Cilappatikaram i.e. `Lay of the Anklet` is the best known of the five Tamil epics. This was written by the Jain poet Ilanko Atikal. Controversies abound about the time of its composition, swinging from the second century BC at one extreme to the eighth century AD at the other. Unlike the other epics, it tells a wholly native tale, which must have been prevalent over a long period as part of Tamil folklore.

Cilappatikaram teaches three eternal truths.

A king failing in his duty will be punished by dharma or justice.

A chaste woman will be worshipped by all.

Fate is powerful. Ones past actions will have their repercussions in the next birth.

Cilappatikaram was written towards the end of second century AD. The story is rooted in the ordinary lives of the early Tamils. It is only one of three surviving Great Epics. No texts survive from either of the first two sangams. Coupling this extraordinary rarity with rich cultural information makes Cilappatikaram irreplaceably valuable in understanding ancient Tamil culture.

The story narrates the events in three kingdoms. Viz. Chera in western, Chola in eastern, and Pandian in the middle of South India respectively. The story is full of information about contemporary events and personalities. From Sri Lanka, Gajabahu the First and Ellara the Tamil ruler of Sri Lanka are first mentioned in this Epic only. The Northern kingdoms like Chedi, Uttarakosala, and Vajra are also mentioned. The warlike Yaudhayas who worshipped Karthikeya are mentioned as the people of Balakumara. The towns like Thiruthangal mentioned by Ptolemy figure in Cilappatikaram only. The epic is more than a literary masterpiece. It is a predecessor of Nigandu. The Tamil lexicographic tradition is maintained by Nigandu. This tradition can be found in taking roots in Ilango`s Epic. Though a Jain, the Poet is free from any parochial attitude. He records the hymns in praise of Sakthi, Murugan and Vishnu too. Thus he also inaugurates the tradition of Bhakthi or devotion which is a unique feature of Tamil Literature. Ilango has also given voice to the folk tradition like the Kuravai Dance.

This love story, of Kovalan and Kannagi, is still current in varying versions of folk narrative. Cilappatikaram is significant in Tamil theatre history because of what it tells us of art and culture, specifically dance, music, and theatre. In the Arangetrra katai i.e. `debut chapter`, the episode in which the courtesan Madhavi performs her debut, the author writes in detail of the individual roles of an ideal dancer, flautist, percussionist, the dancer`s teacher, and vina player. He spells out the nuances of the grammar of acting as a discipline for performers. On other occasions he describes dance forms such as folk and classical, northern and southern, and the requirements and specifications of stage construction as well.

According to the Cilappatikaram, Varikkuttu is a form of dance that contains masquerading acts, where one does different roles. In the context of the epic, the hero Kovalan receives a messenger bearing a letter from the courtesan-dancer Madhavi, pleading him to return to her. Kovalan tells the messenger that he has nothing to do with her, as he has seen through the eight deceptive masquerades of character that Madhavi played on him. He will not be taken in by her pious pleadings. A detailed description of the eight components of Varikkuttu, explained by Kovalan and enumerated by the commentators are Kankudu vari, Kan vari, Ul vari, Punpura vari, Kilar vari, Terchi vari, Katchi vari, and Edutukattu vari. All relate to the finer nuances of deception that Madhavi allegedly practised. After Bharata`s Natyasastra and Cilappatikaram, no work discusses the Indian performing arts until Matanga`s Brihaddesi in fifth century. Interestingly, Matanga speaks of the communication and fusion taking place between the art forms of the subcontinent`s poles i.e. Kashmir. This produced the Natyasastra, and Kerala produced Cilappatikaram.