Features of Akam Poetry

There seem to have been some rules/committment that has been followed in the Akam poetries:

They are: 

1. Men and women in the poems should not be mentioned by real or imaginary names. They can be referred to by as "turaivan", "natan", "ulavan" etc. - the general names or as pronouns "avan, aval". 

2. Not to deal with the dead and the supernatural. As Kamil puts it, they are the unliving and uncreative. "...great poetry should  be that which generates life, relives and recreates the splendour and music of life, at the living moment." 

These commitments render these poems a cosmic effect, that which is perennially alive. 

Another unique feature of these poems is the metaphors used. Almost all of the metaphors are related to the immediate natural surrounding of the hero/heroine. For instance, in Kuruntokai 399, the poet says: 

ஊருண் கேணி யுண்டுறைக் தொக்க
பாசி யற்றே பசலை காதலர்
தொடுவுழித் தொடுவுழி நீங்கி
விடுவுழி விடுவுழிப் பரத்த லானே.

Translation from the source: 

My pallor is like the green algae 

growing on the pond

where the village gets its drinking water; 

every time my lover touches me

it disappears;

every time my lover leaves me

it spreads back again. 

Here, the poet compares the changes in the pallor of the "talaivi" to the movement of the algae in the pond when one touches it. Thus, it implies that people were acutely observant of the natural surroundings and lived a life of harmony with nature.  Perhaps this is a message in itself to the people - live in harmony with nature!

(source: Literary Conventions in Akam Poetry by Kamil V Zvelebil).