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The surviving manuscripts of the Tolkappiyam consists of three books (atikaram), each with nine chapters (iyal), with a cumulative total of 1,610 (483+463+664) sutras in the nūṛpā meter. [ 4 ] [ note 1 ] It is a comprehensive text on grammar, and includes sutras on orthography, phonology, etymology, morphology, semantics, prosody, sentence ...
The verb to have in the meaning "to possess" is not translated directly, either. To say "I have a horse" in Tamil, a construction equivalent to "There is a horse to me" or "There exists a horse to me", is used. Tamil lacks relative pronouns, but their meaning is conveyed by relative participle constructions, built using agglutination. For ...
Some titles such as 'Kō' meaning 'king' were acquired, while others were conferred by the King. Three titles particularly renowned were known as Etti, Enati and Kaviti. [11] Talaikkoli, Peraiyan and Marayan are a few of the other titles bestowed to eminent personalities in consideration to their talents in particular fields. [12]
Tirukkural was originally known as 'Muppāl', [4] meaning three-sectioned book, as presented by its author himself at the king's court, since it contained three sections, viz., 'Aram', 'Porul' and 'Inbam'. Tolkappiyam divides various types of Tamil poetic forms into two, namely, kuruvenpāttu and neduvenpāttu.
The poems of Kaliththogai are in Kali metre which is known for its dramatic and lyrical qualities and which, according to Tolkappiyam is well suited to express the emotions of the lovers. There is repetition of certain lines and phrases and this, added to the haunting music of the metre, is very appealing.
Examples of such commentaries include the early commentaries to Iraiyanar Agapporul, Senavaraiyar's commentary to Part II of the Tolkappiyam, Perasiriyar's commentary to Tirukkovaiyar, Kaalingar's commentary to the Tirukkural. [14] Commentaries to the works of the Alvars chiefly appeared in a mixture of Tamil and Sanskrit, known as Manipravalam ...
The fifth—pālai (பாலை), or desert, associated with separation—is described in the Tolkappiyam as not being a naturally existing landscape. [1] From these basic associations of landscape and subject, a wide range of specific themes suitable for each landscape were derived.
According to a rough translation from Tolkappiyam, “It will be evident on careful observation that all the sounds (in the Tamil language) are but the results of the modifications which the air undergoes in starting from naval, and passing through the eight parts- chest, neck, head, tongue, hard palate, teeth, lips, and nose.” [35]