junior prince and was the younger brother of ...
Manimekalai, the filmmaker, Munusamy, the fisherman, Rosemary, the social worker in Jesuit Christian Refugee Services, try hard to retain their sanity in this mad jumble. Their interactions with the dead or living refugees, their skirmishes with the Indian and Sri Lankan States, their personal lives overrun by external events - form the kernel ...