vaddaradhane.

Worship of elders. Consists a list of 19 stories.
Story of Sukumara swamy, story of Sukushala swamy, Gajakumara, Sanathkumara prince, Annil Kaurutha, Bhadrabhau bhatarara, Lalitha ghate, Dharmaghosha, Siridhinnia bhatarara, Vrushabha sena bhatarara, Karthika rishi, Abhayaghosha rishi, Vidyuth choraa rishi, Gurudatta bhatarara, Chilataputra, Dandaka rishi, Mahendra dattacharyaand, Chanakya rishi, Vrushabhasena rishi.
 The author is Shivakoti acharya, the first known prose work in Kanada history, it is based on Harisena,s Brhatkathakusa life of Bhadrabahu of Shravana belagola.

Nikhila Jagad Udaya Vibhava adi lilanay.

Most frequently quoted statement by Sri.Ramanuja charya.

swifter than mind.Sri Aurobindo

“SWIFTER THAN MIND” Kena and other Upanishad.
The world is a cyclic movement (sa ˙ms¯ara) of the Divine Consciousness in Space and Time. Its law and, in a sense, its object is progression; it exists by movement and would be dissolved by cessation of movement. But the basis of this movement is not material; it is the energy of active consciousness which, by its motion and multiplication in different principles (different in appearance, the same in essence), creates oppositions of unity and multiplicity, divisions of Time and Space, relations and groupings of circumstance and Causality. All these things are realin consciousness,but only symbolic of the Being, somewhat as the imaginations of a creative Mind are true representations of itself, yet not quite realin comparisonwithitself, or realwith a different kind of reality. But mental consciousness is not the Power that creates the universe. That is something infinitely more puissant, swift and unfettered than the mind. It is the pure omnipotent selfawareness of the Absolute unbound by any law of the relativity. The laws of the relativity, upheld by the gods, are Its temporary creations. Their apparent eternity is only the duration, immeasurable to us, of the world which they govern. They are laws regularising motion and change, not laws binding the Lord of the movement. The gods, therefore, are describedas continually running in their course. But the Lord is free and unaffected by His own movement.

madals

"Kulam Tharum Selvam Thandhidum
Adiyaar Paduthuyar Aayinavellaam
Nilandharam Seyyum Neel Visumbarulum
Arulodu Perinilam Alikkum
Valam tharum mattrum thandhidum Petra
Thaayinum Aayina Seyyum
Nalam Tharum Sollai Naan
Kandukondaen Narayana Ennum Naamam"

Kulam - status
Tharum, Thandhidum - provides
Selvam - Wealth
Adiyaar - devotees
Paduthuyar - sorrow
Aayinavellaam - all of the sorrows
Nilandharam - ground level
Seyyum - Does
Neel - Lengthy
Visumbu - Heaven
Arulum - Blesses
Arulodu - Along with the blessings
Perunilam - A huge piece of land
Alikkum - Provide
Valam - Strength
Mattrum - Others
Petra Thaai - Mother who begets a child
Nalam - Goodness
Soll - Word,
Kandukondaen - Found and realised
Narayana - Lord Vishnu's name
Naamam - Name

Tamil ranks 17th amongst the top twenty of the world's most spoken languages.

In scriptual form, Tamil is made up of 247 scripts which comprise of 12 vowels 18 consonants and 1 aytham

The earliest literature in Tamil is the Sangam poetry - regarded by many Tamils as the voice of the Tamil nation in its origin. 

It consists of anthologies of short lyrics and longer poems. The lyrics are made into eight collections known as Ettu-thokai 

"Tolkappiyam is a book on phonolgy, grammar and poetics. Therefore it implies the prior existence of Tamil literature. There is a distinction made therein between literary language and colloquial or non literary language - ceyyul and valakku, thus implying certain literary conventions not only in grammatical forms but also in literary form and subject matter..."

He adds:

"Sangam poetry is unique as group poetry par excellence. It has a personality of its own representing the group mind and the group personality of the Sangam age. Taken as a whole it satisfies all the requirements of great poetry... The folk songs and the proverbs of an age, with their authors unknown, form a unity, as the very expression of the national personality and the language."

"Sangam poetry, though too cultured to be called folk song, consciously creates this universal personality and that is why it has been classified as a separate group in Tamil literature - the really great national poetry, not in the sense of national popularity but in the sense of being the voice of the nation in its origin.

"Very early Tamils developed the passion for classification which is noticeable in many aspects of ancient Indian learning. Poetry was divided into two main groups: 'internal' (aham) and 'external' (puram). A unique feature of Tamil poetry is the initial rhyme or assonance. This does not appear in the earliest Tamil literature but by the end of the Sangam period it was quite regular. The first syllable or syllables of each couplet must rhyme. This initial assonance, in some poems continued through four or more lines, is never to be found in the poetry of Sanskrit languages, or as far as we know, in that of any other language. Its effect, a little strange at first, rapidly becomes pleasant to the reader, and to the Tamil it is as enjoyable as the end rhyme of Western poetry."

" We know of the immense richness of Tamil classics, dating back to the pre Christian era, of the many epics, anthologies of lyrics, long poems, of the wealth and beauty of Sangam literature, all of which represent the consciousness of a community independent of the main stream of the Aryan cultural pattern, and fully aware of the difference...''

Great Epics of Tamil Literature

Great Epics of Tamil Literature

No	Name	Author	Notes
1	Cilappatikāram	Ilango Adigal	Non religious work of 1st century CE
2	Manimekalai	Sīthalai Sāttanār	Buddhist religious work of 1st or 5th century CE
3	Cīvaka Cintāmaṇi	Tirutakkatevar	Jain religious work of 10th century CE
4	Valayapathi	Unknown Jain ascetic	Jain religious work of 9th century CE
5	Kundalakēci	Naguthanar	Buddhist religious work of 5th century CE

The epic trio of Cilappatikāram, Manimēkalai and Cīvaka Cintāmani gives a full account of Tamil concept of womanhood by powerfully and poignantly delineating the character of a chaste wife Kannagi, a brave and dutiful daughter Manimekalai and an affectionate mother in Vijayai, mother of Jivakan in the three epics respectively. Cilappatikāram explains the inexorable working of fate where in spite of being innocent, the hero Kovalan gets punished and the queen of Pandya loses her life along with the king when the king realises his mistake of punishing Kovalan. Kannagi is regarded as a symbol of chastity and she is always
associated with chasteness in Tamil literature across ages. In Maniṇmēkalai, the protagonist, Manimēkalai is instructed in the various truths expounded by the teachers of different faiths. Cīvaka Cintāmani is adopted from Sanskrit Mahapurana, is predominantly sensuous, though Jain philosophy is brought to practical aspects of life.


Cilappatikāram (“The Tale of an Anklet”) depicts the life of Kannagi, a chaste woman who lead a peaceful life with Kovalan in Puhar (Poompuhar), the then-capital of the Chola dynasty. Her life later went astray by the association of Kovalan with an unchaste woman Madhavi. The duo started resurrecting their life in Madurai, the capital of Pandyas. Kovalan went on to sell the anklet of Kannagi to start a business, but was held guilty and beheaded of stealing it from the queen. Kannagi went on to prove the innocence of her husband and believed to have burnt the entire city of Madurai by her chastity. Apart from the story, it is a vast treasure of information of music and dance, both classical and folk.
Manimekalai is a 5th-century Buddhist epic created by Sithalai Sathanar during the 5th century. It is believed to be a followup of Cilappatikāram with the primary character, Maṇimēkalai being the daughter of Kovalan and Madhavi. It contains thirty cantos describing the circumstances in which Maṇimēkalai renounced the world and took the vows of Theravada sect of Buddhism, which is followed in Burma and Sri Lanka. Apart from the story of Maṇimēkalai and her Buddhist inclination, the epic deals with a great deal with Buddha's life, work and philosophy.
Cīvaka Cintāmaṇi, an epic of the 10th century CE was written by Thiruthakka Thevar, a Jain monk. It narrates the romantic exploits of Jeevaka and throws light on arts of music and dance of the era. It is reputed to have been the model for Kamba Ramayanam. The epic is based on Sanskrit original and contains the exposition of Jain doctrines and beliefs. It is a mudi-porul-thodar-nilai-seyyul, a treatise of the fourfold object of life and aim of literary work of virtue, wealth, pleasure and bliss. It is in 13 books or illambagams and contains 3147 stanzas. It is noted for its chaste diction and sublime poetry rich in religious sentiments and replete with information of arts and customs of social life. There are many commentaries on the book, the best on the work is believed to be by Naccinarkiniyar.
Kuṇṭalakēci is now lost, but quotations from it and found from references used by authors who had access to the classic. The poem demonstrated the advantage of Buddhism over Shrauta and Jainism. The Jain in reply wrote Nilakesi which has opposing views to the ideologies in Kuṇṭalakēci. Kuṇṭalakēci was a Jain nun who moved around India, expounding Jainism and challenged anyone who had alternate views. Sāriputta, a disciple of Gautama Buddha, took up the challenge one day and defeated Kuṇṭalakēci in debates. She renounced Jainism and became a Buddhist. The author is believed to be Nagaguttanar. The record of culture and Buddhist views during the era were lost with the book.
Vaḷaiyāpati is another lost work, although it is unclear whether it is a Buddhist or Jain. Some scholars believe it is a Buddhist work and base their claims on the quotations of Vaḷaiyāpati found in other literary works. The author of Vaḷaiyāpati quotes from Tirukkuṟaḷ and it is possible that he took inspiration from it.