Global InformationCilappatikaram information
| Topics in Tamil literature | ||
|---|---|---|
| Sangam Literature | ||
| Five Great Epics | ||
| Silappatikaram | Manimekalai | |
| Civaka Cintamani | Valayapathi | |
| Kundalakesi | ||
| The Five Minor Epics | ||
| Neelakesi | Culamani | |
| Naga Kumara Kaviyam | Udayana Kumara Kaviyam | |
| Yashodhara Kaviyam | ||
| Bhakti Literature | ||
| Naalayira Divya Prabandham | Kamba Ramayanam | |
| Tevaram | Tirumurai | |
| Tamil people | ||
| Sangam | Sangam landscape | |
| Tamil history from Sangam literature | Ancient Tamil music | |
| edit | ||
Cilappatikāram (Tamil: சிலப்பதிகாரம், Malayalam: ചിലപ്പതികാരം, IPA: ʧiləppət̪ikɑːrəm, lit. "the Tale of an Anklet"), [1] also referred to as Silappathikaram[2] or Silappatikaram,[3] is the earliest Tamil epic.[4] It is a poem of 5,730 lines in almost entirely akaval (aciriyam) meter.[5] The epic is a tragic love story of an ordinary couple, Kannaki and her husband Kovalan.[6][7] The Cilappatikaram has more ancient roots in the Tamil bardic tradition, as Kannaki and other characters of the story are mentioned or alluded to in the Sangam literature such as in the Naṟṟiṇai and later texts such as the Kovalam Katai.[8][9][10] It is attributed to a prince-turned-monk Iḷaṅkō Aṭikaḷ, and was probably composed in the 5th or 6th century CE.[2][5][11]
The Cilappatikaram is set in a flourishing seaport city of the early Chola kingdom. Kannaki and Kovalan are a newly married couple, in love, and living in bliss.[12] Over time, Kovalan meets Matavi (Madhavi) – a courtesan. He falls for her, leaves Kannaki and moves in with Matavi. He spends lavishly on her. Kannaki is heartbroken, but as the chaste woman, she waits despite her husband's unfaithfulness. During the festival for Indra, the rain god, there is a singing competition.[12] Kovalan sings a poem about a woman who hurt her lover. Matavi then sings a song about a man who betrayed his lover. Each interprets the song as a message to the other. Kovalan feels Matavi is unfaithful to him and leaves her. Kannaki is still waiting for him. She takes him back.[12]
Kannagi and Kovalan leave the city and travel to Madurai, the capital of the Pandya kingdom. Kovalan is penniless and destitute. He confesses his deceit to Kannagi. She forgives him and tells him the hurt his adultery caused her. Then she encourages her husband to rebuild their life together and gives him one of her jeweled anklets to sell to raise starting capital.[12] Kovalan sells it to a merchant, but the merchant falsely frames him as having stolen the anklet from the queen. The king arrests Kovalan and then executes him, without the due checks and processes of justice.[12][13] When Kovalan does not return home, Kannagi goes searching for him. She learns what has happened. She protests the injustice and then proves Kovalan's innocence by throwing in the court the other jeweled anklet of the pair. The king accepts his folly. Kannagi curses the king and the people of Madurai, tearing off her breast and throwing it at the gathered public. The king dies. The society that had made her suffer, suffers in retribution as the city of Madurai is burnt to the ground because of her curse.[12][13] In the third section of the epic, gods and goddesses meet Kannagi at Cheranadu and she goes to heaven with god Indra. The King Cheran Chenkuttuvan and royal family of the Chera kingdom (Today Kerala) learn about her and resolve to build a temple with Kannagi as the featured goddess. They go to the Himalayas, bring a stone, carve her image, call her goddess Pattini, dedicate a temple, order daily prayers, and perform a royal sacrifice.[12]
The Cilappatikaram is an ancient literary masterpiece. It is to the Tamil culture what the Iliad is to the Greek culture, states R. Parthasarathy.[12] It blends the themes, mythologies and theological values found in the Jain, Buddhist and Hindu religious traditions. It is a Tamil story of love and rejection, happiness and pain, good and evil like all classic epics of the world. Yet unlike other epics that deal with kings and armies caught up with universal questions and existential wars, the Cilappatikaram is an epic about an ordinary couple caught up with universal questions and internal, emotional war.[14] The Cilappatikaram legend has been a part of the Tamil oral tradition. The palm-leaf manuscripts of the original epic poem, along with those of the Sangam literature, were rediscovered in monasteries in the second half of the 19th century by UV Swaminatha Aiyar – a pandit and Tamil scholar. After being preserved and copied in temples and monasteries in the form of palm-leaf manuscripts, Aiyar published its first partial edition on paper in 1872, the full edition in 1892. Since then the epic poem has been translated into many languages including English.[15][16][17][18]
- ^ R Parthasarathy (Translator) 2004, p. title, 1-3.
- ^ a b Amy Tikkanen (2006). Silappathikaram. Encyclopædia Britannica.
- ^ Rani, Prabha (2011). "When Kannaki Was Given a Voice". Studies in History. 27 (1). SAGE Publications: 1–20. doi:10.1177/025764301102700101. S2CID 163374098.
- ^ Kamil Zvelebil 1974, p. 130.
- ^ a b R Parthasarathy (Translator) 2004, pp. 5–6.
- ^ R Parthasarathy (Translator) 2004, pp. 1–6, backpage.
- ^ Ate, L. (2014). "O ra pakuti--a 'Single Part' of the Tamil Epic Cilappatikaram and its significance to the study of South Indian Vaisnavism". The Journal of Hindu Studies. 7 (3). Oxford University Press: 325–340. doi:10.1093/jhs/hiu027.
- ^ Pollock 2003, pp. 296–297.
- ^ Kamil Zvelebil 1973, pp. 51–52.
- ^ E.T. Jacob-Pandian (1977). K Ishwaran (ed.). Contributions to Asian Studies: 1977. Brill Academic. pp. 56–57. ISBN 90-04-04926-6.
- ^ Mahadevan, I. (2014). Early Tamil Epigraphy - From the Earliest Times to the Sixth century C.E., 2nd Edition. pp. 191–193.
- ^ a b c d e f g h R Parthasarathy (Translator) 2004, pp. 2–5.
- ^ a b E.T. Jacob-Pandian (1977). K Ishwaran (ed.). Contributions to Asian Studies: 1977. Brill Academic. pp. 56–59. ISBN 90-04-04926-6.
- ^ R Parthasarathy (Translator) 2004, pp. 1–7.
- ^ R Parthasarathy (Translator) 2004, pp. 1–7, 347–351.
- ^ Pollock 2003, pp. 297–301.
- ^ Kamil Zvelebil 1974, pp. 7–8 with footnotes.
- ^ Rajarajan 2016, p. [page needed].