VĪRACŌḺIYAM (T.V. Gangadharan's translation)

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Prolegomenon (Pāyiram)

The Special Preface relating to the Invocation and the Theme

Bearing on his crown the blessed feet of Lord Buddha the lofty one, the one enthroned under the Bodhi tree, the one endowed with multi-foliate powers acquired through asceticism, the one who by reason of his great excellence resulting from asceticism is not to be matched by any one, the one who is to be counted pure in mind and word and body he has essayed to incite the grammar on Tamil. He is indeed Buddha Mitthiram, the prince of the realm of Ponpaṟṟi grit with green gardens. [The author here speaks of himself in the third person.]

The Apology (Avai-y-aṭakkam)

If I am questioned: "Can you speak on that Tamil grammar, the work wrought for the benefit of them that live in the world where abides his immortal fame, the work which is so cooling to the mind, the work of Akattiyaṉ who is endowed with clarified intellect, the work of the chēla (pupil) of Avalōkaṉ whose cultural attainment is hailed by many discerning scholars", I will answer thus: "The fly too wings the spacious sky expanse where flies the Brahminy kite! In this is the fitness of things? What does the world say? (Does the world approve of this?) If this can pass muster, so can my work also."

The Name of the Work

Tamil grammar deals with the vast pentad of letters, word, subject-matter (poruḷ), prosody and figures (orthography, etymology, poetics, poetry and rhetoric) which abide in the tongues of poets and which are the essential parts of poems. Briefly have I treated these indicating here and there the ancient rules of Sanskrit grammar too. As Vīracōḻaṉ whose chariot in decked with flower garlands has caused this to be written, I christen this Vīracōḻiyam.


VĪRACŌḺIYAM, First Part: The Section on Letters:

The Chapter on the combination of letters.

Vi_1
((On the triad of vowels, consonants and āytham))

1. If the known and articulated letters, the twelve beginning with a and ending with au are called vowels and the eighteen beginning with k and ending with are called consonants. That letter which is sui generis and poised midway between the vowels and the consonants is called the āytham. In the 18 consonants the six letters y r l v ḻ ḷ are medial consonants, the six letters: ṅ ñ ṇ n m and are soft consonants and the remaining six letters: k c ṭ t p and are harsh consonants.

Vi_2
((The short and long vowel-consonants, the vowel elongation, relative letters and the over-short u.))

2.
Vowel-consonants which have a consonant as the end-letter are arranged in eighteen strands. In each strand of the vowel-consonants devoid of the consonant, five are designated "short letters" and seven as "long letters". The vowel elongation is a still further elongation of the long letter. Hard and soft consonants in combination come out in pairs and are known as "relative letters". At the end of a long letter or a word made up of several letters, if the letter u unites with the six hard consonants k c ṭ t p and that u gets shortened and is known as "over-short u".

Vi_3
((au and ai; interrogative letters, letters which get dotted, demonstrative letters and the over-short u.))

3.
au results when a unites with u; when a unites with i, ai is produced. The letters ā ē and ō imply interrogation only when they form the end-letters. ē and ō as well as the 18 consonants are known as dotted letters.[1] The letters a i and u, when employed demonstratively at the beginning of a word, are called demonstrative letters. When the over-short u combines with y as the initial letters of the juxtapaused word, the over-short u becomes i. That i gets dwindled in its māttirai and is called the over-short i.

Vi_4
((Interrogative letters, coalescing of two mute consonants and coalescing of three mute consonants))

4. The letters e ē and - which imply interrogation come as the first letters. The letters getting born by reason of fourfold accent --- loud, soft middling and whooping and undergoing coalescing of two mute consonants and occasionally three mute consonants as the case may be, when conjoined with themselves or other consonants. Thus say the wise.

Vi_5
((The māttirais of the letters and the conjunction of the first vowel of the succeeding word with the last consonant of the preceding word))

5. The time-measures of the letters are as follows:
(1) Short vowel ... 1
(2) Long vowel ... 2
(3) Among these, for ai and au ... 1+(1/2)
(4) Consonant, āytham, over-short i and over-short u ... (1/2)
(5) Prolonged vowels ... 3
(6) The measure of the vowel-consonant is the measure of its vowel (only).
The vowel which forms the first letter of the succeeding word will combine with the consonant, that is, the last letter of the preceding word, becoming in the process a vowel-consonant.

Vi_6
((The places of the genesis of letters and the effort needed therefore))

6. The wind rising from the navel courses through chest, head, throat and nose. When it gets expressed, it assumes different sounds by reasons of the activation of palate, teeth, tongue and lips. Hard consonants, āytham, medial consonants and vowels as well as soft consonants get born respectively in chest, head, throat and nose.

Vi_7
((The Initial letters))

7. The twelve vowels, all the vowel-consonants of ka ca ta na pa and ma, eight vowel-consonants of va, six vowel-consonants of ya are the initial letters of the Tamil words.

Vi_8
((Finals))

8. Of soft consonants the letters , m and , of medial consonants the five letters other than v and of vowels the ten letters other than e and o are the finals of Tamil words.

Vi_9
((Natural combination and mutational combination))

9. When the first letter of the succeeding word combines with the last letter of the receding word, any one of the following may result:
(1) Natural combination.
(2) Insertion.
(3) Transmutation and
(4) Omission.
All the three results (2 - 4) are sometimes noticeable in single words also.

Vi_10
((Mutational combinations according to Sanskrit))

10. Mutational combinations may occur (in Sanskrit) in a single word or letter. There are therefore six combinations. Again, as the occurrence may be in the beginning or he middle or the end, eighteen. These changes are according to usage only.

Vi_11
((The changes occurring to the letter na which conveys the negative sense and the changes to the letters ē and ō in Sanskrit))

11. In Sanskrit, if before the letter the negative na a word beginning with a vowel comes, na becomes an; it becomes a in the case of a consonant. ē and ō of Sanskrit become ai and au in Tamil.

Vi_12
((The combinations in Sanskrit))

12. Virutthi and guṇam are the combinations in Sanskrit. In noun-roots and verb-roots a becomes ā, i becomes ai, u becomes au and becomes ār. These changes are known as virutthi. Similarly, when i becomes e and u becomes o the changes are known as guṇam.

Vi_13
((The combinations in Tamil --- vowel before vowel and instances of omission --- relating to last letters of preceding words))

13. If preceding words ending in i ī and ai are combined with succeeding words beginning with a vowel, the consonantal glide comes into being. In the case of other words v is the gliding consonant. In the case of ē alone, either y or v will be the gliding consonant. When succeeding words combine with preceding words, omission of a syllable or a vowel-consonant or a vowel or a consonant may occur.

Vi_14
((The joining of t and n which are the first letters of a succeeding word with , the last letter of the preceding word; the joining of the vowel which is the first letter of the succeeding word with the last letter, a consonant following a short vowel or vowel-consonant; and the joining of hard consonants of the succeeding word with y r ḻ of the preceding word))

14. In the above cases when t combines with the former changes into . When to first letter of the succeeding word which is a vowel combines with the last letter (consonant) of the preceding word made up of two letters, namely, a short vowel or vowel-consonant and a consonant (only), then the consonant at the end gets doubled. When the hard consonant (the first letter) of the succeeding word joins with is y r --- the end letters --- of the preceding word, either the hard consonant or its corresponding soft consonant gets inserted between the two words.

Vi_15
((n joining with i ī ai of the preceding word; t joining words ending in and ))

15. When n (the first letter) combines with the end-letters i ī ai of the preceding word, n changes into ñ. When t joins or of the preceding word, both may change into ; sometimes or may get omitted.[2]

Vi_16
((Hard consonants and n (the first letter) of the succeeding word joining the end-letter of the preceding word; preceded by a single long vowel or long vowel-consonant joining t (the first letter) of the succeeding word))

16. When a hard consonant joins the end-letter of the preceding word, becomes ; when n combines with the end-letter of the preceding word, becomes [This is for case terms (vēṟṟamai-p-puṇarcci)] When preceded by a long vowel or long vowel-consonant is joined by t, n becomes and gets omitted. [This is for non-case terms (alvali-p-puṇarcci).]

Vi_17
((Hard consonants, n and y joining l the end-letter of the preceding word; n joining the end-letter, y))

17. When a hard consonant which is the first letter of the succeeding word joins the end-letter l of the preceding word, l becomes ṟ. When the hard consonant is t, it also becomes ṟ. When n joins the end-letter l of the preceding word, both become . When it joins the end-word l of the preceding word, the particle i springs in between. When the first letter n of the succeeding word joins the end-letter y, n becomes ñ.

Vi_18
(( joining hard consonants, n and m; natural combination))

18. When joins a hard consonant, becomes or . When it joins n, it gets changed into . When it joins m, it becomes ṇ. In natural combination no change occurs.[3]

Vi_19
((m joining hard and soft consonants; m joining v; l joining t))

19. When m joins a hard consonant which is the first letter of the succeeding word, m changes into that hard consonant or its corresponding soft consonant. When m as end-letter of the preceding word joins soft consonants, m gets omitted. When m joins v, m gets shortened in sound to the extent of {{1/4}} māttirai. The shortened m is to be inscribed with yet another dot inside the semicircular part of the letter m. When l as last letter is preceded by a long vowel/long vowel-consonant or two or three letters combines with the first letter t of the succeeding word, l gets omitted and t becomes .

Vi_20
(( joining t and ; vowel joining hard consonant))

20. When the end-letter joins the first letter n, n becomes ; when joins t, t becomes . When vowels join hard consonants, either those hard consonants or their corresponding soft consonants spring up between the words.

Vi_21
((Over-short u joining vowels standing first of the succeeding word; perfect u joining vowel; over-short u joining hard consonant))

21. When the end-letter, over-short u joins the first letter, a vowel of the succeeding word, the over-short u disappears leaving its consonant intact to join the vowel. When the over-short u joins a hard consonant, the soft consonant preceding the over-short u becomes hard and the hard consonant which is the initial letter of the succeeding (word) gets doubled. Occasionally the perfect u also when it joins the initial letter which is a vowel of the succeeding word, may disappear leaving its consonant intact to join the vowel.

Vi_22
((l joining m and n; and joining hard consonants; joining a vowel))

22. When the end-letter l of the preceding word joins m and n, l becomes . When joins a hard consonant which the initial letter of the succeeding word, becomes , when joins a hard consonant becomes . When the word nāḻi joins the word uri, the resulting compound is nāṭuri.

Vi_23
((The changing forms of numbers in combination))

23. oṉṟu becomes oru and ōr, iraṇṭu becomes iru and īr, mūṉṟu, mu and , nālu becomes nāṉku, aintu ai, āṟu aṟu, ēḻ eḻu, eṭṭu eṇ, oṉpatu toṇ and toṇ, pattu pāṉ, paṉūṟu, patu and pāḻtu. paṉṉūṟu becomes āyiram.

Vi_24
((ñ, n, m, v joining a i u e; y joining a, i, u, e; ṭ becoming ; the appearing of in some places; ā at the end becoming a and joining u))

24. When ñ, n, m and v join the demonstrative and interrogative particles, they are preceded by the self-same consonants. If it is preceded by a, i, u and e, v appears between the two words. (vēṭkai + avā = vēṇavā; muṉ + il = muṉṟil. The words ending in ā (nilā) get shortened as a (nila) and will sometimes combine with u (nilavu).}

Vi_25
((Certain rare changes in combination))

25. When a vowel or vowel-consonant joins the consonant of a preceding word, in some instances, the end-consonant may disappear lengthening the preceding a. In some instance the initial letter of the succeeding word may disappear. There are rare instances where pōlum becomes pōlm/pōṉm and maruḷum becomes maruṇm. In some instances m may be substituted by at the end of a noun.

Vi_26
((Changes occurring to demonstrative pronouns))

26. atu, itu and utu become aḵtu, iḵtu and uḵtu, atu. + aṉṟu will become atāṉṟu. In some cases, aṅku, iṅku and uṅku will become āṅku, īṅku and ūṅku. In some cases the prolongation of the long vowel may occur.

Vi_27
((Changes occurring when a word joins a case-ending and in case combinations))

27. When a noun combines with a case-ending, and in case combinations a euphonic increment comes into being in the middle; the last consonant and sometimes the vowel preceding it and sometimes the last vowel-consonant may get omitted in the preceding word.

Vi_28
(( and l joining t; supplementary rules for this chapter))

28. When or l combines with t, t changes into and respectively. and l may change into āytham. Whatever is omitted without enunciation in this chapter may be made good with available materials.


The Section on Words

The chapter relating to cases [29-37]

Vi_29
((The group of cases and the group of kārakams))

29. Beginning with the nominative there are eight-fold cases of noun. [kārakam covers nouns with case-endings having a syntactical link with verbs.]

Kārakams are six in number. They are (1) the nominative (2) the objective (3) the instrumental (4) the dative (5) the ablative and (6) the locative.

Vi_30
((The classification of nouns and the case-endings of the nominative case))

30. Nouns are eightfold. They relate to (1) male singular (2) female singular (3) plural (4) neuter singular (5) sentient plural (6) honorific singular (7) honorific plural and (8) honorific neuter singular. [[Transl. of commentary]]

The case-endings of the nominative case are the seven particles which are r, ar, ār, arkaḷ, ārkaḷ, kaḷ and mār. These particles can be retained even when the other case-endings are combined with them. (2) [[Transl. of sūtra]]

Vi_31
((The 64 kāraka words))

31. The aforesaid eight roots (pirakiruti) with their combination of the case-endings which are eightfold yield 64 kāraka words in Tamil. (3)

Vi_32
((The kāraka words in Sankskrit))

32. In Sanskrit there are three genders: the male, the female and the neuter. There are seven case-endings from first to seventh. In numbers there are three categories: singular, dual and plural. Nouns are twofold, the vowel-ending and the consonant-ending. If these are multiplied (3x7x3x2) we get 126 kāraka words.

Vi_33
((The nominative case-ending joiningthe eightfold root))

33. cu, ar, ār, arkaḷ, ārkaḷ, kaḷ and mār; these seven are the nominative case-endings. The masculine singular the feminine singular and the neuter singular will have cu as the case-ending. In neuter plural cu and kaḷ will be the two case-endings. The case-endings of the honorific masculine and feminine singulars will cover as instances save kaḷ. In all places the particle cu will disappear when the noun joins a word. (5)

Vi_34
(( Case-endings of cases 2 to 4 and what they mean))

34. ai in the case-ending of the second case and in the objective case. The omission of this case-ending will not alter the meaning, generally. The case-endings of the third case are oṭu, oṭu and āl. These stand for the subject or the instrument. The case-endings of the fourth case are ku and poruṭṭu. The fourth case is also the dative case. (6)

Vi_35
((The cases 5, 6 and 7))))

35. The case-ending of the fifth case is niṉṟu which combines with the case-ending of the seventh case, namely, il. It means limit.

The sixth case is the possessive/ genitive case. Its case-endings are: uṭaiyiṉ, uṭaiyār, uṭaiyārkaḷ, uṭaiyatu and uṭaiyiṉa. uṭaiya is also included sometimes.

The sixth case is not a kārakam. If it is to be governed by a verb, ku will be the case-ending. The seventh is the locative case. Its meaning is base or support. Its case-endings are , uḻai, vayiṉ, etc. (7)

Vi_36
((The case-endings of the vocative case))

36. While the other cases are common for the First, Second and Third Persons, vocative case refers only to the Second Person. Its case-endings are āy, āḷ, ī, ē, a, ā, āṉ, ōl, ōy and īr. In some words the last consonant gets omitted (in this case). (8)

Vi_37
((Certain roots undergoing change in the nominative case and the demonstrative and the interrogative roots becoming subjects after combining with terminations))

37. From the roots uṉ, eṉ and taṉ are derived , and tāṉ respectively, the latter being the nominative case. The roots a, i, u and --- each combining with the termination vaṉ, vaḷ, var, varkaḷ, tu and vai will form words of various genders and numbers. (9)


The chapter relating to kārakam [38-43]

Vi_38
(())

38. Nouns with case-endings governed by verbs are kārakam. These are six in number. The doer of an action is the subject. The action or the result of the action is the object. That which is used for the performance of action is the instrument. The removal of a thing from something is avati. The place of an action is location. The receiver of a thing is kōḷi. (1)

Vi_39
((Examples for the kārakams))

39. "A Brahmin having come down from a hill gathered with his hands fragrant flowers from a tank in which such flowers teemed and with a view to do away with his sin offered them to the Blemishless one."

(2)

Vi_40 & Vi_41
(( How the six kārakams turn into 23 in all))

40&41. The nominative kārakam is of five types:

avati is of two kinds: (1) movable and (2) immovable,

Instrumental kārakam is of two kinds: (1) separable and (2) inseparable.

Dative kārakam is of three types: (1) the enthusiastic (2) the indifferent and (3) the alms-seeking.

Objective kārakam is of seven kinds:

locative kārakam is of four kinds:

Vi_42 & Vi_43
((The case-endings of the seven cases applying multifariously to the 23 kārakams

42&43. Among the karuttās excluding tāṉ teriyāk karuttā which is restricted to nominative case alone, in all others, the first, third and sixth cases come to play multifariously, tāṉ teriyāk karumam is restricted to the nominative case only. In others the second, third, fourth and sixth case-endings come to play multifariously.


The chapter on ellipsis [44-51]

Vi_44
((definition of ellipsis; the case ellipsis and its kinds

44. Ellipsis is the combination of two or more nouns resulting in a compound word. In case ellipsis the case-endings get omitted without jeopardy to the meaning of the compound word. In case ellipsis many are the instances where only the case-endings get omitted; in a few other instances the omission relates to the case-endings as well as the governing verbs. There are also certain very rare instances where besides the case-endings and their corresponding governing verbs, some other nouns too get omitted. (1)

Vi_45
((The six kinds of ellipsis in Sanskrit))

45.

Vi_46
((Case ellipsis and number ellipsis))

46. Case ellipsis is of eight kinds. Vide 45. In number ellipsis, the number comes as the preceding word followed by a noun. It is of two kinds: singular and plural. (3)

Vi_47
((Metonymical ellipsis and its kinds))

47. This is of seven kinds:

In metonymical ellipsis the meaning of the resulting compound word abides beyond that word (4)

Vi_48
((Adjectival ellipsis and its kinds))

48. This is of six kinds.

Vi_49
((The particle ellipsis and the cumulative ellipsis))

49. The particle ellipsis is of two kinds: (1) The particle being the preceding word, (2) The particle being the succeeding word.

The cumulative ellipsis is of two kinds: (1) Referring to the personal class, (2) referring to the impersonal class. (6)

Vi_50
((The six ellipses in Tamil and the kinds of adjectival and cumulative ellipses))

50. The elliptical compounds are of six kinds, namely, case-related, verbal, adjectival, comparative, cumulative and metonymical.

In verbal ellipsis a verb-root joins a noun to form a compound word.

In comparative ellipsis the preceding word comprises the comparison and the succeeding word refers to the compared.

Adjectival ellipsis comprises five kinds; these have reference to quantity, form, colour, taste and quality.

Cumulative ellipsis is of six kinds; these refer to (1) two words, (2) many words, (3) measures, (4) weights, (5) numbers of impersonal classes, and (6) [numbers] of personal classes. (7)

Vi_51
((Loss of letters/syllables/words in the six kinds of ellipses; the signification of compounds))

51. In metonymical ellipsis and other ellipses sometimes the last or the middle word gets omitted. In some instances syllables and letters too get omitted.

The signification of each compound is indicated by the first or the second word, or by both (in the compound) or else by the other words (suppressed at the end). (8)


The chapter on appellative noun-roots. [52-59]

Vi_52
((Some common terminations of the noun-roots))

52. aṉ, iyaṉ, īṉaṉ, etc. form the particles which are the terminations of the noun-roots. (1)

Vi_53 & Vi_54
((Operation of tattitam))

53&54. The instances where tattitam operates:

The list is truly endless. (2), (3)

Vi_55
((Terminations are abstract and (some) common nouns))

55. When terminations mai, am, etc. join quality-roots (that are vali, neṭu, etc.) abstract nouns are formed, when terminations maṉ uṉ, etc. join quality-roots (some of) the common nouns are formed. (4)

Vi_56
((Terminations denoting feminine gender; certain changes who Sanskrit words are introduced in Tamil))

56. When terminations denoting feminine gender that are acci, āṭṭi, etc. join nouns which denote caste, quality occupation, etc. words of feminine gender are formed.[4]

When Sanskrit words of feminine gender and names places, (both) ending in ā, are introduced, ā becomes ai; words ending in ī end in i. (5)

Vi_57 & Vi_58
((The usage of Sanskrit words in Tamil))

57 & 58. The fourfold sounds of ka, ca, ṭa, ta and pa in Sanskrit are represented in Tamil by the only pentad of ka, ca, ṭa, ta and pa.

When a word beginning with ya is Tamilised, the letter ya is preceded by i. Similarly la is preceded either by i or u and ra by a, i or u.

kṣa is changed to k ka in Tamil.

When is succeeded by ka, ṣ also becomes ka. If comes in the middle of a word it becomes ṭa.

If śa or sa comes in the beginning of a word, it becomes ca. śa in the middle of a word becomes ya while sa in the middle becomes ta.

In the vowel-consonant, the consonant h is lost in every instance; however ha in the middle or the end of a word becomes ya or ka. (6), (7)

Vi_59
((The usage of combinations of two Sanskrit-consonants in Tamil))

59. In Sanskrit when y, r and l happen to be the succeeding consonants of c, ṭ and t, i springs in between them.

If v is the succeeding consonant in the middle of a word preceded by k, u will come into being in the middle. In all these cases the preceding hard consonant gets doubled.

Certain other changes also occur. There are to be understood by the conventions of tradition. These rules apply to Telugu, Sinhalese, etc. in certain circumstances. (8)


The chapter on verbal roots [60-70]

Vi_60
((**))

60. The verbal roots should resemble the imperative, singular finite word. (1)

Vi_61
((Examples of verbal roots))

61. The examples of verbal roots, transitive or intransitive, are aṭu, naṭa, etc. (2)

Vi_62
((Rules for combining terminations with verbal roots to form verbal nouns succeeded by verbs))

62. The terminations vāṉ, u, etc. should join the verbal roots to form verbal nouns and also nouns succeeded by verbs. (3)

Vi_63
((Verbal roots joining the terminations in Sanskrit))

63. When the terminations tam, am, ti, etc. join verbal roots in Sanskrit they form verbal nouns and other nouns. (4)

Vi_64
((The formation of verbal nouns and nouns from verbal roots in Sanskrit))

64. In Sanskrit the ending will be ay or āp when verbal roots ending in i join terminations beginning with a vowel. The verbal roots ending in u become av or āv. The roots may change according to the rules of guṇam and viratthi. (5)

Vi_65
((Causal imperative roots))

65. āṭṭu, āṟṟu are causal imperative roots. āku, āṟu are simple roots. When the termination vi or pi succeeds the causal imperative, it becomes a double causal imperative (e. g. āṭṭuvi). If pi succeeds the double causal imperative the root of a triple causal imperative is formed (e. g. āṭṭuvippi). (6)

Vi_66
((Tense particles in adjectives))

66. The tense particles t, ṉ and y after the verb-root express past tense. The tense particles kiṟa, cu and āniṉṟa after the verb-root express present there. The tense particles kum, um and m after the verb-root express future tense. Other tense particles also occasionally may be used. (7)

Vi_67
((Termination at the end of adverbs))

67. The terminations which are poruṭṭu, ka, pāṉ, taṟku, vāṉ and a when combined with the verbal roots express the present and future tenses. (8)

Vi_68
((Termination at the end of adverbs in the past tense))

68. When an adverb modifying a finite word is formed by the combination of one of the terminations that are ā, iṭṭu, tu, u and i with the verb-root, it expresses the past tense. (9)

Vi_69
((The syntactical link of certain particles))

69. There are a number of particles such as illai, uṇṭu, āl and il which should be employed in strict adherence to the traditional rule. (10)

Vi_70
((Terminations used to denote negative sense))

70. There are terminations, namely āṉ, āḷ, ār, ārkaḷ, ātu, ā, ivaṉ, ivaḷ, etc., which join the verbal root to express the negative sense. Certain other negative terminations are employed to form negative adjectives and adverbs. Here too, tradition is the sole guide. (11)


The chapter on finite verbs [71-85]

Vi_71
((The finite verbs in the Third Person

71. The Third Person employs six kinds of finite verbs. They are the Personal masculine singular, Personal feminine singular, Personal honorific singular, Personal plural, neuter singular and neuter plural. As the tenses are three they become 18 in number. (1)

Vi_72
((The finite verbs in Second and First Persons))

72. The finite verbs in the Second and First Persons which are the singular, the honorific singular and the plural become (2x3x3) 18 in number as they are used in connection with the three tenses. When these 18 are added to the 18 of the third Person, the total comes to 36. (2)

Vi_73
((The terminations of the verbs of the Third Person in the past tense))

73. The terminations of the verbs of the Third Person in the past tense are twelve in number, namely tāṉ, āṉ, tāḷ, āḷ, etc. (3)

Vi_74
((The terminations of the verbs of the Third Person in the present tense))

74. They are twelve in number which are niṉṟāṉ, kiṟāṉ, etc. (4)

Vi_75
((The terminations of the verbs of the Third Person in the future tense))

75. They are twelve in number which are vāṉ, pāṉ, etc. (5)

Vi_76
((The terminations of the Second Person and First Person in the past tense))

76. The terminations of the Second Person in the past tense are six which are tāy, āy, etc.

The terminations of the First Persons in the past tense are six which are tēṉ, ēṉ, etc. (6)

Vi_77
((The terminations of the Second Person and First Person in the present tense))

77. The terminations of the Second Person in the present tense are six which are kiṟāy, niṉṟāy, etc.

The terminations of the First Person in the present tense are six which are kiṟēṉ, niṉṟeṉ. etc. (7)

Vi_78
((The terminations of the Second and First Persons in the future tense))

78. The terminations of the Second Person in the future tense of six which are vāy, pāy, etc. (8)

The terminations of the First Person in the future tense are six which are vēṉ, pēṉ, etc. (9)

Vi_79
((The terminations of the imperative verbs))

79. The verb roots in the imperative singular combine with the termination cu, though cu gets lost in the process.

The terminations of the imperative honorific singular are āmē, um, miṉ and ka. In these cases nām will be used in the place of nIr.

In the imperative plural miṉkaḷ and umikaḷ are the terminations.

The termination ka is introduced to ascertain consent.

When there is no certainty, the terminations pōlum and ā will follow mostly the verbs of all tenses. (9)

Vi_80
((The terminations of verbs denoting certainty))

80. In First Person singular vaṉ and paṉ follow the verb roots.

In First Person plural the 4 terminations are tam, cam, pōm and vōm.

In Third Person singular um is the termination.

In third Person plural var, par, varkaḷ and parkaḷ are termination.

In second Person singular the three terminations, ci, vai and ti follow the verb roots.

In second Person plural kir, kīr, vir, vīr, cir, cīr, tir, tīr, pir and pīr are the terminations.

All these denote certainty. (10)

Vi_81
((The form of verbal noun; the form of object becoming the subject; the finite verb becoming a noun and performing its (noun's) action))

81. The verbal noun in Tamil assumes the form of Third Person neuter singular verb.

When the object becomes the subject, the termination paṭu joins the verb-root form and the necessary terminations occur.

When the finite verb becomes a noun, it has its syntactical link with the verbs in the nominative case and assumes the usual case-endings in the other cases. (11)

Vi_82
((Flawless pronunciation and writing))

82. ḻa, ḷa and ṟa, ca are not exchangeable.

Common people commit a number of errors/mistakes/blander. They are to be eschewed by a proper study of the writing and speeches of the scholars. (12)

Vi_83
((Avoidance of mistakes by understanding the traditions of Sanskrit and Tamil))

83. One should avoid the commission of mistakes, etc. by a proper study of the specialities of Sanskrit and Tamil. (13)

Vi_84
((Analysis of the Chapter on words))

84. The chapter on words explicates the eight case-ending the personal and the impersonal, the five genders, the seven kinds of errors, the six kinds of ellipsis, the three terms, the three persons and the two traditions relating to prosody and usage. (14)

Vi_85
((Avinayaṉār on words.))

85. tiṇai (the Personal and Impersonal), pāl (gender), marapu (tradition), viṉā (interrogation), viṭai (answer), iṭam (the three persons), col (kinds of words), vaḻu (errors, etc.), tokai (ellipsis), eccam (omissions/adjectives/adverbs), vēṟṟumai (case-endings), kālam (the three tenses), kālamayakku (the change in the tenses), etc. have all been explained by Avinayaṉār. (15)


The Section on Poruḷ

Vi_86
((Four classifications))

86. Poruḷ which is subject-matter is classified into four, namely, Akam, Puṟam, Aka-p-puṟam and Puṟa-p-puṟam. It may also be classified into three 1) means of acquiring correct knowledge of a thing 2) one who applies the same and 3) the object which is subjected to that means, being called in Sanskrit respectively pramāṉam, pramāta and pramēyam. (1)

Vi_87 & Vi_88
((How they are subdivided))

87&88. Of the above four classifications, Akam which is love-theme is subdivided into five thematic settings called tiṇai, namely Mullai, Kuṟiñci, Marutam, Neytal and Pālai, Puṟam which comprises mostly war-operations and heroic eulogies into seven, namely, Veṭci, Karantai, Vañc,i Kāñci, Nocci, Uḻiñai and Tumpai, Aka-p-puṟam into twelve, namely, Kaikkiḷai, Peruntiṇai, Kāntaḷ, Mutupalai, Cura-maṭai, Illavaḷ-mullai, Taputāram, Tāpatam, Vaḷḷi, Kuṟuṅkali, Kuṟṟicai and Pācaṟai-mullai and Puṟa-p-puṟam into three, namely, Vākai, Pāṭāṉ, and Potu-viyal. (2), (3)

Vi_89

Twenty seven requisites))

89. For the above five subdivisions of Akam such as Mullai, there are twenty seven requisites of commentary which are caṭṭakam, tiṇai, etc. They take place with reference to Puṟam, Akappuṟam and Puṟappuṟam also befittingly.

Vi_90 & Vi_91
((**))

90&91. The above 27 requisites are

Vi_92, Vi_93, Vi_94, Vi_95 & Vi_96
Mutal-poruḷ, karu-p-poruḷ and uri-p-poruḷ of the above five tiṇais))

92-96. There kārikai verses enlist the details of all the five thematic settings, namely, Kuṟiñci, Pālai, Mullai, Marutam and Neytal, pointing out a) region b) long and short periods (these two belong to mutal-poruḷ, vital object), c) distinctive regional features (karu-p-poruḷ) and erotic mood (uri-p-poruḷ) respectively. Here the distinctive regional features pertain to the deity of the region, common people, vegetations, birds, flowers professions of the inhabitants, food, residing hamlet, etc., water-sources and animals.

Vi_97
Twelve sub-divisions of Aka-p-puṟam))

97. They are, as enumerated in this kārikai, Mutu-pālai, Pācaṟai-mullai, Vaḷḷi, Curanaṭai, Illavaḷ-mullai, Kāntaḷ, Kaṟuṅkali, Tāpatam, Kuṟṟicai, Kaikkiḷai, Perun-tiṇai and Tapu-tāram.

Vi_98
((Puṟam and Puṟa-p-puṟam))

98. In this kārikai all the seven thematic settings of Puram and three of Puṟa-p-puṟam are mentioned.

Vi_99, Vi_100, Vi_101, Vi_102, Vi_103, Vi_104, Vi_105, & Vi_106
((Themes of Veṭci, Karantai, etc.))

99-106. Classified themes of Veṭci, Karantai, Vañci, Kāñci, Uḻiñai, Tumpai, Vākai and Pāṭāṉ which are respectively 14, 9, 11, 12, 10, 5, 14 and 6 in number are enumerated, following partially the Puṟattiṇai-y-yal of Tolkāppiyam. The definitions of these themes are found only in the commentary.


The Section on Prosody

Vi_107 & Vi_108
((Twofold metreme and twofold metrical foot))

107&108. A short letter, the same followed by a consonant, a long vowel and the same followed by a consonant --- all there four are called nēr metreme. Two short letters, the same followed by a consonant a short letter and a long letter and the same followed by a consonant --- all these four are called nirai metreme. A metrical foot of two metremes is termed mutaṟ-cīr and these of three metreme ending with nēr and nirai respectively are termed iṭai-c-cīr and kaṭai-c-cīr.

Karu-viḷam, kū-viḷam, tē-mā and puḷi-mā are symbolic expressions of mutaṟ-cīr. If they end with kāy and kaṉi, they are respectively symbolic expressions of iṭai-c-cīr and kaṭai-c-cīr. (1), (2)

Vi_109
((Fourfold metrical line))

109. Lines made up of 2 metrical feet, 3, 4, 5 and 6 and above are called respectively the sky, the air, the fire, the water and the zenith. They are also named, by some prosodist, kuṟaḷ, cintu, aḷava, meṭil and kaḷi-meṭil respectively which are dwarf line, short line, standard line, long line and overlong line. (3)

Vi_110
((Alliterative letters))

110.

Vi_111
((Rhyme and its kinds))

111. In each line of a verse, if the second letters of the first feet are the same, the first letters being of the same unit of sound (māttirai), rhyme occurs there. It is of various kinds, namely

Vi_112
((Pattiyam and kattiyam ))

112. Poetical composition is of two kinds, namely, pattiyam and kattiyam. Padyam takes place by means of pādam --- metrical lines. Kadyam is of two kinds which are kaṭṭurai-pōli and ceyyuṭ-pōli (those that resemble prose and those that resemble poetry). (6)

Vi_113 & Vi_114
((Veṉpā and its kinds))

113 & 114. In Veṉpā only mutaṟ-cīr and iṭai-c-cīr take place. The last metreme of the former will be agreeable to the first metreme of the succeeding metrical foot while that of the latter won't be so. The last line of Veṉpā is of three feet and all the other three lines are of four feet. The last metrical foot of the last line ends as either single syllable --- nēr and nirai or as nēr, two syllables --- nēr-nēr and nirai-nēr with u-ending, where symbolic expressions of the four are respectively nāḷ, malar, kācu and piṟappam.

The Veṉpā occurring in 2 lines is called Kuṟaḷ-veṉpā, that occurring in 3 lines Cintiyal-veṉpā, that occurring in 4 lines Nēricai-veṉpā, that occurring in more than 4 lines Pakuṟoṭai-veṉpā, that occurring as Nēricai-veṉpā having more lines Kali-veṉpā that occurring in 4 lines contrary to Nēricai-veṉpā, Iṉṉicai-veṉpā and (7), (8)

Vi_115
((Kinds of Āciriyam))

115. The metre of Āciriyam in which the penultimate line also occurs with three metrical feet while all the other lines occur with four metrical feet is called Nēricai-āciriyam, that where the first line and the last are of four feet while the mid-lines have two or three (or five) metrical feet is called Iṉaikkuṟaḷ-āciriyam, that where all the lines occur with four metrical feet is called Vilai-maṉṭilam and that where every line has a complete sense and any line may be transposed in the beginning, in the middle or at the end as per one's will, without injury to the metre or sense is called Aṭi-māṟi- maṉṭila-āciriyappā. (9)

Vi_116
((Kinds of Kali))

116. Kali-metre has all the six constituent members, namely Taravu, Tāḻicai (which comprises 3 stanzas), Arākam, Ampōtaraṅkam detached word and Curitakam. It is of various kinds called Nēricai-ottāḻicai-k-kalippā, Ampōtaraṅka-ottaḻicai-k-kalippā, Vaṉṉaka-ottaḻicai-k-kalippā, Koccaka-k-kalippā and Veṇ-kalippā. (10)

Vi_117
((Occurrence of Vaṉṉaka-ottāḻicai-k-kalippā, etc.))

117. Vaṉṉaka-ottāḻicai-k-kalippā occurs with all the six constituent members such as Taravu and Tāḻicai; Ampōtaraṅka-ottāḻicai-k-kalippā occurs with the remaining five members excepting Arākam; barring Arākam and Ampōtaraṅkam with the remaining four members takes place Nēricai-ottāḷicai-k-kalippā. Veṇ-kalippā ends with a three foot line while all other lines are of four metrical feet each. (11)

Vi_118
((Kinds of Koccaka-k-kali))

118. Koccaka-k-kalippā is classified into five various kinds namely, Koccaka-k-kalippā occurring with one Taravu, Koccaka-k-kalippā occurring with a pair of Taravu Koccaka-k-kalippā occurring with a few number of Tāḻicai verses, Koccaka-k-kalippā occurring with a number of Tālicai verses and Koccaka-k-kalippā in which all the constituent members occur irregularly and mixed, deviating from their rules with less or more metrical quantities than required. (12)

Vi_119
((The metres of Vañci and Maruṭipā))

119. Vañci metre occurs with lines of 2 feet or 3 feet in the beginning (which are Vañci lines) and ends with Curitakam-āciriyam lines, prececed by a detached word. Manuṭ-pā is a verse which begins with Venpā lines and ends with Āciriyam lines. (13)

Vi_120
((The occurrence of kūṉ; Veṉ-centuṟai and Kuṟaṭṭāḻicai))

120. Kūṉ is a word which stands at the beginning of a metrical line, with sense. It may even occur in the middle and end of a line of Vañci metre. Veṉ-centuṟai occurs in 2 lines each of equal metrical quantity which is mostly 4 metrical feet. Veṉ-centuṟai having no sublime theme and flowing rhythm, Kuṟaḷ-veṉpā deviating from its Ceppal rhythm and a verse of lines with a number of metrical feet, the second line having less number of feet --- all these three types are termed Kuṟaḷ-tāḻicai. (14)

Vi_121
((Veḷi-viruttam, Veṉṭāḻicai and Veṉṭuṟai))

121. Veḷi-viruttam occurs in 3 or 4 lines having the same detached metrical foot at the end of every line. If Cintiyal-veṉpā gets deviated from its rhythm of Ceppal, it becomes Veṉṭāḻicai. It is Veṉṭuṟai when Nēricai-veṉpā fails in its Ceppal rhythm. Veṉṭuṟai has also lines raging between 3 and 7 having less number of metrical feet in some lines of the latter half. (15)

Vi_122
((Āciriya-t-tāḻicai, Āciriya-t-tuṟai and Āciriya-viruttam))

122. A verse having 3 lines with equal metrical quantity is called Āciriya-t-tāḻicai which may occur either singly or as three stanzas on one theme. Āciriya-t-tuṟai occurs as verse having 4 lines where the penultimate is deficient (by one foot), where the second line repeats as the third and where the lines are deficient alternately. There are occasions where the mid-lines have two more metrical feet each and two less metrical feet each, where the first line has less number of feet and where the lines are overlong (having 6 and more metrical feet). Āciriya-viruttam is a verse which has 4 lines each having 6 metrical feet or more. (16.)

Vi_123
((Kali-t-tāḻicai, Kali-viruttam and Kali-t-tuṟai))

123. Kali-t-tāḻicai is a verse having 2 or more lines in which the last line sounds longer with more number of metrical feet. This may even occur as 3 verses on one theme. Kali-viruttam is a verse of 4 lines having 4 metrical feet each. Kali-t-tuṟai occurs with 4 lines each of 5 metrical feet. (17)

Vi_124
((Kōvai-k-kali-t-tuṟai))

124. Kōvai-k-kali-t-tuṟai is a verse of 4 lines each of five metrical feet. If a line begins with nēr, it has 16 letters and if nirai is its beginning metreme it has 17 letters. (The first 4 metrical feet should not deviate from Veṉṭaḷai. While reckoning the letters, consonants and the guttural are ignored. (18)

Vi_125
((Vañci-t-tuṟai, Vañci-viruttan and Vañci-t-tāḻicai))

125. A verse occurring with two-foot lines is called Vañci-t-ta. Vañci-viruttam is a verse of lines each having three metrical feet. It is named Vañci-t-tāḻicai, if Vañci-t-tuṟai occurs as three stanzas on one theme.

Other verses also may be included in all these three various verses --- Tāḻicai, Tuṟai and Viruttam considering their similar aspects (alone). (19)

So far the author has dealt with the opinion of other prosodists with regard to classifications of various metres. His own view is expatiated upon in the following kārikais. This is as per the view of the commentator, Perunṭēvaṉār.

Vi_126
((Sevenfold Pattiyam))

126. Pattiyam --- poetical composition --- is sevenfold, namely Kuṟaḷ, Cintu, Tiripāti, Veṉpā, Tilatam, Virattam and Cavalai. If these seven kinds deviate from their rules and occur with more or less metrical quantities they are termed similitudes of the corresponding verse which are Kuṟaṭ-pōti, Cintu-p-pōli, Tiripātī-p-pōli, Veṉpā-p-pōli, Tilata-p-pōli, Viratta pōli and Cavalai-p-pōli. (20)

Vi_127
((The first four defined))

127. Kuṟaḷ has 7 metrical feet in two lines. Cintu occurs in two lines each having equal number (mostly four) of metrical feet. Tiripāti is met with in three lines of equal metrical quantity each. Veṉpā takes place in four lines comprising 15 metrical feet in all, with one detached foot at the end of the second line (rhyming with first feet of the first two lines). (21)

Vi_128
((Tilatam defined))

128. Tilatam is a four-line verse, each line comprising five metrical feet. The line beginning with nēr has 16 letters while that beginning with nirai has 17. [The subtle difference lies between Kōvai-k-kali-t-taṟai and Tilata-k-kali-t-tuṟai (as per some antique foot-rule notes on the old commentary) in the formation of the fourth line where the third foot in Kōvai-k-kali-t-tuṟai occurs in disregard to speech rhythm while it is not so in the case of Tilata-k-kali-totuṟai. e.g. poem "kaṭikamaḻ kōtai nal lāy paṇṇu kōvaik kalittuṟaiyē" --- as per Kōvai. "kaṭikamaḻ kōtaik kayaṉeṭuṅ kaṇṇi kalittuṟaiyē" --- as per Tilatam. (22)

Vi_129
((Viruttam defined))

129. A verse with four lines each comprising four metrical feet is called Viruttam. (23)

Vi_130
((Cavalai and Cavalai-p-pōli))

130. Cavalai is a four-line verse where the first line, the last line or the middle lines have either more metrical fees or less (than those in other lines). If the first line is deficient it is called Mutaṟ-cavalai. It is termed Iṭai-c-cavalai and Kaṭai-c-cavalai respectively if the mid-line or the last line of the verse is so deficient. Cavalai-p-pōli is a verse which occurs in more than four lines which are of the same metrical quantity or unlike with varying number of feet in every line. (24)

Vi_131
((Sanskrit Viruttam and Taṇṭakam))

131. Some prosodists say that Viruttam occurs even from one letter per line (up to the maximum of 26). Unless a line comprises the mimimum of 4 letters, rhythm won't be apparent. The maximum number of letters for a line of Viruttam is 26. Those that occur with more than 26 letters per line are termed Virutta-p-pōli (similitude of Viruttam). Taṉṭakam occurs with a minimum of four Kattaḷais in the verse. (25)

Vi_132
((Kuru and ilaku defined.))

132. A single long letter, the same followed by a consonant and a short letter followed by a consonant --- all these three are termed kuru which has 2 alakus and bears a symbol resembling a crescent moon [{{VERIF.MS}}]. A single short letter is ilaku which has one alaku and bears a symbol of a perpendicular line drawn downwards [|{{VERIF.MS}}]. The ilaku at the end of a line probably becomes a kuru. (26)

Vi_133
((Clarity being six-fold))

133. The six clarities are 1) uṟaḻcci, 2) naṭṭam, 3) uttiṭṭam, 4) ilaku-kuru operation which calculates as to how many lines have one ilaku, two ilakus, one kuru, two kurus and so on, 5) ascertaining total number of Viruttam as to how many belong to the first cantam, second cantam and so on up to the 26th cantam and finally 6) area of land occupying space to write all the cantams with all its individual kinds. (27)

Vi_134
((Uṟaḻcci (which is pirattāram) defined))

134. Enumeration of all possible combinations of metrical syllables (which are kuru and ilaku) in a given verse-mode are Uṟaḻcci. Take a four lettered line having complete kuru (k) and alter the positions of kuru and ilaku as shown hereunder. Likewise take a four-lettered line having complete ilaku (L) and alter the positions of kuru and ilaku as depicted below.

I II

K K K K L L L L

L K K K K L L L

K L K K L K L L

L L K K K K L L

K K L K L L K- L

L K L K K L K L

K L L K L K K L

L L L K K K K L

So much so we get 16 four lettered cantam out of which 8 end in kuru and 8 in ilaku. In this way 5 lettered cantam is 32 out of which 16 end in kuru and 16 in ilaku.

6 lettered Cantam is 64, 7 lettered in 128, 8 lettered is 256 and so on.

I II

K K K K K L L L L L

L K K K K K L L L L

K L K K K L K L L L

L L K K K K K L L L

K K L K K L L K L L

L K L K K K L K L L

K L L K K L K K L L

L L L K K K K K L L

K K K L K L L L K L

L K K L K K L L K L

K L K L K L K L K L

L L K L K K K L K L

K K L L K L L K K L

L K L L K K L K K L

K L L L K L K K K L

L L L L K K K K K L (28)

Vi_135
((Naṭṭam defined))

135. Naṭṭam is the method of finding out letters (of the line) of a particular cantam standing in a particular order as per pirattāram. e.g.

The same process follows:

Therefore the 9th five-letter cantam is K K K L K In(a) if the dividend is odd mark kuru; if it is even mark ilaku. This process is to be opposite with regard to ilaku-ending cantam (l), That is, if the dividend is odd mark ilaku; if it is even mark kuru.

Therefore the 12th five-letter Cantam is K K L K L. (29)

Vi_136
((Uttiṭṭam defined))

136. This clarity of Uttiṭṭam consists in finding out the order of place where a particular Cantam (of particular number of letters) stands as per pirattāram. The method of calculating the same is enunciated in this kārikai. e.g.

Now for ilaku-ending Cantam, total the numbers scribed on kuru and then add one. The proceed No. denotes the order of placement of that ilaku-ending Cantam.

1 2 4 8 16
2+8=10
L K L K L; 2+]
10-1=11

This stands in the 11th order of the five-letter Cantam ending in ilaku or in the (16+11) 27th order of the five-letter Cantam which in 32 in total. (30)

Vi_137
((Finding out the total number of Viruttams having one ilaku, one kuru, two ilakus, two kurus and so on))

137. This kārikai points out the way to discover, in a particular Cantam, as to how many Viruttams have one ilaku, one kuru, two ilakus, two kurus and so on.

This clarity is named ēka-dvi-āti-laghu-guru-kriyā in Sanskrit and ilaku-kuru-c-ceykai (ilaku-kuru operation) in Tamil. This is the mode of calculating the total number Viruttams having a single ilaku, two ilakus, a single kuru two kurus and so on up to the Cantam of 26 letters per line.

In this way ilaku-kuru operation may be calculated to a Cantam having any number of letters per line up to 26.

Vi_138
((How to calculate the total No. of letters, iḻaku, kuru, and units of round (māttirai) of a particular Cantam))

138. The total No. of the particular Cantam is to be written four times at four places horizontally. They are individually to be multiplied by the number of letters (of each line) of the Cantam. The central two numbers are to be divided. One half should be added to the fourth number. Now the resultant four figures denote respectively the total No. of letters of that Cantam the total No. of ilaku, the total No. of kuru and the total No. of units of sound of that Cantam in all.

Vi_139
((Total No. of particular Cantam; the space occupied when written on ground.))

139. A one-letter Cantam is 2, two lettered is 4, three lettered is 8, four lettered is 16, five lettered is 32, six lettered is 64 and thus for a Cantam having one more letter (per line), the product of the previous Cantam is to be doubled. In this way we can calculate the total No. of any particular Cantam. If that product is doubled and one is substracted therefrom, it is the measurement of space in terms of finger-length for writing all the verses of that particular Cantam on the ground. A letter is supposed to occupy the space of one finger-square, (that is, one letter's length and width are the length of one finger each.) (33)

Vi_140 & Vi_141
((Taṇṭakam defined))

140&141. The five symbols are nirai metreme for a long letter, nēr metreme for a short letter, dot for a hard consonant, circle for a soft consonant and vilaku for a medial consonant.

With the above symbols a Kattaḷai fragment (tuṇṭam) is noted. With such tuṇṭam numbering 4, 8, 16 and 32, a Taṇṭakam is completed. There is scarcely a symbol where soft and medical consonants are not pronounced. (34), (35)

Vi_142
((Twenty Vaṉṉams))

142. The author enumerates twenty Vaṇṇams which are rhythmic variations as pointed out by Tolkāppiyaṉār in Ceyyuḷiyal. Of course the order is irregular, may be due to composition of kārikai. (36)


The Section on Figures

Vi_143
((Topics of this chapter))

143. The author Daṇṭi in his treatise Kāvyadarśam explains 35 figures. This author says that he follows Daṇṭi in this chapter.

Poetry is compared to a lady decorated with apparel and ornaments. The words are the members of her body. The subject-matter is her life. The rhythmic variation (Vaṇṇam) is her complexion. The style of language is her mode of gait. (1)

Vi_144
((Defectless words are faultless members.))

144. The words used in poetry should signify explicitly. They must be Tamil words. If Sanskrit words are to be employed they should be Tamilised with due Tamil sound. They should have been used in verses composed by the great and learned of the past. There should be no ambiguity in the meaning. Only such defectless words are the members of the body of poetry. (2)

Vi_145
((Defective words are faulty members.))

145. Such words that are used in unrefined speech, that do not possess melodious sound, that are having Sanskrit letters in them and that do not signify clearly without a say of ambiguity are defective words and so faulty members of the body of poetry. (3)

Vi_146
((Clear subject-matter is defectless life.))

146. The subject-matter should rejoice the listener or the reader of the poetry. It should be informative profitable. It should be devoid of such defects as pointed out by scholars. It should be easily comprehensible. Such subject matter alone is deemed as defectless life of poetry. (4)

Vi_147
((Defective subject-matter is defective life.))

147. The subject-matter that is not easily comprehensible to the reader or the listener of the poetry, that may be argued as defective and confusing and that gives room to controversial meanings and such others is deemed as defective life of poetry. (5)

Vi_148
((The subject-matter is the life of poetry.))

148. The words of poetry as well as its subject-matter should be flawless when only poetry will have figures. If they are otherwise poetry will prove lifeless. The life of poetry abides in its subject-matter. Thus spoke the author, Daṇṭi. (6)

Vi_149
((The tenfold life mentioned by the Vaitaruppar and Kauṭar))

149. The cilīṭṭam, the utāratai, the pulaṉ, the camatai, the camāti, the poruḷ-teḷivu, the ōcam, the cukumāratai and the iṉpam are the inherent excellence of style in the poetic composition. These are called by the vaitaruppar tenfold life of poetry.

The kauṭar have controversial explanations for all these ten merits. (7)

Vi_150 & Vi_151
((Cilīṭṭam, etc. defined.))

150 & 151.

Vi_152
((taṉmai, uvamai, uruvakam, tīpakam and mīṭci))

152. In this kārikai five figures are listed each with short definition.

Vi_153
((**))

153. In this kārikai ten figures are listed: 1) piṟaperuḷ-vaippu 2) taṭai-moḻi 3) vitirēkam 4) vipāvanai 5) curukku 6) perukku 7) nōkkam 8) ētu 9) nuṉukkam and 10) ilēcu. (11)

Vi_154
((**))

154. In this kārikai fifteen figures are listed:

Vi_155
((**))

155. In this kārikai, among thirtyfive figures mentioned by Daṇṭi, the remaining five are listed:

There are authors who elaborate figures into many more. But this author follows only Daṇṭi. (13)

Vi_156 & Vi_157
((**))

156&157. These two kārikais give a list of thirtytwo kinds of uvamai. The commentary explains them with illustrative examples. (14), (15)

Vi_158
((The general definition of uvamai))

158. In a simile which is uvamai an object is compared to another either in the natural state or in praising or in deriding. The simile has four divisions, namely, the object of comparison, the particle of comparison, the object compared and the point of comparison between them both.

The comparison takes place consequent on quality, result, action, form, etc. (16)

Vi_159
((**))

159. Twelve, other kinds of simile are listed in this kārikai. (17)

Vi_160 & Vi_161
((**))

160 & 161. Twenty one kinds of uruvakam are listed in this kārikai. (18), (19)

Vi_162
((Piṟaporuḷ-vaippu-aṇi))

162. This is a figure in which a particular notion is substanciated by a general notion and vice versa. This is of eight kinds. (20)

Vi_163 & Vi_164
((Taṭai-moḻi-aṇi ))

163 & 164 This is a figure in which a statement is heightened in effect by the suggestion of an apparent contradiction. This is of thirty kinds. (21), (22)

Vi_165
((Vitirika-aṇi))

165. This is a figure in which the difference between the object of comparison and the object compared is mentioned either explicitly or suggestively. (23)

Vi_166
((Vipāvaṉai-aṇi and curukku-aṇi))

166. Vipāvaṉai is a figure in which the effects are represented as taking place although their usual causes are absent. It is of four kinds.

Curukku is a figure in which the idea of a subject-matter is sought to be conveyed suggestively by the description of another subject-matter resembling it. It is of four kinds. (24)

Vi_167
((Perukku-aṇi and nōkkam-aṇi))

167. Perukku is hyperbole. It is of five kinds.

Nōkkam is a figure which consists in the qualities and actions of an object being ascribed to another which is entirely different in nature. It is of two kinds. (25)

Vi_168
((Ētu-aṇi))

168. Ētu is a figure of speech which brings together the cause and effect. It is of ten kinds. (26)

Vi_169
((Nuṉukkam-aṇi and ilēca-aṇi))

169. Nuṉukkam is a figure which expresses an idea by implication. It is of two kinds.

Ilēca is a figure in which the physical expressions of an emotion in one's mind is deliberately attributed to some quite different cause or purpose, to conceal the emotion altogether. It is also defined as a figure in which what on all hands is considered as an advantage is represented; with a deprecatory air, as a disadvantage and vice versa. In other words, it consists in praising in the disguise of degradation and deriding in the disguise of praise. It is also of two kinds. (27)

Vi_170
((Niral-nirai, makiḻcci, cuvai, ūkkam and pariyāyam))

170. Niral-nirai is also called aṭaivu-aṇi. It is a figure in which words or phrases are arranged in different sets so that each term of one set may qualify or govern the corresponding term in the other.

Makiḻcci is a figure in which impassioned language is employed to give vent to one's intensive love.

Cuvai is a figure which consists in describing the eightfold sentiment as well as the calmness of mind. Therefore it is of nine kinds.

Ūkkam is a figure in which a person praises himself.

Pariyāyam is a figure in which one's view is not expresses by words but is cleverly suggested. (28)

Vi_171
((Tuṉai-p-pēṟu-aṇi, utātta-aṇi and avanuti-aṇi))

171. Tuṉai-p-pēṟu or camāyitam is a figure in which an effort is described as proceeding from something other than its natural cause.

Utāttam is a figure which expresses either abundance of wealth or exaltedness of thought. It is, therefore, of two kinds.

Avanuti is a figure which denies to an object one of its own attributes and ascribes another which is foreign to it. It is of four kinds. (29)

Vi_172
((Cileṭai-aṇi))

172. Cileṭai which is paronomasia is a figure in which a single word or compound admits two or more interpretations. It is of seven kinds. (30)

Vi_173
((Ciṟappu-aṇi, uṭanilai-aṇi and muraṇ-aṇi))

173. Ciṟappu is a figure in which the excellence of an object is emphasised by describing it as lacking even in requisites or necessary attributes. It is of five kinds.

Utaṉilai-c-col is a figure in which an object that has to be commended for its merit or condemned for its demerit is mentioned along with several objects having the similar excellence or baseness, as the case may be, so as to render the comparison effective and telling. It is, therefore, of two kinds.

Muraṇ is a figure in which antithesis or opposition in words and sense (in attributes and the attributed) occurs. It is therefore of three kinds. (31)

Vi_174
((Nuvalā-c-col-aṇi, terivil-pukaḻcci-aṇi and cuṭṭu-aṇi))

174. Nuvalā-c-col is a figure of speech which consists in formally praising a person or thing implying thereby disparagement of another person or thing.

Terivil-pukaḻcci is a figure containing praise couched in words of apparent censure. Cuṭṭu is a figure in which the quality or action of an object is described as affecting another, either for good or evil. It is therefore of two kinds. (32)

Vi_175
((Oruṅkiyal-aṇi, parimāṟṟa-aṇi and Añci-aṇi))

175. Oruṅkiyal is a figure in which two subjects are referred to one common predicate of action or attribute. It is therefore, two kinds.

Parimāṟṟam is a figure describing an exchange.

Añci is a figure expressing benediction. (33)

Vi_176
((Viravu-aṇi and pāvikam-aṇi))

176. Viravu is a composite figure where several figures are blended (with equal merit).

Pāvikam is the basic ethics running through a poem (34)

Vi_177
((General permissive rule regarding the figures))

177. Scholars elaborate the kinds in various figures which may also be taken notice of. (35)

Vi_178
((The kinds of verses))

178. Verses are classified into four, namely, the muttakam, the kuḷakam, the tokai-nilai and the kāppiyam.

Muttakam is a stanza which by itself is complete in sense.

Kuḷakam is the combination of two, three or more stanzas having a single finite verb in order to complete the sense; occasionally a nominal predicate is also met with.

Tokai-nilai is an anthology of poems collected on certain definite principles. There may be one author or many.

Kāppiyam is the narrative poem or epic poem, may it be long or short. (36)

Vi_179
((Collaṇi, Maṭakku))

179. Collaṇi is a figure of speech depending for its effect on verbal sound alone.

Maṭakku is the repetition of a word, foot or line in a stanza, giving a different meaning each time. It is of various kinds, namely repetition in the beginning, repetition in the end, repetition in the middle, repetition in the beginning and middle, repetition in the beginning and end, repetition in the middle and end, and repetition in all the three places. (37)

Vi_180
((The opinion of others))

180. The same authors are of the opinion that tantira-utti, tantira-kuṇam, tantira-matam, tantira-urai, the means of acquiring correct knowledge of an object mentioned in logic which are cause, illustration, proof, etc. and cittira-kavi are also figures of speech. You are required to know them also.

Vi_181
((Cittira-kavi))

181. Cittira-kavi is manifold some of which are mālai-māṟṟu, cakkaram, ōr-iṉa-p-pāṭṭu, ōr-eḻuttu-p-pāṭṭu, viṉā-uttaram, ēka-pātam, kātai-karappu, cuḻikuḷam, cittira-p-pā and kōmūttiri.

Certain other kinds of cittira-kavi are explained in the commentary. They are

Vi_182
((Virāviyal and Maṇippiravāḷam, etc.))

182. If the Sanskrit letters mingle in the words and phrases of Tamil, that type of (poetical) composition is called Virāviyal. If Sanskrit words mingle in the sentences of Tamil, that way of composition is called Maṇi-p-piravāḷam. Tuṟai-k-kavi are verses on themes connected with Akam and Puṟam. Piraḷikai are verses on riddle. (40)

Vi_183
((Tuṟai-k-kavi, kiḷavi-k-kavi and the uses of poetry))

183. Maṟam, kaḷi, tūtu, vayirapam, campiratam, tavacu kuṟam, kaṇikam, etc. are the themes of kāmpakam, a kind of poem. They are called tuṟai-k-kavi. Kiḷavi-k-kavi are the themes found in amatory compositions. The uses of poetry are performing virtuous deeds, earning wealth, enjoying worldly pleasures and attaining salvation at the end. (41)

Vīracōḻiyam ends.


The kārikai about the commentator.

The grammar work Vīracōḻiyam is a composition of 181 kārikai verses by the chief of Poṉpaṟṟi, girt with many tanks and groves. In order to help those who study Tamil with intention, Peruntēvaṉ has written paraphrase with explanations to all the 181 kārikai, taking it his duty. His commentary has the worth to be praised by the world.

[Vīracōḻiyam is a book of 183 verses of which 181 are the composition of the author, Puttamittiraṉār. Two verses of Veṉpā at the end of the chapter on words are later additions. The commentator has explained those two verses too.]


Notes

[1] During the period of Vīracōḻiyam e ē and o ō were represented respectively by one letter only (e and o). Short??? e and o were represented by a dot on each letter.

[2] The rule for is made the rule for ḻ also on account of the non-perception of the difference in sound between the two letters. This strange rule is found and maintained only in this work.

[3] The above rule relating to is found only in this book.

[4] Note: Here strict adherence to the established tradition is a must.

[5] The definitions found mostly in this chapter are adopted from Tamil Lexicon of Madras University.