sea moans, the sand hills shiver: the leaves on the trees droop, and she feels like a ship-wrecked sailor at sea, who sees no means of escape.[1] She sees the Ilavu put forth its crimson flowers, and the Kongu its flowers of gold, and all the trees on the river banks in blossom: the honey bees hum and fit about busily from flower to flower: the cuckoo warbles: and all nature is gay: but her heart is sad as her lover is still absent.[2] She dreams that her lover had returned to her and that, touched by her sad look, he knelt at her feet and prayed to be forgiven: that she playfully struck him with her flower garlands; and that he begged with trembling accents to know what offence he had committed. She is therefore cheerful on the next morning; hoping that she should soon meet her lover.[3] Her maid recalls to her mind the noble qualities of her lover and assures her that he will not forsake her.[4]
I have given a brief summary of four of the larger poems of this period, viz., Muppal, Chilapp-athikaram, Mani-mêkalai, and Kalith-thokai. The smaller poems may be conveniently mentioned under the names of their authors, which I shall give in the order of their date.
Kaliaih-thalai (A.D. 30—60) was a war bard attached to the court of the Chera king. He was present in the battle in which both the contending kings Cheral-Athan and the Chola Killi fell mortally wounded. Subsequently he was present in the battle of Vennil in which another Cheral-Athan was defeated by Karikal Chola. The poet Kapilar speaks of him as an older poet and states that the town of Araiyam, the capital of Irunko Vèl, was destroyed as that prince did not honor Kalath-thalai. Six stanzas composed by this bard are preserved in the Purananuru.[5]
Uriththirank-kannanar (A.D. 40—70) was the author of two poems, Perumpanarrup-padai and Padinappalai. The former was composed about A.D. 50, when Thirayan, King of Kanchi, was in possession of the Chola Kingdom. Though professedly a panegyric on king Thirayan it partakes more of the nature of a pastoral
