Yamakam in Tolkāppiyam
R.Nagaswamy
I have already mentioned that the the term Yamakam is not mentioned in Sangam age. On the other hand the chapter on Ceyyuḷ Iyal has elaborate details about what it calls Toḍai Which is more less equal to Yamakam of Bharata’s Nātya sāstra. The word is related to Toḍuttal 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 Toḍai in Tolkappiyam. The Toḍai is generally calssified into four categories in Tolkappiyam as Monai, Etukai, Muran 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 first line is repeated it is some times called Mōnai and other times called Etukai. If the third syllable onwards there is repetition then it is brought under Etukai. There are some verses in which the first word is in oppoisiton to the second word either Phonetically or in its meaning it is called Muran (Skt.virōdha - Opposing). In this category some examples display both sound and meaning, Though meaning also plays a part, it is still called Muran, a sabda category. If both syllable and word sound are repeated then it comes under Iyaibu ( to come together). Thus all these categories of Toḍai, are Sabdālankāras
Etukai
If the words, or more than three syllables are rpeated it is called generally as Etukai. But it has several sub section
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 that the division of Toḍai in ancient Tamil grammar in such minute details that it gives an impression that the system mentioned 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 ceyyul Iyal of Tolkappiyam reads
Iru cir itai itin oruvena molipa
The commentator, Perāciriyar dealing with this sutra 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 cir and the same begins the next line it is called Cīr antāti. Perāsiriyar gives the following example
Kunrir cāral kutittana kōn mā
Mā ena madarttana koticci vān kōn
The mō in the end of the first line begins the next line as mō and so he says this is Acai antāti.
The second illustration reads like this.
Taraip pūn cārar raḻutta mullai
Mullai cānṟa karpin nallōr
In this illustration the word mullai at the end of the first line, begins the next line also as mullai. Perāciriyar 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 Nātya sastra. As these illustrations come under the classification of Iyaibu by Tolkāppiyar it seems the term Iyaibu and iyamaka are one and the same. We are therefore sure that what is called Toḍai 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 Lakshana. Obviously Tolkāppiyar has been benefitted by the works of other writers on Tamil Poetics.. As this would form a large and separate work, the details are not attempted here. We only conclude the Toḍai - yamakam tradition has very greatly enriched Tamil poetry, music and dance, from very early times.
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