Heritage of Tamil QB With Answer Key

SRI KRISHNA COLLEGE OF TECHNOLOGY
An Autonomous Institution
(Approved by AICTE and affiliated to Anna University)
Coimbatore, Tamil Nadu
Academic Year 2023-2024 (Odd Sem)
CONTINUOUS INTERNAL ASSESSMENT – 1
Class Course Code Course Title Date

I B.E.,ECE,EEE,AIDS,CIVIL,MECH 22TAM01 Heritage of Tamil
Duration :3 Hrs Max: 100 Marks
Course Outcomes: CO
CO1 Know about the language families in India, impact of religions and the contribution of U
Bharathiyar and Bharathidhasan.
CO2 Observe the growth of sculpture, making of musical instruments and the role of U
temples in socio and economic lives.
CO3 Understand the significance of folklore and martial arts. U
CO4 Learn the sangam literature, sangam age and overseas conquest of Cholas. U U
CO5 Understand the contribution of Tamils to Indian Freedom Struggle, role of Siddha U
Part – A (9 x 2 = 18 Marks) RBT CO Marks

Answer All Questions
1 Identify the language as old as Latin.
Tamil Language is as old as Latin.Tamil has the most independent

U CO1 2
tradition as it has vast ancient literature and not influenced from any
other languages.
2 Name the great Tamil work that speaks volumes on ethics.
Thirukkural” authored by Thiruvalluvar.

U CO1 2
This book consists of three sections namely Arathuppal, Porutpal
and Kamathuppal(ethics, polity and love). Thirukural has 1330 kurals.
3 Name the five great Epics of Tamil literature?
1. Silappathikaram ,
2. Manimegalai ,
U CO1 2
3. Sivaga Sindamani,
4. Valaiyapati and
5. Kundalakesi.
RBT- Revised Bloom’s Taxonomy R-Remember U-Understand AP- Apply AN-Analyze E-Evaluate C- Create
4 Identify the twin epics in Tamil.
1. Silappathikaram authored by Ilango atikal U CO1 2

2. Manimegalai authored by Seethalai Saathanar.
5 State the four main language families in India?
. Indo- Aryan Language Family
2. Dravidian Language Family U CO1 2

3. Austro Asiatic Language Family
4. Sino-Tibetan Language Family
6 Mention any two literary works of Bharathiyar and Bharathidasan.

Bharathiaar: Kuyil paatu, Paanchali sabatham
U CO1 2
Bharathidhasan: Kudumba vizhakku, Paandiyan parisu
7 Identify the poet who wrote the official state song of Tamilnadu
U CO1 2
Tamil Thai Vaazhthu written by Manonmaniam Sundaram Pillai
8 Give any two literatures contributed by Jains to Tamil.
1.Silappathikaram authored by Ilango atikal U CO1 2

2. Sivaka Chintamani authored by Thiruthakka Thevar
9 Discuss Sangam Literature.

The Sangam literature historically known as ‘the poetry of the noble
ones’. In literal terms, Sangam means ‘association’ and the literature
that connotes ancient Tamil literature is known as Sangam literature. U CO1 2
It is South India’s earliest known literature.
10 Explain the periods of Sangam literature.

According to the Tamil legends, there were three Sangams
The First Sangam, is believed to be held at Madurai, attended by

gods and legendary sages.
The Second Sangam was held at Kapadapuram, only Tolkappiyam

U CO1 2
survives from this.
The Third Sangam was also held at Madurai. A few of these Tamil
literary works have survived and are a useful sources to reconstruct
the history of the Sangam period.
11 Mention the five Thinais of Sangam literature.

U CO1 2
Kurinji, Mullai, Marutham, Neithal, Palai.
12 Name any two women poets of the Sangam period.

Avvaiyar and Ponmudiyar
U CO1 2
13 Define uniqueness about Tamil Classical Literature.

Tamil is of considerable antiquity. It predates the literatures of other modem
Indian languages by more than a thousand years. U CO1 2
14 Tamil has the most independent tradition. Discuss.

It is said that Tamil has the most independent tradition. Because Tamil has U CO1 2
no influence from Sanskrit or other languages.
15 Name the evidences that supports the finding of the oldest Tamil
work.
Tolkappiyam is considered the oldest work in tamil. It was written U CO1 2
date back to about 200 BCE. The earliest tamil inscriptions are the
evidences that support the finding of the oldest tamil work
16 How many Azawars are in Bhakthi literature name any four popular
poets. U CO1 2
Poigai Alvar, Bhoothath Alvar, Pey Alvar, Thirumalisai Alvar
17 Name any five Nayanmars.
Tiru Neelakanta, Iyarpagaiar, Ilayankudi Maranar ,Meiporul, Appar, Sambandar U CO1 2
and Sundarar
18 Discuss the characteristics of epics.
They are Silappatikaram, Manimekalai, Civaka Cintamaṇi, U CO1 2
Valayapathi and Kuṇṭalakeci
19 Discuss any four world classical languages.
U CO1 2
Chinese, Sanskrit, Arabic, Greek, and Latin
20 Tamil has the most important tradition.Justify the statement.
Tamil has the most important tradition as it has vast ancient literature U CO1 2
and is not influenced by any other languages.
21 Name the four main language families?
Indo- Arya Language Family
Dravidian Language Family U CO1 2
Austro Asiatic Language Family
Sino-Tibetian Language Family
22 Categorize the languages of the Southern region of India. U CO1 2
Tamil, Kannada, Telugu & Malayalam
23 Identify the oldest work in Tamil. In which year was it written?
U CO2 2
Tholkappiaym is the oldest work in tamil. It dates back to 200 BCE.
24 Name the five great epics of Tamil Literature?
Silappathikaram, Manimegalai, Sivaga Sindamani, Valayapati and U CO1 2
Kundalakesi.
25 Mention the types of Dravidian Languages?
U CO1 2
Southern Dravidian and Northern Dravidian
26 Give any two Literatures contributed by Jains to Tamil.
Silappathikaram authored by ilango atikal U CO1 2
Sivaka Chinthamani authored by Thiruthakka Thevar.
27 Mention any two Literary works of Bharathiyar and Bharathidasan.
Bharathiyar - Kuyil paatu, Paanchali sabatham U CO1 2
Bharathidasan- Kudumba vizhakku, Paandiyan parisu
28 Differentiate between Nayanmaars and Alvars .
U CO1 2
There are 63 Nayanmaars and 12 Alvars
29 Which is the official state song of Tamilnadu? Who wrote it?
U CO1 2
Tamil Thai Vaazhthu written by Manonmaiam Sundaram pillai.
30 Name any two works of Bharathidasan
U CO1 2
Thamizhukum Amudenru per, Sanke Muzhangu,Thunbam Nergayil
31 Bharathiar, a fearless poet-justify with his poem ‘achamillai”
Bharathiar portrays his fearlessness through his poem “achamillai”.
“Achamillai, achamillai, acham enbathu illaye,
U CO1 2
Icckathulorellam yethirthu nindra pothilum,
Achamillai, achamillai, acham enbathu illaye”. These lines of Bharathiar
explains that he is fearless even if the world is going to be against him.
32 Summarize any two uses of education in Sangam literature.
1) Education of Moral Values
U CO1 2
2) Importance for literature (Iyal), music (Isai), and Drama
(Nataka)
33 Identify the names of any two Nayanmars.
Tirugnanasambandar and Manikkavasagar. U CO1 2
34 Mention any two types of “Sittrilakkiyam “ .

U CO2 2
Nalayira Divya Prabandham, Thiruvaymoli.
35 List the five great epics U CO2 2
The Five Great Epics (Tamil: Aimperumkāppiyaṅkaḷ) are
Silappatikāram, Manimekalai, Cīvaka Cintāmaṇi, Valayapathi and
Kuṇṭalakēci.
36 Mention any two southern dravidian languages
The Dravidian languages with the most speakers are Telugu, Tamil,
U CO1 2
Kannada and Malayalam, all of which have long literary traditions.
Smaller literary language are Tulu and Kodava.
37 Name any two novels that you prefer to read in tamil
Swadesamitran, Sudesa Geethangal, Agni Ciragugal, Ponniyen U CO1 2
Selvan.
38 Illustrate the first line of any Bharahiar poem that expresses his love
for language.
U CO1 2
•Bharathi was essentially a lyrical poet. “Kannan Pattu” “Nilavum
Vanminum Katrum” “Kuyil Pattu” are examples of Bharathi’s great
poetic output.
39 Discuss the importance of Nadukal.
A hero stone (Vīragallu in Kannada, Naṭukal in Tamil) is a memorial
commemorating the honorable death of a hero in battle. They often
carry inscriptions and a variety of ornaments, including bas relief U CO2 2
panels, frieze, and figures in carved stone. Usually they are in the
form of a stone monument and may have an inscription at the bottom
with a narrative of the battle.
40 Name any two places known for stone chariots.
Mamallapuram is the only place where all four types of sculpture can
be found, Kudaivara Temple, Single Stone Temples, Constructed
U CO2 2
Temples and Embossed Sculptures. Carved out of a single rock, this
temple is in the shape of a chariot (chariot) so it is called Rathak
Kovil.
Part – B (5 x 16 = 80 Marks) RBT CO Marks

Answer All Questions
1 i) Give a brief account on i) Art of car making ii) Village deities U CO2 8
i) Rock art, drawing, painting, or similar work on or of stone,

usually from the ancient or prehistoric era, though it continued
to be practiced in some areas of Africa during the 19th
century and possibly later. Rock art includes pictographs
(drawings or paintings), petroglyphs (carvings or inscriptions),
engravings (incised motifs), petroforms (rocks laid out in
patterns), and geoglyphs (ground drawings). The ancient
animals, tools, and human activities depicted often help shed
light on daily life in the distant past, though the images are
frequently symbolic rather than representative.
Rock artists used a number of techniques and materials. To

draw or paint, they made pigments from finely ground clay,
minerals, or charcoal. Artists applied pigments as solids, the
way chalk is applied to a blackboard, or blew pigment onto a
surface through a pipe. In addition, they bound pigments with
water, urine, animal blood, plant juices, or egg yolk and
applied the mixture to surfaces by using their fingers or
brushes made from animal hair, feathers, or split sticks.
Engravings were made with fingers on soft walls or with flint
tools on hard surfaces.
ii)The village deities of Southern India are the numerous

spirits and other beings venerated as part of the
Dravidian folk tradition in villages throughout South
India. These deities, mainly goddesses, are intimately
associated with the well-being of the village, and can have
either benevolent or violent tendencies.
Village deities, also known as local or folk deities, are

spiritual beings or supernatural entities that are worshiped
and revered in specific rural or village communities. These
deities are often associated with the traditions, culture, and
beliefs of the local people and play a significant role in their
daily lives. Village deities are typically not part of major
organized religions like Christianity, Islam, Hinduism, or
Buddhism, but rather, they are specific to particular regions
and communities.
Characteristics of village deities can vary widely, but they

often have the following characteristics:
1. Place-Specific: Village deities are tied to specific

geographical locations, such as a particular village,
forest, river, or natural landmark. They are believed to
protect and watch over these areas.
2. Ancestral or Nature-Based: Some village deities are
associated with ancestors, while others are linked to
natural elements like trees, animals, or celestial
bodies. They may embody the spirit of a deceased
ancestor or represent the forces of nature.
3. Guardians and Protectors: Village deities are often
seen as protectors of the local community. People turn
to them for help and guidance in times of crisis, such
as during natural disasters, illness, or disputes.
4. Rituals and Offerings: Worship of village deities
involves various rituals, ceremonies, and offerings.
These can include prayers, sacrifices, dances, music,
and the presentation of food, flowers, or other
symbolic item.
. ii) U CO1 8
Discuss the contribution of Bharathiyar and Bharathidasan in
Tamil Literature growth
th
•Subramaniya Bharathiyar was born on 11 December
1882, in a village called Ettayapuram in Tirunelveli District in
Tamil Nadu and his childhood name was Subbiah.
•At the age of seven, Subbiah started writing poems in
Tamil.
•When he was eleven, he wrote in such a way that even
learned men praised him for his great knowledge and skill. In
the eleventh year, Subbiah felt that he had to establish his
credentials.
•Significantly, a new age in Tamil literature began with
Subramaniya Bharathi.
•Most part of his compositions are classifiable as short lyrical
outpourings on patriotic, devotional and mystic themes.
•Bharathi was essentially a lyrical poet. “Kannan Pattu”
“Nilavum Vanminum Katrum” “Panchali Sabatam” “Kuyil
Pattu” are examples of Bharathi’s great poetic output.
•Bharathi is considered as a national poet due to his number
of poems of the patriotic flavour through which he exhorted
the people to join the independence struggle and work
vigorously for the liberation of the country.
“India” was the first paper in Tamil Nadu to publish political

cartoons. He also published and edited a few other journals
like “Vijaya
•Bharathidasan was conferred with the title of "Puratchi
Kavingyar" (meaning the "Revolutionary Poet") by Periyar.
•He won the Golden Parrot Prize in 1946 for his play Amaithi-
Oomai (Peace and Dumbness).
[2]
•He was given the Sahitya Academy Award, posthumously
in 1970 for his play Pisiranthaiyar (He died in 1964 but he
was given this award in 1970 after he died).
•On 9 October 2001, a commemorative stamp of
Bharathidasan
was released by the Postal Department in Chennai.

2 i) Discuss any four management Principles in Thirukkural U CO1 8
) Approach towards the higher authorities.2) Decision
making 3) Leadership 4)Administration 5) Project Planning 6)
Communication 7) Recruitment
8) Delegation of Powers 9) Motivation 10) Diplomacy
1) Decision Making
"Any task should be started after a deep thinking.
Reconsidering the decision later is a disgrace
2) Project Planning
Before starting a project, consider the expenditure, the return
, the
profit and then proceed,( 461)
"Treasure, instrument, Time, deed and place of execution,
Consider well these factors and then start the action,"
"A project will fail,
if a manager does what he should not and
fails to do what he should" ( Kural 466)
3) communication skills
Kural 645 gives a guide line:
"The words used should be carefully selected so that no
other words can
effectively replace them."
Which means, there should not be any ambiguity in the
words used.
Kural 728:
" A widely learned man, if cannot communicate well,
All his learning is a waste"
Even in the kural 730, it is said that
if educated people are afraid to covey their thoughts in an
assembly.
4) MOTIVATION
Those who are with high motivation , even if they lose all
their
possessions, will never feel desperate.
The objectives and aims should always be fixed high,
Even if not achieved, those thoughts should not be changed.
(596
The stalk (stem) of a lotus plant grows upto the water height,
The achievement of a man goes upto his mind's height.
(595)
ii) Enumerate the development of Modern Tamil Literature.
The development of the popular Bhakti movement took place
in south India between the 7th and 12th centuries CE. It was
based on religious equality and broad-based social
participation. The Shivaite Nayannars
and the Vaishnavaite Alvars, who preached the Bhakti cult
under the Pallavas, Pandyas and Cholas disregarded the U CO1 8
austerities preached by the Jains and the Buddhists. They
preached personal devotion to God as a means of salvation.
They disregarded the rigidities of the caste system
and carried the message of love and personal devotion to
God to various parts of South India with the help of local
languages.
3 i) Categorize the epics which provide historical information U CO1 16
about the society, religions, culture and academic life of

Tamil people.
The five epics are Silappatikāram, Manimekalai, Cīvaka
Cintāmaṇi, Valayapathi and Kuṇṭalakēci. These five epics

were written over a period of 5th to 10th century CE and act
and provide historical information about the society,
religions, culture and academic life of Tamil people over that
period.
Cilappatikāram is a tragic love story of a wealthy couple,

Kannaki and herhusband Kovalan.[19] It is set in Poompuhar
a seaport city of the earlyChola kingdom. Kannaki and
Kovalan are a newly married couple, blissfully in love. Over
time, Kovalan meets Madhavi – a courtesan and falls for
her,leaves Kannaki and moves in with Madhavi. He spends
lavishly on her. Kannakiis heartbroken, but as the chaste
woman, she waits despite her husband'sunfaithfulness.
During the festival for Indra, the rain god, there is a poem
recital competition.[20] Kovalan recites a poem about a
woman who hurt her lover.Madhavi then recites a song
about a man who betrayed his lover. Each interprets the
song as a message to the other. Kovalan feels Madhavi is
unfaithful to him,leaves her, returns to Kannaki Kovalan is
poor, they move to Madurai, and try to restart their life.
Kannaki gives him one from her pair of jeweled anklets to
sell and raise capital.[20] Kovalan sells it to a merchant who
grows suspicious of the stranger and falsely accuses of theft
of the queen' jeweled anklet which is also missing. The king
orders his execution, hurrying the checks and processes of
justice. Kannaki learns what has happened. She protests the
injustice and thenproves Kovalan's innocence by breaking
the remaining anklet of the pair in the court . The king
accepts his mistake. Kannaki curses the king and the people
ofMadurai, tears off her left breast and throws it at the
gathered public. The king dies of heartbreak and the city of
Madurai is burnt to the ground. In the third section of the
epic, gods and goddesses meet Kannaki and she goes to
heaven with god Indra. The royal family of the Chera
kingdom learns about her,resolves to build a temple with
Kannaki as the featured goddess. They go to the Himalayas,
bring a stone, carve her image, call her goddess Pattini,
dedicate a temple, order daily prayers, and perform a royal
sacrifice.
Manimekalai,is the daughter of Kovalan and Madhavi, who

follows in her mother's footsteps as a dancer and a Buddhist
nun. The epic tells her story. Her physical beauty and artistic
achievements seduces the Chola prince Udhayakumara.] He
pursues her. She, a nun of Mahayana Buddhism persuasion,
is committed to free herself from human ties. She rejects his
advances, yet finds herself drawn to him. She hides, prays
and seeks the help of her mother, her Buddhist teacher
Aravana Adikal and angels. They teach her Buddhist
mantrasto free herself from fears. One angel helps her
magically disappear to an island while the prince tries to
chase her, grants her powers to change forms and appear
as someone else. On the island, she receives a magic
begging bowl.
Later, she takes the form and dress of a married woman in

the neighborhood, as the prince pursues her. The husband
sees the prince tease her, and protects "his wife" –
Manimekalai-in-hiding – by killing the prince. The king and
queen learn of their son's death, order the arrest of
Manimekalai, arrange a henchman to kill her. Angels
intervene and Manimekalai miraculously disappears as
others approach her, again. The queen understands and
repents. Manimekalai is set free. Manimekalai converts the
prison into a hospice to help the needy, teaches the king the
dharma of the Buddha.[24] In the final five cantos of the epic,
Buddhist teachers recite main doctrines of Buddhism. She

goes to goddess Kannaki temple in Vanci (Chera kingdom),
prays, listens to different religious scholars, and practices
severe self-denial to attain Nirvana (release from rebirths).
Cīvaka Cintāmaṇi, an epic of the 10th century CE was

written by Thiruthakka Thevar, a Jain monk. It narrates a
supernatural fantasy story of a prince who is the perfect
master of all arts, perfect warrior and perfect lover with
numerouswives. The epic begins with the story of a
treacherous coup, where the king helps his pregnant queen
escape in a peacock-shaped air machine but is himself
killed. The queen gives birth to a boy. She hands him over to
a loyal servant to raise and becomes a nun herself. The boy
grows up into a super-human man perfect in every art, every
skill, every field of knowledge. He excels in war and peace,
kills his enemies, wins over and marries every pretty girl he
meets, then regains the kingdom his father had lost. After
enjoying power, sex and begetting many sons with his
numerous wives, he renounces the world and becomes a
Jaina ascetic
4 i) Explain in detail about Alwars and Nayanmars.
The Alvars and Nayanars led some of the earliest Bhakti
movements (c. sixth
century).
• Alvars – those who are “immersed” in devotion to Vishnu.
• Nayanars – those who are devotees of Shiva.
• They travelled from place to place singing hymns in Tamil
praising their gods.
• The Alvars and Nayanars initiated a movement of protest
against the caste system and the dominance of Brahmanas
or at least attempted to reform the system. This is supported
by the fact that bhaktas or disciple hailed from diverse social U CO1 8
backgrounds ranging from Brahmanas to
artisans and cultivators and even from castes considered
“untouchable”.
• The Nalayira Divya Prabandham (“Four Thousand Sacred
Compositions”) is one of the major anthologies of
compositions of the 12 Alvars collected and compiled in the
10th century by Nathamuni.
• Tevaram – a collection of the first seven volumes of
Tirumurai (Saiva devotional poetry) contains the work of
Tamil poets – Appar,Sambandar, and Sundarar.
ii) Discuss the role of Temples in the socio economic life of

Tamilians.
Hindu temples served as nuclei of important social,
economic, artistic and intellectual functions in ancient and
medieval India. South Indian temples managed regional
development function, such as irrigation projects, land
U CO2 8
reclamation, post-disaster relief and recovery. These
activities were paid for by the donations (melvarum) they
collected from devotees. According to James
Heitzman, these donations came from a wide spectrum of
the Indian society,ranging from kings, queens, officials in the
kingdom to merchants, priests and shepherds. Temples also
managed lands endowed to it by its devotees upontheir
death. They would provide employment to the poorest. Some
temples had large treasury, with gold and silver coins, and
these temples served as banks.
The Golden Temple at Vellore is gilded with 1500 kg of pure
gold.
Hindu temples over time became wealthy from grants and
donations from royal patrons as well as private individuals.
Major temples became employers and patrons of economic
activity. They sponsored land reclamation and infrastructure
improvements, states Michell, including building facilities
such aswater tanks, irrigation canals and new roads.[87] A
very detailed early record
from 1101 lists over 600 employees (excluding the priests) of
the Brihadisvara temple, Thanjavur, still one of the largest
temples in Tamil Nadu. Most worked part-time and received
the use of temple farmland as reward.[87] For those thus
employed by the temple, according to Michell, "some
gratuitous services were usually considered obligatory, such
as dragging the temple chariots on festival
occasions and helping when a large building project was
undertaken" Temples also acted as refuge during times of
political unrestand danger.[87]
In contemporary times, the process of building a Hindu
temple by emigrants and diasporas from South Asia has also
served as a process of building acommunity, a social venue
to network, reduce prejudice and seek civil rights together.
5 i) Classify the methods and processes involved in making craft U CO2 8
articles.
1 Clay
Being one of the most basic materials found in every corner
of the country, clay has been used for making earthen ware,
figurines, bricks, tiles, beads etc.Terracotta objects are one
of the earliest artifacts found during excavations of
archaeological sites as early as the chalcolithic period and
continue to exist in the present times.
.2 Stone work
Another basic material that does not need much processing
and technology is stone. Different types of stones from the
most common ones to region specific ones to precious gems
have been used in different ways from architectural
construction, to sculptures, to making jewelry and so on. One
would need to discuss different aspects of stone works.
3.Metal Crafts
Metal has a wide variety where technology plays an
important role. A number of crafts communities have been
sustaining on age old practices of making objects
from metal which involves the knowledge of technology/
indigenous technology among artisans, from processing the
metal, to casting, polishing and finishing the objects.
Whether it is Moradabad in Uttar Pradesh, or Kondagaon in
Bastar or
Cuttak in Orissa and so on, these are the pockets where the
livelihood of families of hundreds of craftsmen is sustained
through metal crafts.
4. Jewelry
Jewelry, whether made from precious stones, beads and
metals or bell metal or terracotta, from most intricate and
delicate forms to the bold and traditional motifs, Indian
traditional jewelry is one most cherished items in the
international market, among tourists, foreigners and Indians
are the biggest buyers of jewelry in the world.
ii) Enumerate the special characteristics of Massive Terracota U CO2 8

Sculptures.
Terracotta Art in Tamil Nadu is basically famous for the
splendid six metre high horses. Shrines to Ayanaar are very
common in the state of Tamil Nadu. In the temples of
Ayanaar life-sized terracotta horses have been placed at the
shrins to provide transportation for Ayanaar's spirit soldiers,
enabling them to travel through the villages and fields at
night to right against evil. The custom in Tamil Nadu is that
after the festival the terracottas are left at the shrine where
they will remain to become eroded through time, their
function of being presented to and accepted by god
completed. The shrines represent a kind of graveyard of
offered horses, elephants, bulls and figures which arc
pushed back each year to make space for new donations.
The folk deities are the deities worshiped by the rural people,
the villagers.These deities are called Natar deities and minor
deities. The worship of these folk deities is different from that
of the pantheons. This is called the worship of minor
deities.Folk deities are mostly worshiped by Telugu and
Tamil speaking people.
6 i) List out the musical instruments used in Sangam Period. U CO2 8
Tamil musical instruments are divided into two parts.

Percussion instruments are instruments that play music, and
instruments that sound with a sense of rhythm are called
percussion instruments. They can also be divided into string
instrument, wind Instruments, percussion instrument, and
Skin (leather) instrument and tapping instruments. They are
made of wood, bamboo, string, rope, leather, etc. in many
forms. Wind Instruments
● Flute
● Muhaveenai
● Mahudi
● Sangu (Conch)
● Thaarai
● Naathaswaram
● Horn (Kombu)
Skin(Leather) Instruments
● Urumi
● Drum
● Drum
● Thavil
● Large Drum
● Siruparai
● Large Murasu
● Drum
● Padaham
String Instruments
● Yaazhl
● Veenai
● Thampura
● Koduvaathiyam
● Saarangi
Tapping Instruments
Tapping Instruments are a group of musical instruments

where sound is made by tapping.
● Kaimani
● Thaalam or beater
● Nadduvanga Thaalam
● Kanja Thaalam
● Kondi
● Kadam
ii) U CO2 8
Explain the crafts of the tribals.
Tribal crafts can be assorted into definite classes:
Habitation units
â€¢ Basketry, mats, cane work
â€¢ Tools for hunting, fishing and agriculture
â€¢ Musical instruments
â€¢ Clothes
â€¢ Pottery
â€¢ Iron smithy and metal work
â€¢ Jewellery
Crafts of the Todas
Indian tribes have rich craft traditions which are as diversified

as the basketry of Arunachal Pradesh, metal casting of
Madhya Pradesh, terracotta votive offerings and decorations
of Gujarat. In this regard, the tribes of the Nilgiri Hills deserve
a special mention with their astonishing crafty works.
Although each tribe of the Nilgiris is fully integrated, there is
a distinct delineation in their craft production, making them
essentially dependent on each other.
Crafts of the Irulas
The Irulas, yet another tribe creating history in Indian tribal

crafts, make and use the conch, drum, dwarf pipe (kwale),
long flute (buhin) and nagasore in their dances for rain and
fine harvest. While they manufacture glass bead necklaces
and brass earrings and anklets, their striking craft is the
plaited palm leaf straw ornaments, used as necklaces and
anklets.
Crafts of the Kotas
Indian tribal crafts rests heavily on the Kotas, legendary as

musicians and serving as essential manufacturers of musical
instruments like hard drum, tambourine and brass cymbals
resembling oboes. This particular instrument is beaten with a
stick and pipes. Kotas are expert musicians and the only
artisans in the Nilgiris. They are professional blacksmiths
who make iron implements both for household as well as
agricultural usage. The Kotas also manufacture iron knives
and bill hooks. They manufacture ropes and umbrellas from
buffalo hide, jewellery like anklets, rings and necklaces out of
brass and necklaces from glass beads and cowry shells.
7 i) Discuss the status of women in the Sangam Society. U CO1 8
There was no restriction for women in social life. There
were learned and wise women. Forty women poets had
lived and left behind their valuable works. Marriage was
a matter of self-choice. However, chastity (karpu) was
considered the highest virtue of women. Sons and
daughters had equal shares in their parents' property.
The position of women during the Sangam age was

respectful and high, although there was no indication that
women served as ministers in the king’s court. According
to Sangam literature, queens accompanied monarchs and
aided them by incorrectly ruling the land. Women were
admired for their loyalty and virtuousness, which were
regarded as desirable traits. According to ‘Kalithogai,’
virtuous women may provide rain to the earth.
Unmarried women worshipped Lord Muruga to find a

suitable spouse. Married ladies prayed to Lord Shiva for
the health and longevity of their husbands. For the
money, they idolised Lakshmi. They also worshipped the
goddess of battle, ‘Kotravai,’ to win the war. So goddess
worship existed during the Sangam period.
According to ‘Aganaanuru,’ Sangam women excelled in

education. According to Sangam literature, there have
been 26 poetesses throughout the time. The prominent
poetess of the time was ‘Avvaiyar.’ She wrote 58 poems
that were included in the Sangam literature. Sangam
women were talented singers, dancers, and musicians.
In terms of education, men and women were treated

equally. Women were taught literature (Iyal), music
(Isai), and Drama (Nataka) while men were provided
physical stamina training. Women who were competent
in literature, music and drama were called
‘Mudukkuravai’. Kannaki is described as Mudukkuravai
by Ilango Adigal in his great Tamil epic
Chilappathikaram. On the battlefield, some of the
knowledgeable women offered advice to the kings. In
many other ways, they were bold and equal to men.
Mothers of the Sangam era were courageous enough to

send their sons out to battle gladly. The heroic woman is
referred to as ‘Mudin Magalir’ / ‘Maraikudi Magalir’ in
‘Purananuru.’ Sangam mothers wished for their boys to
be courageous enough to die as heroic soldiers. A woman
was ready to chop off her breasts if her son turned and ran
away from the battlefield, according to Okkur
Masathiyar, a Sangam poetess from Purananuru. When a
courageous mother saw her deceased son in the war field
with a wounded chest, Tholkapiyar says she would feel
glad and proud.
ii) Summarise the concepts and themes of Sangam literature.

Sangam writings are possibly unique in early Indian
literature, which is almost entirely religious. The poems are
concerned with two main topics: those of the first five
collections are on love (akam), and those of the next two are
on heroism (puram), including the praise of kings and their
deeds. Paripatal, the eighth collection, contains poems of
both types. Many of the poems, especially on heroism,
display great freshness and vigour and are singularly free
from the literary conceits of much of the other early and
medieval literatures of India. Since they deal almost entirely
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with nonreligious subjects, these poems are also free from
the complex mythical allusions that are such an outstanding
feature of most Indian art forms. There are nonetheless
some instances of religious works in sangam poetry.
Paripatal, for example, contains poems about Vishnu, Shiva,
Durga, and Murugan.
The concept in Sangam literature indicates both the
landscape as well as the love or war situations as the case
may be. In Akam they are classified into fivefold landscapes
where the inner life of the hero and heroine is discussed in
five different stages.
8 i) Discuss Tolkappiyam. U CO1 8
Tolkappiyam is an ancient extant Tamil grammar text
considered to be the oldest surviving work of Tamil
literature. While the Thirukkal is a text in the Tamil language
that consists of short couplets of seven words each. These
couplets are called Kurals.Tolkappiyam is concerned with
orthography, semantics, prosody, phonology, morphology,
and the subject matter of literary works. The Tholkappiyam
categorize the Tamil terminology into senthamil and
koduntamil. The preceding refers to the classical Tamil used
essentially altogether in scholarly practices. The recent
refers to the dialectal Tamil, enunciated by the population in
the numerous provinces of historical Tamilagam.
The Tolkappiyam is an endeavour on the grammar of the

Tamil vernacular and the initial extant work of Tamil
publications and linguistics. It is composed in the
configuration of noorpaa or brief formulaic writings and
encompasses three editions – the Ezhuttadikaram, the
Solladikaram and the Porul Adhikaram. All of these volumes
are further divided into nine chapters each. The precise time
of the task is not remembered. It is established on lingual
and other indications. Many contemporary philosophers
prefer to pursue it not as a sole thing but in fractions. There
is furthermore no firm testimony to allocate the authorship of
this dissertation to any one founder.
ii) Discuss Tamil as a Classical Language. U CO1 8
A classical language is a language with an independent
literary tradition and a large and ancient body of written
literature. Classical languages are typically dead languages,
or show a high degree of diglossia, as the spoken varieties
of the language diverge further away from the classical
written language over time.In 2004 Tamil was declared a
classical language of India, meaning that it met three
criteria: its origins are ancient; it has an independent
tradition; and it possesses a considerable body of ancient
literature. In the early 21st century more than 66 million
people were Tamil speakers. the Tamil language is one of
the oldest languages in the world and has a rich history
spanning thousands of years. Learning this ancient tongue
will give you a deeper understanding of Indian culture and its
roots.
9 i) Justify the statement that Tamil is a classical language.
In 2004 Tamil was declared a classical language of India,
meaning that it met three criteria: its origins are ancient; it
has an independent tradition; and it possesses a
considerable body of ancient literature. In the early 21st
century more than 66 million people were Tamil speakers.
To qualify as a classical tradition, a language must fit
several criteria. It should be ancient. It should be an
independent tradition that arose mostly on its own, not an
off-shoot of another tradition. It must have a large and
extensively rich body of ancient literature. Unlike the other
modem languages of India, Tamil meets each of these
requirements. It is extremely old as Latin and older than U CO1 8
Arabic. It arose as an entirely independent tradition with
almost no influence from Sanskrit or other languages. Its
ancient literature is indescribably vast and rich. Tamil is of
considerable antiquity. It predates the literatures of other
modem Indian languages by more than a thousand years.
Its oldest work Tholkappiyam, contains parts that, judging
from the earliest Tamil inscriptions, dates back to about 200
BCE. The greatest works of ancient Tamil, the Sangam
anthologies and Pattuppattu, date to the first two centuries
of the current era. They are the first great secular body of
poetry written in India, predating Kalidasa’s works by two
hundred years.
i) Summarise the characteristics of classical language. U CO1 8
Classical languages are languages that have a rich literary and
historical tradition. They are often associated with ancient
civilizations and are considered the predecessors of modern
languages. While there is no universally agreed-upon definition of
a classical language, they typically share several common
characteristics:
Ancient Origin: Classical languages have their roots in ancient

civilizations, often dating back thousands of years. They
have been used for a significant portion of human history.
Literary Tradition: These languages have a well-developed and
extensive literary tradition. They have produced a vast body
of classical texts, including religious, philosophical,
scientific, and poetic works.
Canonical Texts: Classical languages often have a set of
canonical or authoritative texts that are revered and studied
as the foundation of their cultural and intellectual heritage.
Formal and Structured Grammar: Classical languages tend to
have a highly structured and formal grammar. They are
known for their precise rules and linguistic standards.
Classical Literature: Classical languages are associated with

classical literature, which includes epic poems, philosophical
treatises, religious texts, and other writings of great cultural and
intellectual significance.
10 i) Tirukkural is an outstanding quality of classical Tamil

Literature. Summarise .
The Tirukkural, also known as the Kural, is an exceptional work of
classical Tamil literature composed by the Tamil poet and
philosopher Thiruvalluvar. It is a collection of 1,330 couplets (or
kurals) that are considered a masterpiece of wisdom, ethics, and
moral guidance. Here's a summary of the outstanding qualities of
the Tirukkural:
Universal Themes: The Tirukkural addresses universal themes

that are relevant to people of all cultures and backgrounds. U 8
CO1
It covers a wide range of topics, including ethics, morality,
love, governance, and virtue.
Ethical and Moral Guidance: Thiruvalluvar imparts ethical and
moral guidance through his verses. The Kural is often
described as a moral compass,providing principles for
living a virtuous and righteous life.
Versatility in Translation: The concise and precise nature of the
Kural has made it a challenging yet rewarding text to
translate into various languages while preserving its original
depth and meaning
ii) Sangam literature is primarily secular dealing with everyday
themes in a Tamilakam context. Discuss.
The Sangam literature historically known as 'the poetry of
the noble ones is the earliest known literature of South India.
The Tamil tradition and legends link it to three literary
gatherings around Madurai . Sangam literally means
"gathering, meeting, fraternity, academy". THe list OF six
anthologies of Tamil poems
• Netuntokai nanuru (400 long poems) • Kuruntokai anuru
(400 short poems) • Narrinai (400 Tinai landscape poems) •
Purananuru (400 Outer poems) • Ainkurunuru (500 very
short poems) • Patirruppattu (Ten Tens)
Sangam literature is broadly classified into akam (அகம்,
U CO1 8
inner), and puram (புறம், outer). The akam poetry is about
emotions and feelings in the context of romantic love,
sexual union and eroticism. The puram poetry is about
exploits and heroic deeds in the context of war and public
life Approximately three-fourths of the Sangam poetry is

akam themed, and about one fourth is puram.[29] Sangam
literature, both akam and puram, can be subclassified into
seven minor genre called tiṇai (திணை). These are: kuṟiñci
(குறிஞ்சி), mountainous regions; mullai (முல்ணல),
pastoral forests; marutam (மருதம்), riverine agricultural
land; neytal (நெய்தல்) coastal regions; pālai (பாணல) arid.
11 i) Explain the credentials of Mr. George L Hart that him made U CO1 16
absolutely eligible to write the position of Tamil among the
classical languages of the world.
George L Hart has been a professor of Tamil at the

university of California, Berkeley since ' 1975. He is
currently the holder of Tamil chair at the institution. He
received his degree in Sanskrit in 1970 from Harvard
University.
George L Hart has been a professor of Tamil at the university

of California, Berkeley since ’ 1975. He is currently the holder
of Tamil chair at the institution. He received his degree in
Sanskrit in 1970 from Harvard University. He was appointed
at first as Sanskrit professor at the University of Wisconsin
Madison, in 1969. Besides Tamil and Sanskrit, he knows
languages of Greek and Latin. He has read extensively in
Greek and Latin literatures in their original. He is also well
acquainted with comparative linguistics and literatures of
modem Europe. Thus, he is the most eligible person to write
regarding the position of Tamil among classical languages of
the world.
12 i) Discuss the nature of Sangam literature, religious or secular.

Sangam literature is primarily secular in nature, although it does contain
elements of both secular and religious themes. Sangam literature is a
collection of ancient Tamil poetry and literature that dates back to the
Sangam period in South India, which is estimated to have spanned from
roughly 300 BCE to 300 CE. This period was characterized by the
existence of Sangams, or assemblies of Tamil scholars and poets, who
composed these works.
The Sangam literature is divided into two main categories: Akam and
Puram. Akam poetry deals with the inner, personal aspects of life, such as
love, human emotions, and personal experiences, and can be seen as more
secular in nature. It often focuses on the relationships between
individuals, nature, and the various aspects of human existence. U CO1 8
Puram poetry, on the other hand, deals with the external aspects of life,
such as war, valor, governance, and societal matters. While Puram poetry
may have references to religious practices and beliefs, it is primarily
focused on secular subjects.
That said, Sangam literature does contain references to religious and
mythological elements, as religion was an integral part of the culture and
life of ancient Tamil society. Hinduism and Jainism were prominent in
the region during the Sangam period, and these belief systems are
occasionally alluded to in the poetry. However, the primary focus of
Sangam literature is on the secular aspects of life, including love, war,
nature, and human experiences.
ii) Discuss the age of Sangam literature.
The Sangam literature historically known as 'the poetry of the
noble ones is the earliest known literature of South India. The
Tamil tradition and legends link it to three literary gatherings
around Madurai . Sangam literally means "gathering, meeting,
fraternity, academy". THe list OF six anthologies of Tamil poems
• Netuntokai nanuru (400 long poems) • Kuruntokai anuru (400
short poems) • Narrinai (400 Tinai landscape poems) •
Purananuru (400 Outer poems) • Ainkurunuru (500 very short
poems) • Patirruppattu (Ten Tens)
Sangam literature is broadly classified into akam (அகம், inner),
and puram (புறம், outer). The akam poetry is about emotions

U CO1 8
and feelings in the context of romantic love, sexual union and
eroticism. The puram poetry is about exploits and heroic deeds
in the context of war and public
life Approximately three-fourths of the Sangam poetry is akam

themed, and about one fourth is puram.[29] Sangam literature,
both akam and puram, can be subclassified into seven minor
genre called tiṇai (திணை). These are: kuṟiñci (குறிஞ்சி),
mountainous regions; mullai (முல்ணல), pastoral forests;
marutam (மருதம்), riverine agricultural land; neytal (நெய்தல்)
coastal regions; pālai (பாணல) arid
13 i) Tamil is a Classical Language. Justify.

1. Ancient 2. Literary wealth 3. not influenced by other
languages.
Tamil meets each of these requirements.
U CO1 8
1. It is extremely old Latin, and older than Arabic.
2. It arose as an entirely independent tradition with almost no
influence from other languages.
3. Its ancient literature is indescribably vast and rich.
ii) Compare the secular and Distributive nature of Tamil Literature. U CO1 8
Tamil literature focuses only on the culture and people.
1. Tamil Literature mentions public virtues such as “ one clan
one god”.
2. ‘ Yadum Ure Yavarum Kelir” Kanyan Poonkunnarars
principles apply to all centuries.
3. Thiruvalluvar says that all beginnings are the same in birth
but work decides their varied worth.
4. Tamil literature has a rich tapestry that weaves together
both secular and distributive elements, reflecting the
multifaceted nature of the culture it represents.
5. On the secular side, Tamil literature often delves into the
everyday lives, traditions, and cultural nuances of the
people. It captures the essence of human experiences,
emotions, and relationships, transcending religious
boundaries. The secular nature of Tamil literature is evident
in its portrayal of diverse characters, societal structures, and
the celebration of human diversity. Themes such as love,
friendship, and societal dynamics are explored without a
specific religious bias, making it relatable to a wide
audience.
6. At the same time, the distributive nature of Tamil literature
can be seen in its role as a disseminator of knowledge and
values. It has historically served as a medium for imparting
moral, ethical, and philosophical teachings. The literature
often reflects a sense of social responsibility, advocating for
justice, equality, and the well-being of society as a whole.
This distributive aspect can take the form of didactic
literature, where moral lessons are embedded in narratives,
or in the promotion of values that contribute to the greater
good.
7. In essence, Tamil literature acts as a mirror to society,
capturing both the secular aspects of human life and the
distributive values that contribute to a harmonious
community. It celebrates the uniqueness of Tamil culture
and its people while also serving as a source of guidance for
a socially cohesive and just society.
8.
14 i) List some of the musical instruments used in the Sangam period. U CO2 8
Seven notes – kumal, tottam, kainilai, ili, vilari, and taram were
known. Different tunes were accorded to different tinais and
different times of the day. The Silappadikaram presents the
qualification of a competent musician. The indigenous system of
music had attained a considerable measure of development.
Pannars: Panar, Porunar, Kuttar, Viraliyar, Kodiyar and viraliyar
were some of the musicians lived during the Sangam period.
Isaippanar, Yalpannar, Mandaippanar were some of the division
of the Panars. They used to play with Siriyal. The former one was
called Sirupanar and the latter Perumpanar. The kings liberally
donated to the musicians. Even the chieftains granted villages to
them Musical instruments: The musical instruments according to
the literatures are classified into. Tokkaruvi Tulikkaruvi
Narambukkaruvi Kanchchakkaruvi The Torkaruvi are percussion
instruments are – Murasu mulavu, tannumai, kinai, patalai, tattam,
latari, tudi, aklui, mattari etc. The Tulaikkaruvi of wind instruments
are tumpu, trumpet, flute, conch etc., Narambukkaruvi or
strsanged instruments are tumpu, Yal, Parai and Vil. Kurunji yal,
Mullai yal, Marudam yal, Neithal yal and Palai yal are the special
instruments used in each land. In short the music of the Sangam
age had a tremendous emotional appea. Kanchccakkaruvi or bell
metal instrument are mentioned in Malaipadukadam.10 Varieties
of musical instruments were used in the Sangam age. One
hundred and eight patterns of musical instruments are mentioned
in the Silappadikaram. Certain instruments were used as aids to
vocal music; some were used for independent instrumental play;
and some were played as accompaniments to dance and drama.
At the local festivals and individual ceremonies, musicians
displayed their talents. The Tamils of different tinais had their
separate musical instruments. The musical instruments are
classified as tolkaruvi, narampukkaaruvi, tulaikkaruvi, and
kanchakkaruvi
ii) Mention the different types of Yazh?

Yal is considered as the oldest instrument. Various varieties of yal
prevailed. Adiyal was made of 1000 and more strings. Vilyal,
Changodayal, Chemmunaikkohi, and Periyal were other
U CO2 8
prominient types of yal. There were four kinds of yal. Peiyal was
played on with two strings, mahara yal with nineteen strings,
Sakotoyal with eleven strings and sengottu yal with seven strings.
Pannars were also called as yalpannar
15 i) Explain the role of temples play in social and economic U CO1 8
developments of Tamils.
Chola temples were not only places of worship but also the
hub of social and economic life. These are the centres for
making a variety of crafts. The amount of crafts associated
with temples, the making of bronze images was the most
distinctive. Other activities related to a Chola temple were
garland makers, musicians, dancers, sweepers, cooks, etc.
ii) Categorize the division of Tamil Land.

Kurunji Hill- and hilly region
Mulai - the Pastoral slopes
U CO1 8
Marudham- the fertile and cultivated plains
Neidal- the coastal or littoral region and
Paalai- the desert region
16 i) Classify the populations .
Kuravar or Vedar of Kurunji
Idayar or Mullai
U CO1 8
Uzhavar or Marudham
Minavar or Parathavar of Nedial
Kallar of Paalai
ii) Categorize the classification of people in royal towns of
Marutham region?
Arasar- Princes
Anthanar- Wisemen
Vanikar- traders
Vellalar- agriculturist
U CO1 8
Panar- bards
Viraliyar- dancers
Kuyavar- potters
Umnar- salt merchants
Vannar- washermen
Weavers and other handicrafts men, poets and teachers
17 i) Sangam Literature - Justify
Tolkappiyam, Ettuthogai, Patgupattu, Pathinen Keezh
U CO1 8
Kanakku, Silapadhikaram and manimegalai, Ettutogai and
Pathupattu.
ii) Name some major works in literature during the sangam
age?
18 minor works , 5 major epics such as Silpadhikaram,
Manimekalai, Kundalakesi, Valayapathi and Seevaga
U CO1 8
Sinthamani and 5 minor epics such as Neelakesi, Sulamani,
Udayana Kumara Kaviayam, Yasodhara Kaviyam and
Nagakumara Kaviayam epics and grammatical works
Pingala Nigandu and Yapperumkalam.
18 i) Name some Sanskrit works of the Pallava period?
Mattavilasaprakasanam
U CO1 8
Kirtarjuniyam
Avanti Sundaru Katha and Kavyadarsam.
ii) Name some popular deities during sangam age?
Hero stones
Seyon
Mayon U CO1 8
Vendan
Varunan
Valiyon and Kotravai
19 i) Explain any two administrative skills mentioned in Thirukural U CO1 10
1) Approach towards the higher authorities.
In modern days, in any Management, the heirarchy is

playing an important role.
Heirarchy is the system of executives or officials arranged
one above another.Those who are in the above level enjoy
more powers and perks.
Heirarchy can typically be depicted as a pyramid where the
height represents the level's status. The approach of the
lower status to the higher status is beautifully explained by
Thiruvalluvar with an example.
In a cold weather, a person is sitting in front of a fire. If he

goes too close, he will be hurt by overheat, if he moves far
away, he will not get the required warmth, he has to sit in an
apt place. He should not go too far or too close.
This example is applicable to all those who work under

higher authorities.
Those who are working close to them, should not take the
advantage of their closeness and go too nearer. If
displeased, it will lead to undesirable results. At the same
time moving too far is also not advisable because, that will
end in being branded ' inefficient ' or ' incapable'.
In modern days, those who are very close to political
elements, when misunderstanding develops, face severe
consequences.
Persons in king's service, should neither go too close

nor too far,
they should remain like people who sit in an apt place
beside the fire for warmth ( Kural 691)
2. Decision Making
Whether an individual or a family or a firm or a country, decision
making is a tough task. Sometimes crucial decision making
becomes nerve rocking leading to mental trauma.
Weighing the advantages and disadvantages of a decision is very

important, several strategies are to be adopted before arriving at a
final decision. The risk involved in the final decision should be
foreseen and analyzed.
If a problem is turned into an opportunity and properly tackled, it

leads to victory.
Thiruvalluvar says that any decision should be made after a deep

thinking. Later there should not be any attempt to reconsider the
decision that was made.The decision once finally made should be
executed immediately without delay
Today, decision making is made into a science with techniques like

grid analysis, paired analysis etc. Through Brainstorming
techniques, the strength, weakness and opportunities are
discussed and the best decision is selected.
ii) Feminism in Bharathiar”s writings U CO1 6

Bharathiar worked for the cause of women like shunning
child marriages, supporting widow remarriage, right to
women’s education, equal treatment to women as meted out
to men in society, right of women to enter politics, right of
women to rise to high offices just as the men in society etc.
He penned many songs and poems for the uplift of women
in society like ‘Penngal Vidudhalai’, celebration of women’s
emancipation, and ‘Pudumai Penn’, in which he
conceptualized the contemporary new-age women of
tomorrow.He glorifies womanhood in his poetry and also
followed what he preached in his real life. He encouraged
his wife Chellamma and his two daughters to emerge from
the recess of their inner courtyard and proudly stepped out
of his house with his wife walking beside him hand in hand
which was something unheard of as the women were
supposed to walk a few steps behind their husbands in
traditional Indian society. His hard-hitting songs, and
powerful verses combined classical and contemporary
elements and expressed a progressive and reformist zeal
and ideal that endeared him to many. He employed novel
artistry in weaving and communicating his ideas through his
songs.
Bharati was a crusader who defended commanding rights
for women in society and strongly appealed for gender
equality, and spoke up for women’s freedom and equal
rights insociety. He demanded liberation for the women of
India and imagined a new strong and smart Indian woman at
the predecessor of society whom he termed as ‘new-age
woman’ or ‘pudumai penn’.He declared that the world will
prosper in intelligence and ability only if both genders are
treated equally
20 i) Enumerate upon Bharathiar’s patriotic song’senthamil U CO1 8
nadennun bothile”.
Senthamil Nadu Ennum Pothinile" is a patriotic Tamil song
written by Subramanya Bharathi, often referred to as
Mahakavi Bharathiyar. He was a renowned Tamil poet and
nationalist who lived in India during the late 19th and early
20th centuries. This song is one of his many works that
reflect his deep love for his country and his desire for its
freedom. Here's an enumeration of the key themes and
elements of this patriotic song:
Love for Tamil Nadu (Senthamil Nadu): The song begins

with an expression of deep affection and love for the
land of Tamil Nadu. It reflects Bharathiyar's admiration
for the culture, language, and people of Tamil Nadu.
Patriotism: The song is a strong expression of patriotism.
It calls upon the people of Tamil Nadu to rise and work
together for the greater good of their motherland.
Unity and Togetherness: Bharathiyar emphasizes the
importance of unity and solidarity among the people of
Tamil Nadu. He encourages them to come together
and work as one for the betterment of their land.
Fight for Freedom: The song hints at the struggle for
freedom and independence. During Bharathiyar's
time, India was under British colonial rule, and he was
a strong advocate for the country's liberation.
Social Reform: In addition to the call for political freedom,
the song also touches on the need for social reform.
Bharathiyar believed that true freedom required not
only political independence but also social and cultural
liberation.
Hope and Aspiration: The song is filled with hope and
aspiration for a better future. It inspires the people to
look forward to a time when Tamil Nadu will be free
and prosperous.
Empowerment: It encourages individuals to take
responsibility for their actions and contribute to the
betterment of their homeland. It highlights the power
of the people to bring about change.
Cultural Pride: The song celebrates Tamil culture and
heritage. It underscores the richness of Tamil
literature, art, and tradition.
Reverence for Women: Bharathiyar's songs often exhibit
his deep respect for women. In this song, he refers to
Tamil Nadu as a "lady" (Senthamil) and calls for the
empowerment and respect of women.
Legacy: Bharathiyar's works, including "Senthamil Nadu
Ennum Pothinile," continue to be celebrated and
remembered as a part of India's cultural and literary
heritage. His writings have had a profound influence
on subsequent generations and continue to inspire
patriotism and social reform.
Legacy: Bharathiyar's works, including "Senthamil Nadu Ennum

Pothinile," continue to be celebrated and remembered as a part of
India's cultural and literary heritage. His writings have had a
profound influence on subsequent generations and continue to
inspire patriotism and social reform.
ii) Explain in detail about Bharathidasan and his works U CO1 8

Bharathidasan was a 20th-century poet and rationalist writer
whose literary works handled mostly socio-political issues.
He was deeply influenced by the Tamil poet Subramania
Bharathi and named himself "Bharathi dasan" meaning
follower or adherent of Bharathi. His greatest influence was
Periyar and his self-respect movement. Bharathidasan's
writings served as a catalyst for the growth of the Self-
Respect Movement in Tamil Nadu. In addition to poetry, his
views found expression in other forms such as plays, film
scripts, short stories and essays. The Government of
Puducherry union territory has adopted the song
of Invocation to Mother Tamil, written by Bharathidasan as
the state song of
Puducherry (Tamil Thai Valthu (Puducherry))
Bharathidasan was an active participant in the Indian

independence movement. He opposed both the British
Rajand the French colonial government. He was
imprisoned for voicing his views against the French
Government that was ruling Pondicherry at that time.
Bharathidasan was a poet in his own right, writing
mostly on socio-political issues like women’s liberation,
rationalism, and against caste discrimination. He was greatly
influenced by the great rationalist leader and social reformer,
Periyar E. V. Ramaswami.
Bharathidasan became one of the key figures in the

Dravidian rationalist movement.] He was bestowed the titles
‘puratchi kavinjar’ (revolutionary poet) and 'paa vendhar'
(king of poetry) to honor his excellence in Tamil poetry and
he was widely known by his titles. Bharathidasan works
were nationalized meaning brought into public domain[2] in
1991 by the then Chief Minister of Tamil Nadu M.
Karunanidhi. Bharathidasan's works can be found at the
open access Tamil literature repository Project Madurai.
He was awarded the Sahitya Academy Award posthumously
for his Tamil ‘Arivai virivu sei, agandamakku’ meaning
“Expand knowledge – make it universal”. Named after this
great poet, it has been Bharathidasan institute of
management's endeavour to expand and universalize
knowledge.
Named after the revolutionary poet Bharathidasan, the
Bharathidasan University was set up in 1982 as an offshoot
of the University of Madras. The motto of the University “We
will create a brave new world” has been framed from
Bharathidasan’s poetic words “Puthiyathor Ulagam
Seivom”.The University endeavors to be true to such a
vision by creating in the region a brave new world of
academic innovation for social change.
21 i) Explain about Language families in India and elucidate U CO1 8

Tamil as classical language
The Dravidian languages are a family of languages spoken
by 250 million people, mainly in southern India, north-east
Sri Lanka, and south-west Pakistan. The Dravidian
languages are first attested in the 2nd century BCE, as
Tamil-Brahmi script, inscribed on the cave walls in the
Madurai and Tirunelveli districts of Tamil Nadu. The
Dravidian languages with the most speakers are Telugu,
Tamil, Kannada and Malayalam, all of which have long
literary traditions. Smaller literary languageare Tulu and
Kodava. There are also a number of Dravidian-speaking
scheduled tribes, such as the Kurukh in Eastern India and
Gondi in Central India.
Tamil- தமிழ் is a Dravidian language natively spoken by
the Tamil people of South Asia. Tamil is an official
language of the Indian state of Tamil Nadu, the sovereign
nations of Sri Lanka and Singapore, and the Indian Union
territory of Puducherry. Tamil is also spoken by significant
minorities in the four other South Indian states
of Kerala, Karnataka, Andhra Pradesh and Telangana, and

the Union Territory of the Andaman and Nicobar Islands. It is
also spoken by the Tamil diaspora found in many countries
including Malaysia, Myanmar, South Africa, United Kingdom,
United States, Canada, Australia.
According to Hindu legend, Mother Tamil was created by

Lord Shiva. Murugan, revered as the Tamil God, along with
sage Agastya, brought it to the people.
inner),and puram (புறம், outer). The akam poetry is about
emotions and feelings. The puram poetry is about exploits
and heroic deeds in the context of war and public life
Approximately three-fourths of the Sangam poetry is akam
themed, and about one fourth is puram.
Sangam literature, both akam and puram, can be subclassified into

other minor genre called tiṇai (திணை). These are: kurinchi,
mountainous regions; mullai, pastoral forests; marutam, river and
agricultural land; neytal , coastal regions; palai.
ii) Elucidate in detail Old Tamil, Middle Tamil and Modern U CO1 8
Tamil
Old Tamil
Old Tamil is the period of the Tamil language spanning the
3rd century BC to the 8th century AD. The earliest records in
Old Tamil are short inscriptions from 300 BC to 700 AD.
These inscriptions are written in a variant of the Brahmi
script called Tamil-Brahmi. The earliest long text in Old
Tamil is the Tolkāppiyam, Many literary works in Old Tamil
have also survived. These include a corpus of 2,381 poems
collectively known as Sangam literature.
Distributive Justice in Sangam Literature

the noble ones' is the earliest known literature of South
India. The Tamil tradition and legends link it to three literary
gatherings around Madurai .
Sangam literally means "gathering, meeting, fraternity,
academy". THe list of six anthologies of Tamil poems
• Netuntokai nanuru (400 long poems)
• Kuruntokai anuru (400 short poems)
• Narrinai (400 Tinai landscape poems)
• Purananuru (400 Outer poems)
• Ainkurunuru (500 very short poems)
• Patirruppattu (Ten Tens)
inner),and puram (புறம், outer). The akam poetry is about
emotions and feelings. The puram poetry is about exploits
and heroic deeds in the context of war and public life
Approximately three-fourths of the Sangam poetry is akam
themed, and about one fourth is puram.
Sangam literature, both akam and puram, can be

subclassified into other minor genre called tiṇai . These are:
kurinchi, mountainous regions; mullai, pastoral forests;
marutam, river and agricultural land; neytal , coastal regions;
palai.
Middle Tamil
Middle Tamil inscriptions in Vatteluttu script in stone
during Chola period Brahadeeswara temple in Thanjavur,
The evolution of Old Tamil into Middle Tamil, which is
generally taken to have completed by the 8th century, was
characterized by a number of phonological and grammatical
changes. In phonological terms, the most important shifts
were the virtual disappearance of the aytam (ஃ)
Modern Tamil
Contact with European languages affected written and
spoken Tamil.
22 i) How Thirukkural guide peolpe to approach higher authorities U CO1 8

, decision making and leadership.
1) Approach towards the higher authorities.
In modern days, in any Management, the heirarchy is

playing an important role.
Heirarchy is the system of executives or officials arranged
one above another.Those who are in the above level enjoy
more powers and perks.
Heirarchy can typically be depicted as a pyramid where the
height represents the level's status. The approach of the
lower status to the higher status is beautifully explained by
Thiruvalluvar with an example.
In a cold weather, a person is sitting in front of a fire. If he

goes too close, he will be hurt by overheat, if he moves far
away, he will not get the required warmth, he has to sit in an
apt place. He should not go too far or too close.
This example is applicable to all those who work under

higher authorities.
Those who are working close to them, should not take the
advantage of their closeness and go too nearer. If
displeased, it will lead to undesirable results. At the same
time moving too far is also not advisable because, that will
end in being branded ' inefficient ' or ' incapable'.
In modern days, those who are very close to political
elements, when misunderstanding develops, face severe
consequences.
Persons in king's service, should neither go too close

nor too far,
they should remain like people who sit in an apt place
beside the fire for warmth ( Kural 691)
2. Decision Making
Whether an individual or a family or a firm or a country, decision
making is a tough task. Sometimes crucial decision making
becomes nerve rocking leading to mental trauma.
Weighing the advantages and disadvantages of a decision is very

important, several strategies are to be adopted before arriving at a
final decision. The risk involved in the final decision should be
foreseen and analyzed.
If a problem is turned into an opportunity and properly tackled, it

leads to victory.
Thiruvalluvar says that any decision should be made after a deep

thinking. Later there should not be any attempt to reconsider the
decision that was made.The decision once finally made should be
executed immediately without delay
Today, decision making is made into a science with techniques like

grid analysis, paired analysis etc. Through Brainstorming
techniques, the strength, weakness and opportunities are
discussed and the best decision is selected.
ii) Explain about the Alwars and Nayanmars of Tamilnadu U CO1 8

The Bhakti movement in South India
The development of the popular Bhakti movement took
place in south India between the 7th and 12th centuries CE.
It was based on religious equality and broad-based social
participation. The Shivaite Nayannars and the Vaishnavaite
Alvars, who preached the Bhakti cult under the Pallavas,
Pandyas and Cholas disregarded the austerities preached
by the Jains and the Buddhists. They preached personal
devotion to God as a means of salvation. They disregarded
the rigidities of the caste system and carried the message of
love and personal devotion to God to various parts of South
India with the help of local languages.
Alvars and Nayanars of Tamil Nadu

The Alvars and Nayanars led some of the earliest Bhakti
movements (c. sixth century).
• Alvars – those who are “immersed” in devotion to Vishnu.
• Nayanars – those who are devotees of Shiva.
• They travelled from place to place singing hymns in Tamil
praising their gods.
• The Alvars and Nayanars initiated a movement of protest
against the
caste system and the dominance of Brahmanas or at least
attempted to
reform the system. This is supported by the fact that bhaktas
or disciples hailed from diverse social backgrounds ranging
from Brahmanas to
artisans and cultivators and even from castes considered
“untouchable”.
• The Nalayira Divya Prabandham (“Four Thousand Sacred
Compositions”) is one of the major anthologies of
compositions of the 12 Alvars collected and compiled in the
10th century by Nathamuni.
• Tevaram – a collection of the first seven volumes of
Tirumurai (Saiva devotional poetry) contains the work of
Tamil poets – Appar, Sambandar, and Sundarar.
23 i) Explain the literary contribution of Bharathiyar in Tamil U CO1 8

C. Subramania Bharathi was a Tamil writer, poet, journalist,
Indian independence activist, social reformer and polyglot.
He was bestowed the title "Bharathi" for his excellence in
poetry. He was a pioneer of modern Tamil poetry and is
considered one of the greatest Tamil literary figures
of all time. He is popularly known by his mononymous title
"Bharathi/ Bharathiyaar," and also by the other title
"Mahakavi Bharathi" ("the great poet Bharathi"). His
numerous works included fiery songs kindling patriotism
during the Indian Independence movement. He fought for
the emancipation of women, against child marriage,
vehemently opposed the caste system, and stood for
reforming society and religion. He was also in solidarity with
Dalits and Muslims.
• Born in Ettayapuram of Tirunelveli district (present-day
Thoothukudi) in 1882, Bharathi had his early education in
Tirunelveli and Varanasi and worked as a journalist with
many newspapers, including The Hindu, Bala Bharata,
Vijaya, Chakravarthini, the Swadesamitran and India. In
1908, an arrest warrant was issued against Bharathi by the
government of British India caused him to move to
Pondicherry where he lived until 1918.
• His influence on Tamil literature is phenomenal, although it
is said that he was proficient in around 32 including 3 non-
Indian foreign languages. His favorite language was Tamil.
He was prolific in his output. He covered political, social and
spiritual themes. The songs and poems composed by
Bharathi are very often used in Tamil cinema and have
become staples in the literary and musical repertoire of
Tamil artistes throughout the world. He paved the way for
modern blank verse. He wrote many books and poems on
how Tamil is beautiful in nature
• Bharathi's poetry not only includes works on Hindu deities
like Shakti, Kali, Vinayagar, Murugan, Sivan,
Kannan(Krishna), but also on other religious gods like Allah
and Jesus. His insightful similes have been read by millions
of Tamil readers. He was well-versed in various languages
and translated speeches of Indian National reform leaders
like Sri Aurobindo, Bal Gangadhar Tilak and Swami
Vivekananda. Bharathi's works can be found at Tamil
Wikisource Subramaniya Bharathi and also at the open
access Tamil literature repository called Project Madurai.
Bharathi's works were nationalized meaning they were
brought under public ownership of the government thus
becoming public domain works in 1949 by the then Chief
Minister of Tamil Nadu, Omandur Ramasamy Reddy.
• It is the opinion of some litterateurs that Bharathiar's

Panchali Sapatham, based on the story of Panchali
(Draupadi), is also an ode to Bharat Mata. That the
Pandavas are the Indians, the Kauravas the British and the
Kurukshetra war of Mahabharat that of the Indian freedom
struggle. It certainly is ascribed to the rise of womanhood in
society
• He is known to have said, "Even if Indians are divided, they
are children of one Mother, where is the need for foreigners
to interfere?" In the period 1910–1920, he wrote about a
new and free India where there are no castes. He talks of
building up India's defense, her ships sailing the
high seas, success in manufacturing and universal
education. He calls for sharing amongst states with
wonderful imagery like the diversion of excess water of the
Bengal delta to needy regions and a bridge to Sri Lanka.
• Bharathi also wanted to abolish starvation. He sang, "Thani
oru manithanakku unavu illayenil intha jagaththinai
azhithiduvom" translated as " If one single man suffers from
starvation, we will destroy the entire world".
• Bharathi also fought against the caste system in Hindu
society. Bharathi was born in an orthodox Brahmin family,
but he considered all living beings to be equal, and to
illustrate this he performed the upanayanam for a young
Dalit man and made him a Brahmin. He also scorned the
divisive tendencies being imparted into the younger
generations by their elderly tutors during his time. He openly
criticised the preachers for mixing their individual thoughts
while teaching the Vedas, Upanishads and the Gita.
He strongly advocated bringing the Dalits to the Hindu
mainstream
ii) Explain the literary contribution of Bharathidasan in Tamil U CO1 8
Bharathidasan's writings served as a catalyst for the growth
of the Self-Respect Movement in Tamil Nadu. In addition to
poetry, his views found expression in other forms such as
plays, film scripts, short stories and essays. The
Government of Puducherry union territory has adopted the
song of Invocation to Mother Tamil, written by
Bharathidasan as the state song of
Puducherry (Tamil Thai Valthu (Puducherry))
Bharathidasan was an active participant in the Indian

independence movement. He opposed both the British
Rajand the French colonial government. He was
imprisoned for voicing his views against the French
Government that was ruling Pondicherry at that time.
Bharathidasan was a poet in his own right, writing
mostly on socio-political issues like women’s liberation,
rationalism, and against caste discrimination. He was greatly
influenced by the great rationalist leader and social reformer,
Periyar E. V. Ramaswami.
Bharathidasan became one of the key figures in the

Dravidian rationalist movement.] He was bestowed the titles
‘puratchi kavinjar’ (revolutionary poet) and 'paa vendhar'
(king of poetry) to honor his excellence in Tamil poetry and
he was widely known by his titles. Bharathidasan works
were nationalized meaning brought into public domain[2] in
1991 by the then Chief Minister of Tamil Nadu M.
Karunanidhi. Bharathidasan's works can be found at the
open access Tamil literature repository Project Madurai.
He was awarded the Sahitya Academy Award posthumously
for his Tamil ‘Arivai virivu sei, agandamakku’ meaning
“Expand knowledge – make it universal”. Named after this
great poet, it has been Bharathidasan institute of
management's endeavour to expand and universalize
knowledge.
Named after the revolutionary poet Bharathidasan, the
Bharathidasan University was set up in 1982 as an offshoot
of the University of Madras. The motto of the University “We
will create a brave new world” has been framed from
Bharathidasan’s poetic words “Puthiyathor Ulagam
Seivom”.The University endeavors to be true to such a
vision by creating in the region a brave new world of
academic innovation for social change.
24 i) Describe about the sculpture of Pallava period

Sculptures of the Pallavar period
The Pallavar period sculptures found in places like
Mamallapuram,
Kanchipuram, Trichy hill fort are with excellent
craftsmanship.The sculptures
of Mamallapura are the best evidence of Pallavar
sculpture.Sculptors of the
Pallavar period have proved to be skilled in carving the
image of an elephant.Kanchi Kailasanathar Temple is an art
gallery of wall sculptures.The Kanchi Vaikuntha Perumal
temple also has an abundance of Pallavar period
sculptures.Magabalipuram (Mamallapuram) Temple. U CO2 8
Mamallapuram is the only place where all four types of

sculpture can be found, Kudaivara Temple, Single Stone
Temples, Constructed Temples and Embossed Sculptures.
Carved out of a single rock, this temple is in the shape of a
chariot (chariot) so it is called Rathak Kovil. The place is
also known as Panchapandavar Rath as it has five chariots
The scene of Archuna penance, is on this rock. Archunan
Tapas, Rocks with Relief Sculptures The two rocks together
contain more than one hundred and fifty sculptures.
The water flowing between two rocks is called Agaya Ganga
ii) Explain about Hero Stone. U CO2 8

Hero stones, known as "Veerakkal" or "Naadukkal" in Tamil
culture, are a unique and ancient form of commemorative
sculpture. These stones are typically erected as a tribute to heroic
individuals, warriors, or soldiers who have died in battle or in acts
of valor. Hero stones are significant cultural artifacts that provide

insights into the martial history, social values, and artistic
expressions of the Tamil people.
Here are key features and aspects of hero stones in Tamil culture:
Purpose: Hero stones serve as memorial markers to honor

individuals who have sacrificed their lives in defense of
their community or kingdom. These individuals are often
portrayed as heroic figures, and the stones are erected to
commemorate their bravery and valor.
Symbolism: The sculptures on hero stones often depict scenes
from the life of the deceased individual. Common motifs
include images of the warrior in combat, scenes of battle,
and sometimes even the portrayal of the heroic act that led
to their death. Symbols of weaponry, horses, and other
elements associated with warfare are also common.
Inscriptions: Hero stones often bear inscriptions in Tamil script,
providing details about the individual commemorated, the
circumstances of their death, and sometimes the
achievements or virtues that made them heroic. These
inscriptions are valuable historical records and contribute to
our understanding of the cultural and social context of the
time.
Location: Hero stones are typically installed in public places,
near water bodies, or at the boundaries of villages. The
placement of these stones in public spaces ensures that the
heroic deeds of the individual are remembered and
acknowledged by the community.
Religious Influence: While hero stones are not religious in
nature, some may incorporate religious symbols or be
placed near temples. This reflects the interconnectedness of
martial and religious aspects in the cultural landscape.
Evolution of Form: The artistry of hero stones has evolved over
time. Early hero stones were relatively simple, but as the
tradition continued, the sculptures became more intricate
and detailed. The evolution of hero stones reflects changes
in artistic styles, societal values, and the importance placed
on commemorating heroic deeds.
Hero stones are an important cultural legacy in Tamil Nadu,
providing a tangible link to the martial history and valor of the
people. They stand as visual and symbolic testimonials to the
courage and sacrifice of individuals who played a crucial role in
safeguarding their communities and kingdoms.
Regenerate
A hero stone ( Naṭukal in Tamil) is a memorial

commemorating the honorable death of a hero in battle.
They often carry inscriptions and a variety of ornaments,
including bas relief panels, frieze, and figures in carved
stone. Usually they are in the form of a stone monument
and may have an inscription at the bottom with a narrative of
the battle. The belief among women is that if you worship
the middle stone every day, you will receive guests, and the
husband and the king will win in war, and the belief among
women that "If you worship the middle stone without fail,
there will be abundant rain. Due to the rain, the harshness of
the drought will be removed, and the trees will bloom and
blossom; therefore, the beetles will multiply in this deadly
drought; the wealth will increase" among the people.
25 i) Paraphrase - Thiruvalluvar Statue at Kanyakumari . U CO2 8

The Thiruvalluvar Statue, or the Valluvar Statue, is a 41-
metre-tall (133 ft) stone sculpture of the Tamil poet and
philosopher Valluvar, author of the Tirukkural, an ancient
Tamil work on Dharma and morality. It is located atop a
small island near the town of Kanniyakumari on the
southernmost point of the Indian peninsula on the
Coromandel Coast, where two seas (the Bay of Bengal and
the Arabian Sea) and an ocean (the Indian Ocean) meet.
The statue was sculpted by the Indian sculptor V. Ganapati
Sthapati, who also created the Iraivan Temple, and was
unveiled on the millennium day of 1 January 2000 by the
then Chief Minister M. Karunanidhi. It is currently the 25th
tallest statue in India. The monument was hit by the Indian
Ocean tsunami on 26 December 2004 but stood unaffected.
ii) Describe the lifestyle of tribes and their handicrafts.

U CO2 8
26 i) Discuss the importance of Massive Terracota sculptures.

Terracotta Art in Tamil Nadu is basically famous for the
splendid six metre high horses. Shrines to Ayanaar are very
common in the state of Tamil Nadu. In the temples of
Ayanaar life-sized terracotta horses have been placed at the
shrines to provide transportation for Ayanaar's spirit soldiers,
enabling them to travel through the villages and fields at
night to right against evil. The custom in Tamil Nadu is that U CO2 8
after the festival the terracottas are left at the shrine where
they will remain to become eroded through time, their
function of being presented to and accepted by god
completed. The shrines represent a kind of graveyard of
offered horses, elephants, bulls and figures which arc
pushed back each year to make space for new donations.
ii) Classify the various musical instruments and their making U CO2 8
methods.
The mridangam is a double-sided drum whose body is
usually made using a hollowed piece of jackfruit wood about
an inch thick. The two mouths or apertures of the drum are
covered with a goatskin and laced to each other with leather
straps along the length of the drum. These straps are put
into a state of high tension to stretch out the circular
membranes on either side of the hull, allowing them to
resonate when struck. These two membranes are dissimilar
in diameter to allow for the production of both bass and
treble sounds from the same drum.
The nadasvaram contains three parts namely, kuḻal, thimiru,

and anasu. It is a double reed instrument with a conical bore
which gradually enlarges toward the lower end. The top
portion has a metal staple (mel anaichu) into which is
inserted a small metallic cylinder (kendai) which carries the
mouthpiece made of reed. Besides spare reeds, a small
ivory or horn needle is attached to the instrument, and used
to clear the reed of saliva and other debris and allows free
passage of air. A metallic bell (keeḻ anaichu) forms the
bottom end of the instrument.
The parai is a traditional Tamil frame drum about 35

centimeters in diameter, used in the parai attam dance. It
consists of a shallow ring of wood, covered on one side with
a stretched cowhide that is glued to the wooden frame. The
preferred wood is neem wood, although other types may be
used. The shell is made up of three pieces of wood each in
the shape of an arc, held together by three metal plates. The
parai is played with two sticks.
The South Indian Saraswati veena, used in Carnatic

classical music, is a lute. It is a long-necked, pear-shaped
lute, but instead of the lower gourd of the North Indian
design, it has a pear-shaped wooden piece. However it, too,
has 24 frets, four melody strings, and three drone strings,
and is played similarly. It remains an important and popular
string instrument in classical Carnatic music,the instruments
were built between 1 and 3 feet tall. Strings made of goat
intestines were stretched and shaped to differing
thicknesses for different notes. Bodies were carved from
local woods, including emmaram (red wood) or pala maram
(jackfruit) wood, and today red cedar is used. Soundboards
were made of goatskin, glued to the body with a paste made
of tamarind seeds. The sound bar beneath the soundboard,
which the strings anchor to, was glued to the instrument's
body with a lacquer called Arakku.
27 i) Is tamil a classical Language?.If so justify with the qualities

U CO1 8
of a classical language
ii) Elaborate the development of modern Literature in Tamil. U CO1 8
Old Tamil is the period of the Tamil language spanning the
3rd century BC to the 8th century AD. The earliest records in
Old Tamil are short inscriptions from 300 BC to 700 AD.
These inscriptions are written in a variant of the Brahmi
script called Tamil-Brahmi. The earliest long text in Old
Tamil is the Tolkāppiyam, Many literary works in Old Tamil
have also survived. These include a corpus of 2,381 poems
collectively known as Sangam literature.
Middle Tamil
Middle Tamil inscriptions in Vatteluttu script in stone during
Chola period Brahadeeswara temple in Thanjavur, The
evolution of Old Tamil into Middle Tamil, which is generally
taken to have been completed by the 8th century, was
characterised by a number of phonological and grammatical
changes. In phonological terms, the most important shifts
were the virtual disappearance of the aytam (ஃ)
Modern Tamil Contact with European languages affected

written and spoken Tamil.
akam themed, and about one fourth is puram.
28 i) Discuss in detail about Education and Literacy during
Sangam Age in Tamilnadu.
U CO1 10

akam themed, and about one fourth is puram.[29] Sangam
literature, both akam and puram, can be subclassified into
seven minor genre called tiṇai (திணை). These are: kuṟiñci
(குறிஞ்சி), mountainous regions; mullai (முல்ணல),
pastoral forests; marutam (மருதம்), riverine agricultural
land; neytal (நெய்தல்) coastal regions; pālai (பாணல) arid.
ii) Compare Silapathikaram and Manimegalai. U CO1 6
Cilappatikāram is a tragic love story of a wealthy couple,
Kannaki and her husband Kovalan.[19] It is set in
Poompuhar a seaport city of the early Chola kingdom.
Kannaki and Kovalan are a newly married couple, blissfully
in love.[20] Over time, Kovalan meets Madhavi – a
courtesan and falls for her, leaves Kannaki and moves in
with Madhavi. He spends lavishly on her. Kannaki is
heartbroken, but as the chaste woman, she waits despite
her husband's unfaithfulness. During the festival for Indra,
the rain god, there is a poem recital competition.[20]
Kovalan recites a poem about a woman who hurt her lover.
Madhavi then recites a song about a man who betrayed his
lover. Each interprets the song as a message to the other.
Kovalan feels Madhavi is unfaithful to him, leaves her,
returns to Kannaki Kovalan is poor, they move to Madurai,
and try to restart their life. Kannaki gives him one from her
pair of jeweled anklets to sell and raise capital.[20] Kovalan
sells it to a merchant who grows suspicious of the stranger
and falsely accuses of theft of the queen' jeweled anklet
which is also missing. The king orders his execution,
hurrying the checks and processes of justice. Kannaki learns
what has happened. She protests the injustice and then
proves Kovalan's innocence by breaking the remaining
anklet of the pair in the court . The king accepts his mistake.
Kannaki curses the king and the people of Madurai, tears off
her left breast and throws it at the gathered public. The king
dies of heartbreak and the city of Madurai is burnt to the
ground. In the third section of the epic, gods and goddesses
meet Kannaki and she goes to heaven with god Indra. The
royal family of the Chera kingdom learns about her, resolves
to build a temple with Kannaki as the featured goddess.
They go to the Himalayas, bring a stone, carve her image,
call her goddess Pattini, dedicate a temple, order daily
prayers, and perform a royal sacrifice.
Manimekalai
Manimekalai,is the daughter of Kovalan and Madhavi, who
follows in her mother's footsteps as a dancer and a Buddhist
nun. The epic tells her story. Her physical beauty and artistic
achievements seduces the Chola prince Udhayakumara.]
He pursues her. She, a nun of Mahayana Buddhism
persuasion, is committed to free herself from human ties.
She rejects his advances, yet finds herself drawn to him.
She hides, prays and seeks the help of her mother, her
Buddhist teacher Aravana Adikal and angels. They teach
her Buddhist mantras to free herself from fears. One angel
helps her magically disappear to an island
while the prince tries to chase her, grants her powers to
change forms and appear as someone else. On the island,
she receives a magic begging bowl. Later, she takes the
form and dress of a married woman in the neighborhood, as
the prince pursues her. The husband sees the prince tease
her, and protects "his wife" – Manimekalai-in-hiding – by
killing the prince. The king and queen learn of their son's
death, order the arrest of Manimekalai, arrange a henchman
to kill her. Angels intervene and Manimekalai miraculously
disappears as others approach her, again. The queen
understands and repents. Manimekalai is set free.
Manimekalai converts the prison into a hospice to help the
needy, teaches the king the dharma of the Buddha.[24] In
the final five cantos of the epic, Buddhist teachers recite
main doctrines of Buddhism. She goes to goddess Kannaki
temple in Vanci (Chera kingdom), prays, listens to different
religious scholars, and practices severe self-denial to attain
Nirvana.
29 i) Explain the role of temples in Social and economic life of U CO2 8
Tamils.
Hindu temples served as nuclei of important social,
economic, artistic and intellectual functions in ancient and
medieval India. South Indian temples managed regional
development function, such as irrigation projects, land
reclamation, post-disaster relief and recovery. These
activities were paid for by
the donations (melvarum) they collected from devotees.
According to James Heitzman, these donations came from a
wide spectrum of the Indian society, ranging from kings,
queens, officials in the kingdom to merchants, priests and
shepherds.[84] Temples also managed lands endowed to it
by its devotees upon their death. They would provide
employment to the poorest.[85] Some temples had large
treasury, with gold and silver coins, and these temples
served as banks
. Hindu temples over time became wealthy from grants and
donations from royal patrons as well as private individuals.
Major temples became employers and patrons of economic
activity. They sponsored land reclamation and infrastructure
improvements, states Michell, including building facilities
such as water tanks, irrigation canals and new roads.[87] A
very detailed early record from 1101 lists over 600
employees (excluding the priests) of the Brihadisvara
Temple, Thanjavur, still one of the largest temples in Tamil
Nadu. Most worked part-time and received the use of temple
farmland as reward.[87] For those thus employed by the
temple, according to Michell, "some gratuitous services were
usually considered obligatory, such as dragging the temple
chariots on festival occasions and helping when a large
building project was undertaken".[87] Temples also acted as
refuge during times of political unrest and danger.[87] In
contemporary times, the process of building a Hindu temple
by emigrants and diasporas from South Asia has also
served as a process of building a community, a social venue
to network, reduce prejudice and seek civil rights together
ii) Categorize the methods and processes involved in making U CO2 8

craft articles.
Gather Materials:
● Identify and collect all the necessary materials and
tools for your project. This can include paper, fabric,
wood, paint, glue, scissors, needles, etc.
Prepare Your Workspace:
● Set up a clean and well-lit workspace with enough
room to work comfortably.
● Cover your work surface to protect it from glue,
paint, or other potential messes.
Cutting and Shaping:
● Use appropriate tools to cut and shape your
materials. For example, you might need scissors, a
craft knife, or woodworking tools.
Assembly:
● Follow your design to assemble the pieces together.
This could involve sewing, gluing, nailing, or other
methods depending on the materials.
Decoration:
● Add any desired decorative elements, such as
painting, stenciling, embroidery, or embellishments.
Finishing:
● Inspect your craft article and make any necessary
adjustments or corrections.
● Add any finishing touches, like varnishing or sealing
the item to protect it and enhance its appearance.
30 i) Enumerate the special characteristics of Tanjore Bobble U CO2 8
head Doll.
The Thanjavur doll is a type of traditional Indian bobblehead or roly-
poly toy made of terracotta material. The centre of gravity and total
weight of the doll is concentrated at its bottom-most point, generating
[1]
a dance-like continuous movement with slow oscillations. These
toys are traditionally handmade, finished with detailed, painted
exteriors. They have been recognized as a Geographical Indication
by the Government of India as of 2008-09.
There are several different types of Thanjavur dolls, including

●
dolls representing Hindu deities, royal figures, and characters
from classical Indian literature and mythology. These dolls are
made by skilled artisans who use traditional techniques to create
the clay forms and dress them in hand-embroidered garments.
The dolls are then painted and adorned with jewelry and other
decorative elements. The process of creating a Thanjavur doll
can take several days or even weeks, depending on the
complexity of the design.
It is a type of handmade doll which is made using traditional

●
methods using very less mechanical tools. Special feature which
differentiates this doll from others is its bobble head and roly
poly structure. Doll’s head is larger than its body, hence it moves
likes a pendulum and do no fall sideways.
Thanjavur doll are basically made using terracotta and are purely
●
handmade and hand painted by skilled artists. The dolls and toys
are given multiple shapes, sizes, colours and styles by these
artists to represent various traditional dance forms like
Bharatanatyam, Kathakali and Manupuri, etc. There are 4 different
part of the doll which gives them their unique movement: legs,
head, upper body and lower body.
ii) Differentiate between the Sculptures of the Pandya period

and Pallava period.
Sculptures of the Pallavar period The Pallavar period
sculptures found in places like Mamallapuram,
Kanchipuram, Trichy hill fort are with excellent
craftsmanship.The sculptures of Mamallapura are the best
evidence of Pallavar sculpture.Sculptors of the Pallavar
period have proved to be skilled in carving the image of an
elephant.Kanchi Kailasanathar Temple is an art gallery of
wall sculptures.The
Kanchi Vaikuntha Perumal temple also has an abundance of
Pallavar period sculptures.Magabalipuram (Mamallapuram)
Temple Mamallapuram is the only place where all four types
of sculpture can be found, Kudaivara Temple, Single Stone
U CO2 8
Temples, Constructed Temples and Embossed Sculptures.
Carved out of a single rock, this temple is in the shape of a
chariot (chariot) so it is called Rathak Kovil. The place is
also known as Panchapandavar Rath as it has five chariots
The scene of Archuna penance, is on this rock. Archunan
Tapas, Rocks with Relief Sculptures The two rocks together
contain more than one hundred and fifty sculptures. The
water flowing between two rocks is called Agaya Ganga
Sculptures of the Pandya period Cave temples built during
the Pandya period are rich in sculptures. They can be found
in temples at Thirumayam, Pilliyarpatti, Kunrakkudi,
Tiruparangunram etc. Sculptures at Kalgukumalai Ketuvan
temple to the west of Kovilpatti are also evidences of
Pandya period sculpture.

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SRI KRISHNA COLLEGE OF TECHNOLOGY

Class Course Code Course Title Date

Part – A (9 x 2 = 18 Marks) RBT CO Marks

Tamil Language is as old as Latin.Tamil has the most independent

2 Name the great Tamil work that speaks volumes on ethics.

Thirukkural” authored by Thiruvalluvar.

and Kamathuppal(ethics, polity and love). Thirukural has 1330 kurals.

3 Name the five great Epics of Tamil literature?

1. Silappathikaram authored by Ilango atikal U CO1 2

5 State the four main language families in India?

. Indo- Aryan Language Family

2. Dravidian Language Family U CO1 2

4. Sino-Tibetan Language Family

6 Mention any two literary works of Bharathiyar and Bharathidasan.

8 Give any two literatures contributed by Jains to Tamil.

1.Silappathikaram authored by Ilango atikal U CO1 2

9 Discuss Sangam Literature.

10 Explain the periods of Sangam literature.

The First Sangam, is believed to be held at Madurai, attended by

The Second Sangam was held at Kapadapuram, only Tolkappiyam

11 Mention the five Thinais of Sangam literature.

12 Name any two women poets of the Sangam period.

13 Define uniqueness about Tamil Classical Literature.

14 Tamil has the most independent tradition. Discuss.

34 Mention any two types of “Sittrilakkiyam “ .

Part – B (5 x 16 = 80 Marks) RBT CO Marks

i) Rock art, drawing, painting, or similar work on or of stone,

Rock artists used a number of techniques and materials. To

ii)The village deities of Southern India are the numerous

Village deities, also known as local or folk deities, are

Characteristics of village deities can vary widely, but they

1. Place-Specific: Village deities are tied to specific

“India” was the first paper in Tamil Nadu to publish political

was released by the Postal Department in Chennai.

about the society, religions, culture and academic life of

The five epics are Silappatikāram, Manimekalai, Cīvaka

Cintāmaṇi, Valayapathi and Kuṇṭalakēci. These five epics

Cilappatikāram is a tragic love story of a wealthy couple,

Manimekalai,is the daughter of Kovalan and Madhavi, who

Later, she takes the form and dress of a married woman in

Buddhist teachers recite main doctrines of Buddhism. She

Cīvaka Cintāmaṇi, an epic of the 10th century CE was

ii) Discuss the role of Temples in the socio economic life of

ii) Enumerate the special characteristics of Massive Terracota U CO2 8

6 i) List out the musical instruments used in Sangam Period. U CO2 8

Tamil musical instruments are divided into two parts.

Tapping Instruments are a group of musical instruments

Tribal crafts can be assorted into definite classes:

â€¢ Basketry, mats, cane work

â€¢ Tools for hunting, fishing and agriculture

â€¢ Musical instruments

â€¢ Iron smithy and metal work

Crafts of the Todas

Indian tribes have rich craft traditions which are as diversified

Crafts of the Irulas

The Irulas, yet another tribe creating history in Indian tribal

Crafts of the Kotas

Indian tribal crafts rests heavily on the Kotas, legendary as

The position of women during the Sangam age was

Unmarried women worshipped Lord Muruga to find a

According to ‘Aganaanuru,’ Sangam women excelled in

In terms of education, men and women were treated

Mothers of the Sangam era were courageous enough to