to give a totality of impression. This method of conceiving a literary work may have laid the foundation of literary criticism in Tamil. Beschi classifies subjective poetry under 12 sections, which do not breathe even the vaguest hint of love. His three fold classification is worth nothing. It deals with one’s conduct, the scripture which one cherishes and the authority which one quotes.342 But it is devoid of the traditional treatment of war. Perhaps he does not want to glorify343 war as it incompatible with the doctrines of Christ. We use the word uripporuḷ to denote only love. But Beschi gives an altogether new connotation to it. He thinks that uripporuḷ means the appropriate delineation of time, place, traits, conduct and turns of expression. What one describes must be consistent with the atmosphere in which things move. What he suggests is appropriateness. In his description of the procession of the seasons and months, he is like the author of Muttu Viriam. Beschi draws our attention to how a particular tune must be sung at a particular hour.344 Each region has a particular type of melody. But, nowhere is mentioned the particular tune of a particular hour. This new feature perhaps is the outcome of the spirit of his age. In his description of the five regions of the land, he has used Sanskrit words to denote the deities of each region.345 Perhaps, he was subject to the influence of his age. He has used a word Vaṉṉiar to describe the Brahmins for the Brahmins are the worshippers of the God of Fire. Vaṉṉi means fire in Sanskrit. Beschi has brought under Poruḷatikāram the study of words. His suggestions regarding words may be of immense help in the matter of fashioning the Tamil style.
342. Ibid. S. 147 & S. 161 343. Ibid. S. 165 344. Ibid. S. 173 345. Ibid. S. 176-180 |