xxxii easily occurred to a single girl. Later poets developed the idea as though the response to the king's physical presence on the part of members of the fair sex was different for different ages and stages and thus was evolved the Ula type of literature. Though the grammar of Akam had been fully developed in the early period, illustrations of Kaikkilai had been very few. The Akananjiru, the best anthology of Akam has not much in respect of this condition of unresponded one-sided panting for the lover. Even in the other Akam works like Narrigai, Kurantokai, Aimkuruntiru the pure Kaikkilai verses could be counted on the fingers, Perhaps the largest number of verses ever written on Kaikkilai were those written by the author of the Muttoliayiram who, we may suspect, started with sincere Puram intentions and ended up as the most fertile specialist in Kaikkilai, the three crowned heads coming in handy as the non-responding (innocent) hero, The moral issue arising out of a girl failing in love with a person whom she is not likely to marry relates to the appropriateness of as girl giving her heart away to another without knowing his intention. There is also the unintentional sin of the hero who does not respond for the simple reason that he does not at all know about a girl loving him in secret. - It must understood that Kaikkilai has a greater purpose than picturing a few helpless girls or lads in the throes of their unreciprocated love experiences. The true purpose of Kaikkilai is to lead one from lower passions to a realization of divine bliss. The purpose of Cirrippam is to lead to Périnpain. Otherwise the human inspite of his six senses will still be at the bestial level. Panting for the Lord is an exalted extention of Kaikkilai. In this connection, we may refer to another classical idea, * Matalàrutai'. In this the obstinate lover whose advances are not heeded to by a giri mounts the Matal made of palmyra leaves. It is to attract public notice and secure public intervetation.
