10. YAMAKAM IN TOLKĀPPIYAM ________________________________________ The term yamakam is not mentioned in the Saṅgam age. On the other hand the chapter on ceyyul-iyal has elaborate details about what it calls toṭai which is more or less equal to yamakam of Bharata’s Nāṭya Śāstra. The word is related to toṭuttal to fasten similar flowers, leaves or other material. As composition of poetry is often likened to a fragrant garland the verses in the form of yamakam are called toṭai in Tolkāppiyam. The toṭai is generally classified into four categories in Tolkāppiyam as mōnai, etukai, muraṇ and iyaibu. If the first syllable of the first line is repeated in the second and subsequent line it is called mōnai. If the second syllable of the first word in the first line is repeated it is sometimes called mōnai and other times called etukai. If there is repetition of the third syllable onwards then it is brought under etukai. There are some verses in which the first word is in opposition to the second word either phonetically or in its meaning it is called muraṇ (Skt. virōdha - Opposing). In this category some examples display both sound and meaning. Though meaning also plays a part, it is still called muraṇ, a śabda category. If both syllables and word sound are repeated, then it comes under iyaibu ( to come together). Thus all these categories of toṭai, are śabdālankārās. 10.1. Etukai If the words, or more than three syllables are repeated it is called generally as etukai. But it has several sub sections. • talaiyāk-etukai, third syllable of the first word (repeated in the other lines) • aṭi-etukai similarity in lines of the verse • eḻuttoṭu-iyaibu and • colloṭu-iyaibu In addition, the same is divided in another way into nine categories. Further they are named by etukai sound found in the number of lines (in illustrated verses). They run literally into several thousand varieties. A rough estimate given by the commentator is 13,708, (Thirteen thousand seven hundred and eight). It only shows the division of toṭai in ancient Tamiḻ grammar in such minute details that it gives an impression that the system is a highly evolved classification. The commentators have added valuable information. For example, it is clear from the commentators that the concept of yamakam was very well known at the time of Tolkāppiyar. For example, the sutra 411 in the ceyyuḷ-iyal of Tolkāppiyam reads: iru cīr iṭai itiṉ oruvena moḷippa The commentator, Pērāciriyar, dealing with this sūtra gives the following information: If a syllable that ends a line begins the next line then it is called acai-antāti. Instead if a line ends in a word unit cīr and the same begins the next line it is called cīr-antāti. Pērāciriyar gives the following example: kunṟir cāral kuṭittana kōn mā mā ena maṭarttana koticci vān kōn The mā in the end of the first line begins the next line as mā and so he says this is acai-antāti. The second illustration reads like this. taraip pun cārar ralutta mullai mullai cānṟa kaṟpiṉ nallōr In this illustration the word mullai at the end of the first line, begins the next line also as mullai. Pērāciriyar calls this cīr-antāti. Evidently, though the name yamaka is not mentioned in Tolkāppiyam the commentator makes it clear it is an antāti which is a part of yamakam in Bharata’s Nāṭya Śāstra. As these illustrations come under the classification of iyaibu by Tolkāppiyar it seems the term iyaibu-anti-yamaka are one and the same. We are therefore sure that what is called toṭai is the yamakam of the Bharatan tradition. As mentioned earlier Bharata gives in simple forms of yamakam in his treatise and at the same time notes that there are innumerable varieties and they may be seen in the works of scholars in poetics, kāvya lakṣana. Obviously, Tolkāppiyar has been benefitted by the works of other writers on Tamiḻ poetics. As this would form a large and separate work, the details are not attempted here. We only conclude the toṭai yamakam tradition has very greatly enriched Tamiḻ poetry, music and dance, from very early times.
