Tamil literature includes a collection of literary works that have come from a tradition spanning more than two thousand years. The oldest extant works show signs of maturity indicating an even longer period of evolution. Contributors to the Tamil literature are mainly from Tamil people from south India, including the land now comprising Tamil Nadu, Kerala, Eelam Tamils from Sri Lanka, as well as the Tamil diaspora.
The history of Tamil literature follows the history of Tamil Nadu, closely following the social, economical, political and cultural trends of various periods. The early Sangam literature, dated before 300 BCE, contain anthologies of various poets dealing with many aspects of life, including love, war, social values and religion.Akananuru (1, 15, 31, 55, 61, 65, 91, 97, 101, 115, 127, 187, 197, 201, 211, 233, 251, 265, 281, 311, 325, 331, 347, 349, 359, 393, 281, 295), Kurunthogai (11), and Natrinai (14, 75) are dated before 300 BCE. This was followed by the post-sangam instructional works, such as the Thirukkural, and narrative epics including Cilappatikaram and Manimekalai. These compositions drew upon indigenous Tamil conventions alongside Vedic and Puranic traditions. Between the 6th and 9th centuries CE, hymns composed by the Shaiva Nayanars and Vaishnava Alvars initiated the Bhakti movement, which spread across the Indian subcontinent. During the medieval era some of the grandest of Tamil literary classics like Kambaramayanam and Periya Puranam were authored and many poets were patronized by the imperial Chola and Pandya empires. The later medieval period saw many assorted minor literary works and also contributions by a few Muslim and European authors.
A revival of Tamil literature took place from the late 19th century when works of religious and philosophical nature were written in a style that made it easier for the common people to enjoy. The modern Tamil literary movement started with Subramania Bharathi, the multifaceted Indian nationalist poet and author, and was quickly followed up by many who began to utilize the power of literature in influencing the masses. With growth of literacy, Tamil prose began to blossom and mature. Short stories and novels began to appear. Modern Tamil literary criticism also evolved. The popularity of Tamil cinema has also interacted with Tamil literature in some mutually enriching ways.
Sangam age
Sangam literature comprises some of the oldest extant Tamil literature, and deals with love, traditions, war, governance, trade and bereavement. Unfortunately much of the Tamil literature belonging to the Sangam period has been lost.See Majumdar, p 193 The literature currently available from this period is perhaps just a fraction of the wealth of material produced during this golden age of Tamil civilization. The core corpus historically classified as Sangam literature consists of the Eighteen Greater Text Series (Pathinenmaelkanakku), comprising the Eight Anthologies (Ettuthokai) and the Ten Idylls (Pattupattu), alongside the grammatical treatise Tolkaappiyam. The narrative epics, such as the Five Great Epics (Aimperumkāppiyam), were composed in subsequent centuries during the post-sangam period, represnting a distinct phase in Tamil literary history.
Tamil legends hold that these were composed in three successive poetic assemblies (Sangam) that were held in ancient times on a now vanished continent far to the south of India.See Zvelebil, pp. 45–47 A significant amount of literature could have preceded Tolkappiyam as grammar books are usually written after the existence of literature over long periods. Tamil tradition holds the earliest Sangam poetry to be over twelve millennia old. Modern linguistic scholarship places the poems between the 3rd century BCE and the 2nd century CE.The age of Sangam is established through the correlation between the evidence on foreign trade found in the poems and the writings by ancient Greek and Romans such as Periplus. See Nilakanta Sastri, K.A., History of South India, p. 106
The Sangam age is considered by the Tamil people as the golden era of the Tamil language. This was the period when the Tamil country was ruled by the three 'crowned kings' the Cheras, Pandyas, and the Cholas. The land was at peace with no major external threats. Ashoka's conquests had no impact on the Tamil land and the people were able to indulge in literary pursuits. The poets had a much more casual relationship with their rulers than can be imagined in later times. They could chide them when they are perceived to wander from the straight and narrow. The greatness of the Sangam age poetry may be ascribed not so much to its antiquity, but due to the fact that their ancestors were indulging in literary pursuits and logical classification of the habitats and society in a systematic manner with little to draw from precedents domestically or elsewhere. The fact that these classifications were documented at a very early date in the grammatical treatise Tolkappiyam, demonstrates the organized manner in which the Tamil language has evolved. Tolkappiyam is not merely a textbook on Tamil grammar giving the inflection and syntax of words and sentences but also includes classification of habitats, animals, plants and human beings. The discussion on human emotions and interactions is particularly significant. Tolkappiyam is divided into three chapters: orthography, etymology and subject matter (Porul). While the first two chapters of Tolkappiyam help codify the language, the last part, Porul refers to the people and their behavior. The grammar helps to convey the literary message on human behavior and conduct, and uniquely merges the language with its people.
The literature was classified into the broad categories of 'subjective' (akam) and 'objective' (puram) topics to enable the poetic minds to discuss any topic under the sun, from grammar to love, within the framework of well prescribed, socially accepted conventions.
Recognizing that human activities cannot take place in vacuum and are constantly influenced by environmental factors, human experiences, in general, and subjective topics in particular, are assigned to specific habitats. Accordingly, land was classified into five genres (thinai): mullai (forests), kurinji (mountainous regions), marutham (agricultural lands), neithal (seashore), paalai (wasteland). The images associated with these landscapes – birds, beasts, flowers, gods, music, people, weather, seasons – were used to subtly convey a mood, associated with an aspect of life. Kuruntokai, a collection of poems belonging to the Ettuthokai anthology demonstrates an early treatment of the Sangam landscape. Such treatments are found to be much refined in the later works of Akananuru and Paripaatal. Paripaatal takes its name from the musical Paripaatal meter utilised in these poems. This is the first instance of a work set to music. Akaval and kalippa were the other popular meters used by poets during the Sangam age.
Religion in the Sangam age
Religion in the Sangam age was an important reason for the increase in Tamil literature. Ancient Tamils primarily followed the Vaishnavism tradition (which considered Vishnu as the supreme deity) and Kaumaram (who worshiped Murugan as the supreme god). According to Kamil Zvelebil, Vishnu was considered ageless (the god who stays forever) and was regarded as the supreme god of Tamils, whereas Skanda was considered to be young and was regarded as a personal god of Tamils.
Religious themes in Sangam literature reflect an integration of regional landscapes with wider classical Indian theology. The Tolkāppiyam links particular deities to each landscape, Tinai. Māyōn (identified with Krishna-Vishnu) with Mullai, Cēyōn (Murugan) with Kuruñci, Vēntan (associated with Indra) with Marutam, and Varuna with Neythal. Anthologies such as the Purananuru (a classical Tamil poetic work and traditionally the fifth of the Eight Anthologies) and Paripādal (, meaning the paripadal-metre anthology) contain verses addressing deities through descriptive Tamil epithets rather than formal Sanskrit designations. Deities praised include Māyōṉ, Cēyōṉ, Valiyōṉ (Balarama), and the three-eyed divinity seated beneath the banyan tree (Shiva, referenced as Mukkaṇ-celvan or Ālamar-kaṭavuḷ). According to Tolkāppiyam, Paripadal is a kind of verse dealing only with love (akapporul) and does not fall under the general classification of verses. Sangam literature (200 BCE to 500 CE) mentions Mayon or the "dark one", as the supreme deity who creates, sustains, and destroys the universe and was worshipped in the Plains and mountains of Tamilakam.The earliest verses of Paripadal describe the glory of Perumal in the most poetic of terms. Many poems of the Paripadal consider Perumal as the supreme god of Tamils. He is regarded to be the only deity who enjoyed the status of Paramporul (achieving oneness with Paramatma) during the Sangam age. He is also known as Māyavan, Māmiyon, Netiyōn, and Māl in Sangam literature and considered as the most mentioned god in the Sangam literature.
Cēyōṉ "the red one", who is identified with Murugan, whose name is literally Murukaṉ ("the youth") in the Tolkāppiyam; extant works of Sangam literature, dated between the third century BCE and the fifth century CE, glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent", as "the favoured god of the Tamils".Kanchan Sinha, Kartikeya in Indian art and literature, Delhi: Sundeep Prakashan (1979). There are no mentions of Shiva in Tolkappiyam. Shiva and Brahma are said to be forms of Maha Vishnu and considers Vishnu as the supreme god in Paripāṭal.Paripāṭal Poem 1 Line 50 to 56 ஐந்தலை உயிரிய அணங்குடை அருந்திறல் மைந்துடை ஒருவனும்– you are the one with five heads who causes great fear and is one of great ability and strength – Sivan, மடங்கலும்நீ – one where all lives end, நலம் முழுது அளைஇய – with all benefits, புகர்அறு காட்சிப் புலமும்– faultless learning – Vēdās, பூவனும் – you are Brahman who appeared on a flower, நாற்றமும்நீ – you are creation created by Brahman, வலன் உயர் எழிலியும் – clouds that rise up with strength, மாக விசும்பும் – wide sky, நிலனும்– land, நீடிய இமயமும்– and the tall Himalayas, நீ– you, அதனால் – so, இன்னோர் அனையை– like so and so, இனையையால்– like somebody, என– thus, அன்னோர் – those, யாம் இவண் காணாமையின் – I have not seen here, பொன் அணி நேமி – wheels decorated with gold, வலம் கொண்டு ஏந்திய – lifting on your right side or lifting with strength, மன்னுயிர் முதல்வனை – you are supreme to all the living beings on the Earth. The poems also record kings conducting Vedic sacrifices (Vēlvi) supported by Brahmin scholars, illustrating continuity with Pan-Indian religious practices during the period.
There are two poems depicted as example of Bhakti in ancient Tamil Nadu, one in the praise of Maha Vishnu and other of Murugan.
To Tirumal (Maha Vishnu):
To Seyyon (Skandha):
The other gods also referred to in the Tolkappiyam are Vēntaṉ "the sovereign" (identified with Indra) and Korravai "the victorious" (identified with Durga) and Varunan "the sea god".
Post-Sangam period Didactic age The period following the Sangam era (c. 300–600 CE) is characterized by the production of didactic and ethical works, classified as Eighteen Lesser Text series (Pathinenkilkanakku). This era coincided with political shifts across Tamilakam, including the rule of the Kalabhra dynasty. Earlier colonial-era histography often characterized this transition as a 'dark age'. Howvever, subsequent epigrahic and literary studies show that it was an active period of literary output. This period also saw inter-religious dialogue among Jain, Buddhist, Shaivaite and Vaishnavite traditions.
எப்பொருள் யார்யார்வாய்க் கேட்பினும் அப்பொருள் மெய்ப்பொருள் காண்ப தறிவு. "The mark of wisdom is to discern the truth From whatever source it is heard." – (Tirukkural – 423)