very firmly. For instance poem four, he feels, might have been the composition of Umāpati. So also the verse 20 in hymn 12, Pope thinks is the work of a different person.

The first poem, Pope says is more like a Preface and possesses all the characteristics enumerated in the Naṉṉūl. He is rather doubtful about its genuineness due to its. “technical completeness.” One wonders whether this is not paradoxical and whether the genuineness could be questioned on this basis.

Translation is rather difficult for Pope at certain places. He expresses the difficulties.¹⁵⁸

The sixth poem “Forsake me Not” is thought by Pope to be a most interesting composition set in beautiful metre. The translation of this metre cannot convey the very same effect it has in Tamil. The poem is a “genuine human cry” amidst suffering, throbbing with emotion. Pope expresses candidly his views and says that there is a distinct difference in style between the first 20 verses of this poem and the subsequent verses. The first part he feels belongs to the sage Māṇikkavācakar, while he is doubtful about the latter verses, despite their being almost equal to the earlier ones. He accepts that his times and his criticism are subjective.¹⁵⁹

Pope has made an enquiring study of the “Morning Hymns.” The social aspect of these songs is also portrayed. Certain lines however have been veiled and modified by Pope who acquits himself of this by maintaining that he has nevertheless retained the original meaning. A perusal of line 76 of Stanza 19 of the Morning Hymns and its corresponding English translation will show that certain words have been cleverly masked and modified in the latter.

Certain parts of this hymn appear somewhat obscure to Dr. Pope. “Only the Tamil reader can feel how great a poet its author was and only the student of South Indian Caiva

158. Ibid. P. 22

159. Ibid. P. 86