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By Kamil V. Zvelebil; Jan Gonda (Editor)

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Additional info for A History of Indian Literature, Volume X: Dravidian Literature, Fasc. 1: Tamil Literature

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G. ' 'I become nothing 85 HARRY LEVIN, Refractions, Essays in Comparative Literature, Oxford 1966, p. 21. 56 K. KAILASAPATHY, Tamil Heroic Poetry, Chapters IV and V. 67 AGEHANANDA BHABATI, The Ochre Robe, New York 1970, p. 130. 8. 59 This fusion of elements permits different break-ups of the compounds (anvaya) resulting in the suggestion of alternative meanings. This feature, together with the symbolism, results in different interpretations, and the elucidation of such nuances has naturally become "a veritable mine in which the commentators of successive centuries have laboured to produce many a gem of interpretative insight" (J.

Theory of classical poetry. Poetry—like the Greek poiesis—is, in the Tamil theory of literature, neither more nor less than 'making', ceyyul85; and it is significant that the ancient Tamils have developed a highly sophisticated and, as far as we can say, quite independent and original theory of literature, a poetics and a prosody which have their important place in the great literary and theoretical achievements of mankind in this field. What is so immensely attractive about this classical Tamil attempt is that what they have achieved is a structuralist vision of the poetic universe: for the system of conventions constitutes a kind of metalanguage of the poetry; each poem presupposes the existence of the entire system; each situation and theme have a true meaning only in relation and reference to all other themes and situations; each symbol, each image derives from a thematic whole.

T. S. , Madras 1929. 72 Cf. Tolkappiyam Porujatikaram 53 (56). " 7 * W. H. HUDSON, An Introduction to the Study of Literature, London 1946, p. 97. ' The fifth chapter deals with subject-matter of erotic poetry, the sixth chapter with the theory of meyppdtu, comparable to Sanskritic rasa 'flavour,' the seventh with rhetoric (chiefly simile), the eighth with prosody, and the ninth with traditional poetics. The basic and primary division of all poetry is in terms of the two genres, of which akam is dealt with first.

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