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At the heart of Tamil culture lies a recounting of its ancient history and heroic deeds. The epic, Vīramādhiyaṉam Aḷḷam, has been translated into Telugu and Kannada for interaction among south Indian communities, and is preserved in Sanskrit manuscripts. It is to this epic that we turn our attention in the present paper for an analysis of why it has come down to us as an oral work. What are some reasons for this? How did allegorical interpretations make their way into it? Does it have any other values beyond its erudite content which should be preserved? For all these questions we shall turn to a discussion of relevant literary theories from different schools. The last major section of the paper will be devoted to a brief analysis of its relation with another epic, the Mahābhārata, and ways in which this epic has encircled the Tamil epics. Ancient Tamil people believed in three supreme goddesses, known as Naalainṛṅkam (Sanskrit: Śabdha Kālī), Kaallarmai (Sanskrit: Kali Maṇḍalakā) and Naarnaimai (Sanskrit: Mahā Bhagavati). Later, these three goddesses were viewed as one and were named Pōhana Meera Bharatham ("The Great Mother of Peacocks"). All-pervading, she is the source of all features and elements in nature. She is praised as such in many songs such as VINOLAMMA PAUHANA MARATHA "I pen the features and characteristics of every Tamilian." The epic begins with a description of Mahābhūti ("Eternity") and Parivāhana ("Progress"). They are also reflected in the primeval creation and the way it developed during thousands of years until Vēlakkumārttiyār (Vēlakkumārériyam), a god known for his great intellect, appeared. He performed many heroic deeds and is therefore extolled as Vēlakkumārttiyār. He was born to the divine couple Kōyil Kontar and Nārkaṇṭti (Satyavan and Savitri). The narrator then turns to describe the birth of Mahābhūti's son Pōhaman (Páëòamán), who was born to Nirai Payiri; Nirai Payiri had been asked by Pōhaman to take care of his future child. The child climbed on a tree and amused himself with a fruit until other children noticed him and laughed at him. He threw the fruit away and escaped into a long cave, where many flowers and fruits grew. The people entered the cave and found several idols, and on one of them was an inscription: ‘’This is Lord Mahabhuti’s son Pōhaman, who was raised by the gods. It is only his hand that can break this idol.’’ The people placed Pōhaman on a splendid throne as their king. They erected temples for him and started worshipping him as their god. Many poets told of his heroic deeds, and he is still praised by artists of all kinds in south India. cfa1e77820
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