Whatever be the date of the Aryan advent in Peninsular India/ one fact is clear, namely, that Aryan ideas and ideals had become completely popularized in Tamil India sometime during- or before the epoch of the Sahgam. A study of the niti texts in Sanskrit literature bears out that the state came into existence for the progressive realization of the trmarga or the nmppal of Tamil literature/ The conception was that prog-ress of the world {Idhaydtrn') meant the progressive realization of the chief aims of life and these chief aims of life according- to the then prevalent notions and standards were dharma (^Anam), artha (^Porul^ and kama {Inham).
Though the end of this realization is moksa (^Vfd'u) yet neither the Arthasdstra writers of Sanskrit literature nor the political thinkers of the ancient Tamil land have thus expressed it. The idea was that the Trivarga was the means towards that end, and if once the means were realized, the end would automatically follow. That the importance of this Trivarga was well realized in Tamil India of the Sahgam period is evident from the Tolkappiyam and the eighteen poems of KUkhanakk\n_, traditionally accepted as the Sahgam works.
These eighteen poems among which the Tirukkural claims the first place of importance have for their object how best to realize the trivarga or the muppdl which would lead to the attainment of heaven. In his commentary
^The generally accepted date is 700 b.c-
2 See author's Hindu Adwhinistraivv^s Institutions, p. 35.
126
STUDIES IX TAMIL LITERATURE
on the K'ural the celebrated commentator Parimelalagar refers to the indebtedness of Tinuvaliuvar to the accredited authorities on dandmiUi, such as Vydlan (Brhaspati) and P^'eUi (Sukra). Unanimous Indian tradition records that Brhaspati and Sukra were the first political theorists to whom other writers including the illustrious Kautalya and the compiler of the Rajadharma section of the ALahdbhdniia were indebted.
Alleged indebtedness to Sanskrit. — In a recent publication in Tamil/ an attempt has been made to study the Kwal from a Tamil point of view. It is contended that there is no warrant for the statements of the commentator Parimelalagar in regard to the indebtedness of Vahuvar to Sanskrit authors, and that there is a marked difference in the classification of the mu^ppdl, and that the concept of ntuppdl is the result of a slow process of evolution of the Tamil genius, and that the ideas underlying the Kimal have no correspondence with those of Sanskrit writings.' We do not propose to examine here these views which are yet to be proved before they could be adopted as conclusive. It may be that the Tamilian genius developed itself on independent but parallel lines, ■and the process of such slow but sure development culminated in the genius of the TirukkuraVs author.
Xeo //. SOURCES OF INFORMATION
Whatever be the decision which future research will arrive at in regard to the above particulars, it is a fact of the utmost importance that the Knral and other poems of Kllkhanakkn deal with the triz^arga or the muppdl. Though a cursory examination of the "^SPudies in Tirukkural, by P. Sethu Pillai with a foreword by K. Subramania Pillai, Madras (1923) .
2 See the chapter entitled urB($u>eO^s 0 U} and especially,
p, 163 ff.
127
work has been made already\ still we shall proceed to examine the same in detail to know whether any facts could be gleaned out of the fiction that has gathered
round this notable poet .and philosopher. The chief sources of information for the life sketch of this author are the Kapilar Ahaval and the Tn'iivaUnvamalai, while the Ceylon traditions as transmitted in its chronicles throw some welcome light. Besides, we have multifarious referer.ces in Tamil classical literature which go a long way to iix the chronological limits of \’'aliuvar’s age.
i^egends. — Of these the story contained in the Kapilar
Ahaval belongs to the realm of pure mythology. A reference to this work and its value to the historian of Tamil India has already- been made in our study of the Saugam poet, Kapilar." The story runs that he was the son of a Brahman, Bhagavan by name, by" his wife, a Pulay^a woman, named Adi. The circumstances which brought about their marriage are peculiar and quite incredible.
One vow taken by them on the eve of the marriage w^as to give away their children as presents .and retain none. It is said that the marriage was over and as time went by, they had seven children — foiir
daughters and three sons. The four daughters v\"ere Uppai, Umvai, Avvai and ValH. These were presented to a washerman, a toddy-drawer, a panan, and a ktirava respectively, who brought them up. The ihree sons were A.digaman, Kapilar, and \^alluv.ar. While Adigaman became the adopted son of the chieftain of Vahji, Kapilar was brought up by a Brahman. Valluvar was presented to one Valluva, a resident of the modern Mylapore. Thus the parents fulfilled the vow which they took on the occasion of iheir marriage. Tradition further narrates that the adopted father introduced
^See supra, p. 38. ^ supra, p. 54.
128 STUDIES IN TAMIL LITERATURE
Valluvar to the profession of weaving in which he spent his time.
Criticism of the Legend. — The story is so full of inaccuracies and incredible statements that we are afraid there is no basis of truth in it excepting the mention of the two names Bhagavan and Adi. These names are found in the first KuraL in the order of the Adibhagavan, which means, the God of the Universe and has possibly nothing to do with his parentage.
There is no reliable literary evidence, first in regard to his parents, his brothers and sisters, secondly his adoption by a Valluva, thirdly his being brought up at Mylapore, and lastly his taking to the profession of a weaver. It seems that the ingenious author of the legend took up the compound word Adi-bhagavan in the first K'ural and .also the name of Valluvan, and wove a story out of his fertile imagination. To repeat once again, it is a very late work and the account contained therein cannot be credited with any authenticity whatsoever.
The Story of the Tiriivalluvamdlai. — The circumstances under which the TiruvaUimamdlai came to be written, and the legend that has gathered round this, .are .of supreme interest. It is said that Valluvar was not merely a weaver but also a man of letters and an erudite scholar.^ His profound scholarship attracted to him Elelasinga, a prominent merchant, who carried on overseas trade. Elelasinga became much attracted to Valluvar and accepted him as his teacher. At his request and for the use of his son, Vahuvar composed the great Kural. What was originally intended for ,a single individual has become the book of morals to be usefully read
2 See 'Abhidanacintamani.
by the whole world. In that golden age when Valiuvar had the good fortune to live, it was the custom to get every literary work approved by the Sahgam Assembly then located at Madura."^ In accordance with this practice, the book was taken to the Sahgam Hall. At that time, forty-nine poets Avere the guiding lights of the Academy. When the work was presented it met with opposition from all sides. It was remarked that it was an inferior composition much beneath the recognition of the Sahgam. But when it was pressed that it might be placed on the ^ahg-am plank and thus tested, it was agreed to. When once this was done, the Sahgam plank made enough room to be occupied by the book, to the utter surprise of the members of the Academy. They then recognized the great value of the work and placed the author in the first rank of the poets.
This was not all. Kvery one of the forty-nine realized his mistake in having rejected it in the first instance, and perhaps to make up for it, every one of them hailed it as a first class work by singing a verse in praise of the work, the Kural and its celebrated author.
Iraiyanar (God Siva in disguise) compared the poet’s tongue to the kalpa flower. Goddess Sarasvati claimed it as the Veda itself. The king Ukkirap-peru VaLuti compared Valiuvar to Brahma himself. Similar panegyrics were uttered by every one of the poets constituting the Sahgam. A collection of these songs was then made and thence it went by the name of TwitrjaUiwamalm.
The story in the Ceylonese Chronicles . — Another source of information is the semi-legendary story of Rlelasinga as narrated in the Ceylon chronicles.
These documents mention v^ious incidents connected with the story of Alara and the term alara is only a
