5
Introduction
work may be described as a model of ancient Tamil musical and dramatic composition. A wealth of material is found scattered throughout the work. One is struck with wonder at the isaippaUu or the lyric songs in which the author not infrequently indulges. The songs of Kovalan and Madavi on the seaside {kdnalvari) are full of lyric charm. Equally charming are the songs sung in honour of the deity at the Aiyyaikottam, the songs of the dycciyar (cowherdesses) in their kuravaikkuttu, and the songs of the hill-women in honour of Murugan (Subrahmanya).
Though iyal and isai are prominent in the pages of the work, the epic contains positive elements which go to make up a dramatic composition, with the result that it can also be styled, appropriately, a ndtakakkdppiyaiu. Adopting the modern terminology for the classification of dramatic literature, we may say that this epic is a tragi- comedy. The tragic elements preponderate in the story. The separation of Kannaki from her husband, her ominous dream, the equally fearful dream of Kdvalan, the journey of the couple through wild forests, the unjust execution of Kovalan, and Kannaki’s inconsolable distress, the Pandyan’s great grief at the injustice perpetrated by him, the plucking out by Kannaki of one of her breasts, the burning of the city, the death of the Pandyan king and queen, are all tragic elements in the story. Notwithstand- ing these tragic elements which evoke the reader’s sym- pathy and tears, the ending is happy. Both the wronged persons attain Heaven in a celestial car surrounded and celebrated by gods.
THE FORM
The form adopted is that of the kdvya or kdppiyani of Tamil literature. There are excellent descriptions of rivers like the Vaigai and the Kaveri, of cities like Puhar and Madura, of forms of dancing like the kuravaikkiliizi, like Vi.snu, of wild forests, of the celebration of
