xviii. enemy soldier was admired as well as that of a soldier on one's own side.” Wenri or Verri was in a sense the evaluation of how the goal had been attained. Pukal: The fame of a king is assessed with reference to his paraphernalia and his royal symbols like the flower he wore, Kaikkilai : The introduction of Kaikkilai, patently an Akam motif, has been very cleverly done by the author of Muitoslayiram perhaps to subserve two purposes: One, to provide himself scope for showing his competence in handling the minutiae of Akam poetry; another is to link the Puram concept of Pukal with an apparently unrelated Akam motif. Kaikkilai is the emotional condition attendant on unreciprocated love. The victims to this condition have an escape technique in giving oral expression to their love and also their true admiration of the objects of their love. The intention is not to make such an expression to lead to a union through wedlock with the beloved. It is just to remove a load from the mind. All the themes explained above can be located in the Tolkāppiam. That the author of the work must have been a good student of Tolkappiam cannot be disputed. The Tolhappiam motifs relating to Puram have been elaborated and explained in a number of latter day grammarians, but the best codification of these motifs seems to be contained in the Pura-p-porul Venpa Malai of Ayyanāritanār reputedly a descendant of the Céras. Those who classified the verses of Puranāmārā, Tirukkuzal and and Cila-p-patikaram by linking them with Puram motifs wherever appropriate, were guided by the Pura-p-porul Venba Mali. It is not improbable that the Muitollayiram too drew on the Pura-p-porul Venpa Mali for the selection of the motifs in their relevance to a praise of the three crowned heads. Puram is such a comprehensive connotation even in its application to the activities of the royalty and the ten motifs excluding Kaikkilai extant could not be considered as the only 15. Varse-13.
