Akanāṉūṟu
Akanāṉūṟu is a significant Tamil anthology of love poetry believed to be compiled by Uruthirasanman under the patronage of King Ukkirapperuvazhuthi. This collection consists of 400 individual love songs, categorized under the akam (internal) genre, each poem standing alone yet contributing to the overall thematic richness. The length of the songs varies from thirteen to thirty-one lines, and the anthology is sometimes referred to as Nedunthogai. The poems are organized into three main sections: the first 120 are titled Kalirriyanai Nirai, the next 180 are known as Manimidaipavalam, and the final 100 are referred to as Nithilakkovai. The songs are notable for their vivid imagery, effective use of similes and metaphors, and historical references to figures from Tamil Nadu's past, including the Nandas and Mauryas. Furthermore, the poetic structure reflects a nuanced understanding of human emotions and psychology, with specific arrangements that link odd-numbered poems to arid themes and others to various natural settings, such as mountains, rivers, and seashores. Akanāṉūṟu is a rich resource for understanding Tamil literature and culture, showcasing the artistry and emotional depth of its poets.
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Subject Terms
Akanāṉūṟu
Related civilizations: Dravidian civilization, India.
Also known as: Nedunthogai
Date: second or third century c.e.
Locale: Tamil Nādu
Authorship: Compiled by Uruthirasanman
Akanāṉūṟu
Believed to be compiled by Uruthirasanman at the instance of King Ukkirapperuvazhuthi, Akanāṉūṟu (ah-kah-NAH-NEW-rew; English translation in Poets of the Tamil Anthologies, 1979) is a collection of four hundred love songs, self-sufficient and independent of each other, in the akam (internal) genre. Because of the length of the songs, varying from thirteen to thirty-one lines, Akanāṉūṟu is also called Nedunthogai—the shorter poems of the Caṅ-kam age are called Kuruntokai. The four hundred songs are classified as follows: The first 120 are called Kalirriyanai Nirai (an array of male elephants), songs 121 to 300 are called Manimidaipavalam, and the last hundred songs (301 to 400) are called Nithilakkovai. Noted for their vivid descriptions of nature, apt similes and metaphors, and accurate historical allusions, the poems are ascribed to 145 poets. The poems are carefully arranged so that those bearing odd numbers belong to pālai (arid) settings; poems bearing numbers 2, 8, 12, 18, 22 . . . relate to the kuriñici (mountain) themes, those bearing numbers 4, 14, 24, 34. . . deal with mullai (pastoral) settings; those numbered 6, 16, 26, 36 . . . with the marutam (river) situations; and those numbers that are multiples of ten relate to neytal (seashore) settings. Not only are the poems replete with generous historical allusions to Nandas, Mauryas, Yavanas, and chieftains of Tamil Nādu, but they also display an admirable gift of observation and a keen understanding of human psychology.
Bibliography
Hart, George L. Poets of the Tamil Anthologies. Princeton, N.J.: Princeton University Press, 1979.
Nalladi, R. Balakrishna Mudaliyar. The Golden Anthology of Ancient Tamil Literature. Madras, India: The South India Saiva Sidhantha Works Publishing Society, 1959.
Zvelebil, Kamil V. Literary Conventions in Akam Poetry. Madras, India: Indian Institute of Asian Studies, 1986.