misguided couple being turned into jackals by the curse of Kaunti Adigal, who could not bear the insult offered to her companions Kovalan and Kannaki.
It is interesting to note that Ilanko, like Milton, never applies sardonic humour to his main characters. He has nothing but praise for Kannaki, the chief heroine of the epic. Kaunthi Adigal, the ascetic and Mathari, the shepherdess praise her as an example to be followed by other women. The Pandyan Queen praises her, the Chera Queen deems her fit to be worshipped, the sun-god and fire-god do her errands, the Chola king Karikalan, King Gajabahu of Ceylon and other kings assemble and do homage to her image and all through the epic the poet has avoided the ludicrous in depicting her. (See also Canto XXII (Alar padu) 11. 134-136, where even her action in burning the city is justified by certain women of Madurai). Friends of Kannaki and of her foster-mother all praise her and the ideal for which she lived (vide Canto XXIX).
Ilanko draws several morals from the events of his epic that an unjust ruler is inevitably punished, that a chaste woman receives the homage of all, human beings and celestials; that no man can escape his fate. Besides, many a lesson he has left the reader to draw indirectly, e.g., one should not indulge in gossip, one should take great care of trust property; one should be brave and never despondent; one should have faith in God. Ilanko apparently thought that poetry was intended not merely to beguile one's leisure but it should inspire and instruct. All in all, Ilanko has achieved unqualified success as a poet and takes a high rank among the epic poets of the world.
In later periods, poets like Tiruttakadevar, Sekkilar and Kambar attempted to copy it and even rival it, but throughout the centuries it has maintained a central place in Tamil literature. It has an unparalleled variety of appeal and deserves to hold a high place not only in Tamil literature but also in world literature.
