The Tamil grammar was reputedly composed by Agasthiyar and his work is known to the world as agasthiyam. But unfortunately, the original script has been lost due to ravages of time. One of Agastya's twelve disciples was Tholkaapiyar who is said to have written Tholkaapiyam, the oldest Tamil grammar.
There are many commentaries written on Tholkaapiyam. Some of the outstanding commentaries were written by Ilampooranaar, Theivachilaiyar, Kallaadar, Peraasiriyar, Senavariyar, and Nachinaarkiniyar. However, the commentary, written by Illampooranaar, is considered as the only complete version available.
Worldly matters
Tholkaapiyam is divided into three important chapters. ‘Eluthu-Athikaaram’, deals with prose, ‘Sol-Athikaaram’, deals with words, ‘Porul-Athikaaram’, deals with the meaning of the words. Porul-Athikaaram is divided into two categories. Namely ‘Akaporul’, and ‘Puraporul’. ‘Akaporul’ deals with love, and chastity. ‘Puraporul’ deals, with politics, government, education, business, and worldly matters. During the time of Tholkaapiyar, dance and drama were considered under one topic, namely Koothu. Those who practised dance and drama were called Koothar, and they excelled in acting, dance, abhinaya, and adavus. Apart from dance and drama, they excelled in music compilations.
At the time of Tholkaapiyar, dance and music were held in high esteem. This is best expressed in the following lines in Tholkaapiyam, such as ‘Kootharum, (male dancers), Paanarum(musicians), Perunarum, (those who recite the kaddiyam) and Viraliyarum” (female dancers)......’
Dramatized life
Another line in Tholkaapiyam refers to ‘Naadaka Valakku, and ‘Ulakiyal Valakku’, Naadaka Valakku refers to dramatized life. Tholkaapiyam, also mentions that a variety of Koothus(dance forms) existed in those days. For instance, Vallikoothu and Kuravaikoothu are some of those mentioned in ancient Tamil grammar. The essence of Bhava, which is popularly called Rasas, could be seen in Tholkaapiyam. In chapter Porul- Athikaaram, the references to Rasas could be seen. Today there are altogether nine Rasas in dance, as against eight RASAS that existed in ancient times. Those eight Rasas could be seen in Tholkaapiyam. The origin of Rasas could be seen in different stanzas, in Tholkaapiyam.
Hasya Rasa denotes laughter; this rasa is called in Tholkaapiyam as ‘NahkaI’. Karuna Rasa in dance arises out of benevolence, but according to Tholkaapiyam this Rasa occurs due to poverty, loss, and contempt, and mainly this RASA arises out of sorrow.
Mental agony
Another Rasa in today’s dance is Bibacha, was regarded in Tholkaapiyam, as hatred. According to Tholkaapiyam, this Rasa arises out of mental agony. The Adputha Rasa originated from Astonishment Bhava. This Rasa was called in Tholkaapiyam as ‘MarukkaI’. Acham Rasa in Tholkaapiyam is regarded as Bhyanaka Rasa. According to Acham Rasa originated from fear Bhava from thieves, animals, God, and kings. Veera Rasa arises out of Bravery Bhava. According to this ancient grammar, Bravery Bhava arises due to fame, and charity. This Veera Rasa refers to Tholkaapiyam as an exultant mood.
Routhra Rasa arises out of anger. Even Tholkaapiyam refers to this as ‘Vekuli’. The Sringara Rasa originates out of Erotic Bhava, which was regarded as ‘UvakaI’ in ancient times.
Then as now, the usages of words of Rasas differ from one another, yet, the substance and origin of Bhavas remain the same.
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