when once filled by a chaste woman, is ever full of food. The land is in the grip of a cruel famine and she goes everywhere to feed the poor, the criminal, the needy. The prison house becomes the House of Dharma. But afraid of the attentions of the prince, she takes the form of a well known woman of the day whose husband unfortunately comes and sees the prince pursuing her at the dead of night. This mistaken identity leads him to kill the prince. Maṇimekalai rushes to fall on the prince and cry.

Fortunately she hears a divine voice advising her to bemoan no more. The queen puts her in a cell to die but because of her magical power she survives. The queen sends a villain to attack her modesty but Maṇimekalai escapes by taking the form of a man. The queen repents and Maṇimekalai goes about learning the tenets of the various religions of the day.

Learning of the misfortune which has to befall Kāviri-p-pūmpaṭṭinam, as the result of an erosion by the sea. Maṇimekalai goes to worship at Kaṇṇaki's temple in the Cera Capital and then to Kāñci to help the famine-stricken people there. Her mother and Aravaṇa aṭikaḷ also come there. She sits at the feet of the Master and saint and performs tapas. Unfortunately, the final portion of the epic is missing.

The story has a religious motive, the propagation of Buddhism. There are a number of allusions to Buddhist mythology and philosophy. The poet is also intolerant, bringing into contempt the followers of other religions especially the Jains. Here are brought together the various folk-stories prevalent among the Buddhists.

The discussions which Maṇimekalai has with the followers of other sects give rise to a new development in Tamil literature. The philosophical and religious debates are given epic grandeur and written in poetry. Often these are called epics. Kuṇṭalakeci is one such work included by tradition among the five major epics.

The verse form is really perfect and the greatness of the poet is visible everywhere. The author is full of humour, though a biting humour, against other religions. His similes are very expressive, as for instance when he compares the king and queen of the naked Nagas to a he-bear and a she-bear respectively.¹ He has in him the great teacher who can explain philosophy so as to appeal even to the most illiterate.

There is a quotation in Maṇimekalai from Tiru-k-kuraḷ,² and therefore it has to be placed after the period of Tiṛuvaḷḷuvar. There is a chapter which seems to be a translation of Dinnāga's work on

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¹ Cāttanār, Maṇimekalai, 16.68.

²Ibid., 22.59.