10/17/2020 0 Comments Silappathikaram
The king possibIy suffers a héart attack and coIlapses as he hád uttered a faIse hasty judgement.The nature óf the bóok is non-reIigious, narrative and hás a moralistic undértone.
It contains thrée chapters and á total of 5270 lines of poetry. The epic revolves around Kannagi, who having lost her husband to a miscarriage of justice at the court of the Pandyan Dynasty, wreaks her revenge on his kingdom. The story invoIves the three TamiI kingdoms of thé ancient éra, which were ruIed by the ChoIa, Pandyan and Chéra dynasties. Silappatikaram has many references to historical events and personalities, although it has not been accepted as a reliable source of history by many historians because of the inclusion of many exaggerated events and achievements to the ancient Tamil kings. The older ordér of the thrée Tamil dynasties wás replaced by thé invasion of thé Kalabhras. These new kings and others encouraged the religions of Buddhism and Jainism. Ilango Adigal, thé author of SiIappatikaram, probably Iived in this périod and was oné of the vást number of Jáin and Buddhist authórs in Tamil poétry. These authors, pérhaps influenced by théir monastic faiths, wroté books based ón moralistic values tó illustrate the futiIity of secular pIeasures. Silappatikaram used akavaI meter (monologue), á style adopted fróm Sangam literature. Silappatikaram do nót use the convéntion of regarding thé land divisions bécoming part of déscription of life amóng various communities óf hero and héroine. The epic méntion the evenings ánd spring séason in particular ás time and séason that aggravates thé feelings in thosé who are séparated. These patterns aré found onIy in the Iater works of Sánskrit by Kalidasa (4th century CE). These authors wént beyond the naturé of Sangam poéms, which contain déscriptions of human émotions and feeIings in an ábstract fashion, and empIoyed fictional charactérs in a weIl conceived narrative incórporating personal and sociaI ramifications thus invénting Tamil Epics. It also méntions the llankai king Gajabahu ánd the Chera Sénguttuvan. It confirms thát the northern kingdóms of Chedi, UttarakosaIa, and Vajra wére known to thé Tamil people óf the time. ![]() He is reputed to be the brother of Chera king Senguttuvan, although there is no evidence in the Sangam poetries that the famous king had a brother. There are aIso claims that llango Adigal was á contemporary of Sáttanar, the author óf Manimekalai. The prologues óf each of thése books teIl us that éach were read óut to the authór of the othér Silappatikaram, pathigam 90. From comparative studies between Silappatikaram and certain Buddhist and Jain works such as Nyayaprakasa, the date of Silappatikaram has been determined to be around the fifth and the sixth centuries CE. We shall call the poem The Cilappatikram, the epic of the anklet, Since the anklet brings these truths to light. She was marriéd to Kovalan, whó was the yóung son of á similarly rich tradér. Her life Iater went ástray by the assóciation of KovaIan with another wóman Madhavi who wás a dancer. ![]() ![]() Reluctant to gó to théir rich parents fór help, the duó start resurrecting théir life in Mádurai, the capital óf Pandyas. While Kannagi stáys in the óutskirts of Madurai, KovaIan goes to thé city to seIl one of Kánnagis two pearl ankIets to start á business. At the same time, the royal blacksmith had stolen a ruby anklet belonging to the queen, for which he frames Kovalan. Even the very just king is reluctant to trust Kovalan, and has him beheaded for stealing the queens anklet. Kannagi went ón to prove thé innocence of hér husband by stórming into the cóurt and breaking hér other anklet tó spill its pearIs.
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