Musical Instruments in Ancient Tamil Country

String Instruments: The harp (Yal) was the main and important String Instrument of ancient age. The Peri Yal with 21 strings and Ciri Yal with 7 strings played by the Perumpanar and Cirupanar respectively are mentioned in this work. There were four kinds of Yal, namely, Peri Yal with 21 strings, Makara Yal with 19 strings, Cakota Yal with 14 strings and Cenkottu Yal with seven strings. The story of Tirunilakanta Nayanar breaking his "Yal" because it could not correctly reproduce vocal music can be taken as evidence to confirm that only straight notes or tunes could be played on the harp. We also note that the instruments were used to follow particular melodies and tunes. Musicologists of that period were familiar with the seven notes of the gamut although the evolution of the ragas had not passed much beyond the Murcchana classification system. Wind instruments: The flute (Kulal) was the most popular among the wind instruments. The various types of wind instruments are mentioned below. a) Pili, a small trumpet also called Cirucinnam, b) Kotu or Kompu, c) Kanvitutumpu - This has a larger circumference than flute and is supposed to have been as long as the trunk of an elephant. 1 d) Kuruntumpu - a small flute. The pitch of this was supposed to be "Ili" or Pancamam. The ordinary flute also acted as a drone in addition to producing sweet music.

235 Percussion Instruments: The drums were commonly called Parai. Among percussion instruments, Parai seems to have been very popular. It was used to convey messages to the public. The Parai had a loud sound and this was considered very auspicious. The Capparai was used for during death ceremonies. Percussion instruments and drums, are used for different occasions like battle, sacrifice, wedding, funeral and other festivals. They can be classified under the following heads: Aka Mulavu Akappura Mulavu Pura Mulavu Purappura Mulavu Pannamai Mulavu Nam Mulavu Mattalam, Etakkai, Callikai, KaraTikai, Berikai, Patakam & Kutamula. Tannumai, Takuniccam and Takkai. Kanaparai etc Neytaparai etc 4 kinds of Vira Mulavu namely, Muran, Nicalam, Tuti and Timilai. Nezhigaiparai. Of the various percussion instruments referred, the Muracu was the most popular and used on all occasions. During festivals, Muracu was played all day as it conveyed joy and gaiety. The Muracu seemed to have been as important as a national flag as the victorious king always captured the Muracu of the defeated king. The Por Muracu or war drum was a very important instrument, which was played in the battlefield to frighten enemies and also infuse courage and enthusiasm in the hearts of the warriors, occupied a very respectable status. The sound of Muracu is compared to the sound of the waterfalls. In literary works, there is mention of the Viraliyar playing the Ciri Yal and also dancing to the Talam played by the hand on the Mulavu that has Marccanai on the drum face.

236 Tolkappiyam, the earliest available work, belongs to the second Cankam period. The available works reveal that the arts, especially music and dance, were part of the Tamil s' life. References to music and dance are to be found in all these Cankam works, though their main topics are varied. Tolkappiyam speaks of music as that which blends with musical instruments as seen below. icaippu icai akum icaippu icai akum Tolkappiyam II-8-12 Each region has its own identity like its God, food, animal, tree, drink, drum (parai), occupation, lute (yal) respectively. OlgilloILD 2600 TTQL LDTT LDTJLD LG L 60 ceyti yalin pakutiyotu tokai teyvam unave ma maram pul parai ceyti yalin pakutiyotu tokai Tolkappiyam III-1-20 The concept of bifurcation of the land in to fivefold, its deity, its drum, its Pan, which has been discussed before, can be seen mentioned in Tolkappiyam in the following verses. mutalotu punarnta yalor menataval arun cirappin ainnilam perume mutalotu punarnta yalor menataval arun cirappin innilam perume Tolkappiyam III-3-16

237 Tolkappiyam refers to the mode of production of sound as "Akattelu Vali Icai". This is the primordial sound that originates from 'muladhara' and sounds musical. (The great composer Tyagaraja has also echoed this thought in many of his compositions, with special reference to the Caranam of the krti, 'Moksamu Galada' in Raga Saramati.) annam cernta mitarru elu vali icai annam cernta mitrru elu vali isai Tolkappiyam 1-3-17 akattu elu vali icai aril tapa nati akattu elu vali isai aril tapa nati Tolkappiyam 1-3-20 Tolkappiyar mentions a musical form called 'Pattu Vannam'. He has given about 20 different types of Vannams, probably classified on the basis of the letters of the alphabet in each of those. vannam tame nal aintu enpa vannam tame nal aintu enpa Tolkappiyam III-8-204 Pancamarapu, a musical treatise belonged to the third Cankam period. Atiyarkku Nallar, who wrote a commentary on Cilappatikaram, has quoted extracts from verses of the Cankam works. Except for these two works, others are known only through references.

238 Some references from Pattupattu are given below. In Porunararruppatai, the drum is mentioned as Muracu in the following reference. The Drums roared giving the impression of royal court. muracu mulanku tanai muvarunkuti aracavai yirunta torram pola muracu mulamku tanai muvarunkuti aracavai yirunta torram pola Pattupattu-2 (Porunar Arruppatai -55) The process of making holes in the flute is explained in Perumpanarruppatai. The holes were bored on the bamboo firmly by placing a burning log at required intervals. below. effect. nelikor konta peruviral centit totta karuntulaik kulali nelikor konta peruviral centit totta karuntulaik kulali Pattupattu-4 (Perumpanarruppatai lines -178,179) The excellent playing of the drum (Ariparai) is refered in the line vankai vinainar ariparaiyin kural vankai vinainar ariparaiyin kural Pattupattu-6 (Maturaikanci line - 262) The drum (muracu) combines with the music giving the desired innicai muracamitaippulat toliyap panmarottip peyarpuram perru innisai muracamitaippulat tholiyap panmarotip peyarpuram perru Pattupattu-6 (Maturaikanci line -350)

239 The Kurincipattu refers to a drum (Tattai) being used by peasant women to scare the pigeons and parrots from the field along with another drum called Kulir. tattaiyun kulirum piravun kilikati marapin tattaiyun kulirum piravun kilikati marapin Pattupattu-8 (Kurincipattu line -43) There is a reference in Kurincipattu to shepherds standing at different places and playing Ampal Pan on the flute. koval rampalan tinkular relvili payirra vampalayital koval rompalan tinkular relvili payirra vamplayital Pattupattu-8 (Kurincipattu line -222) There are references in Pattinappalai to Kulal, Yal, Mulavu and Muracu accompanying girls when they dance fiercefully. veriyatu makalirotu ceriyat ta'ayk kulalakava yalmurala mulavatira muraciyampa veriyatu makalirotu ceriyat taayk kulalakava yalmurala mulavatira muraciyampa Pattupattu-9 (Pattinappalai - 155 to 157)

240 Malaipatukatam refers to the construction and tuning of Muracu. The sides were covered with skin, which were kept in position by leather straps. It also refers to Pili - a small trumpet, Kanvitutumpu - has a larger circumference than flute and is supposed to have been as long as the trunk of an elephant, Kuruntumpu - a small flute, Kulal - the flute, Tattai - the castanets, Ellari, Mulavu and Akull - three types of drums, Pantil - the Ghana Vadyam that is made of bronze. minnirum pili anittalaik kottotu kannitai vitutta kalirruyirt tumpin ilippayir imirum kurumparan tumpotu vilippatu kavarum tinkulal tutai i natuvunin ricaikkum arikkural tattai katikavar polikkum valvay ellari tin var vicitta mulavotakuli tannuruk kurra vilankatap pantil minnirum pili anittalaik kottotu kannidai vitutta kalirruyirt tumpin ilipayir kavarum tinkulal tutai e naduvunin ricaikkum arikkural tattai katikavar polikkum valvay ellari tin var vicitta mulavotakuli tannuruk kurra vilankatap pantil Pattupattu-10 (Malaipatukatamto 10)

241 Malaipatukatam refers to Panripparai was sounded to drive away pigs, from the plantations. The Drum that is beaten to drive away the pigs are played along with the anklets, which created nice amalgamation of sounds. panrip paraiyun kunrakac cilampum enriv vanaittum iyaintorun kinti avalavu micaiyavun tuvanrip palavutan alakait tavirtta ennarun tiratta malaipatu kata'a matirat tiyampa panrip paraiyun kunrakac cilampum enriv vanaittum iyaintorun kintti avalavu micaiyavun tuvanrip palavutan alakait tavirtta ennarun tiratta malaipatu kataa matirat tiyampa Pattupattu-10 (Malaipatukatam-350) The tinkling sound of the drum along with anklets giving a chiming tone is also similarly found in Kamparamayanam. talanku periyin aravamum, putuk kutalaiyar nupurak kuralum talanku periyin aravamum, putuk kutalaiyar nupurak kuralum Kamparamayanam-Suntara Kantam- Urtetu Patalam-13

242 Some references from Ettutokai are given below. The Kotukotti dance is exemplifying various emotions along with various drums (parais). patuparai pala iyampap, pal uruvam peyarttu ni kotukotti atumkal patuparai pala iyampap, pal uruvam peyarttu ni koTukotti atumkal Ettutokai (Kalittokai-1) The Music is highlighted with the pleasing sounds of string (narampu) and wind (kulal) instruments. narampin tim kural nirukkum kulal pola iranku icai mininotu tumpi tutu uta narampin tim kural nirkkum kulal pola iranku icai mininotu tumpi tutu uta Ettutokai (Kalittokai-33) The sound of the drum (muracu) surrounds the whole country. natu kontu in icai muracin poruppan natu kontu in icai muracin poruppan Ettutokai (Kalittokai-105) The tuned harp (yal) when played aesthetically helps in focusing the mind during prayer time. cevvali nalyal icaiyiyen paiyenak katavul valttip paiyul meyn niruttu cevvali nalyal icaiyiyen paiyenak katavul valttip paiyul mein niruttu Ettutokai-Akananuru-14 (1-Kalirriyanai Nirai-lines 15,16)

243 The intense blowing of the small flute (cirukulal) is good to ears. kallak kovalar utum valvay cirukulal varuttakkale kallak kovalar utum valvay cirukulal varuttakkale Ettutokai-Akananuru-74 (1-Kalirriyanai Nirai-lines 16,17) The drum (muracu) is beaten when the enemies ran away showing their back after being defeated. irankicai muracam oliyapparantu avar otupuram kanta nanrai irankicai muracam oliyapparantu avar otupuram kanta nanrai Ettutokai-Akananuru-116 (1-Kalirriyanai Nirai-lines 17,18) The blending of the song (pattu) accompanied with befitting string (narampu) and percussion (mulavu) instruments will cause a harmonious effect. pattotu piracama mulavuccer narampin im'mena imirum pattotu piracama mulavuccer narampin immena imirum Ettutokai-Akananuru-318 (1-Kalirriyanai Nirai-lines 5,6) The lute (yal) is played along to instil confidence. yalicai marukin pali ankan yalicai marukin pali ankan Ettutokai-Akananuru-396 (1-Kalirriyanai Nirai-lines 5,6)

244 The ensemble (palliyam) where the instruments (tumpu, mulavu and cillari) blend with each other is compared with the union of the male and female elephants. cerinataip pitiyotu kaliru punarnticaippak kurunetun tumpotu mulavuppunarnticaippak karval mulakkin nirmicait tevuttum terai oliyin manac cir amaittu cillari karankum ciru palliyatotu cerinataip pitiyotu kaliru punarnticaippak kurunetun tumpotu mulavuppunarnticaippak karval mulakkin nirmicait tevuttum terai oliyin manac cir amaittu cillari karankum ciru palliyatotu Ettutokai-Akananuru-301 (3-Nittilakkovai-lines 16-20) The Singers (Panars) with the harp (Ciriyal), that is seasoned is mentioned here. arunturai murriya karunkottucciriyalp panar arppappalkalam utavi arunturai murriya karunkottucciriyalp panar arppappalkalam utavi Ettutokai-Akananuru-331 (3-Nittilakkovai-line 10) The harp well tuned (nalyal), the drum (mulavu) with its leather well fastened is explained along with the Singer. pannamai nalyalp pananotu vicipini mannar mulavin kannatirntu iyampa pannamai nalyalp pananotu vicipini mannar mulavin kannatirntu iyampa Ettutokai-Akananuru-346 (3-Nittilakkovai-lines 13,14)

245 A harp (nalyal) looks beautiful with its strings (narampu) musically tuned. vatiyuru nalyal narampu icaittanna vatiyuru nalyal narampu icaittanna Ettutokai-Akananuru-374 (3-Nittilakkovai- line 8) Marjanam or the mud smearing over the drum is referred also in Tamil literature in Purananuru. A reference, which speaks of the mud smearing to the leather strap, tied fast to the drum. vicipinik konta mankanai mulavir patini patum vancikku vicipinik konta mankanai mulavir patini paTum vancikku Ettutokai-Purananuru 15- lines 23,24 A later work, Manimekalai also refer to mud smeared drum. man kanai mulava man kanai mulava Manimekalai 6-119 Narrinai, one of the Pattupattu, is said to refer to the smearing. pulampuri vayiriyar nalampuri mulavin mannar kannin tiru nanna kalanatunkalur nilaiye pulampuri vayiriyar nalampuri mulavinn mannar kannin tiru nanna kalanatunkalur nilaye The Mulavu shines with its leather straps well fastened with the mud-smeared, producing soft sounds.

246 Narrinai also seem to refer to Kinai drum, which was used to drive away elephants, and to protect the Tinai crop. malaiyar kalitta maiya renre tunaiyir rirnta karunkan yanai panaiyak kanta vankuti kuravar kanaiyar kinaiyar kai punaikavarar malaiyar kalitta maiya renre tunaiyir rinta karunkan yanai panaiyak kanta vankuti kuravar kaniyar kinaiyar kai punaikavarar Purananuru refers to a drum as bloodthirsty. Muracukkattil, is not a portable instrument where the drum is placed in a fixed cot, which looks like an oil foam is referred in Purananuru. kuruti vetkai yurumukamulu muracum manni vara valavai yenney nurai mukan tanna menpuncerkakai kuruti vetkai yurumukamulu muracum manni vara valavai yennai nurai mukan tanna menpuncerkai Ettutokai-Purananuru-50- lines 5,6,7 The same idea is projected in the popular kavya Manimekalai kuruti vetkai muracu kuruti vetkai muracu Manimekalai 1-30 The drum (mulavu) is anointed with the mud, and its leather straps are well tied. The lamentation over the plight of fallen kings, the Muracu destroyed, which was well fastened with leather straps, is dealt here. vicittu vinai manta mayirkan muracum porukkura rinmaiyiniruntu vinittanave vicittu vinai manta mayirkan muracum porukkura rinmaiyiniruntu vinittanave Ettutokai-Purananuru 63-lines 8,9

The instruments, Yal, Akuli and Patalai are well maintained nalyal, akuli, patalai yatucurukki nalyal, akuli, patalai yatucurukki Ettutokai-Purananuru-64, line 10 Tannumai was the common name for drums. The Drum (Tannumai) is mentioned here. potuvil tunkum viciyuru tannumai potuvil tunkum viciyuru tannumai Ettutokai-Purananuru-89, line 7 247 Manimekalai also refers to Tannumai tannumai karuvi kanneri terivor Manimekalai 19-82 The properly mud smeared drum (mula) and the well-tuned harp (yal) are spoken of as the integral parts of the society. manmula amaiyin, panyal nirumin manmula amaiyin, panyal nirumin Ettutokai-Purananuru-152, line 14 A drum well mud smeared (mannamai mulava) and maintained along with the harp (paccai nalyal) of sturdy strings (pannamai narampu). pannamai narampin paccai nalyal LD GOOT GOLD LO pannamai narampin paccai nalyal mannamai mulava Ettutokai-Purananuru-164, lines 11,12

248 Aripparai is a drum, referred, which was used by farmers, to drive away pigeons. kali curriya vilai kalani, ariparaiyar pul loppuntu kali surriya vilai kalanI, ariparaiyar pul loppuntu Ettutokai-Purananuru 396 lines 2,3 Paripatal, another work under the Ettutokai, speaks of the seven notes (palai elu), the strings (narampu), the flute (kulal) and the drum (mulavu) accompanying the dance (atal) of the womenfolk. puri narampu inkolaip pukal palai elum elu up punar yalum, icaiyum,kuta, kulal alantu nirpa; mulavu eluntu arppa; man makalir, kenniyar, atal totanka puri narampu inkolaip pukal palai elum elu up punar yalum, icaiyum, kuta, kulal alantu nirpa; mulavu eluntu arppa; man makalir, kenniyar, atal totanka Ettutokai - Paripatal Tiratu -7-Vaiyai - 80 Further, the work mentions the concept of mud smearing on the drum (man kanai mulavu). It also refers the finesse in the instruments like harp (nalyal) and flute (tim kulal). The drum (tuti) leading the dance (natan). man kanai mulavin in kan imilvirku etirvaporuvi- nalyal imila - utu cirttim kulal iyampa tutic cir natatta vali natan man kanai mulavin in kan imilvirku etirvaporuvi - nalyal imila - utu cirttim kulal iyampa tutic cir natatta vali natan Ettutokai - Paripatal Tiratu - 22 -Vaiyai - 40 & 42

249 Patirrupattu refers to Kalappai, where all the string (narampu and yal), wind (tumpu) and percussion (mulavu and patalai) instruments were kept and the singing bards carried them everywhere. punarpu narampin timtotai paluniya vanar amai nalyal ilaiyar poruppap pan amai mulavum patalaiyum piravum kan arut(tu) iyarriya tumpotu curukkik kavil takaitta turaikutu kalappaiyar (5) punarpu narampin timtotai paluniya vanar amai nal yal ilaiyar poruppap pan amai mulavum patalaiyum piravum kan arut(tu) iyarriya tumpotu curukkik kavill takaitta turaikutu kalappaiyar Ettutokai - Patirrupattu-5 - Pattu - 41 Periyapuranam is an exhaustive compilation of the stories of Saivaite saints. It provides immense information on music and musical instruments of which few are given below. The Nada of Vedic chants, the pleasing sounds of the lute (vinai), the hails of the people, the roaring of the drums (tavil and tuntupi) created the happiness all around. menmai nanmarai natamum virucaiyar kanavinaiyin ocaiyum karetir tana makkal mulakkamum tavil cir vana tuntupi arppum marunkelam menmai nanmarai natamum virucaiyar kanavinaiyin ocaiyum karetir tana makkal mulakkamum tavil cir vana tuntupi arppum marunkelam Periyapuranam-014 (1-Tirumalaic Carukkam.1.4)

250 The same idea is projected in another verse in Periyapuranam, where the instruments lute (vinai), bell (mani) and drum (mulavu) are mentioned. veta ocaiyum vinaiyin ocaiyum coti vanavar tottira ocaiyum matar atal patal mani mulavocaiyum kita ocaiyum mayak kilar urrave veta ocaiyum vinaiyin ocaiyum coti vanavar tottira ocaiyum matar atal patal mani mulavocaiyum kita ocaiyum mayak kilar urrave Periyapuranam - 087 (1-Tirumalaic Carukkam.3.2) The Dance (atal) of the beautiful women, are well complimented with the sounds of drum (mulavu). arampaiyar atal mulavutan marunkil aruvikar etir etir mulanka arambayar atal mulavutan marunkil aruvikar etir etir mulanka Periyapuranam-019 (1-Tirumalaic Carukkam.1.9) The lute (Vipanici) and musical flutes (icaikkulal) are referred here. pantaru vipanci enkum pata cempanci enkum vantarai kulalkal enkum valar icaikkulalkal enkum pantaru vipanci enkum pata cempanci enkum vantarai kulalkal enkum valar icaikkulalkal enkum Periyapuranam - 082 (1-Tirumalaic Carukkam.2.32)

251 The various musical instruments (palliyam) resounded in multitude, on the streets along with the tinkling bells (mani) resonating from the chariots and the elephants. palliyankal paranta oliyutan celvavitic celumanit teroli mallal yanai oliyutan mavoli ellai inri eluntula enkanum palliyankal paranta oliyutan celvavitic celumanit teroli mallal yanai oliyutan mavoli ellai inri eluntula enkanum Periyapuranam - 088 (1-Tirumalaic Carukkam.3.3) The Cillari, Tuti, Kompu and Akuli are described to be producing a sound 'Kal', which is added with intoxicating music of the waterfalls. cillarit tutiyum kompum ciru kan akuliyum kuti kal enum oliyin melum karankicai aruvi enkum cillarit tutiyum kompum ciru kan akuliyum kuti kal enum oliyin melum karankicai aruvi enkum Periyapuranam - 654 (3-Ilaimalinta Carukkam.3.5) Saivite hymns like Tevaram, Tiruvacakam and Tiruppukal make references to drums. Tevaram, which form the core of Saivate hymns refer to the various musical instruments. The saints sang in praise of Siva, the Divine dancer, and His mystic dance and its accompaniments. The hymns refer many instruments such as harp, flute, big and small drums.

252 The lute (vinai) is accompanied with drums (montai and mula), flute (kulal) and cymbal (talam). montai mula kulal talamor vinai mutara montai mula kulal talamor vinai mutara Tevaram 474 (Mutal tirumurai 44.5) Lord Siva, the dancing God, is portrayed to be dancing to the music from the flute (kulal), lute (vinai), drums (montai and mulavu) and His feet (kalal) reverberating with tinkling anklets. kulalinocai vinaimontai kotta mulavatirak kalalinocai yarkka atunkatavul kulalinocai vinaimontai kotta mulavatirak kalalinocai yarkka atunkatavul Tevaram-706 (Mutal Tirumurai.65.6) The dance (natam) is learned with the hour- glass drum (tanttukkai), cymbals (talam) and castanets (takkai). tantutukkai talam takkai cara natam payilvar tanttukkai talam takkai cara natam piyilvar Tevaram 710 (Mutal tirumurai 65.10) The clarity of the language is hailed with the music from instruments along with beats. tamilin nirmai pecittalam vinai panninalla mulavam montai malkupatal ceykaiyita movar tamilin nirmai pecittalam vinai panninalla mulavam montai malkupatal ceykaiyita movar Tevaram-794 (Mutal Tirumurai.73.8)

253 Lord Siva, is praised upon as dancing to the music from various instruments. patal vinai mulavankulan montaipannakave atu maruvallanum aiyarutai'aiyane patal vinai mulavankulan montaipannakave atu maruvallanum aiyarutaiaiyane Tevaram-55 (Irantam Tirumurai.6.1) Lord Siva along with Parvati, removes all our sins, is dancing to the music of diverse instruments. palakum vinaitirppavanpparppatiyotum mulavan kulalmontai mulankeriyatum alakannayil muvilaivel valanentava kulakannakarpol kurankatu turaiye palakum vinaitirppavanpparppatiyotum mulavan kulalmontai mulankeriyatum alakannyial muvilaivel valanetava kulakannakarpol kurankatu turaiye Tevaram-378 (Irantam Tirumurai.35.7) Lord Siva (kuttan), is described as seen with a hourglass drum (utukkai) in his hands, holding to the lute (vinai) and dancing with His lotus feet which are tinkling with the anklets(kinkini). tata vutukkaiyan tamaraipu cevatiyan kotala vetattan kontator vinaiyinan atavarak kinkinikkal annanor cetanai atuntik kuttanai nankanta tarure tata vutukkaiyan tamaraipu cevatiyan kotala vetattan kontator vinaiyinan atavarak kinkinikkal annanor cetanai atuntik kuttanai nankanta tarure Tevaram-196 (Nankam Tirumurai.19.10)

254 Tiruvacakam, an outstanding work, in terms of literary and poetic content, also refer to musical instruments. It speaks about Lord Siva as the embodiment of Nada of Vina. innicai vinaiyil icaitton kanka innisai vinaiyil icaitton kanka Tiruvacakam (2-Kirtti Tiruakaval-line 35) The offerings with flowers are made along with the pleasing strikes of Muracu. muracu erintu mapperun karunaiyil mulankip puppurai ancali kantal katta murasu erintu mapperun karunaiyil mulankip pupurai ancali kantal katta Tiruvacakam (2-Kirtti Tiruakaval-line 75) Ceraman Peruma! Nayanar refer to numerous instruments played along with the dance of Siva, in an elaborate manner in his hymn. eccarvum callari talan takunitantattalakam kallalaku kalla vatam montai-nallilayat tattali cankan calancaln tannumai kattaliyap peri karatalam- kottum kutamulavam kokkarai vinai kulal yal itamantatari patakam- itaviya mattalantuntupi vaynta murutivarral etticai torum eluntiyampa eccarvum callari talan takunitantattalakam kallalaku kalla vatam montai-nallilayat tattali cankan calancaln tannumai kattaliyap peri karatalam- kottum kutamulavam kokkarai vinai kulal yal itamantatari patakam - itaviya mattalantuntupi vaynta murutivarral etticaitorum eluntiyampa Ceraman Peruma! Nayanar aruliya Tirukayilayananaula - 51

255 Kallatam is said to refer drum varieties such as Pataka, Mulavu, Callari, Kaittiri as part of Tannumai. peruva yorumukap patakam perukkat tatavutalumpattalai perumulava nanmukan tatti natumuka murappavoruvai tirntita katipputal vicitta callariyankait talai virinakkam kayantalaiyatiyenak kaittariyika viraluyarttik cerunilaiyiratta vitutalai kuvitta nettutan tannumaiyoru mukantalttiyiru katip poliye peruva yorumukap patakam perukkat tatavutalumpattalai perumulava nanmukan tatti natumuka murappavoruvai tirntita katipputal vicitta callariyankait talai virinakkam kayantalaiyatiyenak kaittariyika viraluyarttik cerunilaiyiratta vitutalai kuvitta nettutan tannumaiyoru mukantalttiyiru katip poliye Patinen kilkanakku gives few references to instruments. There are references to Cevvali Yal, Makkol Yal, Vilari Yal, and Palai Yal and so on in Tinaimalai. cevvaliyalp panmakane ! cirarter kaiyinal ivvakai irttuyappan tonramun cevvaliyalp panmakane! cirarter kaiyinal ivvakai irttuyappan tonramun Tinaimalai Nurraimpatu- 5-Marutam-124 makkolyalp panmakane ! manyanaip pakanar tukkol tutiyotu tonramun makkolyalp panmakane! manyanaip pakanar tukkol tutiyotu tonramun Tinaimalai Nurraimpatu-5-Marutam-125

vilariyalp panmakane ! venta alaiyel mulari moliya(tu) ulari vilariyalp panmakane! venta alaiyel mulari moliya(tu) ulari Tinaimalai Nurraimpatu-5-Marutam-126 palaiyalp panmakane ! pantunin nayakarku malaiyal oti varutayo? palaiyalp panmakane! pantunin nayakarku malaiyal oti varutayo? Tinaimalai Nurraimpatu-5-Marutam-133 256 There are references to flute in Aintinai. It also mentions that Yal, Kulal and Mulavu were played together. yalal kulalum mulavum iyaintana vilum aruvi viranmalai nannata yalal kulalum mulavum iyaintan vilum aruvi viranmalai nannata Tinaimoli Aimpatu -1- Kurifici-7 There are references that talk about the melody of flute, which is compared, to the humming of bees. One such reference is given below. potarvan(tu) utum punalvayal urarkut tutayt tiritarum panmakane potarvan(tu) utum punalvayal urarkut tutayt tiritarum panmakane Aintinai Aimpatu - 3 - Marutam - 22 The same thought can be noted in the Manimekalai kulalicai tutavi konattikkatta malalai vantu inam nal yal ceyya kulicai tutavi konattikkatta malalai vantu inam nal yal ceyya Manimekalai 4-4

257 Tirukural, the grand universal work, which is one of Patinen kilkanakku works, refers to the instruments such as flute (kulal) and harp (Yal). kulal initu yal initu enpa tam makkal malalaiccol kelatavar kulal initu yal initu enpa tam makkal malaiccol kelatavar Tirukural Verse 66 - "Sweet are the sounds of the flute and the lute," say those who have not heard the prattle of their own children. kanaikotitu yalkotu cevvitu ankanna vinaipatu palal kolal kanaikotitu yalkotu cevvitu amkanna vinaipatu palal kolal Tirukural - Verse 279 The arrow is straight but cruel; the lute is crooked but sweet. Therefore, judge men by their acts, not their appearance. Cilappatikaram One of the most important Tamil classics, the Cilappatikaram has a wealth of information on the music and dance of those times. It is mentioned in the Venirkatai, the eight topic of the first canto, the Pukar Kantam that while playing the Yal attention is given to Inai, Kilai, Pakai and Natpu (which are Tamil words for Vadi, Samvadi, Vivadi and Anuvadi). inaikilai pakainatpu enru'in nankin icaipunar kurinilai inkilai pakainatpu enruin nankin icaipunar kurinilai Cilappatikaram 1.8.33,34

258 Instruments in Cilappatikaram : The five classifications of instruments according to the commentary on Cilappatikaram are Tolkaruvi (Percussion), Tulaikaruvi (Wind), Narampukaruvi (String), Mitarrukaruvi (Human voice) and Kancakaruvi (gongs and cymbals). The Cilappatikaram refers to two types of instruments Mitarrukaruvi or human voice and Kuyiluvakkaruvi or musical instruments. There are references in respect to music and musical instruments in the various topics under the first canto, the Pukar Kantam. A few of that are given below accordingly. Few references in the third topic, the Arangerrukatai follows. There is a mention of lute (Yal), flute (Kulal) and the deep sounding drums (Tannumai) played effectively along with human voice (Mitaru). yalum kulalum cirum mitarum SpYS^I SmWILD yalum kulalum cirum mitarum talkural tannumai Cilappatikaram-1-3-26,27 Kamparamayanam, the magnum epic also refers the same thought when it describes the mingling of the Flute, Lute and Harp creating musical harmony. kulalum, vinaiyum yalum enru inaiyan kulaiya kulalum, vinaiyum yalum enru inaiyan kulaiya Kamparamayanam-Suntara Kantam-Urtetu Patalam-6

The correlation between the drum (Etakkai) and the string (narampu) instruments are pointed out below. nitik kitanta kelvik kitakkaiyin inainarampu utaiyana nitik kitanta kelvik kitkkaiyin inainarampu utaiyana Cilappatikaram 1.3. 89-90 259 Palliyam an ensemble of instruments with the roaring drum (muracu) creating a resounding reverberation as the singing bards playing the cymbals (tatakkai) accompanied the King's parade. aracu ulat tatakkaiyil paracinar kontu muracu eluntu iyampap pal iyam arppa aracu ulat tatakkaiyil paracinar kontu muracu eluntu iyampa pal iyam arppa Cilappatikaram-1-3-124, 125 We may find the reference to the Conch that is spoken about in Manimekalai, to be sounding with a purpose. pulampurik cankam porulotu mulanka pulampurik cankam porulotu mulanka Manimekalai 7-114 The ensemble of instruments and the usage of conch, cymbals and the drum played with the Palm players singing auspicious songs are jointly depicted in Kamparamayanam too. cankotu, cilampum, nulum, patacalakamum tala, ponku pal muracum arppa- arampaiyar pani kotti mankala kitam pata cankotu, cilampum, nulum, patacakamum tala, ponku pal muracum arppa arampaiyar pani kotti mankala kitam pata Kamparamayanam-Suntara Kantam- Urtetu Patalam-113

260 The symphony of the musical instruments (Kuyiluvakkaruvi) during a performance is explained with great clarity in the line below. The arrangement mentioned are flute (kulal), then the harp (yal) and it is followed by the drums (tannumai and mulavu) altogether gave a synchronization of music. kuyiluvak karuvikal ellam kulalvali ninratu yale, yalvalit tannumai ninratu takave, tannumaip pinvali ninratu mulave, mulavotu kutininru icaittatu kuyiluvak karuvikal ellam kulalvali ninratu yale, yalvalit tannumai ninratu takave, tannumaip pinvali ninratu mulave, mulavotu kutininru icaittatu Cilappatikaram-1.3.138-142 The Antarakottu or orchestral music is mentioned. antarak kottutan atankiya pinnar antatak kottutn atankiya pinnar Cilappatikaram-1.3.147 In the Fifth topic, Indra Vilavu Urettakatai refers to the Muracu that is played upon the sacrifice. mayirkkan muracotu vanpali utti mayirkkan muracotu vanpali uttl Cilappatikaram-1.5.90 The lute (vinai) named after Sage Narada has a special mention, which is played upon for an elegant song in the sixth topic, Katalatukatai. naratan vinai nayamteri patalum naratan vinai nayamteri patalum Cilappatikaram-1.6.18

261 The great respect to Yal can be seen from the reference to Matavi taking the Yal from Kovalan after saluting it, in the seventh topic Kanalvari. kovalan kaiyal nitta - matavitan manam'makila vacittal totankuman kovalan kaiyal nitta - matavitan manmmakila vacittal totankuman Cilappatikaram -1.7.1 Venirkatai, the eighth topic, refer to some technical aspects of playing the Yal. The posture of Yal while playing, its exact position and posture of the hands are also mentioned. konkai munril kunkuma valakattu mai'aru cirappin kaiyurai enti atira marapin yalkai vanki matura kitam patinal mayanki konkai munrl kunkuma valakattu maiaru cirappin kaiyurai enti atira marapin yalkai vanki matura kitam patinal mayanki Cilappatikaram 1.8.21-24 The four defects of Yal are enumerated. These are: a) Cempakai or harsh note in the string b) Arppu or excessive sruti of string c) Kutam or dull unpleasant note d) Atirvu or unnecessary shaking and trembling of svaras. itakkai nalviral matakam tali'ic cempakai arppe kutam atirve itkkai nalviral matakam taliic cempakai arppe kutam atirve Cilappatikaram 1.8.28,29

262 Some references from the tenth topic, Natukankatai listed below. The kinds of harps (Yal) mentioned are Cakota Yal and Peri Yal. Cakota Yal seems to have been used by the debutant on the stage. There is a reference to Matavi playing Cakota Yal with 14 (irelu) strings. yalin tokutiyum ir'el cakotamum yalin tokutiyum irel cakotamum Cilappatikaram-1.10. Katturai -14 malaitalaik konta peryal polum. Malaitalaik konta peryal polum Cilappatikaram- 1.10.26 There is a mention of mud-smeared drum (mankanai mulavu) that gives cheerful music. mankanai mulavin makil icai otaiyum mankanai mulavin makil icai otaiyum Cilappatikaram-1-10-139 There are references in respect to music and musical instruments in the various topics under the second canto, the Maturai Kantam. A few of that are given below accordingly. In the twelfth topic, Vettuvavarikatai, there are references to drums namely Tuti and Ciruparai. tutiyotu ciruparai vayirotu tuvaiceya tutiyotu ciruparai vayirotu tuvaiceya Cilappatikaram-2.12-Veru-19 In the thirteenth topic, Puranceriyiruttakatai, there is a reference to Cenkotti Yal. centiram purinta cenkot tiyalil tantiri karattotu tivavurut tiya'attu sentiram purinta cenkotti yalil tantiri karattotu tivavurut tiyaattu Cilappatikaram-2.13.106,107

263 In the fourteenth topic, Urkankatai, mention has been made of Kalaimuracam- the drum of dawn. valven cankotu vakaiper ronkiya kalai muracan kanaikural valven cankotu vakaiper ronkiya kalai muracan kanaikural Cilappatikaram- 2.14.13,14 Among the wind instruments, flute (Kulal) was very popular. Besides the normal flute, mention is also made of Konrai, Ampal and Mullai Kulal, which are different types of flutes made from the respective plants. The ladies sing among themselves to immerse themselves in the flutes that are played by Lord Krsna, the songs (pattu) are rendered in the seventeenth topic, Aycciyar Kuravai as shown below. kanru kunilak kaniyutirtta mayavan inrunam anul varumel avanvayil konraiyan tinkulal kelamo toli; kanru kunilak kanyutirtta mayavan inrunam anul varumel avanvayil konraiyun tinkulal kelamo tholi; pampu kayirak katalkatainta mayavan inkunam anul varumel avanvayil ampalan tinkulal kelamo toli; pampu kayirak katalkatainta mayavan enkunam anul varumel avanvayil ampalan tinkulal kelamo tholi;

kollaiyan carar kuruntocitta mayavan ellainam anul varumel avanvayil mullaiyan tinkulal kelamo toli; kollaiyan carar kuruntocitta mayavan ellainam anul varumel avanvayil 264 mullaiyan tinkulal kelamo tholi; Cilappatikaram-2 .17. pattu -1,2,3 In the twenty-eighth topic, Natukarkatai of the third canto, Vancikkantam explains a variety of harp (Ciriyal), which is meaningfully tuned with appropriate strings. vanarkottuc ciriyal vankupu tali ip punarpuri narampir porulpatu vanarkottuc ciriyal vankupu taliep punarpuri narampir porulpatu Cilappatikaram -3.28.31,32 Thus we see that Tamil literature is rich with references to Musical Instruments. This section, it is hoped, will pave the way for a similar study with respect to other vernaculars like Telugu, Kannada etcetera.