Ajikumar 1 PROBLEMATIC IDOLATRY IN CILAPATHIKARAM – A study of the transformation of Kannaki to a Goddess in the light of various interdisciplinary human discourses. Malavika Ajikumar ABSTRACT Cilappathikaram is one of the prominent epics in Tamil literature extensively conjoining Iyal, Isai and Natakam making it a continuously read, practiced and performed work of art. This kaaviyam, said to be written by Ilango Adikal is structured in three Kandoms (books) and can be said to be primarily focusing upon the lives of Kannaki and Kovalan. The first book narrates the marriage of Kannaki and Kovalan, Kovalan’s adulterous affair with Madhavi a dancer, and finally his coming back to Kannaki. The second book illustrates the couple’s journey and their new life in Madurai, Kovalan’s killing by the Pandya King and Kannaki’s powerful vengeance that burns the entire city of Madurai. The last book narrates the Chera ruler Chenkottuvan’s quest to conquer the North and his initiative to revere Kannaki as a God (leading to her ultimate Idolization). This paper aims to analyse the reasons behind Kannaki’s idolatry and thus identify the problems of such an act by deconstructing social and political structures and beliefs that led to the same. The paper will also focus upon the use of the form of epics as a tool of guiding, structuring and manipulating the society into believing and following certain set of norms, highlighting the functional nature of literature in the interdisciplinary human discourses by juxtaposing social, historical and political events. Idolatry refers to the worshipping of idols by believers. It involves an assumed replacement of a system of belief or a god with statue/alternative forms of idols. Most of the prevalent religions involve the practice of Idolatry as a form of worship, thus, assuring the believers of a physical manifestation of the power that is known as God. Cilappathikaram is one of the prominent epics in Tamil literature extensively conjoining Iyal (Literature), Isai (Music) and Natakam (drama) making it a continuously read, practiced and performed work of art. Believed to be written in the Post-Sangam period (2 nd -6 th century BC), this kaaviyam by Ilango Adikal is written in three Kandoms and can be said to be primarily focusing upon