MLS April - Sep Final

Kerala Sahitya Akademi
LITERARY SURVEY LITERARY SURVEY going 2010 Apl-Sep
classical ?
2010 Apl-Sep
M A L AYA L A M
LITERARY SURVEY
(VOL. 31 No. 2 - 3)

Thrissur 680 020
Kerala
Malayalam Literary Survey
A Quarterly Publication of Kerala Sahitya Akademi, Thrissur
Vol. 31 No. 2 - 3 April-September 2010
Price : Rs. 50/-
Annual Subscription : Rs. 100/-
To Our Readers
Going Classical? – This question about Malayalam

Editorial Board language is widely speculated today in the official
P. Vatsala - President and academic circles. Besides, more and more proofs
Purushan Kadalundi - Secretary & Editor are obtained regarding the fact that Malayalam has
K.P. Ramanunni - Convenor fulfilled all the criteria stipulated by the central Govt.
Members for giving classical status to an Indian language. All
the stalwarts in the Malayalam literature and a great
Prabha Varma
Subhash Chadran
many Malayalam scholars have commenced to
V.C. Harris highlight the eligibility of our language for classical
V.N. Asokan - Sub editor status. Under these circumstances, all those who love
Malayalam are eagerly and enthusiastically awaiting
the moment of our language getting adorned with
the crown of classical status.
However, apart from the technical eligibility, the fact
that Malayalam language and literatures maintain
Cover Design : Vinaylal
Type setting : Macworld, Thrissur classical standard is self – evident and as plain as
Printed by Simple, Thrissur daylight. It has been proved that several sprouts of
Edited, Printed and Published by Purushan Kadalundi the primitive Tamil have originated from Kerala
for the Kerala Sahitya Akademi, Thrissur 680 020 constituting the old Chera country. Besides, the
Reg. No. 29431/77 nourishment of Malayalam by Sanskrit from time in
Phone : 0487-2331069 memorial has also helped Malayalam in rising to a
keralasahityaakademi@gmail.com high class world language. Above all these, the special
www.keralasahityaakademi.org heritage of Kerala ( in shaping which even our
geographical features have played a role) too, has
Articles published in this journal do not necessarily reflect the views
or policies of the Kerala Sahitya Akademi contributed to elevate Malayalam into its unusual
Malayalam Literary Survey April - September 2010 Kerala Sahitya Akademi
glory. The windows of Kerala have always been kept

open to welcome the air and water from outside.
Hence our soil has become a confluence of culture
pluralism. It must have been the genius transmitted
from this cultural energy that enables Malayalees to
mingle easily with and shine among diverse identities.
The First part of the April – September issue of the
Malayalam Literary survey contains articles related
to the topic ‘Malayalam Going Classical?’ In his article
ONV establishes the claims of Malayalam arguing
that instead of focusing on certain literary works,
the entire literary tradition should be taken into CONTENTS
account for conferring classical status to a language.
Dr. Puthussery Ramachandran’s claims in favour of On Conferring Classical Status to Indian Languages
Prof. O.N.V. Kuruppu 7
Malayalam are based on the historical background
of the scripts used in Malayalam and other Indian Classical Status For Malayalam
languages. Airavadam Mahadevan analyses the Dr. Puthusseri Ramachandran 13
geographical basis of Malayalam and Dr. C.
Rajendran has focused on the nourishment of Antiquity of Malayalam: Recent Epigraphical Evidence
Iravatham Mahadevan 22
Malayalam by Sanskrit through ages.
Deep studies based on the works of some of our Kerala’s Sanskrit Heritage - Dr. C.Rajendran 25
most prominent writers, and articles analysing the
My Times, My Poetry - D. Vinayachandran 39
cultural implications of rituals and the various
dimensions of folklore enrich the second part of this Basheer and R.K. Narayan A Different Version of
issue. And the creative basket represents the creative Prison Experiences - Dr. Aboobaker Kappad 42
variety of Malayalam fiction and poetry.
On Sri Radha - P.M. Narayanan 47
The poetic radiance in Malayalam screenplays

K.P. Ramanunni A study of the film-scripts of M.T. Vasudevan Nair
(Convenor) Dr. Anand Kavalam 51
Rosy Thomas: Life Lived in a Lush Green Literary Valley of

High Peaks. - Dr. N.A. Karim 59
Ritual/Ritual Body v/s colonial signifuers of Hegemonic Body

Religion/Ritual/Theatre - Dr. Umer Tharamel 63
4 5
Folklore Landscape of Kerala - Dr. C.R. Rajagopalan 69
K.Saraswathyamma: the forgotten Poineer of

Feminist Writing in Malayalam - Dr. Asha Susan Jacob 84
O.V.Vijayan’s Thalamurakal: Social Discrimination and the

Quest for Identity - Dr. Kishore Ram 93
How melodious is the rendering of thy song! - Sajai K.V. 100
Pulayar * - K.P. Karuppan 109
The verandah - Veerankutty 115
Silence - Amrutha 117

ON CONFERRING CLASSICAL STATUS TO
The Silent Beast - M.R. Renukumar 119
INDIAN LANGUAGES
Colour - Roshniswapana 122 Prof. O.N.V. KURUPPU
Neypaysam - Madhavikutty 124
Mother’s Advent - V.P. Sivakumar 129 Malayalam is one of the four daughters of the Proto-
Dravidian Language along with Tamil, Telengu and
When the angels flap their wings - C.V. Balakrishnan 134 Kannada. The separation from the mother was a
What is your Caste - K.P. Ramanunni 141 prolonged process of evolution which appears to
have been spread over a period of several centuries.
Indoors - P. Surendran 159 It is significant that Malayalam versions and
Sea - M.K. Chandrasekharan 162
commentaries of Sanskrit works were mentioned as
‘Tamil Kattu’ (Tamil book) for example. The
The dead body to Life - Issac Eappan 170 Malayalam annotation of the famous Sanskrit
Lexicon, ‘Amarakosham’ was mentioned as
Champk Trees - Sreelatha 176
‘Amaram Tamil Kattu’. Even the 15 th Century
Malayalam Poet, Niranam Rama Panikkar says that
he wants to narrate the ‘Brahmandapuranam’ in
Tamil. It is evident that in these centuries the word
Tamil was usded by Keralities to denote their
language though the actual language was remarkably
different from Tamil. The word ‘Tamil’ was a
synonym of the word ‘langauage.’ In fact this served
6 7
as a misty curtain to hide the antiquity of Malayalam Language. nature of those who spoke it in this area without hurting its basic
While the people on the eastern side of the western ghats held a Dravidiam structure.
puritanic attitude in preserving their old alphabet and linguistic This transition occured in the alphat of the local Tamil also. Along
expressions, the inhabitants of the western side of the ghats (ie with the preservation of the old Tamil roots, Malayalam has
Chera/Kerala) held a very liberal attitude in accepting words and absorbed all the phonemes in Sanskrit. The same is the case with
usages from the spoken and written dialects of those people with Kannada and Telegu also. Fortunately these sister languages have
whom they have interacted and those who have settled here as won the ‘classic’ status while Malayalam which has undergone
evidenced in history. In the course of its development as an the same transition through centuries towards sophistication and
independent language, Malayalam has lavishly accepted words modernisation, alone is marginalised as an outcaste from the
form many other languages, such as Sankrit, Prakrit, Pali, Marathi, illustrious Dravidian family of Languages. We do endorse the
Arabic, Persian, Syriac, Hebrew, Portuguese, Duch, French & ‘Classic’ status renderd to Tamil. But while giving the same status
English to Kannada and Telegue, the denial of the same to an equally
Sanskrit - Through Aryan Settlers. The entire vocabulary great language is surprisingly illogical in a democratic country
of Sanskrit was taken over into Malayalam and where any sort of discrimination deplorable.
the resultant richness has made Malayalam equal The period of the first available literary work in a language should
to any great language, in its capacity to deal with not be the sole criterion to adjudge the antiquity of that language.
literary and non literary themes. That should not be the decisive factor to confer ‘classic’ status.
Prakrit&Pali - Through Buddhist&Jain Prachers& Monks. The first available work in Malayalam, ‘Ramacharitham’ evidences
Marathi - Through traders and musicians who enjoyed in itself, the rich heritage of a poetic culture of a glorious past. It
royal patronage. is eloquent of the presence of “full many a gem” that lies hidden
in the repository of ancient Malayalam Poetry. Moreover it is a
Arabic - Through Arabic traders & the advent of Islam
historical fact that Dravidian Culture thrived in equal excellence
in the coastal districts of Kerala.
in Vanchi (Chera in Kerala) Kanchi (Chola) and Pukar (Pandya).
Persian - By locl rulers in the process of modernising the The ‘Vanchi Chapter’ is immortalised in ‘Silappadikaram’ which
administration and judiciary. was authored by Ilango Adikal, the Prince of Cheral country
Syriac - Through Christian missionaries who turned an ascetic. This ‘Vanchi’ is today’s Kodungalloor,
Hebrew - Through Jews who often visited and settled the premises of which even today invites excavators to explore
here. Kerala’s relation with European ports and the resultant cultural
Portyguese, impact. Doesn’t it speak a lot about the antiquity of Keral’s culture
Duch, French and its language and literature? Is it a fault that the Tamil (both its
&English - During the period of struggle for settlement by common parlance and its literary diction) used by Keralites had
these three European colonial powers and finally developed itself to greater cosmpolitan dimensions? Does this
during the period of British supremacy. noble innate nature of its stand in the way to achieve ‘Classic’
status?
It is beyond doubt that Tamil in the Chera Country has undergone
changes due to the liberal tolerant attitude and accommodative The vast seacoast of Kerala facing the west and the variety of
rare spices produced here have benefited Kerala with a vast
8 9
exposure to Arabia and Europe. Traders who sailed to Kerala’s is to be sharped by the entire descendants of the Chera,
sea ports even discovered a helpful seawind that bears a Greek Chola and Pandya People of yore.
name ‘Hippolatus’. This constant contact with various peoples, a. The present Malayalam small Script Granthalipi can be
their varied faiths, cultures, and languages enriched the diction found in ancient Keral writings from AD 9th Century.
of Malayalam as the wings of a butterfly become embedded
b. Vazhappalli Chepped of AD 9th Century is an exanple. From
with pollen grains from various flowers it comes into contact with.
that time onwards this script can be seen in all Kerala
No wonder Malayalam produced a translation of the manuscripts.
Bhagavadgeetha by a non caste-Hindu poet like Madhava
c. The Pallava Kings wrote Sanskrit in this script and it is
Panicker as early as the 14th Century. No wonder a single poet
proved that the script took shape out of the Brahmi Lipi
has translated the Epic of Mahabharatha into Malayalam fully
later. It is from this same script that Tamil, Kannada &
using the same metre as in the original. The poet was Kunjukuttan
Telungu lipis also shaped themselves.
Thampuran and it was in the 19th Century in Kodungallore itself
where the poet of ‘Silappadikaram’ had his abode. Kodungallore d. One letter found in 2000 year old Dakshina Brahmi lipi, is
has become famous in history as the port where landed one of still seen in Malayalam only without any change. It is Zha
the disciples of Jesus Christ, St. Thomas. The same town is the (g)
abode of an ancient Muslim Mosque constructed by the last Chera e. Even in Silappadikaram (4th Cent AD) there are many
King who cmbraced Islam and went to Mecca. Malayalam words which are not present in the vocabulary of today’s
language, keeping pace with these memorable changes in the Tamil. These are lavishly used even in the common parlance
land’s history has acquired a cosmopolitan nature. It is significant of Malayalam - (Afn-b≥, Aßm-Sn, AS-bv°, Iqdv, tXmWn,
that Keralites have never raised their voice against any other ]m\n, ]n-g, s]mXn, ]mb¬, hgn-]mSv) ect. to cite a few. These
language, especially Hindi which they consider as the language are termed as ‘Malainattuvazhakkam’ which gradually
of the majority of the sons and daughters of Mother India. matured into Malayalam.
We can find that Malayalam fulfils all the essential criteria for f. In Kerala from AD 9th Century onwards we can find literary,
‘Classic’ status. scientific & political works in this script. eg:
(i). It is ancient as it belongs to the Proto Dravidian Family of Thapathisamvaranam, Subhadra Dhananjayam, translation
Languages. It was the language of the ancient of Kautaliyam etc.
‘Chera’Kingdom, which underwent gradual transition like its This means Malayalam Language has developed suffficiently
sister language Kannada and Telegue. much earlier than 12th century. Such masterly works cannot burst
(ii) It is deep-rooted in the Dravidian tradition and is not at all an out all on a sudden but needs centuries of nurturing.
offshoot of any other tradition. Just as the red rays of dawn and the hot silvery rays of midnoon
(iii) It has a rich tradition, both oral and written. If at all the poetic and the crimson rays of dusk, though apparently different, are
diction of modren Malayalam differs from that of all actually the same sunshine. Tamil, Malayalam, Telegu and
‘Silappatikaram’ and ‘Ramacharitham’ (12th Cent.) it is Kannada are of the same Dravidian tradition. Hence lowering
nothing but the natural consequence of historical the status of one of these four languages is against historical facts
development. Silappadikaram leaves a common heritage that that should never happen in an age of democratic justice.
10 11
The demand for ‘Classic’ status for Malayalam is not ‘sentimental’

but based on historical facts. At the same time the Malayalis not
only in Keral, but all over India and abroad cherish a very noble
sentiment towards this effort to regain the status of their mother-
language. The ‘Classic’ status will open new venues for the
development of Malayalam. It will promote the most precious
values envisaged by our great leaders of Renaissance. Malayalis
want to build bridges of understanding with other Indian and
foreign languages and thereby help the emergence of ‘Universal
Man’ on the firm ground of our national culture. A Malayalam
University with such a motto, a fond dream of Keralites, can
become a reality as a result of this recognition and its associated
benefits.
Wonders occur not only in Nature and Architecture as the Niagra CLASSICAL STATUS FOR MALAYALAM
falls or Taj Mahal respectively, but it occurs in Literature also. In Dr. PUTHUSSERI RAMACHANDRAN
the very same town Kodungalloor where Silappadikaram was
written by a prince turned ascetic, fifteen centureies later, a single
hand did translate the entire Mahabharatham into Malayalam-
that too, the very first fullfledged translation of the great Indian The agitation for securing the classical status for Tamil
Epic in a regional language of India. Kodungalloor, supposed to has a long story behind it. For the last one hundred
be the ancient port-city, Muziris as mentioned by foreign travellers and fifty years, the Tamil Scholars were fighting for
was the nucleus of ancient Kerala culture. Dravidian culture is getting the status of a classical language to Tamil.
like ‘Brahma,’ the creator, having four faces-Tamil, Malayalam, The Central Government maintained a list of classical
Kannada and Telegu. Alienating Malayalam from the other three languages in which Sanskrit, Pali, Prakrit, Arabic and
is like cutting off one head of the creator. We should not commit Persian found a place. The omission of Tamil was
that sin. conspicuous and it opened the eyes of the Tamil
scholars. The first clarion call to give Tamil the
Classical Language status along with Greek, Latin,
Hebrew, and Sanskrit was made by V.G.
Suryanarayana Sastriar. It was in 1887 (one hundred
and twenty three years back) that he addressed his
request to the University of Madras. It was he who
gave the nomenclature of “Uyar Tinai Chemmoli”
to the Classical Language. From that time onwards,
there was a continuous movement demanding
classical status to Tamil. Organisations like “Karantai
12 13
Tamil Sangham”, and personalities like Dr.V.C.Kulandaiswamy for a classical language. V.C.Kulandaiswamy wrote a letter to the
and Manavai Mustafa carried on this onerous task. The struggle UNESCO for clarifying the issue. He received a reply, explaining
gained momentum when the Chief Minister M.Karunanidhi that it had not established any criteria for designation of classical
decided to press the Government of India to enlist Tamil in the language and it does not have a list of languages approved as
list of Classical Languages. classical languages. The letter further said that “It is a matter which
12th October 2004 is a red letter day in the annals of the History is beyond UNESCO’s mandate.
of Tamil Literature. The Ministry of Home Affairs, Government The union Government, while considering a representation from
of India proclaimed that henceforth Tamil Language is classified the Tamil Nadu Government for endorsing the classical status of
as a classical Language. In another order, the Minister of Human Tamil, approached the Sahitya Akademi, New Delhi, for its
Resources Development approved the following steps for opinion. The president of the Sahitya Akademi constituted an
promotion of classical Tamil:- expert Committee under his Chairmanship. The committee in a
1) Creation of a Tamil Language Promotion Board to advise meeting on September 2, 2004, observed; “It was noted that
the Government of India on the Development of Tamil the criteria for defining a classical language are not mentioned
Language. anywhere. But abstracting the standard features of what are
Universally accepted as classical languages (such as Sanskrit, Latin
2) Creation of a Centre of Excellence in classical Tamil and and Greek), it was agreed that the following criteria (mentioned
Dravidian languages. in later paragraphs) be applied in the case of such a designation
3) Announcement of Two International Awards and one henceforth.”
National Award for scholars in classical Tamil. The Literature is classical – not the Language
4) Certificate of Honour to eight distinguished scholars of It is thus clear that the criteria for granting classical status to a
classical Tamil and Five Awards to young scholars of Tamil. language have not been stipulated explicitly and unambiguously.
This announcement was received with joy by the Tamil speaking Against this background, we may consider the basis on which
world and there was a sense of fulfilment in the minds of Tamil languages such as Greek and Latin were designated as classical
people. ‘The endowment of classical status to Tamil is expected languages.
to go a long way in the Development of Tamil Studies throughout A study of the issue leads us to the finding that the literay
the world and enhances the chances of Tamil being recognized contributions of ancient Greece and Rome, in Greek and Latin,
as an alternative medium in the field of education and were considered by scholars as classical, and these two languages
administration. This will also give a fillip to the study of Tamil in were designated classical languages. In other words, it is the
the renowned universities of the world’ remarks B.K.Krishnaraj, literature that is assessed as classical, and by virtue of the literature,
Vanavarayar, Chairman, Bharatiya Vidya Bhavan, Coimbatore. the languages are termed classical.
Dr.V.C.Kulandaiswamy, the Vice Chairman of the Central Institute The Grolier Academic Encyclopedia
of classical Tamil has gone deep into the problem of defining the
classicality of a language. When some Tamil scholars have given What is the definition of classical literature that forms the basis
the impression in articles and speeches that the UNESCO has an for a language to be termed classical? The Grolier Academic
authorized list of classical languages and that it has specified criteria Encyclopedia says: “The word classicism in literature refers to
14 15
those elements of style or content such as reason, clarity, order, But when a sum of Rs.100 crores was granted to Tamilnadu for
restraint and humanitarian outlook that characterised the writing research and development, people of other southern states felt
of ancient Greek, ranging from Homer, Plato and Aristotle.” discriminated against. Naturally, voices were raised in Andhra
Encyclopedia Britannica Pradesh and Karnataka and in 2008 both of the languages of
Telugu and Kannada were declared as Classical Languages.
The following explanation appears in the Encyclopedia Britannica:
“When used to refer to an aesthetic attitude, Classicism invokes This has further exacerbated the feelings of the people of Kerala
the characteristics normally associated with the art of antiquity, who feel ignored.
harmony, clarity, restraint, universality and idealism.” Political pressure is needed
The criteria for determining classical status are therefore derived After Tamil, Kannada is to be considered for the classical status,
from Greek and Latin literature and are not based on any because writing of inscriptions in Kannada language began to
arbitrary decision. The characteristics of Greek and Latin literature, appear in the middle of 5th century A.D. The first inscription in
by and large, are: Antiquity, Harmony, Clarity, Restraint, Serenity, Kannada is considered the Halmidy (name of a village) inscription
Idealism, Universality, Reason, Order and Humanism. dated of 450 AD by Kadamba King (Kakulstha Varman. Around
Criteria for Classical Language - Akademi 7th century A.D. Kannada has grown to the status of a mature
language and works in literature began to appear by the 9th
The Sahithy Akademi’s expert committee mentioned four criteria century A.D. onwards. So next to Tamil Kannada is the 2nd
for a classical language. amongst the South Dravidian languages by antiquity. But it could
1) The high antiquity of early texts/recorded history of over win the status of classical language only after, Telugu, the 3rd
1500 to 2000 years. member among the South Indian languages that have fetched
2) A body of ancient literature/ texts that is considered a it.
valuable heritage by generations of speakers. Telugu was awarded the status of classical language in 2008, four
3) The literary tradition should be original and not borrowed years after Tamil received it (in 2004). The formation of Telugu
from another speech community. was only by the middle of 7th century A.D. The first appearance
of the Telugu language in an inscription is the Vipparla inscription
4) The classical language and literature should be distinct from
of Jaya Simha I (633-666 A.D.) the King of East Chalukya
the , and there may also be a discontinuity between the
Dynasty. This inscription is considered as the first written record
classical language and its later forms or off shoots.
in Telugu language. It was only in the second half of 7th century
It is seen that the criteria are based only on the characteristics of inscriptions in Telugu were available. Nannayya Bhatta is
literature. considered as the first poet in Telugu Language.
Tamil – A Classical Language A language acquires classical status in the course of history by
When Tamil was accorded the status of a classical language by virtue of its antiquity, influence on the civilization of a people,
the Government of India, the decision was welcomed by linguists wealth of its literary creations and capacity to generate a value
and people in general because it was only an official confirmation system that sustains nations. The status cannot be accorded by
of a recognition which cultural history of the country had already an executive decision by a government under pressure of populist
granted. political forces.
16 17
However, now that Telugu and Kannada have been given the this underwent change. When Gundert wrote his grammar it
classical status, there is no reason why Malayalam should be was called Malayalam Grammar. Gundert’s contemporary,
ignored and neglected, when it meets the criteria drawn up by George Mathen, wrote Malayalam grammar and it was called as
the Government. “Malayanmayunde Vyakaranam”. Leelathikalam the well known
We should like to point out the following factors which should 14th century work tells us the full story of Kerala Bhasha and its
convince the authorities that Malayalam deserves to be recognized growth as a distinct language quoting a bundle of literature written
as a classical language. in Malayalam language since 12th century.
Malayalam – A Classical Language The language of Malayalam passed through three specific periods
of growth. The language of Ilanko Adikal and his poetic genius
For the process of evolution of Malayalam as an independent
tell us the genesis of Malayalam.
language Tolkappiyam of 4th century grammar for Tamil – both
eastern and western divisions provided the first evidences. Even By of 10th century webegan hear of Perumal Thirumozhi of
in 4th Century A.D. the western dialect of Tamil reflects the Kulasekhara Alwar, which is a work written in the west coast
grammatical features of its own tendency to become a separate dialect in which a separate Malayalam identity could be seen.
language. The dialects of the five Nadus of the Western area - Even in the early Sangam works where the five Tianai’s are
Kuttanadu, Kudanadu, Venadu, Pulinadu and Karkanadu are mentioned we see Kerala’s language. The commentator of
marked for their special features which developed later in a huge Tolkappiyam , Perchiriyar Ilampuranar speaks of the distinct
scale and finally caused for its separation from the Tamil of Colas features of the west coast dialects such as the dialetects of
and Pandyas. Kuttanadu, Venadu, Karakandu and Pulinadu from the Sangam
The First Phase of Evolution 600 – 900 A.D. worked to the period of Perumal Thirumozhi of 10th century.
we see the early or the first phase of our language in the ancient
Cilappatikaram of 6th century A.D. written by a Chera prince of
phase.
Kerala staying at the capital city of Kodungallur and several love
lyrics of Sangham Literature written by 30 and add poets The inscriptions issued by Kulasekhara Kings of Mahodayapuram
belonging to Cerakingdom constitute the bulk of Sangham (Kodungallur) reflects temple life and the culture of the people
Literature. All these literary works are written in Kerala dialect from 9th century. These records and epigraphical pieces, all written
which reflects the first face of the linguistic development of Kerala in Kerala dialect and in Valleluthu scripts, indicates the second
dialect. The culmination of this development could be seen in phase of the development of the Malayalam language. All the
the Vaisava Shakti songs of King Kulasekhara, the songs of Saiva Sanskrit words in inscriptions have been written in Grantha
saint King Cheraman ‘Perumal Nayanar and Viral menta Nayanar Script,which was later assigned to Malayalam language. Even
of Chengannur. All these works of poetry and the earlier today Malayalam is written in this Grantha script. Later on when
inscriptions constitute the first stage of the development of our art form like Koothu, Koodiyattam, Pathakam like art forms
language. developed the artists explained the story to the natives only in
the native dialect ie Malayalam, of course mixed with Sanskrit.
In Olden days Kannada and Telungu were known as Kannada
The Twelth Century prose works like Bhashakautaleeyam,
exactly in the same way as Malayalam and Tamil grouped as
Brahmanadapurana, Ambareeshopakhayana are all part of this
Tamil or Chenthamizh. The word ‘Malayalam’ was used to indicate
Sanskrit Malayalam mixture. This blend language, very soon
the land of Malabar in early days. From days of Gundert, however,
18 19
developed into a separate language. Early champ us of 13th in their recitals and their Dramatical Manuals (Attaprakarams)
century like Unniyachicharitham, Unnichirutevicharitam, were written in the Malayalam language of the time. This process
Unniyaticharitam etc tell us not a different story but only the of dramatic performance was started by 9th century A.D.
extension of Malayalam Language and literature, called Between the 12th and the 14th centuries Malayalam had grown
Manipravalam and the classic example is Leelathlakam compiled into a major literary language and had consolidated its gains and
in the 14th century. had shaped itself as an independent language with its own
Native folk literature also developed during this period and we grammar Leelathilakam. The first Bhagavad Gita translation in
see works like ‘Ramacharitam’ by Ciraman, ‘Kannasa any Indian language appeared in the 14th century. The Kannassa
Ramayanam’, ‘Kannasa Bharatham’, ‘Kannassa Bhagavatham’, poets brought out their versions of Ramayanam and
‘Bhasha Bhagavat Gita’ etc. by poets of Kannassa School. Bhagavatham. When we consider that the Karnataka rhetorical
Followed by Krishnagatha of Cherusseri. Then by the next century text Kavirajamargam also was written in the 14th century, it
we witness the Ezhuthachan Age. The process of development conclusively proves the antiquity of Malayalam.
was perfected by Thuchath Ezhuthachan the true founder of In the 3rd stage of development by the 16th century Malayalam
Modern Malayalam Literature, who polished and finalized most had emerged as a language with a rich literature which includes
of the Malayalam words which we see today. the works of Cherusseri, Ezhuthachan, Poonthanam and others.
The Script – 1500 years old It is widely recognized that the contributions of Malayalam to the
The script used by Malayalam writers had a longer history than modern progressive currents in Indian literature is second only
that of the Telugu and Kannada scripts. It should be noted that to Bengali.
Grantha script was used for writing Sanskrit in south India after We may also mention that Malayalam can boast of four Jnanapith
Southern Brahmi fell into disuse. This is a script in which Malayalam Award winners with G.Sankarakurup as the first winner of this
is written to diary. It has got an antiquity of 1500 years. It was most prestigious literary prize of the country.
used first by the Pallava Kings to write Sanskrit Language 1500 We requeste the Government of India to rectify the injustice done
years back. to Malayalam and accord the status of a Classical Language to it
The Sanskrit portion of the Vazhappally Copper Plate inscription with institutional and financial support to promote and develop
(8th century AD) is written in old Grantha script. It was preserved research in Malayalam and Kerala culture.
by Keralites to write Malayalam. The language of the earliest The classical status for Malayalam is the need of the hour - it is
inscriptions indicate decisive phonemic and morphemic changes not simply for a classical status or for a few hundred crores of
which mark the differentiation of Malayalam even in the 8th rupees. It is to recognize the culture of the people of the far
century. South of India which danced to the tune of their mother tongue-
Along with Tamil, Malayalam has preserved the sound and letter MALAYALAM- a medium through which an essentially Malayali
(g). trait had developed. Language, Literature and Culture are
The Chakyars performed their version of stories from ancient inseparable.
Sanskrit plays and from the Puranas. They mixed Sanskrit with
native speech which formed Manipravalam (ruby–coral mixture)
20 21
The earliest inscription in Malayalam occur only from the 9th

century C.E., though L.V. Ramaswamy Aiyar traced the origin
of the language to about the 5th century on linguistic grounds.
However, recently discovered Tamil-Brahmi and Early Vatteluttu
inscriptions provide new evidence for words in characteristic Pre-
Malayalam or Early Malayalam forms dating from much earlier
times. I summarise briefly the new evidence.
1. A herostone inscription has been discovered recently at
Pulimankombai in Theni district in Tamil Nadu (near the border
of Kerala). The inscription is in the Early Tamil-Brahmi script
and may be dated in ca. 1st century B.C.E. on palaeographic
ANTIQUITY OF MALAYALAM: RECENT evidence. The iscription reads:
EPIGRAPHICAL EVIDENCE K£¶al-£r ¡-k°½ pe¶u t¢an antavan kal
IRAVATHAM MAHADEVAN ‘the (memorial) stone of TiyaI AntavaI who fell (in) the cattle-
raid (at) Kûmalûr’
I read with interest the report on the symposium on Note Ma. pe¶u (Ta. pa¶u) ‘to fall, perish’ (DEDR 3852) occuring
recognition of classical status to Malayalam (DLA here in the viInittokai with the name of the hero who belonged
News 34.7.2010). I support the plea not merely on to the Tiya caste. This is the earliest inscriptional occurrence
grounds of equity,as the other three literary of a pre-Malayalam word discovered so far.
Dravidian languages have already been accorded 2. A pottery inscription found at Pattanam, Kerala (most probably
the classical status,but also on the merits of the case. identical with ancient Muciri) during trial excavations is in the
There was a time when the same language was Late Tamil-Brahmi script of about the 2nd century C.E. as
spoken on either side of the Western Ghats, probably judged from palaeographic and stratigraphic evidence. The
with only minimal dialectal variations.In course of fragmentary inscription reads:
time, and due to the barrier to communication posed … £r p¡va ° … ‘woman / doll of the village…’
by the high mountain ranges, the Eastern dialect The occurrence of the pre-Malayalam form pâva (Ta. pâvai)
(Tamil) and the Western dialect (Malayalam) became (DEDR 4107) may be noted.
more and more divergent. The heavier infusion of
Sanskrit and the native innovations like dropping 3. Another pottery inscription has been excavated more recently
the person-number-gender terminations in at Pattanam. The inscription is a single word c¡ttan, a personal
Malayalam led to its emergence as a separate name, in the Late Tamil-Brahmi cave inscription at Arachalur,
language with its own distinctive script. Therefore, Erode District, Tamil Nadu, which has also been dated in the
as both were once dialects of the same proto- 4th century C.E. from palaeographic evidence.
language.
22 23
4. An Early Vatteluttu inscription of ca. 5th century C.E. is engraved

on a boulder mid-stream of the Cherupuzha river at
Ezhuttukallu in the Nilambur forest area in Kerala.It reads:
m¡cak°¶u n¢ranav¡y
‘mouth of the dam (across) the water course at M¡cak°¶u’
The occurrence of the Early Malayalam form a¸a (Ta.
a¸ai)(DEDR 122) is noteworthy.
I have not included here the Tamil-Brahmi and Early Vatteluttu
inscriptions at Edakkal, Kerala as they have no special features
associated with Malayalam, and are already well known.
In view of the exceptional importance of the four new inscriptions
for the study of the origin and evolution of Malayalam, I have
KERALA’S SANSKRIT HERITAGE
requested ISDL to store hidh-resolution photographs and full
bibliographic data in their computer system for online access by Dr. C.RAJENDRAN
interested scholars.
(From DLA NEWS Vol. 34 No. 8 dated Aug 2010)
The earliest references to Sanskrit scholarship of
Kerala are attested to be those found in Daòdòin,
who, in his Avantisundarikathâ [7th C] makes a
mention of Kerala scholars like Bhavarãta, a
commentator of some Kalpasütras and Matrdatta,
his son, who was also a scholar-poet. Thereupon,
Sankara, through his philosophical and devotional
writings established for himself and his land an
everlasting place in the Sanskritic firmament of India
.It is not known, however, exactly at what point of
time Sanskrit was introduced to Kerala’s soil. There
is reason to believe that it must have been in several
phases, since the Sanskrit tradition of Kerala is not a
monolith of high Brahminical culture alone, but a
conglomeration of diverse sources like Hinduism,
Buddhism, and Jainism .To quote N.V.Krishna
Warrier,
24 25
It does not seem to be historically true to equate Mayuravrarman who is referred to in the Namboodiri traditions
Sanskritisation of South India as Brahmanisation, as done of Keralotpatti. By the eight-century, there came into existence
by some. It was the Baudhas and Jainas, who stood outside the thirty-two Brahmin settlements which later on came to be
the purview of the Varnasrama system that gave leadership the temple centered sites of sanskritisation.
to the propagation of Sanskrit in Ceylon and South India, It may be due to the pluralistic tradition of Sanskrit in the land
and not Brahmins. And they were not averse to give that the language deeply penetrated to the psyche of Kerala,
Sanskrit education to non-brahmins. Just as Sanskrit was cutting across caste barriers. The popularity of Sanskrit in Kerala
indispensable for Brahmins for the study of Vedas and is attested by the emergence of a hybrid form of Sanskrit and
Vedangas, Sanskrit was required for non-brahmins to study the vernacular called manipravala during the medieval times,
result-oriented Sastras like medicine, astrology and and also by the high percentage of Sanskrit words found in
architecture.1 Malayalam vocabulary. In the words of V.Raghavan,
We have evidence to support the view that the Brahmanical and In the whole of India, Kerala perhaps shows the greatest
Non-brahmanical traditions ran parallel to each other. amount of saturation of Sanskrit, with the knowledge of
Interestingly, we find two types of Siddharupa forms prevalent Sanskrit and its spirit permeating and percolating utmost
in Kerala side by side. One was the Hindu tradition consisting of fringes of the society; fully inflected Sanskrit could be used
the names of Hindu gods like Rama, Hari, and Sambhu .The in writing the local language. 3
other was based on a set of secular words like Vrksa [tree], kavi
[poet], karu [smith], and jaya [wife] as epitomized in Rupavatara The history of this rich Sanskrit legacy is very rich and complex.
of Dharmakirti. The exact manner in which these strands made We can see that Kerala has not only preserved in tact several
their presence in Kerala at different points of time is hard to strands of tradition like the Vedic lore, philosophy, astronomy,
determine. It can be surmised that Jainism probably came to mathematics, ayurveda, theatre, vastusastra, and classical
Kerala after the Mauryan conquest of Mysore and Buddhism literature, but also helped these traditions to blossom providing
when the missionaries of Asoka reached the land. The possibility the necessary cultural ambience. We see the rare manuscripts of
of Buddhism reaching Kerala from Srilanka cannot also be ruled the works written in distant parts like Kashmir preserved carefully
out since the grammarian Dharmakirti was a Srilankan Buddhist in Kerala suggesting great cultural interaction and absorption of
.The immense popularity of Ayurveda in Kerala, the prestige a diverse traditions by Keralites of the past. Practical sciences of
play of Buddhist motif like Nagananda enjoyed in Kerala’s theatre ancient India like ayurveda and vastusastra show great
and the numerous references to Buddhism in the discourses of innovativeness in the hands of the practitioners of Kerala. The
Cakyars in temple theatre are all indicators of the Buddhistic kings and chieftains of the land provided gave institutional support
Sanskrit tradition of Kerala .The most prominent form of for the Sanskrit tradition to flourish even when their existence
Sanskritisation, however was ushered in by the brahmanical was threatened due to political upheavals in the North
stream. There must have been a few Brahmin settlements in the Kerala has played a pivotal role in the preservation and
region in the last two or three centuries prior to the Christian propagation of Vedic lore. This is indicated by its centuries old
era.2. The fifth and the sixth century witnessed the intrusion of sacrificial tradition and the institutional support arranged by kings
the Kadamba kings to Kerala, which led to a fresh wave of to the study of Vedas, Vedangas and Mimamsa. Vedic literature
Brahmin settlers to Kerala under the patronage of King was preserved with diligence in Kerala from very early times
26 27
onwards. According to E.R.Sreekrishna Sarma, respectively, Udaya, who wrote the sukhada commentary on
Vedic tradition in Kerala has been unique in the sense that Kausitakabrahmana, Akkittam Narayana, who wrote Dipaprabha
it provides for training in oral recitation, training in what is commentary on Sarvanukramani, Nilakantha yogiyar, who wrote
learnt, participation in Vedic rituals and taking up the Srautaprayascitta sangraha, Nilakantha, the author of
sannyasa. So all that which Sriharsa, the scholar poet states Niruktavarttika, and Melputtur Narayana Bhatta, who wrote
in his Mahakavya, the Naisadhiyacarita are important with Asvalayanakriya krama and Suktisloka5.
regard to Vedic tradition and Vedic studies.4 No less spectacular is the contribution made by Kerala Classical
The regular rites in the temples of the Brahmin settlements of literature. The performance tradition of Sanskrit drama, which
Kerala provided Brahmins opportunities to recite the samhitas became extinct everywhere else in India miraculously survived
and to receive gifts. Temples gave free food and education to in Kerala through the form of Kutiyattam, the temple theatre
Brahmin boys engaged in Vedic studies and the samhitas and with a lot of ritualistic and regional elements modifying it to give
the brahmanas were taught. Afterwards, those who aspired for a local colour, even though the basic features of the Sanskrit
higher learning were introduced to the studies of the vedangas, drama like its highly stylized acting and Rasa orientation are left
the ancillaries of the scripture like phonetics (siksa), grammar in tact. Kutiyattam as an art form presents itself as a very complex
(vyakarana), etymology (nirukta), prosody (chandas), and the amalgamation of diverse streams like classical Sanskrit drama,
srauta and grhyasutras. Sacrifices, especially the soma sacrifice the folk arts of Kerala, and the solo discourses of different religious
were performed regularly which ensured that the performance traditions. Ancient Tamilakam had many art forms called kuttu,
tradition of the Vedic hymns and Brahmanas was kept alive. The like kottikuttu, katakkuttu etc. performed by an acting community
latter day Vedic competitions like katavalluranyonyam, conducted called Cakyars and it is probable that it is the fusion of the
annually at the Srirama temple of Katavallur tested the proficiency indigenous tradition with the performance tradition of classical
of students in the Kramapatha of the Rgveda.The kings of the drama which might have taken around the sixth and seventh
principalities of Kerala vied with each other in providing centuries which resulted in the emergence of Kutiyattam.6 This
encouragement to Vedic and classical literature. While the Revati must have taken place at the time of the emergence of the temple
pattattanam introduced by the Zamorin of Calicut was a great centered Brahmin settlements all over Kerala. The popularity of
meeting point of scholars, the facilities accorded by Travancore King Harsa’s Nagananda, a play with Buddhist motifs in
kings for Murajapam was another example of institutional support Kutiyattam stage probably points to a Buddhist phase of Sanskrit
provided for performance tradition of the Vedic lore. drama in Kerala stage. It is remarkable that only a very few plays
written by Keralite playwrights have found place in Kutiyattam.
The Vedic sakhas, which gained currency in Kerala, include the These include Ascaryacudamani of Saktibhadra, the
Kausitaka and Asvalayana recension of the Rgveda, the Kalyanasaugandhikavyayoga of Nilakantha and the two plays
Baudhayana and Vadhulaka recensions of Yajurveda as well as Subhadradhananjaya and Tapatisamvarana of Kulasekhara, the
the Jaiminiya recension of Samaveda. There was also a galaxy patron king of Mahodayapura who is supposed to have reformed
of Vedic scholars including Bhavatrata, who commented on the the Kerala theatre with the inculcation of the regional language
Jaiminiya srauta sutras, Sadgurusisya, who wrote the for characters like Vidusaka, with the assistance of Tolan, his jester-
commentaries Sukhaprada, Moksakaprada and Abhyudayaprada minister. The other plays associated with Kutiyattam include parts
on Aitareyabrahmana, Aitareyaranyaka and Asvalayana sutras of some of the Trivandrum plays assigned to the legendary Bhasa
28 29
like Pratijnayaugandharayana, Abhiseka, Svapnavasavadatta, The Sandesakavya genre of poetry also seems to have been
Pratima and Balacarita the Mattavilasa prahasana of very popular in Kerala. Though most of them are slavish imitations
Mahendravarman, as well as the Bhagavadajjuka of Bodhayana. of Kalidasa in form and content, the true value of them lies in
It is the enactment tradition of Kutiyattam which paved the way the fact that most of them yield a lot of geographical, cultural
for the emergence of Krsnanattam, a musical opera based on and historical information about medieval Kerala in their
Krsnagiti of Manaveda, Kathakali and other classical arts in Kerala. description of the path to be followed by the messenger. The
The Campu form of literature, consisting of prose and verse, Sukasandesa of Laksmidasa, Mayurasandesa of Udaya,
evolved into an interesting genre in Kerala called Prabandha, Subhagasandesa of Narayana, Kamasandesa of Matrdatta,
which was used for the solo discourse of Cakyars. Here the Kokilasandesa of Uddandasastri, Hamsasandesa of
greatest name is that of Melputtur Narayana Bhatta, who wrote Purnasarasvati, Cakorasandesa of a Payyur family member,
classics like Rajasuyaprabandha for the sake of his friend Iravi Kokasandesa of Visnutrata, Bhrngasandesa of Vasudeva,
Cakyar. Melputtur is reputed to have composed a Prabandha Nilakanthasandesa of Punnasseri Sridharan Nambi,
dealing with the wailings of Surpanakha called Sampatisandesa of Puliyannur Tekkeppat Namboodiri,
Surpanakhapralapa avoiding all nasal sounds since Surpanakha, Sarikasandesa ascribed to Ramapanivada and Matrusandesa and
with her nose cut could not be expected to pronounce any nasal Hamsasandesa of anonymous authorship are but some of the
sound. Most of the episodes from Ramayana and Mahabharata important works of this genre.
are narrated in the campu form, and most of them are ascribed Kerala’s contribution to devotional literature is also very significant.
to Narayanabhatta himself, though it is difficult to ascertain the Sankaracarya, who popularized the integration of the of the
authenticity of this tradition. sanmatas of Saiva, Vaisnava, Sakta, Saura, Ganapatya and
The notable Mahakavyas produced by Kerala include Kaumara gave shape to a mode of worship called
Yudhisthiravijaya of Vasudevabhattatiri, a Yamaka poem of Pancayatanapaddhati for Advaitins consisting of the worship of
amazing lucidity, the equally famous and more lucid Aditya, Ambika, Visnu, Ganapati, and Maheswara. In any case,
Srikrsnavijaya of Sukumara, Musakavamsa, a historical poem not less than sixty-five hymns are ascribed to Sankara. Though
by Atula, Sivavilasa of Damodara Cakyar, Srikrsnavijaya of the authenticity of the traditional view is not certain, we need
Sankarakavi, the grammatical poem Subhadraharana of not doubt Sankara’s authorship of works like Saundaryalahari,
Narayana, Bharatacarita of Krsnakavi, Raghaviya and Visnuvilasa Mohamudgara, Sivanandalahari, Manisapancaka, and
of Ramapanivada, the Uttaranaisadha of Arur Madhavan Aditiri, Kanakadharastava .The Mukundamala of Kulasekhara Alwar,
and Ramacarita of Vidvan Eilaya Tampuran. The Stotra poem Srikrsnakarnamrta of Bilvamangala, and Narayaniya of Melputur
Narayaniya of Melputtur can actually be regarded as a Mahakavya Narayana Bhatta are famous all over India. Other important stotra
in view of its narrative structure and poetic merit. Some of the works include Narayana Bhatta’s Guruvayupuresvarastotra, and
modern works of the genre include Visakhavijaya of Kerala Varma, Sripadasaptati, and Ramapanivada’s Mukundasataka, Sivasataka,
Angalasamrajya of A.R.Rajarajavarma, Srinarayanavijaya of Ambaranadisastotra and Suryastaka.
Balarama Panicker, Keralodaya of K.N.Eluttachan, The philosophical output of Kerala is magnificent and only the
Kristubhagavata of P.C.Devasya, Navabhaarata of Mutukulam name of Sankara is enough to bring forth its significance. In the
Sreedhar and Visvabhanu of P.K.Narayana Pillai. arena of Vedanta itself, apart from the famous Bhasyas of Sankara
30 31
on Prastanatrayi and works like Upadesasahasri, the advaitic works A.R.Rajarajavarma, grammatical poems illustrating usage like
which deserve mention include Samksepakasariraka, Dhatukavya of Melputtur, Subhadraharana of Brahmadatta
Pancaprakriya and Pramanalaksana of Sar vajnatman, narayana and Vasudevavijaya of Vasudeva
Advaitaprakasa of Durgaprasadayati, and Darsanamala of Kerala has also made seminal contribution to science and
Srinarayana Guru. In Mimamsa, the famous Payyur Bhattas were technology enshrined in Sanskrit texts. It is now globally regarded
great traditional scholars. Nyayasamuccaya of Parameswara I, as the haven of Ayurveda, thanks to the unbroken tradition of
Jaiminiyasutrarthasangraha of Parameswara III and great physicians who preserved and further developed India’s
Manameyodaya of Melputtur Narayana Bhatta and Narayana Ayurvedic tradition down the centuries .An important aspect of
Pandita are important works on Mimamsa produced in Kerala. Kerla’s Ayurvedic tradition is the innovations made by Keralites
Sanskrit grammar also made a deep impact on the Kerala mind in rejuvenation therapy of Pancakarma, not practiced elsewhere.
and it is not surprising that most of the Malayalam grammatical With regard to mathematics and astronomy, the contributions
treatises themselves were modeled after Panini’s Sanskrit made by great Kerala scientists like Sangamagrama Madhava,
grammar. A unique feature of Kerala’s grammatical tradition is (c1340-1425), and Nilakantha Somayaji (1445-1545) give lie
that unlike in many other parts of India, non-brahmanical sources to the once widespread belief that the development of classical
like Buddhism also were strong here as evidenced by the popularity mathematics in India came to a virtual stop in India around 12th
of works like Rupavatara of Dharmakirti, a Simhala Buddhist century after Bhaskaracarya. In fact, the development in
scholar. Another significant point is the progressive outlook of mathematics in Kerala was of such great theoretical importance
Kerala grammarians like Melputtur Narayana Bhattatiri who that it is now being described as the medieval school of
readily accepted non-paniniyan traditions also to validate current mathematics. According to Rajagopal and Rangachary, ‘it was
linguistic usage. It is needless to point out that the conservative Madhava who took the decisive step onwards from the finite
tendency among grammarians to uphold tradition and censure procedure of ancient mathematics to treat their limit-passage to
freedom in usage all over the world is much more pronounced infinity, which is the kernel of modern classical analysis’7A novel
in India where Panini and his ilk have acquired, not without reason, feature of Kerala mathematics is the Katapayadi formula through
almost a superhuman aura. Against this general tendency, it is which numbers are represented using thee alphabet. In
interesting to note that there were a set of grammarians, like astronomy, apart from the authors mentioned above,
Melputtur, who believed that rules followed usage and not vice- Parameswara of Vatasseri (c.1360-1455) and Acyuta Pisaroti of
versa, a dictum acknowledged in principle even by Paninians. Trkkantiyur (c.1550-1621) also made significant contributions.
Melputtur even takes the radical stand that other traditions in A feature of Kerala astronomy was the periodic revision of
grammar are as authentic as the Paninian tradition and calculations to make accurate prediction of the eclipse and the
controverts the view that the latter alone is authentic. like. Keralite authors have also made significant contribution to
Of all, there are about sixty grammatical works penned by Kerala Vastusastra also, in which branch, the Tantrasamuccaya of Cennas
authors, which are now available, including treatises, Narayanan Namboodiripad, Silparatna of Srikumara, Vastuvidya
commentaries and grammatical poems illustrating usage. These of anonymous authorship and Masnusyalayacandrika of
include treatises and commentaries like. Pravesaka of Trkkandiyur Tirumangat Nilakanthan Moosat are widely acclaimed.8
Acyuta Pisaroti, Prakriyasarvasva and. Apaniniyapramana The contributions made by Kerala authors to diverse fields like
sdhanata of Melputtur Narayana Bhattatiri, Laghupaniniya of commentary literature, Tantra, Dharmasastra, fine arts, literary
32 33
criticism and various other branches of philosophy are also 4

Vedic Tradition in Kerala, p.7.
significant, but the limits of the paper does not permit me to 5
C.Rajendran, The Vedic Tradition of the Nila river basin South Indian History
Congress XVIII souvenir, p.98.
touch upon these fields.
6
C.Rajendran, Kutiyattam: ‘The Sanskrit theater with a Regional Idiom’ in Living
The impact of Sanskrit on Kerala’s intellectual tradition has been Traditions of Natyasastra, Ed.C.Rajendran, and p 64-65.
tremendous. Sanskrit’s linguistic influence resulted in the 7
Quoted by George Gheverghese Joseph, The Crest of the Peacock, p271.
phonological transformation of Malayalam from a simple 8
A.Achyuthan and Balagopal T.S.Prabhu, An Engineering Commentary on
Dravidian structure to a more complex one, accommodating Masnusyalayacandrika, Introduction, p. x
voiceless aspirates voiced stops, and voiced aspirates into its fold,
in addition of admitting hundreds of loan words. Conversely,
Malayalam also influenced Sanskrit, mostly in the matter of
pronunciation and accent. The literary tradition of Kerala, as in
other parts of India shows the influence of epics and classical
literature to a remarkable degree. The classical theatre of Kerala,
especially Kathakali, owes much to Kutiyattam and Krsnanattam
for its technique and motif. Sanskrit was the medium of higher
learning of various sastras in premodern times and hence the
language enjoyed unparalleled prestige in the land.
Bibliography
A.Achyuthan and Balagopal T.S.Prabhu, An Engineering Commentary on
ManusyalayacandrikaCalicut, 1998.
George Gheverghese, Joseph. The Crest of the Peacock Penguin Books, London,
1994
Krishna Iyer, K.V, The Zamorins of Calicut, Calicut University, 1999
Krishna Warrier, N.V, Keralapanini’s contribution to Sanskrit Grammar, (Mal) State
Institute of languages, Trivandrum, 1989
Department of Publication, Government of Kerala, Kerala through the ages, 1988
Kunjunni Raja, K, Contribution of Kerala to Sanskrit Literature, Madras, 1980
Narayanan, M.G.S, Perumals of Kerala, Calicut, 1996.
Rajendran, C, Living Traditions of Natyasastra Delhi, 2002
(Footnotes)
1
N.V.Krishna Warrier, Keralapanini’s contribution to Sanskrit grammar,(Mal) State
Institute of languages, Trivandrum, 1989, p15.
2
Kerala through the ages, Department of Publication, Government of Kerala,
p.13.
3
V.Raghavan, Foreword to The Contribution of Kerala to Sanskrit Literature by K.
Kunjunni Raja, p vii
34 35
Whereas the Government of India have further decided that the

following benefits shall be available to the language decrlared or
notified as classical languages:-
i. The major international awards for scholars of eminence in
Classical Indian languages are awarded annually.
ii. Centers of Excellence for studies in classical languages ls set up.
iii. The university Grants Commission be requested to create, to
start with at least in the Central Universities, a certain number
of Professional Charts for Classical Languages for scholars of
eminence in Classical Indian languages.
(K. Jayakumar)
Government Notification Regarding Joint Secretary to the Government of India.
‘Classical Languages’ ORDER
Ordered that a copy of the Resolution published in the Official Gazette.
To be published in part-I section 1 of the Gazette of India
(K. Jayakumar)
No.IV-14014/7/2004-NI-11
Joint Secretary to the Government of India.
Government of India/Bharat Sarkar
Ministry of Home Affairs/Grih Mantralaya
To be published in part-I section 1 of the Gazette of India
Jaisalmer House, Mansingh Road, New Delhi-110011 No.IV-14014/7/2004-NI-11
dated 12th October, 2004 Government of India/Bharat Sarkar
Notification Ministry of Home Affairs/Grih Mantralaya, Lok Nayak Bhavan,
Khan Market, New Delhi-110011
It has been decided by the Government of India to create a new dated 12th October, 2004
category of languages as ‘Classical Languages.’
Notification
2. The following criteria will be used to determine the eligibility Government of India created a new category of languages as ‘Classical
of langages to be considered for classifaction as a ‘Classical Languages’ vide Notification No. IV-14014/7/2004-NI-II dated 2th
Langage’:- November 2005 and the following criteria was laid down to determine
i. High antiquity of its early texts/recorded history over a thousand the eligibility of languages to be considered for classification as ‘Classical
years. Language’:-
ii. A body of ancient literature/texts, which is considered a valuable i. High antiquity of its early texts/recorded history over a thousand
heritage by generations of speakers. years
iii. The literary tradition be original and not borrowed form another ii. A body of ancient literature/texts which considered a valuable
speech community. heritage by generations of speakers.
3. It is also notified that the ‘Tamil Langauage’ satifies the creiteria iii. The literary tradition showed be orginal and not borrowed from
listed a para 2 above and would henceforth be classified as a another speech community
‘Classical Language.’
36 37
iv. The classical language and literature being distinct from modern,
there may also be a discontinuity between the classical language
and its later forms or its offeshoots.
2. Tamil Language was notified as a ‘Classical Language’ vide para
3 0f the aforesaid Notification dated 12th October, 2004
3. The Goverment of India has now decided to amend para 2(i) of
the notification dated 12th October, 2004 so to read as under.
“High antiquity of its early texts/recorded history over a period of
1500-2000 years.”
4. It is also notified that ‘Sanskrit Language” satisfies the above criteria
and will be classified as a ‘Classical Language.’
5. All other provisions of the Notification dated 12th October 2004
will remain unchanged.
6. The Ministry of Culture will take all further steps required to follow My Times, My Poetry
up and implement the above decisions. D. VINAYACHANDRAN
(Jag Ram)
Deputy Secretary to Govt. of Indian
Tel. 24616862
My times and my poetry with unprejudiced
transformations become unfamiliar even to myself
To
and breaking the boundaries of words they become
The Manager desolate mouments of silence and the unfinished
Government of India Press, rushes of love on the silver screen. In the most
Faridabad
material sense they cut across seven worlds. Seven
Dated the 25th November,2005 confessions and the spurt of mental process.
No.IV-14014/7/2004-NI-II Envisioning that the earth and the earthworm have
Copy to:- poetry, ‘my poems and love are the dust that is
1. Prime Minister’s Office, South Block, New Delhi resurrected after a quake, a few indistinct shoots,
2. Cabinet Secretary, Rashtrapati Bhawan, New Delhi sprouting up.’ It should recoup the butterflies and
3. Ministry of Culture, Shastri Bhawan, New Delhi surumas that are trapped in the dilapidated souls.
4. Ministry of Human Resource Development (Department of My glass is sanguine. Ingnorance of God is filled in
Secondary) & Higher Education), Shastri Bhawan, New Delhi. it. In the mad rush of a nightclub we feed on a
5. The Chief Secretaries of all the States/Union Territories.
stranger. The ignorance of God becomes the
ignorance of man. We fear not death; we begain to
fear life.
I won’t be blind to the blank gazes of hunger, the
38 39
tanned faces of war and the wreckage of love. They are the have to be recovered. My poetry should be able to recover God,
ovens of poetry. Science says that time will end up before space the dream that we missed in our hurry and it should also find
and the cosmic rays that are as old as the big bang are spurting refuge in the attenpt to cure the ailing God. Poetry, after all, is
to future and so I have to refine my past to limit my future. Man not poetry alone.
has very limited idea about his brain and even his genes. The Let me read out some of my short poems. As the conch does to
ones who made loud declaration like ‘one world- great world’ the sea, as the lac to the woods, a fragrance that we alone
are now prophesying multifarious universes. Among issues like distinguish and as love, these are in invitation to my pains....
dry water-taps, explosion of bombs in the streets, whimpering of
Translated by K.T. DINESH
the child who is forlorn amongst the mirage of the earth and the
minds these anxious contemplations are poetry’s subtle nuances.
Here, because of time-constrains and because of the evident
multiplicity of poetry it is not possible to establish all these points.
In scorching summer we sit together with a fellow- traveller for a
cup of lassi. We walk to wilderness in the night hearing the cries
of children deep-dwelled in the earth before many a birth. A
lunatic laughs seeing the bullozers and the condoms blown up
and flown by naughty children. We present a basket full of oranges
to him.
What I should do is to keep silence. Even if you are in hospital or
in your graden trun to poetry. I who enact multiple faces on the
street say only this:
Remember the treaty
Between the salt and the stars
Remember the betrothal
Between the seed and the rain
.................................................
.................................................
Th sun will burn to ashes all that is devoid of love
The moon will down all that is not a dream
There are hundreds of ways to write poetry in Malayalam. I cannot
be a bonsai exhibition piece of Imagism which was once despised
as transitory ploy by our eminent ciritc M.P. Sankunni Nair. I
need a bit of place. As in our land agriculture has to be recovered
in words as well. The mangroves, ground water, the distance
between heat and cold and the time between noise and silence
40 41
conversing with it throughout her confinement. Thus she

succeeded in converting the nightmarish prison-days into a period
of bliss.
Although it seems totally incredible, Dr. Frankl asserts that we
can take the whole story without even a speck of salt. That lady
could look upon the entire universe-inclusive of the microscopic
beings and the fibrous grass-as a single family. And she believed
that being the most sensitive members of this vast family, human
beings are bound to be considerate and affectionate towards all
the other living-beings. Besides, they must try to communicate
even with the tiniest of flora and fauna. Hence she found it quite
easy to feel the presence of a sensitive mind within that tree-
branch, and spent most of her time in chatting with it. Thereby
Basheer and R. K. Narayan she could dispel her sense of loneliness and live a life of peace
A Different Version of Prison Experiences and pleasure.
Dr. ABOOBAKER KAPPAD What is driven home through this lady’s experience is that if
your heart is brimming with all-embracing affection and tolerance,
you can create a heaven even out of a hell. Vikom Muhammad
Dr. Viktor Frankl, who was the head of Psychiatry Basheer, the legendary Malayalam writer and R.K. Narayan, the
Department in the University of Vienna, has narrated renowned Indo-Anglian writer, too, have highlighted this very
an interesting and amazing incident in his book truth in their novels The walls and The Guide respectively.
Mans’s Search for Meaning. Dr. Frankl had beem
Raju, the hero of The Guide gets imprisoned on account of a
imprisoned for some time in one of the concentration
forgery. But inside the prison he becomes a totally different man.
camps set up by Hitler. And the incident referred to
He is seen everywhere in the prison as an affectionate well-wisher.
here is something related to one of the female
He succeeds in winning the hearts of both the prison officials
prisoners in the camp, whom Dr. Frankl happened
and the prisoners. The prisoners look upon him as their
to meet after her release. That lady had undergone
benefactor and beloved teacher. The prison authorities take him
solitary confinement over a long period of time in
into confidence and entrust him with various duties. Later on
terrible conditions. As a psychiatrist Dr. Frankl wanted
Raju recollects all these pleasant ecperiences:
to know what kept her alive, and what is more, sane.
The lady then revealed to Dr. Frankl the fantastic I visited all departments of the prison as a sort of benevolent
means that she had adopted for her survival as well supervisor. I got on well with all the warders. I relieved them in
their jobs when other prisoners had to be watched. I watched
as for keeping her mental balance.
the weaving section and the carpentry sheds. Whether they were
One of the branches of a small tree was the only murderers or cut-throats or highway men, they all listened to
thing visible from her cell. The lady could consider me, and I could talk them out of their black moods. When
that branch as her bosom friend and she kept on there was a respite, I told them stories and philosophies and
42 43
what not. They came to refer to me as ‘vadhyar’-that is teacher. friendship that exists between Basheer and the assistant Jailor
There were five hundred prisoners in that building and I could (fondly called ‘Brother Jailor’ by the prisoners) can be read out
claim to have established a fairly wide-spread intimacy with from these lines of Basheer.
most of them (The Guide 226-227)
He did not visit me to inspect the lock-up. He came to chat. He
To make his stay in the prison more pleasant and meaningful an had a small Alsatian dog....We talked about its training, exercise,
experience Raju works on a vegetable patch in the backyard of food. I told him a number of dog stories. Brother Jailor listened
the Superintendent’s house. He “grew brinjals and beans and to them with interest. I made black tea for him. Most people
cabbages. When they appeared on their stalks as tiny buds, I knew that I had tea and sugat with me (Poovan Banana and
was filled with excitement” (227) other Stories 166)
Thus having created a homely atmosphere within the prison, Basheer seems ever willing to prepare and serve black tea to the
Raju no longer hates it; nor does he fear it. Instead he feels just condemned prisoners, who desire to have their final drink just
the opposite:- before their hanging.
No place could be more agreeable (than a prison); if you The warder would wake me up. I would make some black tea
observed the rules you earned greater appreciation here than and send it to him (the condemned prisoner). I would send
beyond the high walls. I got my food, I had my social life with word to him to be brave (166)
the other inmates and the staff, I moved about freely within an Basheer’s room in the jail is the meeting place of all the prisoners
area of fifty acres. Well that’s a great deal of space when you including the political ones, and the warders.
come to think of it; man generally manages with much less
There would be laughter and discussion then, a little township
(228).
in itself. Arguments, noise, laughter, hubbub. Sometimes the
Hence there is not even an iota of exaggeration when he claims:- Jail Superintendent came with Brother Jailor.....We would talk
I felt choked with tears when I had to go out after two years, about trees and plants; about tending and manuring them. We
and i wished that we had not wasted all that money on our would pace up and down talking of these things (167).
lawyers. I’d have been happy to stay in this prison permanently Some of his fellow-prisoners cannot approve of Basheer’s
(22) fraternizing with the Jail Superintendent. They ask Basheer:
Basheer’s own prison ecperiecnces depicted in his novel The walls Why should one talk and smile and make up to him? Was he
also are not much different. Most of Bsheer’s works reflected the not the person who increased the number of lashes to be inflicted
fact that he was an embodiment of goodwill and affection. That on my friend at the whipping post to two dozens? (167).
is why T. Padmanabhan has commented in his article; Basheer: Similar to Raju, Basheer also appears to be an ardent lover of
Vyakthiyum Novelistum (Basheer: the Peron and the Novelist): trees and plants; but unlike Raju it is a flower garden that he
There is a strong undercurrent visible throuhout the works of tends in the jail compound. Quite often Basheer “would stand
Basheer. It is the undercurrent of love. This noble feeling flowing still in the midst of my (his) rose garden. All around me were
out of this writer, who was a mystic and ascetic, embraces not flowers shedding perfume. there were beauty. There was
man alone, but all living beings (Basheer: Sampoorna Krithikal- sweetness” (164).
The Complete Works of Basheer-(1;28-29).
Like the lady referred to in Viktor Frankl’s book Basheer also
Hence similar to Narayan’s Raju, Basheer also finds it quite easy chats with his plants.
to befriend the warders and his fellow-prisoners alike. The warm
44 45
I love every single tree and shrub. I have even felt that trees and
shrubs understand what I say to them (167).
At one stage, however, he thinks of jail-breaking. This thought
stems from the frustration and sense of loneliness that come over
him when all his fellow political prisoners get released. But he
overcomes that thought and resumes loving the prison life within
a few days.
By that time I come to the conclusion that it may not be
such a good thing to escape from jail. After all the trouble
taken to get out what is one to do? 167-177)
If Basheer believed and proved through his deeds that life is an
incessant prayer wishing happiness and well-being to each and
every creature, Narayan devoted a major part of his life for
nurturing his one and only daughter, who had lost her mother On Sri Radha
while she was an infant. He could not even think of a second P.M. NARAYANAN
marriage. Hence it is quite evident that he had first hand
experience of the amazing possiblities of love. That is why both
the writers could present before us the picture of how a prison is
being converted into a happy home with the magical touch of The translation of Sri Radha form Oriya to Malayalam
love. With all the frightening and gloomy pictures of prison life was a joint venture by Mr. N. Gopalakrishnan and
depicted by other writers, this different version, of course, is simply me. Translating the classic poetic work was a unique
marvellous. and grand experience for both of us. In retrospect,
Reference: we feet that it was truly a period of creativity. I have
Basheer, Vaikom Muhammad. Basheer:Sampoorna Krithikal (Complete Works of read many poems on love and death. But Sri Radha
Basheer 2. vols. Kottayam: D.C. Books, 1994. is Sri Radha, a class in itself. Now I would like to
Basheer. Poovan Banana and Other Stories. Trans. V. Abdulla, Madras: Orient share the exhilarating experience of immersing
longman Ltd., 1994. myself in this great work that energized and
Narayan, R.K. The Guide. 1958. Mysore: Indian Thought Publications, 1992. enlightened me.
Frankl, Viktor E. Mans’ Search for Meaning: An introduction to Logo therapy-
London; Hodder and Stoughhton, 1962.
I had the good fortune to spend some time with Sri
Ramakant Rath, the author of Sri Radha. Mr Rath
had come to Calicut in connection with the release
of the Malayalam translation of the book. That day,
Mr. Rath spoke to us till late in the night. He also
rhythmically recrited two or three chapters from the
book in his characteristic style.
46 47
The poet narrated to us how the poem emerged in his mind. You would exist as a mass of blue
During one of his trips abroad, he had to stay in a hotel. The Carved by my command
weather was oppressively hot. One night when he found it difficult Or as the blue total
to sleep, he went up to the terrace of the lodge and stood there Of all my known, partly known
looking at the view outside. There was total silence all around. It And unknown desires.
was dark, stars were twinkling above him. In the solitude and Since I always dress in blue
silence a heavy sadness that had no ostensible cause enveloped You too must be blue
his mind. “After many nights there will be a night when the stars How can you have any other colour when
will still be twinkling in their glory. But I will not be on this earth It would break my hearts
to witness the scene”. The poet’s mind whispered to him. The If you had a colour other than blue
freezing thought of death chilled his bone. He stood there Radha was there even before Sri Krishna’s birth. She exists
shivering in deep melancholy. Suddenly, a shining meteor fell after his death too. She dissolves in love like a human female
from the heavens. For a moment he experienced a sense of made entirely of flesh and blood. She possesses her lover. She
emotional proximityto it. It slowly took a human form and became leaves her parents, husband and children for her lover. For
the queen of all lovers.......Radhika her, the most beautiful thing in her life is love. In the moments
She said: I challenged death through love. I overcame it. Write of love, she does not have past or future. Only the ever existing
about my longings and my dissappoinmetns. present is there. To exist eternally, the present also has to die
Slowly, queitly, darkness and sadness drained out of poet’s heart. every time. Time stops only in love and death. Thus each
It is thus that Ramakant started the work on ‘Sri Radha’. experience of ecstasy becomes a suicide and each suicide a
consummation of love.
The Radha of the Puranas is only a supportive element for Sri
Krishna. She does not have any independent existence of her I have packed all my longings
own. Sri Krishna, the complete human being, has many facets. Into every drop of sweat
Radha is a mere instrument to bring out one among them ----- Trickling down my body
that of the eternal lover. On hearing the melodious notes of When we wage our erotic war
Krishna’s flute, Radha rushes to him leaving everything. She sings, And into kisses
dances and makes love according to his wishes. However once As ultimate as suicide.
Krishna leaves his lover’s identity and takes on the role of the In each of the celebratory moments of love, she knows that it
king she withdraws from the scene. After this, Radha has no will not last. Thus, when he leaves her forever, she faces the
history. The Jeevatma that has become one with the Paramatma situation with utmost dignity. Of course, she is sad. But she never
also does not have a history beyond the point of union. complains or cries like the other Gopikas. It is with her body itself
But Ramakant’s Radha, as the poet Sugathakumari says, is Sri that she loves him. But, since she has eternalized those moments,
Radha. She is not a mere shadow of Sri Krishna. She has her their memory is enough for her to sustain her life. She has
own identity. In love, She is a participant equal to her lover. In transcended the limits of the body. For her, Krishna becomes a
many moments, she is even stronger. Many a time, she takes beautiful memory and dream. Thus she finally possesses him
and executes decisions. completely when his body dies.
48 49
My joy today
Is uncontrollable
If you had not died for them,
You would not have become
Entirely mine
In one sense, Sri Radha is only a body bound human being an
ordinary woman who is joyful in love and sad in separation. But,
in another sense, she transcends the limits of the body and
eternalizes love and overcomes death She becomes a goddess.
Sri Radha is all this. She is also many things beyond this. How
does one muster words when the heart has melted itself into the
meaning of every word? Words become inadequate when one
tries to describe what is within. Quite often words betray us.
The poetic radiance in Malayalam screenplays
A study of the film-scripts of M.T. Vasudevan Nair
Dr. ANAND KAVALAM
M.T. Vasudevan Nair, the most favourite short story

writer and novelist in Malayalam is also the most
distinguished and well-accepted script writer and
director in the Malayalam film world. He has been
able to mark golden imprints in the realm of Indian
cinema with his remarkable skill in the presentation
of screen plays imbibing and depicting the diverse
aspects, prespectives and elements of this genre in
an aesthetic manner along with technical perfection.
Having penned about fifty screen plays without
bowing down to mere commerical interests or much
compromises he stands as a towering persobality
not only among regional film makers but in the pan-
Indian film world with his sharp and keen sense of
awareness, dedication and commitment to his
medium. In fact M.T occupies a historical position
as a script-writer because it was only after he began
writing screen-plays the Malayali viewers began to
50 51
consider film script as a distinctive genre which has its own genuine Scene 164 (a dream sceane)
features. Also it was M.T who elevated this medium of writing as A full flowing river. Far away admist the mist boats with masts are
a literary from. Until then, in Malayalam, screen-plays were not seen moving. A pleasant song is about to be sung. On the edge
given a valuable consideration and even their importance was of a country-boat a vague view of a lady appears. Velayudhan is
not much understood by the Malayalis. This is one of the major rowing a small boat.
contributions M.T. has rendered to Malayalam Cinema.
Now the visage of the lady becomes more clear. It is none other
Besides this there are several other factors that make him a than Ammukutty.
distingushed personality in this field. M.T can be rightly regarded
as the first and foremost script-writer in Malayalam who wrote The boat is seen quivering. Before being able to control, it collides
screen-plays after having learnt cinema as a distinctive visual art on the strip of the other boat, sound of shattering is heard.
from which has its own language, grammar and structure. This Achuthan Nair’s shout- ‘Velayudha’!
factor played a significant role in making M.T. a classic writer and What is show through this dream scene is the hidden fantasies
path-finder of film scripts in Malayalam. He stands as a unique and desires of Velayudhan. This symbolic presentation is an
writer mainly due to the importance he gives to the visual effective model for the visual portrayal in a movie. This is a typical
descriptions in film scripts. With rare and extraordinary skill he example of M.T’s mental analysis of characters and the keen
has depicted unforgettable emotional moments with acute sense sense he takes in presenting scenes. There is another situation in
of propriety and exactness in visual descripitions and thematic ‘Olavum Theeravum’ which helps to substantiate this aspect. Here
presentations. His screen-plays have succeded in presenting rich we are shown a character named Nebeesu, a young maiden
and memorable experiences to the directors, actrors as well as who, while weaving the dreams of her lover Bapputti is
ordinary viewers due to the keen sense of observation and encountered by Kunhali who seems to shatter her prospects.
concentrated efforts he maintained in the selection and treatment This scene very effectively proves M.T’s skill of visual awareness
of visual images, symbols and scene depicitions with an insight and its presentation.
on life-situation and character psychology. The portrayal of
natural background and ecological factors in his screen-plays in Nebeesu is seen inside her house. She is looking herself in a
fact reveal the touch and imagination of a poetic genius. No mirror and smiles. The news of the arrival of her lover seems to
other script-writer has so far been able to present the landscape, create movements in her heart. Now the reflections seen in the
geographical elements and life-situations of Kerala in association broken mirror gets transformed. It shows Nabeesu in her bridal
with the mental and emotional states of the characters and the dress.
course of the plot symbolically. What makes them more relevant When she is seen awakened from her day-dream into reality
and remarkable is that they are presented not as mere what she sees is the sight of two boots that climbs the steps through
backgrounds but as effective catalysing agents to convey the the bottom of a screen. She gets up frightened. Kunhali looks at
emotional aspects and the inner conflicts of the character. For an her seriously but with a slight smile. She looks at him fearfully
example, let us go through a scene-description in ‘Iruttinte and goes inside.
Atmaveu (Soul of darkness) which is based on his own short- Here the visual images are presented as effective signs in a
story. suggestive manner. The visage of Neebsu seen reflected as if both
inside and outside the mirror, her awakening to reality, the sight
52 53
of boots, the facial expression of Kunhali, the mental states of can be seen only in the screen play of M.T. in Malayalam films.
Nabeesu before and after the arrival of Kunhali etc. are shown This scene very much shows the gravity of awareness he has
with extreme care and suggestiveness. gathered in the visual possibilities and the many - sided potentials
Another salient aspect of M.T’s screen-plays is the effective of this media in a deeper manner. It is this awareness and sensibility
presentation of the ecological or geographical factors and elements which he had imbibed through his dedicated effort and
making use of the visual possibilities of their portrayal. He has observation along with his creative talent that enabled him to
shown excellence in such depictions which no, other script-writer make powerful creations in celluloid.
has attempted. The first scene of ‘Olavum Theeravum’ berars Another notable and unique aspect which makes the screen-
proof to this: plays of M.T. memorable is the langugage he employes in them.
“A broad perspective of the sky wher clouds are seen scattered. He has written his screen plays after acquiring an awareness of
Far below, the river base which reflects it is seen. The music of the visual aspects of this medium. It is after regarding screen-
the river is heard. The river is an active character here. Having plays as the blue-print of film or as visual form of a literature that
seen its facial expressions, its banks and tides, we get a feeling of he has given from to his scripts. In doing so, with his keen insight
moving, towards its beginning phase. We reach towards a carrier and awareness of the visual possibikoties, he carved out a
boat tied to the shore.” languager so as to convey the emotional elements and expressions
to the audience. M.T’s language in filmscripts as in his short-
This is one of the most well-written scene-descriptions in stories and novels is highly charming maintaining brevity, lyrical
Malayalam screen-plays. It shows how closely M.T has imbibed quality, suggestiveness, ornamental faculties, irony and emotional
the language of celluloid. Besides this, in most of his movies he undertones. The language used in film-scripts is highly visual,
has very aptly and charmingly used the various elements of nature symbolic and at the same time they are easily communicative
to bring our the emotional conflicts and pangs of characters very and highly captivating. His dialogues are noted for rich meaningful
intensely and powerfully as visual symbols. This scene from expressions and as in the case of visual documentation and
‘Murappennu’ shows his astonishing skill in such depictions: thematic portryal, the dialogue presentations are also famous
“Balan is seen sitting on the banks of the river looking at the rise for the sense of propriety which it maintains. The careful and apt
and withdrawal of the tides in the shore of solitude. The pangs of usage of words in dialogues are deliberately presented so as to
his heart is very much visible on his face. Not much far away bring out intense emotions and expressions of character and the
there is a whirlpool. A bunch of grass that came flowing enters complex feelings and reactions of human nature. The best
into the wirlpool, gets turned and flows rotatingly. Near his foot example of this aspect can be seen in the 83rd scene of Nirmalyam
steps the water-bubbles formed out of the remainings of the where he gives descriptions to portray the expressions of the sick
receded tide are seen breaking one by one.” bedridden father of the Oracle who happens to know the illegal
Only a person who observes the minute forms, movements and realationship between his wife and Maymunni (‘the eyes of father
emotions of Nature very keenly, and a person with a high that moves, the eyes that move very fast, the eyes that seem to
imaginative potential could find out and associate the above speak something silently, the indescribable disturbance and
mentioned expressions of Nature with the mental status of the uneasiness which appears in his face,’ and its descriptions as seen
character who undergoes a peculiar kind of intense emotional in the brief, highly suggestive dialogues between the Oracle with
experience. Such scenes which are rare even in world cinema his wife when the incident is revealed). In the usage of such word-
54 55
combinations, meaningful and suggestive phrases with highly Gatha where he virtually breaks or de-constructs the traditional
emotional undertones, pauses and silences M.T. has no equals in image of Chandu as a villainous character. He also reveals the
Malayalam and these qualities are observed in his scripts strictly fact that the so called great duels were fought merely for some
following the grammer and structure of cinema. border- disputes or petty self interests of some fedual loards and
M.T’s screenplays can be generally categorized into three types. present the then existed social realities. Likewise in Perunthachan
The first type contains the screenplays based on his own works. he presents the state of the architect who is neglected after the
The second category consists of the plots of other writers expanded construction of the temple by the elite class and in Vaishali he
and modified through adaptations. Another group has stories takes care in presenting the state of the women characters who
developed from an idea or a thread of a theme. These three have to sacrifice their interests and even life, after they fulfil the
categories eqally possess rare and unique charm maintaining intrests of the rulers. It is this state of rejection and the torture
sublime qualities in the presentation of visual descriptions, images, inflicted upon the neglected character that is depicted through
depiction of secenes and backgrounds and the use of languages the portrayal of characters like Velayudhan in ‘Iruttine Atmavu’
in accordance with the grammar of cinema. What makes them and ‘kuttiyedathi’. A notable aspect that can be seen here is the
more attractive and popular is that though they are highly presentation of the emotional reactions in individuals inflcted by
symbolic and allusive they are lucid and communicative. At the the social psyche.
same time they appeal to emotional and imaginative faculties M.T.’s scripts have won social attention for the portrayal of the
alike through the heart - touching phrases which are coloured social and cultural crisis in the contemporary life of Kerala. The
by the lyrical usages. But what makes them more remarkable is disintegration of human values and realationship which creates
that through these poeitc apporaches he not only touches the identity crisis, sense of loss, dehumanization, alienation from one’s
subjective and emotional aspects but he succeeds in presenting own surroundings etc. have been presented in its depth by M.T.
many social factors also that did not get much exposition, with a more than any other writers. The best examples are Kanyakumari,
sense of realism but without being didactic. At the same time he Varikkuzhi, Vilkanundu Swapnangal, Edavazhiyile Poocha
is entirely free from generalising certain communities totally as Mindappoocha, Akshrangal, Alkkuttathil Thaniye, Aaroodham
elite revealing the bitter realities experienced by them like proverty etc.
and hunger (Oracle in Nirmalyam, Mambatta Namboothiri in Another salient feature seen in his screen plays in re-creation
Perunthachan etc.) He is not seen glorifying aristocracry or the and interpretation of historical themes. Very few writers have
past feudal culture as seen in some popular films like Devasuram, shown such dedicated effort, strain and extensive research works
Aram Thamburan or Narasimham. As his novels, his screen plays as M.T. to analyse and portray the bygone era, its hidden
too portray the breakdown of human relationships and the feeling mysteries and atmosphere to bring out certain untold realities.
of isolation, emptiness, meaninglessness and dehumanisation of As a result of this he has been able to picturise the architecture,
life in the background of disintegrating families in the wake of costumes, ornaments, local customs and beliefs, life-style etc most
modren social set up in Keral. authentically. Vaishali, Oru Vadakkan Veenagatha, Perunthachan,
Along with these factors, another aspect which makes his scripts Parinayam etc are such films.
praiseworthy, is the genuine contribution given by him while Thus on the basis of the above mentioned factors, M.T. can be
conceiving adapation. This is best reflected in Oru Vadakkan Veera rightly regarded as the most talented script-writer in Malayalam.
56 57
In terms of visual picturisation, phychological analysis of character,

poetic presentation, exactness, propriety and emotional
treatment, it is M.T. who has been able to contribute maximum
prefection. Through this he has given a novel and fascinating
sensibility to Malayalam screen-plays and film world. Along with
this he also deserves the credit of giving an awareness to the
audicence of Kerala the language, grammar and structure of the
celluloid after having learnt himself about it thoroughly.
Rosy Thomas: Life Lived in a Lush Green

Literary Valley of High Peaks
N.A. KARIM
Rosy Thomas passed away in her ancestral place in

Varapuzha near Norht Parur in Eranakulam district
after prolonged illness was a colourful woman of
Malayalam literature whose significance as a writer
far exceeded her literary output. Her presence in
literature was in a way alive even when she was not
writing and publishing anything for a long time. This
was because of the literary milieu with which her
name was variously associated.
Borns as the daughter of M.P. Paul, an eminent
profession of English and a renowned Malayalam
literary critic with soild contribution in the field and
whose works are points of reference in serious
examination of works in a few literary forms, Rosy
had the rare opportunity to come into contact with
a large number of established and promising winters.
some of them were members of the faculty of her
father’s College, M.P. Paul’s Tutorial College where
58 59
they had a flourishing tutorial business. And the reputation and evidence during her student days at Maharaja’s College,
success of the institution of English himself attracted highly Ernakulam form where she graduated. She was very active in
competent teachers in various subjects paying generous the literary and cultural life of the college. She was a cynosure of
remuneration by thenz standard of poor salary of college the student community, particularly of those who had literary
teachers, particularly in private ones. and artistic bend of mind. As an ebullient and vivacious girl she
Prof. Paul himself was a victim of the then prevalent exploiative made her presence felt in everything she participated with a rare
system of private management of one of the then reputed degree quality of gracful leadership. I could personally observe this as I
colleges, St. Thomas College, Trichur, where Paul began his was senior contemporary of Rosy in the College. That she did
teaching career. He resigned the job on principle when the not blossom into a writer after her studies was due to the fact
management cut the salary of all teachers unilaterally even that her husband did not give the encouragement and support
without informing them, let alone getting thier consent, at a time in those days. C.J. was at the hight of his intellectual and avant-
when there was no prospect of immediate employment in those garde creative best at the time of his death on 14th July 1960 in
difficult days when openings were hard to come by. To add to his forty-seventh year.
the ire of the management, he published a booklet The Story Rosy had three children by that time and the youngest one was
of a Cut explaining the reason for his resignation. It required just a toddler. Faced with a rather daunting situation of bringing
considerable guts then to take such a defiant step against the up three children with no fixed regular income, this thirty year
powerful Bishop of Trichur who was the manager of the College. old widow, true to the fighting spirit of her father (who was a
Her father’s sense of self respect as a teacher and his intrepid hero to her) girded up her saree and with a remarkable resolve
spirit of independcence with which resigned his job might have faced every problem with unflinching courage.
influenced the young child Rosy in developing immense courage Wihtout losing time she joined a teacher’s training college, took
with which she faced the vicissitudes of her own life. The teachers her B.Ed degree and took up teaching in a nearby school. Within
Paul’s College were closely knit with the family of the Principal. three decades she brought up the children giving them good
Many of them were eminent teachers and reputed writers in education and the imprint of her strong character. They are all
their own right. The child Rosy grew in this academic atmosphere well placed in the country and abroad. But the greater
created by her fathers’s colleagues and admirers. achievement was the books she worte and the works she
Vaikom Mohamed Bashir was a member of this family of literate translated into Malayalam. Her memoir Ivan Ente Priya C.J.
at that time he had not published even his first book Balaykala (This is my dear CJ) published in 1970 has already become a
Sakhi which later came out with a profoundly perceptive contemporary classic of the genre of writing called autobiography,
introduction of Prof. Paul. Later another brilliant young man a poor, undeveloped branch of writing in Malayalam even now.
C.J. Thomas joined the faculty of the college. This was a turning Her frank forthright narration of the life with CJ in all its joys and
point in the life of both Rosy and Thomas. They gravitated sorrows with a unquie verve of writing has made the memoir
towards each other and after a long period of courting they got memorable. The novel she wrote Annie based on the life of her
married. Though C.J. was not destined to live long, the promises frien has also and autobiographical touch and her characteristic
he gave as a seminal thinker and creative were more than fulfilled frankness. Even in her translations the touch of her remarkably
in the short period of hardly a decade of his remaining life. The rich personality can be seen. The choice of Geroge Orwell’s
spark of creativity was in the heart of Rosy of which she gave Animal Farm for translating into Malayalam might have been
60 61
influenced by her husbans’s political change, who began as

communist and later became an out and out anti communist, of
course, on a high intellectual plain. Another classic she chose for
translation was Boccachio stories. He occasional writings have
been collected in a volume Jalaka Kazhchakal (Windo Views).
Though her oeuver is not very impressive their quality is
ramarkable. Her literary hero was neither her father M.P. Paul
about whoms he has written a book Urangunna Simham (The
sleeping Lion) nor her husband C.J. Thomas but Viakom
Mohamad Bashir. She got the opportunity of reading Bashir’s
first significant book Balyakala Sakhi in its manuscript form.
the introduction that her father wrote to this book, with his
characteristic sharp literary insight helped the novel in gaining
immediate attention, critical and popular. Rosy was a person with Ritual/Ritual Body v/s colonial signifuers of
an avid lust for joyful life which was reflected in her personal life Hegemonic Body
and writings. Her life was in a lush green literary valley surronded Religion/Ritual/Theatre
by several high peaks.
Dr. UMER THARAMEL
The link between religion and theatre is ritual. Ritual

has two major roles in religion. 1. The pragmatization
of religious ideas through rituals. 2. Ritual as a
symbolic dramatization of fundamental needs.
Ritual, thus, becomes a Cosmosociological activity.
There may be differences in the pragmatization of
rituals in pagan/tribal and institutional religions like
Hinduism, Islam and Christianity.
Ritual has an artistic structure. It restructures the
relation between language and world-consciousness
through symbolic meanings. Since it reflects the
world of myths and fantasies in the subconscious, it
has got an anthropological and psychological
significance too. Ritual is important in combining the
cosmological and sociological layers of meaning and
thus creating an identity synthesis.
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If we pay attention to the rituals in tribal religions, we can see oral text (vachika) of these performances is the mantras (hymns)
that they are quite different from institutionalised religions. Critics that praise Allah and Sufis. The major hymns ar about Shaik
like ‘Wole Soyinka have criticised the westerner’s interpretation Muhiyudheen of Khadiriya sect in Baghdad (11th century) and
as incomplete regarding the ritual-theatre relationship in African Shaik Rifayee of Waseeth Basra (same century)--a decisive battle
tribal religions. The western concept of fantasy cannot explore in Islam. These hymns are called Ratheebe bacause they are
the complete truth in the ritual forms of these tribal religions. repeatedly sung.
The definition of the inner world as fantasy be traced Euro centirc hoo Allah....Allah hoo haq
conditioning or alienation. We describe it as a Primal reality, the Yes shaik ya Muthiyudheen, Adbul Kadhir Jeelani
hinterland of transition. The community emerges from ritual
experience charged with new strength of action. (Wole Soyinka. These are the main mantras.
Myth World and African Literature. P. 22 Arabana (a percussion instrument) and Kinnaram are the main
Organized religions like Hinduism, Islam, Christianity and Judaism musical instruments used in Kuthu Ratheebe. The main
through their universal wandering absorbed many national myths performer after Vulu (purifying the body) stands ina circular
and rituals. In the case of Islam there exist the layers like high position before the devotees and other common people. There
Islam and low Islam. The high Islam is said to be fundamental will be more than twelve people to use musical instruments.
and urban in nature. At the same time a synthesis of national Besides this there are five to six performers who use weapons.
and regional myths and beliefs could be seen in this category. The main performer/organiser is called ‘Ustad’. He starts singing
The basic tenets of Islam, itself have complete forms of rituals. to the accompaniment of musical instruments. His spectators are
Fasting and Hajj are examples. Islam, wherever it flourished, has also participants by singing the hymns. In this ritual Mantras had
absorbed the pagan/ tribal ritual forms of the place to its to be sung lakhs of times. Since it is not possible for a single
mainstream. But the fundamentalists (not in the modern sense, perosn to complete this task in a limited specified time, it is assigned
here the term refers to one who strictly follows the fundamental to a group of people, each one repeating a fixed number of
principles of Islam) in the sect reject these kinds of pagan/tribal mantras, and collectively fulfils the fixed number. By one or two
ritual forms. They call it as “Shirk”- a concept which is against the hours the telling of mantras to the accompainment of musical
concept of single god and which also brings in other supernatural instruments reaches its peak and a mood of ecstasy prevails. Then
posters to its belief. begins the pracice of weapons.
Kuthu Ratheebe-A Ritual with Difference Usually it is during the night the Kuthu Ratheebe is performed
and is extended to the morning. The three weapons used in this
Kuthu Ratheebe is a ritual form, which gained much popularity ritual are Kathir, Khatta and Dabboos. Kathir is a thin metal rod
among the Muslims in Northern Kerala (Malabar). The Arab of about one foot length with both ends pointed. It is used to
verbal noun “Ratheebe” means something done repeatedly. pierce the ear lobe and also the skin behind the head and neck.
Kuthu Ratheebe is a mixed form of Arabic and Malayalam. The Katara is a knife with extra length and width specially designed
verb “Kuthuka” means ‘to stab’or to use any weapon upon for the performance. This weapon is practiced upon the lower
someone’s body. Kuthu Ratheebe is performed at ritual festivals, belly, hands and the back. Dabboos is the last weapon to be
mosques and homes. At homes they are done to escape from used. It is a thick metallic road of about one foot length with one
incurable diseases and to fulfil the aspirations of the people. The end pointed. The other end is a wooden grip. It is exerted mainly
64 65
upon the neck and cheeks. A shamanic ambience is created to against the colonial rule during the Malabar Rebellion (1921).
the spectator by combining the terror and devotion. When the Even though this is the case, its influence has not yet come into
mantras and the musical instruments come to a descending order, the Kerala theatre.
the weapons are taken back and the ritual ends. The performers Some Rare Paralles
claim that even a single drop of blood will not be spilt and with
the fondling of Ustad, the wounds get healed. If we examine the geography of Asia, we can see that it is the
fertile land of many cultures. The political/cultural agenda of
But there is another sect that performs with bloody wounds. colonial modernity restricted the cultural plurality that existed
They are called Masthans. According to the first sect, the blood here to a monolithic frame. Therituals of many tribal/religious
that comes out of the body is polluted (najas) and it destroys the cultures were lost in this colonial modernity. It is the intervention
divinity of the ritual. Many people get unconscious watching the of colonial mdodernity that restricted the entry of these kinds of
weapon practice in the ritual. Women have no direct entry to ritual forms into the emerging Asian theatres. Theatres are the
this ritual and no power to organise it. They can participate in various kinds of the representations of public culture. Now
the Ratheebe by sitting at a particular area and reciting mantras. historians have started to record that a theatre culture existed in
Mainly two kinds of spectatorship are performed in this ritual. In ancient Yemen, which was equal to or more sophisticated than
festivals like offerings it becomes a ritual of celebration. When it the theatre poetics in India and Greece. “Thus it was not unusal
is done at mosques and homes, it is a spiritual ritual. It is the that our exploration in Al-Qahtaniyeen land, home of Saba and
difference in spectatorship that brings the change in the nature Hamiar led us to the remains of theatre near the Mahreb dam.
of ritual. At certain homes it is done as part of exorcism. But this Definitely theatre existed in Yemen, Arabi’s centre of civilization
ritual cannot be done to hurt other people. In that way it is quite and development” (Ahmed Zaki). Zaki records that BC 20 itself
different from satanic rituals (black magic). refined theatre presentations were performed in Yemen.
The ritual recreates the memory of great Sufis who were saintly Receiving energy form the pagan religious rituals contemporary
pople and were models to the common people. We can see a Yemen resists the Orientalist historiography and the colonial
mix of tribal experiences and regional religious/ritual forms in concept of false reality.
this ritual. The realm of the archetypal experiences of a An attempt to secularise the human sufferings and politicise it
population who lived collectively is the undercurrent of this ritual. can be seen in the Taaziya theatre from in Iran. The story of the
The urge for an indentity formation in an alienated community martyrdom of Iman Husyn interpreted by the colonial discourse
can be detected in this performance. as a chance to personal betterment and religious transformation
Sufferings: A Political Approach is carried to a new post colonial meaning in this theatre form.
Thus through this form it is realised that mantyrdom and sufism
Kuthu Ratheebe is one of the strongest rituals among the Muslims are not two confliction forces but something that originate from
in Malabar. They have the great tradition of fighting against the the same source. In Taaziya we see an attempt to recover the
colonial powers. Their main literary from, Mappilappattu, new signifier system of the theatre from the antiquity of nation
contains many imprints of this tradition. The most important culture.
among them are Padapattukal (war songs). Their main artistic
form, Kolkali, conatins the body langugage of resistance. They Theyyams in northern Kerala is one of the strongest forms of
gained spiritual power through Kuthu Ratheebe and fought ritual theatre. We can feel the conflict between structures of power
66 67
in Thyamms that of that depict heroic legends. Caste is the

main link between these power conflicts. The new power relations
that emerged during the transformation from a tribal economy
to an agricultural economy are also depicted in many Theyyam
performances. The concept of matyrdom is a common subject
in many of Thyyams. It pictures the inner political dimensions
involved in all rituals in many tribal cultures. Some examples
from Theyyam are Kathirvannur Veeran (Thiyya caste),
Muchilottu Bhagavathi (Vaniya), Pulimaranja Thondachan (Playa
caste) and Vayanattu Kulavan.
Shamanistic features existing in pluralistic tribal cultures can be
seen in the above mentioned rituals. It puts forward the variant
theatrical methods (different kinds of bodies) of fantasy and
realism. With the domination of proscenium theatre, supported FOLKLORE LANDSCAPE OF KERALA
by the colonial descourses, the ethnic ritualistic theatrical parctices Dr. C.R. RAJAGOPALAN
(performing bodies) were marginalized. The concept of
indigenous theatre in 1950s in Asia-African countries was
developed as a strategy of resistance against the colonial In Kerala -a region of inhabitants with ancient
discourses. With the coming of proscenium theatre pluralistic ritual cultural imprints - the ‘aborigines’ in the
bodies were diliberately sidelined or absorbed by the hegemonic mountainous regions of Western Ghats, numbering
white body and this white body as a monolithic power restricted about forty groups of tribes, and the rural agriculture
the emergence of all kinds of alternative theatrical structures. For folks and craftsmen have the traditions of centuries
the making of pluralistic nation identities, the bodies of different old eco-culture. Each community has its own
population (race, gender, ethnicity) in its cultural forms have to tradition of music, ways of ritual practices, and
enter into theatre. In this kind of a thinking process, ritual theatre myths. The natives living in tune with nature have a
has a role to perform. very strong oral tradition, material culture, customs,
performances and traditional knowledge encoded
with a number of cultural and historical imprints.
Their indigenous knowledge systems and culture
impart a lot of information about their eco- history
and social history; and this folklore about their
landscapes was handed over from generation to
generation. Their knowledge about the historical
events is rich and scientific. Their myths and folk
songs are indicators of their intuitive knowledge and
fictionalised version of factual past history.
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There are numerous performing arts of the ethnic communities, along with Thottampattu, koothupattu and chattupattu, etc.This
and among them both ritualistic and non-ritualistic performances tradtion of Kerala is connected with dance and also activities of
such as Theyyam, Thira, Mudiyettu, Padayani, Poothan kali, daily life. The people who express the mood of each situation
Kalikettu, Kaliyuttu, folk dramas/performances like Kakkarissi, and condition of life expressed their feelings through such songs
Porattunatakam, Malavazhiyattom, Kothamoori and from which indigenous ethno music began. Timing of the rhythm,
Chimmanakkali etc are prominent. Almost all these performances the detailed verbal manifestation of vaythari, voice modulation,
are in some way or other connected with agrarian structure of etc.grew, as thal of music was divided in to units. The concept of
the society and a portion of the harvest is offered to the deity thal was formulated and various instruments were made to give
and this has an effect of faith healing for the whole folk society. rhythmic accompaniment to the songs.
Ancient tribes had practiced a number of magic, shamanistic 1. Songs of agriculture
performances under the priesthood of the leader to ward off evil
spirits considered to be responsible for various diseases. This The diversity of a society can be understood by the process,
practice accompanied by the administration of medicines methods and rituals connected with agriculture. The songs of
extracted from plants can be termed as Relief Magic. Adiyar, agriculture are encoded with the concept of food security,
Kanikkar, Malayan, Kadar are the main tribes in Kerala having traditional technology and the worldview of the people. Most of
medicine-magic practice combined. Gaddika, Chattu, the songs are connected with soil, water, seed, climate, local food
Muramkulukkippattu are the prominent relief-magic theatre habits, fertility, collective farming, modes of cultivation, etc.
performances. Muramkulukkippattu also known as pey pattu (the A song in Attappady shows the relation of humans with soil and
songs to expel evil sprits) or Vilakkumuram pattu (Song nature.
performed in front of lamps) is practiced by Malayan, an aboriginal 1. ‘The tree exists believing the soil
tribe living in places such as Peechi, Palapilly and Kodasseri high
ranges of Thrissur district of Kerala. and the soil stays believing the tree,
Oral tradition The branches are intact believing the tree,
Before the invention of script and written language, ideas and The smaller ones believing the bigger branches,
thoughts were communicated orally. The basic elements of culture The leaves live believing the tiny branches,
can be found in oral narration, which has diverse patterns of And the flowers blossom believing the leaves,
presentation. Proverbs, myths, legends, songs of hero worship,
snake songs, puzzles, and riddles, ancient ballads,and songs The seeds ripen believing the flowers,
connected with funeral are some of them. Males and females And we live believing the flowers,
have different songs connected with ceremonial functions and The land lives believing us.’
dance performances. For children the songs are educative, and
connected with games and fun. The web of life is so woven in this song that we get the outlook of
life and also the co-existence of each and every aspect connect
Songs with humans, land, vegetation and everything. Here, one thing
Songs are the main branch of verbal art, and among them, those to be noted is that the humans are given 8th place in the hierarchy
connected with agriculture and heroic personalities are prominent of natural existence of life showing the attitude of the tribe giving
70 71
importance to the nature centered being of all the creations. agricultural practices etc. of the 17th century. These songs are
2. A fertility song in the village woven according to the oral formulaic theory.
‘Hail, hail, hail the luxuriant growth, 4. Thottam pattu
Hail the hill and hail the pond, Thottam pattu is sung as part of Theyyam, Padayani, Mudiyettu,
and also in connection with the worship of serpent, Kali, kannaki
Hail the cattle and hail the land, and others. Thottam is derived from the root ‘thondruka’ meaning
Hail the trees and hail the seed ‘to create’. The myth of the deity sung with the accompaniment
Hail, hail, hail the luxuriant growth’ of any instrument is thottam pattu. The aim is to make the deity
appear the deity by the help of floor diagram/ picture or by
It is a wish song for the luxuriant growth of everything in nature making up one’s body in the form of that deity. This ritual song
that clearly depicts the landscape and waterscape of Kerala. The is something that sprouts from the mind of the singer.
ethno music tradition of marginalised community like Paraya and
Pulaya in Kerala, southern part of India, basically agricultural Performing folklore
society worshiping Mother goddess, the fertility deity, doing dance Kerala is rich in folk performing arts, most of wich are connected
and beating drums in post harvest rituals. Music, dance and with rituals and faith. Mother-goddess cult, fertility rituals, concepts
rhythms are combined in the performance. Most of the songs in connected with agriculture, the story of Chilappathikaram and
the vibrant rituals is on agricultural life circle, indigenous local myths are the underlying spirit of them. The performing
environmental knowledge and the worldview of the traditional arts can be defined as art forms presented at the ‘art space’ by
community. It narrates the local myths and legends connected articulating the body language in connection with their concepts
with the eco-history and biodiversity. The wind instrument, of rituals, faith, magic healing, entertainment, social aims, etc.
‘Kuzhal’/pipe accompanies with the beating instrument, ‘Maram’/ Each of the art forms is born out of the necessity of the society
drum.’ Mudiyattom’ is the main performance, done by women during some specific contexts. The plays and games of the children
folk, waving the hair to both sides. During the performance the and even the ‘market ‘performances can also be included in this
dancers become in a trance-transformation situation. category. The social interaction of the humans is today received
3. Hero-worship songs (ballads) as performance, and, hence, these can be termed as social
drama. Some of the main performing folk arts of kerala are
Kerala has at least three traditions of hero-worship songs- Kothamoory, Theyyam, Thira, Toothan kali, Mudiyettu,
Southern, Northern and middle land. Thekkan pattu is performed Padayani, Porattunatakam, games of children etc.
as part of bow-song from Kollam to Kanyakumari. These songs,
ritualistic in nature, glorify the heroes and heroines who have Kothamoory
sacrificed themselves for society in heroic actions. Vadakkan pattu, This performance is forwarded in the northern parts of Kerala
in the northern parts of Kerala sung the women workers in the for the security and safety of the cattle and agriculture. During
farm, those who operate the wheel to irrigate the land , cooks the month of December the Malayar community of Kolathunadu
while preparing food for mass feasts, praise the , sing the heroic performs Kothamoory from door to door of the houses in the
deeds of legendary characters. These songs narrating the diversity village. Godavai cow is believed to be the mythical Kamadhenu
of the culture can give information about the values, beliefs, and the legend says that Kothamoory and paniyans descend to
72 73
the earth for the prosperity of village and agriculture. The of the shamanistic characters in front of them during the
characters Kothamoory, paniyans, kurikkal along with the performance lasting for 4 to 12 hours in night! The vibrating
supporting drummers perform this. The main character fastens primitive music and the visual bodies of mythical spirits helps
around the loins the Kothammoory thattu, the cow-mask and community to experience the alter state of consciousness.
also paints the face. The paniyans are comic characters. The story Kopalan, Malayan, Vannan, Pana casts of Kasargode and Kannur
of Cherukunnathamma is sung and the informal structure of a districts perform Theyyam in ‘Kavu’, sacred groves. Theyyam
folk theatre is obvious in kothamoory. Paniyans wear the areca has elabrate facial make up and huge decorative headgears
sheath as face mask. A very dynamic participation of the villagers representing the heroic deeds narrated in the myths. The musical
in seen in Kothamoory. instruments and the verbal ethno music activate the performer’s
Theyyam body to the trance/ transformation and ritual estacy. The magical
music helps for the divination process.
Koppala, Malayan, Mannan, Pana castes of Kasargode and
Kannur perform Theyyam in Thara, Kavu, Mundya, Palliyara, Thira
etc, and in houses. Of all the theyyams about 39 are performed This is performed mainly in Kozhikode and Malappuram districts.
and in Perumkaliyattom there are a number of Theyyams. This In kavu and houses, this is done by Mannan, Panan, and Velan
performance with the participation of the whole socity is based castes. This is mostly connected with hero-worship, animal
on the beliefs and concepts of tree worship, serpent worship, worship, Siva worship etc. and participation of public is prominent.
hero worship, mother goddess worship, kali worship etc. Vellattu and Anchati thottam are the main ritual aspects; it has
Theyyam begins with the thottam narrating the myth of goddess/ got very complex face painting, attractive headgear, rhythmic
gods, and those without thottams having vellattom. After the steps and different styles of dance movements. The characters
thottam the Theyyam with its elaborate costumes, make -up and are ferocious who are propitiated for the benefit of agriculture,
embellishments appear. Before that there is a ritual of seeing the domestic animals and also to beget children and ward of the
‘appearance’ of Theyyam on mirror in the green room. evil. The entire space of the kavu is used as the performing arena
Nagappothi, Kadangottu Makkom, Bhiravan, Pottan, Panchuruli, and mother goddess is the main deity; and there are many other
Thayipparadevatha and other Theyyams about hundred in characters such as Veerabhdran, Gulikan, Karumakan,
number are very prominent, and all these are very strongly related Kuttichathan, Bhagavathy and each one indicates the unique
with ancient Dravidian culture and rituals. Pottan and Gulikan cultural milieu of the village.
are unique characters, and the legends /myths reflect the social Poothan and Thira
structure of the diverse village culture landscape. The spirit and
faith of the whole village is evoked in Theyyam. Nearly forty In the districts of Palakkad and Malappuram Poothan and Thira
patters/ styles of face painting can be seen in Theyyam. are performed in kavu in connection with Velavaravu (procession).
Poothan is a companion Bhutha of Kali, and Thira is a character
Theyyam begins with the thottam, the musical myth narrating carrying the semi-round headgear of kali; and both Thira and
the story of goddess/ spirits. Each myth narrates the heroic travel Poothan have very elaborate body movements and have the
of the gods or heroes from forest to field and from sea to land instruments thudi and para to accompany the performance. The
etc. and now the Theyyam landscape is the hotspot for the cultural performance begins from Thravattambalam and reaches kavu
tourism. Many tourists and villagers experiencing the ritual journey after a long process of visiting many houses. There will be a
74 75
number of Poothan and Thira from different parts of the village. this performance, to ward off the fear of contagious diseases
Velavravu is a festival after the harvest and the forms Poothan especially the much dreaded small-pox. The belief was that
and Thira and others dance through the paddy field to pay Mudiyettu performance done in devotion would prevent the
homage and present gifts to the mother goddess after the harvest, spread of disease. In this indigenous performance there is a live
representing the culture connected with farming in the central audience participation.
parts of Kerala. During this war performance there are many dramatic and trance
Mudiyettu induction elements in the performance. Kali sometimes gets
Crowning the mother goddess / Mudiyettu enacts the story of possessed. The ritualistic active participation of the audience and
the annihilation of the demon Darika by Kali, and it is mostly the constant rhythm of the musical instruments lift the psyche of
seen in central Kerala. In this folk ritualistic drama, Kali, Darika, the Kali performer and gradually elate him into a trance. When
siva, Narada, Danavendran, Kooli, Koyimbida Nair are the the trance – transformation begins, the performer dances in a
characters. After completing the floor picture of Kali in five colour violent movement and makes sounds. During the process of
powders, this play begins by about 12’o clock in the night in shamanistic dance the co - actors take his crown to decrease the
Baghavathi kavu. One of the very ancient folk theatre of Kerala, trance\ possession element. In this situation the ‘performer’
Mudiyettu converts the precincts around the sacred grove into behaves like an epileptic patient and the unconscious, shamanistic
the performing arena with the participation of the folk. The term behavior of the dancers generates a magical atmosphere in the
Mudiyettu actually indicates the victory of kali over the dangerous ritual space. The drumming animates and articulates the
demon and blessing the village. Kooli is a comic character while bodyscape of the shaman performer.
Koyimpiada Nair is almost a historical character and the social Padayani
structure of the period is seen criticised in the performance. The episode after the Mudiyettu story is seen in Padayani, which
The word ‘Mudiyettu’ literally means that the encrowning of Kali, is common in the villages of Pathanamthitta. After the annihilation
the Mother Goddess. The performance used to be held in sacred of Darika, the ferocious Kali starts her journey to Kailas. To make
groves where Kali was worshiped by local communities who are Kali sober and calm, Subramanyan and the Boothas in different
the custodians of biodiversity. This is a divination ritual forms of kolam take up a procession in front of her. Pakshikkolam,
performance to propitiate Bhadrakali in the Kavu temples during Yakshikkolam, Maruthakkolam etc. are some of them. Figures
a post harvest festival. This folk ritual performance, very much are drawn on the sheaths of areca palm in colours in which the
related to fertility cult, ritual symbolism, and mother goddess enlarged shape of eyes in the night light glitter and seem to project
myth, is connected with the indigenous agricultural landscape. up. This performance begins after the harvest and lasts for 28
One of the oldest ritualistic performances of Kerala, Mudiyettu is days with elaborate regionally variant rituals. Each day diverse
popular in the rural area. This is performed even today in about kolams do the performance with a number of Padayani songs
two hundred sacred groves, Kali temples which are open - air having very strong rhythmic thalas on the instrument thappu.
theatres. Those belonging to the castes of Marar and Kurup are The whole village participates in it. The performance has got
the performers. This folk drama, which is a combination of environmental acting / action, and the people who prepare the
‘Thouryathrika’ – dance, music and rhythm ( nritham, geetham pictures of the kolams are expert folk painters. After the Padayani
and vadyam) is performed before the believers in an open arena there is a ritual related to fertility called vithidal- sowing the seed.
theatre starting at midnight. In olden days the villagers patronised
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Porattunatakam have semi-evergreen sacred groves as land part of few chief houses
Seen in Plakkad district this folk theatre is also called Manoranjam. (Tharavaadu), a quarter of the area should be set apart,
This may be a play of the ‘outsiders’ or the ‘expelled’; and this is preferably near the pond or tank and under shady trees to the
performed independently and also in connection with Kanyarkali. south west of the main house where the snake deities would be
The everyday life and rift of the people and solution to the enshrined. The members of all communities would engage snake
problems are the main themes of this performance. Nallachan, charmers to conduct the snake worship according to the
the couple and the singers comprise the team. Accompanied by indigenous practices in which they had been engaging from time-
songs and drums Porattunatakam contains a lot of information immemorial. It has one or more idols consecrated on a
about local history, local festivals, fire works, local markets, circus, Chithrakoodam(a laterate permanent pedestal) by a
zoo, different professions, etc. The couple who got separated in Pulluvan.The idols of kavus could assume the representations of
the crowd of a festival later come together to pick up a quarrel, Nagaraja, Naga yaakshi and their descendants. They should be
are pacified by Vanakkukaran is the them of it. It is full of local represented by stone images showing hooded cobras installed
dialect accents, local ways of acting, and it does not have any under preferably Ungu trees (Pongania glabra).
scientifically choreographed structure. Just a temporary pandal The performance used to be held in sacred groves where goddess
on four pillars is the stage the three sides of which are occupied was worshiped by local communities who are the custodians of
by the spectators who also can participate in the dialogue which biodiversity. This is a divination ritual performance to propitiate
is mostly humorous. local goddess in the Kavu temples during a post harvest festival.
Porattunatakam (outcast theatre), the folk theatrical performance This folk ritual performance is very much related to fertility cult,
of Kerala does not have an authoritative or recognized text nor a ritual symbolism, and mother goddess myth and is connected
‘director’. Also it does not have the sophisticated structure usually with the indigenous agricultural landscape. One of the oldest
seen in classical /ritualistic village performances. Nearly 60 groups ritualistic performances of Kerala, Theyyam is popular in the rural
now in Palghat district of Kerala actively participate in these area. This is performed even today in about five hundred sacred
theatrical performances constructing temporary stages in the groves, Kali temples which are open - air theatres. This folk drama,
paddy fields after the harvest or in the courtyards of sacred groves, which is a combination of dance, music and rhythm is performed
local temples, and this is known by another name ‘Manoranjam’. before the believers in theatre starting at evening. In this
Modern theatre practioners have to bring out the intricate indigenous performance there is a live audience participation
characteristics of this informal theatre such as the roots and .The Pulluva community, a separate caste group for the serpent
transformation of social structure in the context of globalisation, worship performs Pulluva songs in sacred groves. They are the
open arena theatre, acting techniques, performance manual, main custodians of the rituals and officiating heads of poojas
acoustics, ethno music, folk musical instruments, costumes and propitiating the snake deities inhabited in kavus. They are also
make-up. community healers who handle common diseases in children.
After the agricultural harvest they wander around in the villages
Sacred groves and Sarppam thullal from house to house and sing ballad songs of prosperity with the
In the ecological heritage of Kerala, sacred groves - pampin kavu accompaniment of Pulluva kudam and Veena as nomadic singers
- and mangroves have a vital role in the preservation and do.
conservation of biodiversity of flora and fauna. All the villages
78 79
Kalamezhuthu / floor painting with five colours its bends and twists, speed and rotation. ‘Kettiyaniyuka’ is the
Sarpakkalams are the picturesque representation of earthen technical title for the Kalam formation. With kettus, pulluvan
perspective and the ritual centrepiece in Pampin tullal. It is a best draws geometrical models like circle, half circle, square
specimen of indigenous art expertise in which Nagakkettu - inter- rightangled etc. These portrayals have the assumption of tying
twined knot of different serpent- are created out of natural colour and untying making and blending of naga forms and their
powders. A Small Series of 71 nagas are created and recreated withdrawal respectively. Important kettus are Inakkettu and
through coloured powders five in colour (Panjavarnappodi). Pavithrakkettu. As drawn on the surface of Earth, it cannot be
copied on camera. As the painting is with powders, it cannot be
The artists begin the drawing by spreading black powder in a put on the walls. The Pulluvar male creates the outline and the
line from east to west, and then, using white powder, draws the female invests the form with energy. The floor drawing in Pampin
outline for the entire kalam complete with a sacred syllable ( tullal is the central aesthetic motif of the ritual performance, the
mandram) in the centre.The Pulluvar women then apply the element toward which all ritual performance, is directed, including
first coloured powder, red, to the drawing. This invests the kalam the attention of participants. One way the serpent dance
with the specific quality of power or sakti of the women. The performance, reaches an effective level of potency is through
other Pulluvar men now enter the floor drawing and both males the beauty of the floor drawing.
and females paint with the colours, placing each colour in sections
of each of four sacred directions before starting with a new colour. Space and Performance of ‘Sarppam thullal’ (snake
The Pulluvans are folk floral painting artists with purely natural dancing)
powder. Five colours, -panchavarnappodi- green powders from The most impressive performance is Sarpam thullal, a ritual that
green leaves of mango tree or Itthikkanni leaves, yellow from may extend over 3 to 11 days. The ritual is performed in the
turmeric powder, white from rice powder, black (called front-yard of the house or in the kavu. Temporary structures
krishnappodi) from burned husk of rice, and red by mixing called ‘naattupandal’ /booth are built using areca nut stems and
turmeric and lime. This powder is taken in a coconut shell with are decorated with flowers, leaves and fruits symbolising fertility.
different holes from one inch to three.The ezhuthu takes as long The tender coconut leaves are hanged in the booth. This small
as 4-7 hours. As days passe, the number of hoods increases. theatre/space represented the ecology of primitive landscape of
Traditionally Pulluvans are capable of drawing 71 kalams. The Kerala village. The tender coconut leaves are hanged in the
growth of kalam reaches its climax by the day 7, 9 or 21. pandal. After the floor is levelled , plaster of cow dung and
The most complicated drawing Ashta nagakkalam -a composite charcoal is applied and smoothed down. Inside the pandal floor,
diagram showing eight intertwining cobras- is on the final day. pulluvars decorate the geometrical design of snake figures in
The completed drawing, some sixteen feet square, is the geometric natural powders of various colours in folk style. During the night
mandala(abode) in which are depicted the eight mythological the deep colours shimmering by the natural oil lamps around
serpents. The kalam drawing representing of snake deities are the ‘kalam’ (floral painting) impose a mystifying effect. They are
the amazingl examples of curvy-linear geometry with colours the custodians of the rituals involved including the execution of
emphasizing the lines. coloured powders of complicated curvy-linear designs in
contrasting colours of the sinuous forms of twining serpents with
A decorative kalam is prepared out of knots or kettu.Nagakettu enormous hoods.
is a structural creation depicting the snake’s physical features like
80 81
There are also songs of praise, songs showing about the origin of O snake, dance...’ all these bring piniyaal to a superficial world.
the Pulluva community, episode from Mahabharatha or the It involves a trance / formation magic - a shift from kalam to
puranas recounting the poser of serpents and songs that give thullal which makes even by standing spectators to be possessed
instructions on details of the ritual such as how to make the pantal. to erace kalam and say divine words- ‘arulappad’. After the dance
The spectators give characteristic chants and women spectators or thullal the girls who would collapse on account of the exertions
make peculiar ululating noise with their tongues (kuravayidal). are ministered by others. They take a long time to recover
Pooja to force Garuda, the traditional enemy of serpents to leave consciousness. The conclusion presentation is Guruthi, water
the sanctified site, poojas for sarawathi and Bhagavathi are reddened with turmeric and lime sprinkled in the kalam by
performed which clear the way for the two family serpent deities piniyaal.
who arrive from the grave in the form of two Nair women called References
Piniyaal. After some time, girls sitting in front of the kalam begin
Rouget, Gilbert, Music and Trance, A Theory of the Relations between
to quiver and sway their heads to and fro in tune with music and Music and Possession, The University of Chicago Press, Chicago,1980.
tresses of their hair are let loose. They start a frenzied dance and DR.C.R.Rajagopalan, Mudiyettu, Nadodi Nerarangu, Centre for
in a state of excitement and trance they make movements similar Folklore Studies, Kanimangalm P.O, Thrissur, 2004.
to that of serpents, beat upon the floor and crawl about. Along ............... (Eds) Pgs 11-20 in Summer Rain: Harvesting the
with this, they fan the flower bunches in their hands and erase Indigenous Knowledge of Kerala, Centre for Indigenous Knowledge
studies, Trichur.2004.
the kalam.
Venu, G., Puppetry and Lesser Known Dance Traditions of Kerala,
‘The wilderness of colour, flame, music and rhythmic beatings Natanakairali, Irijalakkuda, 1990.
make the whole atmosphere something supernatural. The magical Nattarivu, (CFS, Thrissur), 12 Issues, 1995-2002.
spell of the atmosphere is connected with the chromatic formula Vijayakumar Menon, Divathai, Folk kalapadanangal, Centre for
of the indigenous culture also. These abstract patterns of five Folklore Studies, Thrissur, 2004.
colours create an emotional upsurge and psychological effect to DR.M.V.Vishnu Namboothiri, Theyyam, Kerala Bhasha Institute,
the trance dancer. Red and black are the warm colours and green Thiruvanthapuram, 1998.
and yellow are the cool colours, and white colour balances the
symmetry of the diagram. The Pulluvan asks the piniyaal in trance,
various kinds of questions under the belief that they are possessed
by the sprit of the serpents.The girls give replies. In certain cases,
the possession of the sprit is delayed in piniyal inspite of the magical
‘brum..brumm’ sound of kudam and the blending rhythm of
veena. ’Some times the Gods appear in the bodies of all these
females and some times only in those of a selected few or none
at all.’ If the piniyaal destroys the decorations of the booth it
shows that the snakes are not satisfied.
The colourful serpent drawings, flames of the vilakku and other
ritual symbolism, the sounds created by veena and kudam,
boisterous shouting accompanyied by the serpent song ‘dance
82 83
denied a voice. Access to education revolutionised the hitherto

subjugated selves, bestowing on them an individuality and and
identity different from that which was tagged to them on the
basis of their realationship with, or with reference to a male.
Writing or self-expression has been as liberating an experience
for the women as liberation of the mind and body for the
colonized or the wretched of the earth. Absence of feminine
representation from history can be compensated, though
inadequately, only through literary gleanings.
Feminist criticism, an offshoot of the women’s liberation
movements of the 1960s, endeavors an effective re-interpretation,
re-evaluation of literary texts that have been either sidelined or
misinterpreted in past. A re-reading of the literary cropus of the
K.Saraswathyamma: the forgotten Poineer of Malayalam writer K. Saraswathyamma, who has been deliberately
Feminist Writing in Malayalam omitted form literary cannon, is sttempted here.
Dr. ASHA SUSAN JACOB Indian womanhood is as complex as the history of the nation. It
has also surfaced through the ebb and flow of glory and
defilement. The enlightenment movements of the late 19th century
The much-cliched term feminism has opened many impacted a move towards greater empowerment. Caught in the
vistas of intellectual, ideological, physical and material vortex of the freedom movement, though it never altered her
exercises. It has problematised power realations in status at the hearth, she too got mobilized towards the world.
all existing patterns and walks of life. Spatial and Kerala too witnessed a series of social changes towards the last
temporal variation, as in every other cultural decades of the 19th century when derogatory caste system got
programme, have imprinted qualitatively and challenged, and got replaced by gender. While forced consensus
quantitatively on the structure of exisiting paradigms. was there on the constructedness of caste, gender polarity was
No sphere of human life escapes the impact of the unanimously accepted as natural and logical. Though the nation
demand on gender parity as it has repercussions was equated with the female, and Travancore had the much-
on the home and the world. The individual and the mouthed matrilineal form of succession, the true voice of the
nation, ecucation and culture, work and worship, female got recored only in the 20th century, especially in the literary
politics and economics come under its coverage. ventures of an array of formidable writers like Lalithambika
Marginalisation of half the population on gender Antharjanam, K. Sarwathyamma, and Sara Joseph. Succeeding
basis and categorizing them as the second sex, the the first wave of female writers like B. Kalyaniamma, M.
other, have successfully muted many a voice and Saraswathibhai, T.C. Kalyaniamma, Ambady Ikkeavamma and
erased them from the canons of history with only a others who commenced their literary creer in the early 1920s,
handful of exceptions. Gayathri Spivak has they have significantly contributed to the genre of Malayalam
bracketed the second sex with the subaltern who is fiction resonating the modern concepts of indentity and
84 85
individuality in a conservative society. But Saraswathyamma intelligence and creativity are appreciated in the middle school,
occupies a unique position for her unwavering expression of an the all-female high school looks at her with reservation. Female
identity apart from her compliance with man. intelligence never gets accepted in an enviornment that promotes
Her literary career spanning two decades (1938-1958), with 90 only the male, though he is in no way superior to her other than
short stories, a novelette, a drama and some essays, has posited his status or label as a male.
the problematic position or status, spineless, ever-suffering female The writer subtly critizes the society which refuses to give the
paragon, to the radical feminist who defies patriarchy. The female her rights as an individual. When even wothless boys are
marginalized is brought to the centre not to evoke sympathy, but given education, it is often denied to girls like Vilasini who prove
to expose the hidden reality where a woman often becomes themselves eligible. She is presented as one who is able to
objectified. Emboldened by her personal life, she has ventured to encounter with equanimity any approach by the other sex
voice forth the necessity for change. She pioneered an whether it is a teacher or her classmate. Behind her refusal to
unacknowledged movement demanding woman her rightful place. comply the role of a sister to one of her male friends is the fact
Pointing her finger at the chauvinistic attitude of men, her pen that there too coverlty lingers the spirit of dicrimination that allows
does not spare the all-encompassing female paragon. The sarcastic a woman only her gender ascribed roles as sister, wife, mother
outpourings of the dauntless intellectual have gained her the title beloved etc. Intellectual affinity between individuals with no
‘anti-man.’ In a patriarchal society where men control the logos, shadow of gender is unheard of and unacceptable in the
her attempts at redefining the masculinist definition of traditionally conditioned society. Though Vilasini does not nurture
womanhood, her vehement, blatant criticism of the prejudiced any romantic notions about love, she is aware of the importance
soicety which eulogizes male superiority, and her refusal to be of family as a unifying force. It is not marriage that sidelines
categarized as secondary sidelined her from mainstream woman, but the conditions it prescribes to her. In fact the story
Malayalam literary canon. Yet the fact that the renowned waves the banner of the writer’s concept feminism.
Malayalam critic M.P. Paul has carved a niche for her in the The cul-de-sac of marriage often offers an educated woman only
generation of short story writers following Thakazhi, Ponkunnam ennui and frustration. Outwardly content, she may feel disturbed
Varky, and Basheer establishes her mettle. by an unreasonable discontent. Lamenting over her rusting
This propagator of gender parity proclaims the need for self- intelligence Vilasini’s gold medalist friend pours out. “Men need
reliance. Equipped with and empowered by education, their brain till the end to earn a living and make progress. For
Saraswathyamma exhorts women to leave prakrit and express the woman who is destined to be a parasite overintelligence is
themselves boldly. However, she does not visualize a world curse” (22). To many husbands a wife is an effective manager
without men, but a world that provides ample space for both. cum sleeping partner. The friend fails to see any hope for the
Armed with education, Saraswathiamma knows the value of it. next generation of women as well for a womam’s life is entangled
Yet she is not unaware of the social pressures against it. To swim in tradition and culture. Experience makes her blurt out: “Sharp
against the current is difficult for woman. Every movement against intelligence which urges and helps women progress is not only
the chosen (thrust upon), trodden path will be critically observed. unnecessary, but a bane to self and others” (23). Through her
That female education and excellence were seldom considered the author posits the general attitude of even the intellectually
significant is brilliantly portrayed through Vilasini, the intelligent, and culturally superior classes towards unpaid domestic labour
talented protagonist of Penbudhi (Female inteligence). While her which is considred as female chore. In such a society a woman
86 87
with acuity will only be an exception, not a law, and therefore comardes during post-degradation. He future is permanently
doomed to endure the slanders too. sealed, though her accomplice doles out a government job for
That Saraswathyamma openly brandishes female wantonness her with the help of his new father-in-law. The author cannot
and fraitly with equal vehemence needs no evidence other than but smirk at this woman who faithfully prays for the father of her
Vivahasammanam (Wedding Gift) where she projects two types fatherless daughter. Now when the same man in his position as
of women: the wise and the vulgar. Santhy, the protagonist, tries her employer demands her daughter too (without realizing his
to impart wise counsel to the immature Sukeshini who falls in fatherhood), Paukutty finds only one way out, murdering her
love with a married Muslim. When the latter is exiled to Malaya only offspring. If the mother dedicated her body at the altar of
she goes after another man, proving her waywardness. The bee- romantic love, another female body is demanded on the merit
like nature of Sukeshini proves materially beneficial as she refuses of hierarchical power relations. It is as if the female body has
to return the gifts from her former lover. Wihtout any authorial always an owner other than herself: it is the object for male gaze,
comments the readers are invited to debate over the two women, male use. Powerless to protest against her employer, fearful of
one a foil to the other as in Kamal a Markandaya’s Two Virgins. the consequences if his ‘rightful’demand is not acquiesced to,
the subaltern female has only one way out. The herosim on the
Younger women often offer themselves willingly at the feet of part of the mother is at the cost of bludgeoning a young life.
men without realizing the ramifications. Proper guidance can Precious life wasted before it even starts to live.
equip them to comprehend the myriad forms of man-woman
relationships without scalding thier own selves. The author In vivaham Swargathil Vachu Nadathappedunnu (Marriages are
vehemently criticizes such thoughtless actions of the female in Made in Heaven) the author focuses side of the female issue.
Sthreejanmam (Women’s Life) through the protagonist Santhy. Girls are ear-marked for marriage and become a burden to the
She has no sympathy to those like Malathy who excuses their family if they don’t get a suitable match after a stipulated age
action in the belief that “to be born a woman is to cry” (49), for ordained by the society. Even bold decisions by parents never to
she feels that a woman can adopt many a strategy to avoid male give dowry will give in to the accepted norms of the society for a
exploitation. woman has no locus stand in the society. Malathy’s parents’
decision not to buy a husband for her is replaced by desperation
The predicament of the subaltern among the subaltern, women and anguish when nobody turns in for her hand. Finally when
belonging to the low income group who dare not assert she steps into the heaven of marriage, it becomes a hell because
themselves and helplessy allow themselves to be entrapped by of her mother-in-law. The story comments on the humiliation
the masters, do not escape the author’s gaze. The and despair female folk experience on account of dowry. Her
keezhjeevanakkary (low grade worker) of the eponymous story uncommon intelligence and money power are no virtues to
is forced to reminisce over her past at the demand of dedicating deserve any acclamation. The comment by an elder at the time
her daughter at the altar of her superior. Parukkutty’s comfortable of the trial, “If she were given education rather than marriage
childhood topsy-turvyed with her mother’s death when she was she should have passed all classes in the first position” (65) is
only three. The advent of the step mother and the father’s demise indicative of the need for a change in the thought paradigm.
accelerated her misery which sought solace in the new occupants
in the neighouring house. While the mother catered to her Achenevide? (Where is Father?) reasons why females are given
emotional needs, she reciprocated by satisfying the “desires of education: “Not necessarily for parity with the other sex, nor to
Gopalan Nair with self scarifice” (55). Women seldom have any ensure employment, but for the prestige of a husband”, as a
88 89
status symbol (85). Sitting beside her ailing daughter Rukmini The harassment and injustice meted out to the marginals do not
recollects her glorious past, her blessed marriage which coveted escape the vigilant eyes of Saraswathyamma. The poor are denied
the acclamation of many a relative. Now back at her ancestral even the basic necessities of life. In viceroy Sandarsanam (The visit
home when her ideal husband resigned his job on certain of the Viceroy) she wehemently criticizes the authorities who
principles, the rose bed has started showing up the hidden thorns. mercilessly destroy the dilapidated, makeshift hut of a heavily
When the absence of the father takes away the mirth and joy of pregnant woman with a diseased husband and little children who
her child, the agonizing cry “where is my father?” resonates in are thrown into the heavy rain, in order to present a beautiful facade
the air. Yet Rukmini does not blame her husband, though if costs to the visiting Viceroy. The heartlessness of the top officials and their
her child’s life. It does not seem that the author approves such blindness to the real problems of the people are exposed here.
dedication on the part of a wife. Women need to be practical Anthikkoottu (companion for the Night) is another intersting story
and not blind admirers of their husband’s idealism. on the different attitudes of the society towards the institution of
Saraswathyamma, though does not nurture any sort of romantic marriage. Gender and class differences get reflected in the
love, acknowledges the passion for the other sex innate in humans. perception of marriage. To the lower classes it provides social securty.
Cholamarangal is another story where she highlights the power Compatibility is not a question that arises at the time of marriage
and nature of unconditional love. The story unfolds through the negotiations. The story starts with Hanuman Pandaram’s sister
chance re-encounter between Madhu, a Hindu sanyasi, and trotting form house to house to glean 15 rupees for the marriage
Lillykutty, a Christian nun who had been lovers. Though their of her 17 years daughter to a 45 year old much-married man. For
love never consummated, they never regret the choice for it has them it is a good alliance for he is employed, and to get such a
taken them outside the confines of familial roles and has opened man at such a rate is indeed a blessing. The bride’s words after a
up new avenues to serve the greater mankind. She has become month about her ‘lottery’ hint about the disparity between dream
a humanitarian recognized by the world. Nurturing spirit can be and reality; a dialogue that instills doubts about marital bliss.
cultured irrespective of whether one is married or single. It need Through the speaker in the story the author comments on the
not be connected with marriage. Her motherly instincts never helplessness of such illiterate people who become conditioned to
dry up for she has channelised them to serve in the orphanage. their lot. The narrator does not foresee any difference in the
Sr. Lillykutty acknowledges: “I feel proud that my talents have predicament of the future generations as well. To the man marriage
been utilized for public good rather than getting entangled in the is a lottery for it provides food at half the rate than in a hotel, and
problems of a hearth” (75). Refusing to wallow in her sorrow a wife to cater to his needs. Yet they need a man and his longevity
she had made her life meaningful through altemate means. at least till the marriage of their daughter, though they get only
Through the same story the author reveals the power hierarchy physical torture in return for all thier service. For him it is a luxury,
and discontent prevalent in the corridors of the convents. She to her it is a social security. “otherwise how can a woman survive
boldly presents nunneries as nurseries of jealously and saftely admist other men?” (97)
discrimination on the basis of the inherited wealth of the Pareekshanam (Temptation), the last story in the collection is
inmmates; a place occupied by women in gossip, harted, and ample proof to the fact that the author is not prejudiced against
spy work. Most of them are forced to alienate themselves from the opposite sex. She is impartial enough to exhort both the
the world by filial influence: “If they had enough courage they sexes depending on the issue. The story serves as an eye-opener
would have gone to same communist centres” (75). to the cotemporary society where girls go wayward and surrender
90 91
their bodies and minds to the male without thinking about the
consequences. The author appreciates the man who controls his
carnal passions. Whether it is a flower or a female,usually his
craving is to crush it. Here it is the male, an exceptional case,
who leaves the place saving the girl from future ignominy and
misery. The author subtly invites the readers to make judgments
over such females who become willing victims.
Saraswathuamma’s efforts to make woman speak when she is
conditioned to stay behind the curtain have bestowed on her
the title anti-man. But she does not visualize an all-woman, only
woman world, but a world where man and woman exist as human
beings with their own individuality, each celebrating his biological
position. Writing before the onslaught of feminist theories and
theorists, this indefatigable voice can be rightly acclaimed as the O.V.Vijayan’s Thalamurakal: Social
pioneer feminist in Malayalam. In an era of re-defining and re- Discrimination and the Quest for Identity
framing womanhood she lived her brand of reminism. She lived
Dr. KISHORE RAM
Germaine Grier’s postulate that a woman should “begain not by
changing the world, but by reassessing herself” (4).
With rare insight as an educated, empowered, alienated woman O.V.Vijayan’s Thalamurakal (Generations) is both
celebrating her sex without any encumbrances, she has voiced historical and autobiographical, but beyond these it
the hitherto unexpressed notions of female experience. In her we depicts the experiences of a traditional Ezhava family
find gender issue with its concomitant cultural and temporal in its attempts to come to terms with the
complexities. Living in a traditional and patriachal social milieu she overwhelming upper caste dominated society of
has attempted to refashion, remodel power relations, evaluating, Kerala. Thalamurakal(1997) records the two
questioning and even smirking on some strongly rooted beliefs. century-long struggle of an Ezhava family, Ponmudi,
Her literary oeuvre with its ingrained socio-cultural significance to achieve a status that would free them from the
form a platform for Saraswathyamma to voice her opinion of and faceless existence they had to suffer in a society
protest against the space ascribed to and achieved by women. bound by the chaturvarna system that divided
Works Cited people into different castes. The Brahmins and the
Humm, Mggie, Feminist Criticism. Sussex: Harward, 1986. Nairs dominated the socio-cultural domains in
Grier, Germaine. The female Eunuch. Newyouk:Mc Grauhell, 1971. Malabar. Even the coming of the British could not
Sraswathyamma K. Penbudhiyum Mattu Pradhana Kathakalum.
improve the situation. Lower caste people had to
keep a distance of fourteen feet while speaking to
Kottyam” DC Books, 2003 (All textual quotations are the author’s own).
the upper castes. They were denied temple entry
and had no role in social activities. Vijayan
successfully pens the various social evils that existed
92 93
in the caste-ridden Kerala society during the British rule. Vijayan “Get up!”
stresses the fact that conversion to Christianity, Communism and “What?” She asked desperately.
Atheism failed to give a new identity to the low caste people. A
temporary or surrogate identity provided by the uniform of the “You recite your Gayathri .”
British Army was the only escape for the low caste Hindus to “It is not morning yet.”
achieve a new identity in the caste-bound society. Vijayan attempts “Recite now.”
to sketch the social chronicle of Kerala by way of portraying four
generations of Ponnumudi tharavad in Thalamurakal. “I will.”
The Ezhava identity was a hindrance to the ambitions of the She tried to get up from the bed but Appukarnavar
members of the Ponmudi tharavadu. Even their wealth failed objected.
to win them social respectability. They tried to achieve social “You recite now.”
ascendancy by attaining Brahminhood. When they failed they “Oh! No I cannot recite like this.” Shivakami begged
resorted to violent methods to attain it. Krishnammavan, the indicating her nudity. “Let me get dressed.”
karnavar (eldest member) of Ponmudi in the 18th century tried
“No need of clothes—”
to achieve Brahminhood by learning Sanskrit and by going
on a pilgrimage to Kashi, wearing the sacred thread of the Brhamamuhrtham . Shivakami’s tone filled the bedroom,
Brahmins that he borrowed from Bavadratan Namboodhiri. “Aum Bhur Bhuvah Swah, Tat Savitur Varenyam—”
Krishnammavan explains his aim to Chathunnivaidyar: “My In a low tone Appukaranavar tried to imitate her, but failed.
aim is to prove that whatever a Brahmin, wearing a poonool, He could not tolerate her listening to his futile attempts.
can achieve can also be accomplished by a low caste person: The lips that recited the Brahminiyam of Gaythri was
even beyond learning the diction and style of Sanskrit” (12). molested by the rape of the avarnan and he gave up
His descendants tried to establish their identity by murdering Sanskrit eternally. (28)
upper caste people. Pangalappan ordered the killing of Kanothu The molestation of the Brahmin woman is symbolically an attempt
Nair because his daughter Sumathi was insulted by his cry to conquer the Gayathrimanthra which is fundamental to
‘Fhaa’—the shout that ordered the lower caste people to make Brahminhood. The younger generation tires to wipe off their
way for the upper caste. Appukarnavar forces a Brahmin lowliness by tarring the signboards ‘Brahmin Only’ on the walls
woman Shivakami to recite the Gayathrimanthra sitting naked. of the railway canteens and by entering temples and touch the
When he is not able to pronounce the Sanskrit words correctly garbhagriha of the temple. Chamiyarappan, the present
he realizes his inferiority and rapes the Brahmin woman. Karnavar, as part of the Temple Entry Struggle (in 1930s) leads
Vijayan narrates the horror and absurdity of the situation: a march to a temple in Palakkad, demanding entry for himself
Shivakamika knew how to recite Gayathri manthram and his people, but is severely beaten by the police. He realizes
the futility of attempting to achieve an identity for the lower caste
.He made her write down the mantra and tried to byheart
and quite frustrated, gets converted to Christianity and becomes
it. No, the pronunciation cannot be perfected. The dirt
a communist, but like his ancestors he too fails to attain a better
of the low caste was hindering perfect recital. Anger filled
identity. Velappan, the son-in-law of Chamiyarappan a Subedar
Appukarnavar and he woke up the sleeping Shivakami.
Major in the army, achieves a status that is superior to the one
94 95
earmarked for his caste by donning the uniform of the British challenging the established norms of untouchability. He was
Army. beaten up by the Brahmins. Where his rationalist identity failed,
Velappan’s military identity succeeds.
The intricacies and insurmountability of the social set-up could
not be overcome with the aid of money or by the pseudo Velappan’s uniform enables him to circumvent the otherwise
egalitarianism of social reformation. The uniform of the British inexorable social laws. Where his identity fails he uses his
Army, which reflects the might of the governing force, was the might, the might of the British Empire, which the social norms
only option before a low caste/subaltern to achieve an identity. and prejudice could not contain. As a child Velappan was
Velappan in the uniform of the British Army with the insignia of insulted by the social discrimination his caste had to endure.
the crown on his shoulders, with the glow of the empire on his He was asked to wash his own plate and glass by a Nair hotel
face and with a steel studded cane on which is carved owner to avoid theendal (impurification). After achieving the
Yudhivikraman (gallant warrior) in his hand achieves a superior status of a military officer, Velappan intentionally visits the
status, a social sanskritization. He rises to the status of a high restaurant again. Chappan Nair, the owner of the restaurant,
caste man. He gains the respect of the high caste men who call recognizes him. Though in a timid tone, he asks him to wash
him Major Sahib with reverence. His identity enables him to get his plate and glass. Velappan throws the unwashed plate into
a position for his brother-in-law in the office of a railway a corner and walks up to Nair and slaps him. The crowd that
contractor. Chamiyarappan, his father-in-law, is able to get back had gathered makes way for the British military officer.
his land pledged with a bank. He is able to enjoy the hospitality Velappan’s identity as an Ezhava and his identity as a British
of the Mappilas. Moreover his superior identity enables him to soldier are contrasted here. Chappan Nair saw the Ezhava
order about high caste men, making them do menial errands for Velappan beneath his uniform. Fearing theendal, he ordered
him. The British officers have high regard for Velappan. Though him to wash his plate, but the crowd recognized the power
he is only a Subedar, they treat him with respect. The steel behind the uniform and made way for him.
studded cane with the inscription Yudhivikraman on it is the The more Velappan felt the slavery of his country; the caste
greatest honour that is conferred on him. This honour entirely discrimination became more painful. His identity justifies his act
reserved for a Field Marshal is the recognition of Velappan’s merit of suppressing his country’s struggle for freedom. He understands
and adds respectability to his identity. that the central force that is holding him to the British Army and
The military uniform rescues Velappan from the rigid caste system, that which is providing him with mental strength and power to
enabling him to achieve emancipation and self-hood. New areas overcome the caste discrimination is his new found identity.
so far unknown to his caste are opened up before him. On his Freedom of the country will not free him from social lowliness.
journey to Nilambur, the station master an Ambalavasi (a high Yet his military identity is not an unmixed blessing. The newfound
caste) invites Velappan and his wife Pankajakshi, to have breakfast status can be at variance with his natural instinct and emotions.
at the canteen reserved exclusively for the Brahmins. They are Velappan faces inner conflict while suppressing the freedom
welcomed by the Brahmin manager as they enter the ‘Brahmins struggle. One such incident occurs when he arrests Sathyamurthi,
only’ canteen. The train waits for over half an hour in this a congress leader:
unimportant station. This is in contrast to the experience There were only ten steps to climb up to the stage but it
Chamiyarappan had at the hands of the Brahmins when he led appeared like an insuperable mountain to him. He gathered
a rationalist rally to an agraharam (Brahmin’s colony) in Kalppathi, all his strength and climbed the first step and stopped. He
96 97
could not move forward. On both sides of the stairs The fact that Velappan’s new identity is only surrogate and
volunteer girls sang: temporary is established by his experience after retirement from
“Vande matharam , vanthe matharam, sujalam , suphalam, the army. After his retirement the inexorable social norms strip
malayaja seetalam. Velappan of his elevated identity forcing him to return to the
lowliness of his caste. Velappan loses his confidence. He does
Vande matharam.” The motherly tone seemed to fill the not have the courage even to enter the club of the military officers.
atmosphere. Velappan surmounted one more step. With the intention of upholding his status and securing a new
“Sasya syamalam. . .” identity, he enters into a construction contract. But he meets
He climbed yet another step. with opposition from the labourers. The labourers cheat the
Yudhivikraman . Ponmudi sinks in debt. Chamiyarappan becomes
“. .. Shubra jyotsna pulakita yaminim phulla kusumita insane and dies. Velappan who had earlier suppressed the
drumadala shobhinim…” Mappila Lehala bows before a few communist labourers.
He could not look up at all and the remaining steps Vealappan realizes that the power behind him when he suppressed
appeared tedious like a mountaineering expedition to him. Mappila Lehala was actually that of the British Empire, his identity
Velappan felt overwhelmed and he could feel inherited was that of the British Army. The facelessness of Velappan is
grief mounting up in his mind. brought out here. He is not able to sustain the identity of a soldier
“… Suhasinim Sumadhura bhashinim…” after retirement and he is relegated to his lower caste identity.
The moment the Gandheeva fell down. An individual faces identity crisis and depersonalization when his
social identity fails to satisfy his ego. Velappan experiences this
“Sukhadam varadam mataram…” trauma. By acquiring a borrowed identity Velappan was able to
Finally when he mounted the stage, Satyamurthy was overcome the identity crises he felt deep within him and enjoyed
waiting for him. When he handcuffed the leader, a pseudo social status. The surrogate identity elevated him from
Velappan’s eyes filled with tears and he faintly saw his faceless existence. Erik H. Erikson’s comment in Identity:
Satyamurthy smiling at him. (81) Youth and Crisis is apt in this context: “…identity is the sameness
While engaged in suppressing the Mapilla Lehala (Muslim uprising and continuity of one’s existence in time and space and the
in 1921 as part of the Khilafat Movement) Velappan accidentally perception of the fact that others recognize one’s sameness and
kills forty Hindu youths. This heinous act disturbs the peace of continuity” (50).The novel suggests that the low caste identity
his mind. In order to escape from sin, he prays. While praying cannot be scrubbed out completely from the consciousness of
he hears the magical chanting Yudhivikraman in his mind. He the Indian society.
loves his country but understands that real freedom is what he Works Cited
enjoys under the British rule. This realization motivates Velappan Erikson, Erik H. Identity: Youth and Crisis. New York: Norton, 1968. 50.
to blindly adhere to the British system justifying the British rule: Vijayan, O.V. Thalamurakal. Kottayam: D.C. Books, 1998.
Note : The quotes are translated into English by the author of the article.
The force behind me while hitting Chappan Nair and that
which made the crowd make way was the power of truth
in the British Crown—the Insignia on my shoulders. (94)
98 99
rest is history- the praise showered on the poem by W B Yeats,

the preface he wrote to Geethanjali, the coveted Nobel Prize it
received, its French translation by Andre Gede, Paul Vallery’s
article on it- all these developments helped Geethanjali and its
author to become well-known to the world in amazing rapidity.
One can presume how the acceptance Tagore received influenced
the Indian poets who were writing in their native tongue. This
article tries to examine how Tagore and Geethanjali influenced
the poets of Malayalam and the history of Malayalam poetry
which is a manifestation of such influences as well.
Kumaran Asan and Tagore
Kumaranasan, the pioneer of romantic poetry in Malayalam and
the greatest poet of all times, was the first poet in Malayalam
How melodious is the who tuned the soft strings of Tagore’s lyre. In the light of Asan’s
rendering of thy song! stay in Begal for a short period, the poems he wrote titled
SAJAI K.V. Divyakokilam (The devine song bird) and Swagathapanjakam
(A welcome song addressed to Tagore) and based on his self-
teaching ‘Vangadyoviludicha raviye snehika viswambhare!’ (Oh
In the month of July, when the twilight hides itself world, please do worship yonder Sun – Ravi – in Bengal’s radiant
Under the shroud of darkness and the day retreated horizon!) critics often judge Tagore’s influence on him. It should
It rained incessantly, and I, the solitary sojourner be said that this appraisal is superficial. It fails to go deep into the
Of the land of dreams, stayed at home all alone. imperceptible communiqué that might have happened between
Harkening to the above lines or watching the twilight Tagore and Asan and detect how it shaped the power of
view they offer, one can listen to or live in a season imagination of a genuine poet like Asan. The pointers that might
of rains. It happened almost two and a half decades lead to such an enquiry are not the ‘flowery canopy’ of trees
back. A little boy, a solitary sojourner of the land of that are planted afar or their ‘freshly sprouted branches’ but the
dreams, was reciting these lines in tune with the mysterious entanglement of their roots beneath.
repetitive cadence of rain that replicates the lines of The terrain of Tagore’s imagination was romantic as well as mystic.
G Sankara Kurup’s translated version of Geetanjali. In Geethanjali one can see Tagore’s compositional skill as a poet
Thus, inadvertently, he was also treading along the in bringing the metaphors of love, parting, waiting and seeking
farthest boundaries of the land of dreams. The boy the lover to mystic heights. It has been observed that the mystic
who thus strode the land of dreams is the writer of lyrics of Tagore promulgated the indirect influence of Vyshnava
this article. Bhakthi Movement which was an indiscernible metamorphosed
Tagore composed Geethanjali, which celebrates its form of Radha-Krishna love knot. The focal point of his lyrics
centenary this year, between 1906 and 1910. He is the feminine psyche that is deeply desirous, badly bashful and
translated Geethanjali into English in 1912. And the
100 101
experiencing excruciating agony of separation. This is the point The hymns written by Asan are not different at all. They are the
of affinity between Asan’s romantic sensibility and Tagore’s poetic mantras of a soul that endures excruciating pain in exploring the
vision. The facet of love explored by Asan could only be depicted woods and meadow seeking the cosmic soul. But P. K.
through a female. The love he portrayed was overflowing with Balakrishnan is unmindful of the complex transformation of Asan
prayers emanated from perturbed souls that transform one’s from a composer of hymns to a composer of love poems and
body into a ramshackle shrine. Many of the mystic lyrics in the indirect catalyst he may have had from Tagore’s mystic
Geethanjali have a sadder and softer tone of such prayers. imagination for such a transformation. He may have missed this
‘Don’t hesitate to pluck this little flower of little value fact that was so close to his eyes because of his over-confidence
in the rarity and originality of the finding he had made. Whatever
so that it is, the ensuing critical lineage of Malayalam has to underscore
It will adorn thy garland before this fact. ‘Those who seek the him/ have to seek the wind in the
It fades away and withers’ dense forest woods’ (Lines from Asan’s Leela). This might tell us
how these lines create a kind of invisibility and elusiveness in a
The above prayer in song 87 of Geethanjali is something that protagonist like Madanan and how he got hold of the distant
can be heard from the lips of Asan’s heroines Nalini, Leela or face-look of the quintessential omnipotent that entices the
even Vasavadatta, the licentious lady who pined for the humans in disguise.
unrequited love of a handsome Budhist monk. In Asan it is a
kind of search for God as manifested in women towards men G. Sankara Kurup’s ‘Pullankuzhal’ (The flute of reed)
but in Tagore it attains a romantic tone of the self which has been Another major Malayalam poet who later took up the flute of
incarnated as a female. Interpreters like Karimpuzha Tagore’s mystic imagination was G. Sankara Kurup. Whatever
Ramakrishnan were of the opinion that the relationship between be the self-justifications of the poet about the holy stream called
Leela and Madanan whose name is synonymous with that of Geethanjali, which greatly lured him at the dawn of his expedition
Cupid, creates a parallel in worldly life between the microcosm through the boundless waters of literature, critics in Malayalam
and the macrocosm. Karimpuzha makes a kind of over-reading spent a significant amount of their time, most vociferously, to
here and to a certain extent such a reading is mechanical too. find something more than mere influence in it- even plagiarism
But it is an irrefutable fact that if the vast plot structure and the and imitation. The third chapter of ‘Sankara Kurup
elaborate characterisation of Nalini and Leela were subjected to Vimarsikkappedunnu’ (Sankara Kurup Criticised) by Sukumar
utmost saturation they would be as condensed as a lyric by Azhikkode, the doyan of literary criticism in Malayalam, is replete
Tagore. P. K. Balakrishnan, the visionary critic of Malayalam, has with arguments of this kind. Whatever it be, it is supposed that
realised this much earlier, though in another fashion. In his book Sankara Kurup’s, ‘Sunflower’, a famous poem of that title written
titled Kavyakala Kumaranasanilude (The art of poesy through by the poet, would not have been bloomed without the sun-like
Kumaranassan) P. K. Balakrishnan makes a dazzling observation presence of Tagore; though the inclination of the sun flower
that the heroines like Nalini and Leela are the incarnations of the towards the sun is instinctive.
poet himself who begins his poetic career as a writer of hymns. The fiftieth year of Sankara Kurup’s Malayalam translation of
In that long and tiresome search for self-realisation Asan touches Geethanjali coincides with the centenary of Tagore’s Geethanjali.
Tagore as well. Tagore implores the Almighty to accept him in a It was in 1959 that Sankara Kurup’s complete verse translation
tone that is characteristic of a lover experiencing piercing anguish. of Tagore’s Bengali Geethanjali got published. It looks as if the
102 103
literary circle of Kerala, which hardly forgets any anniversary, is When the cosmic soul tickles in the
oblivious of the fiftieth year of the publication of this translation. Armpit of the individual soul from time to time
It is not a work that should be ignored in such a fashion. Its
musical and meditative quality is unique. We can still hear G. The rays that emit out of the tickle
Sankara Kurup’s lines which stand apart from such prosaic Hits at the lotus bud of life and
translations as ‘My Lord, I don’t know how you are singing! I Oh, remember, what opens up its lips then
always listen to it, in silence, surprised.’(Translation by
L.M.Thomas.) Is the crown of fragrance of mysticism.
‘How beautiful is the T. K. Narayana Kurup was a minor poet in Malayalam who
Rendering of thy song! imitated Tagore in appearance and attire. He wrote prose poems
In silence I listen to it modelled on Tagore’s. He was also the editor of a magazine titled,
with eternal esteem’ ‘Tagore’. He published an anthology titled ‘Athmageetham’
(Song of oneself) in 1934.
The influence in Changampuzha
R. Ramachandran
Tagore’s magnificent style of rendering songs had attracted the
imaginative poetic quality of Changampuzha, the greatest Later on, we see a pale shadow of Tagore in the introverted
romantic poet in Malayalam. as well. Changampuzha’s creation sensibility of R. Ramachandran, a late romantic, who wrote about
of ‘Yavanika’ (The Curtain), a long poem, modelling Tagore’s his ‘Days in dismay which were like deserted bowers!’; though
‘Victory’ and his translation of ‘Udyanapalakan’ (The Gardener) spiritual alienation and distress were its basic traits instead of
are finest instances of the influence Tagore had on him. We can mysticism.
also extract Tagore’s influence on Chamgampuzha from indirect My eyes are feeble seeking the infinite sky for a merciful eye,
signs that are not that explicit. The well-known ‘Poomala’ (The The moon glow melts in the twilight blush and my love that
garland) in ‘Bashpanjali’ (A tribute with Tears, the poets debute turns
anthology) is itself an example. We can see the distant image of
the mendicant in the 50th verse of Tagore’s English Geethanjali Into a shining star in the night when the sky forgets the earth and
who wins a gold grain from the king, when he gives the king a the trust
mere grain while he begs for alms. Isn’t it the tune of the mystic I hold in my bosom, I know how far am I from all those celestial
song, ‘I will wait the whole day/ playing my flute’ (in the 8th verse passageways
of Bengali Gitanjali) that we hear in the song of Changampuzha’s Tagore’s placid romanticism bloomed again in Malayalam poetry
Remanan, the pastoral elegy that made him most popular in in the poets who belong to the last wrung of romanticism in
Malayalam, the selfless shaperd who awaits the virginal beauty? Malayalam literature. The pure rustic image of love in Sugatha
- I will sit the whole day alone/ on that hill side and sing’! It could Kumari’s poems reminds us of Tagore. It is not difficult to identify
be out of weariness after seeing the quack ‘mystic snobs’ in the veiled ‘Tagorean’ tone in the devotion to Krishna pictured in
Malayalam that Changampuzha wrote these lines in ‘Padunna the most celebrated ‘Krishna, Neeyenne Ariyilla’(Oh Krishna, You
Pishachu’ (The Singing Devil) which was modelled after no lesser don’t know me). The transcendental tune of Tagore is latent in
a poet than Charles Baudelaire whose ‘Fleurs de Mal’ ): some of the film songs written by O.N.V. and P. Bhaskaran without
104 105
their knowledge. ‘Paduvanay vannu ninde padi vaathilkkal’ ( I ‘In one salutation to thee, my God, let all my senses spread out
came to your doorstep to sing) and ‘Saradindu malardeepa and touch this world at thy feet.
naalam neetti’ (The autumnal moon offers a floral flame) written Like a rain-cloud of July hung low with its burden of unshed
by O.N.V and ‘Thamarakkumbilallo mama hrudayam’ (My heart showers let all my mind bend down at thy door in one salutation
happens to be a lotus-cup) and ‘Thamasamende varuvan...’ ( to thee’
Why are you late to arrive...) by P. Bhaskaran are examples that
G. Sankarakurup’s translation (in Malayalam) is
could be easily cited. Through these songs some of the rare and
exquisite poetic features that reside in the ivory towers of In one salutation let me settle down
imagination became a legacy of the common folk. At thy holy abode
Basheer Basheer’s Sandhya Pranamam begins like this:
‘Oh! Pristine beauty, what I hear are your desirous footsteps. ‘For the last time, Lord, for evening prayer
She comes! She comes! My love-stricken princess comes. Have I reached
Why do you make my heart beat without rest? In the desertedness of this horizon.’
Oh! Virginal beauty, why don’t you come?’ There is no doubt regarding of Basheer’s genuineness and original
These lines were not written by any Malayalam poet, modelling genius. The aim here is to make clear the fact that the omnipresent
Tagore. It is in Ekanthathayude Mahatheeram (The Boundless radiance of Tagore’s mystic imagination reached even Basheer
Shore of Loneliness) written by Vaikom Muhammed Basheer, a in his early days of writing.
Sufi mystic with modern sensibility who wrote quite a good The story of Vijayan
number of excellent short stories in Malayalam, that these lines
One more is there to be pointed out in this regard. It is an
of Tagore’s get echoed word by word! We can hear the same
interesting fact that we can see a fairly similar image of the parting-
footsteps in verse 45 of the English version of Gitanjali and verse
lore of birth after birth in ‘Khasaakkinde Ithihaasam’ (The Legend
62 of the Bengali Gitanjali. It is just that ‘he’ appears in Tagore’s
of Khasak) in a poem that appears in an anthology by Tagore,
poem instead of ‘she’.
titled ‘The Crescent moon’. In Vijayan’s story a girl, who parts
‘Don’t you hear, don’t you hear with her sister in a valley of sunset, turns a champa tree. Ages
The casting of footsteps after, the tree asks the girl who plucked flowers, tearing the
branches, “Alas! Little sister, you have forgotten me!” In Tagore’s
He comes, he comes,
‘The Champa Flower’ we see the child asking,
He comes, beloved’ ( Translated by G. Sankara Kurup to
‘SUPPOSING I became a champa flower, just for fun, and grew
Malayalam)
on a branch high up that tree, and shook in the wind with
We can hear such footsteps in stories such as Anargha Nimisham laughter and danced upon the newly budded leaves, would you
(The unforseen moment of fulfilment) and Sandhya Pranamam know me, mother?’
(The Evening Prayer) by Basheer. (The last verse of English
In Tagore’s poem we find the simple and naive imagination of
Geetanjali) is included as 148th verse in The Bengali Gitanjali.
childhood; Vijayan’s is a deep visionary imagination. Though these
106 107
are not to be compared, it hints the indirect influence that Tagore’s

poem has had on Vijayan as the champa flower re-appears in
the latter in the disguise.
Geetanjali manifestation was a great poetry that had influenced
Malayalam poetry and literature intensely and everlastingly. There
have been multifarious translations that started with Keezhedatthu
Madhavan Nair, the first translator and passed through L.M.
Thomas, G. Sankara Kurup, K.C. Pillai, and V.S. Sarma and
ultimately, K. Jayakumar, a poet turned IAS officer, for Geetanjali.
New Malayalam translations may be done for that work in this
century. Let’s hope that this expectation won’t be gone astray as
is evident from N.P. Chandrasekharan’s recently published poem
dedicated to Tagore and G. Sankara kurup, modelling it on the
Malayalam translation that G. gave for the 64th verse of Geetanjali. Pulayar *
Translated by K.T. DINESH K.P. Karuppan
The Hindu veterans of Malayalam

Have been from the long past
Condemning the caste of pulayas,(1)
Treating them as untouchables.
Haven’t the people of the world
Struck with wonder
At the glory of fame
Spread from this hard-working folk
Who are blended ever
With Indraneelam(2) splendour?
They are not children of darkness
But only got dark-skinned
As they are sun-tanned;
Or, they may be the incarnations
Of the Dark Lord of Vrindavan,
Of black-cloud grade-
The sweet son of Devi Yasoda.
108 109
May be it possible Who would till the soil

That the Lord, to perpetuate earth And embellish Earth
And feel rejoiced, With the iocent emerald silk of paddy
Has let life prosper at large Bringing at length the granaries within,
With abounding grains Splendid grains of harvest?
Of cerials and fruits Are they the grooms of Earth,-
For which He has transfigured himself. The pretty deer, tender-,
Some days of incessant rain, With her glory of Fame unblemished,
Other days of heat intense, Who let her well-clad and adorned
Some days of icy cold, With the silk of the ripe car-clusters of paddy?
And too of strong wind: Are’nt they, as people,
Forbear they ever with will of endurance- The beetles fond of imbibing
Are Pulay¡s, Yogies of Lord Shivar¡ma? The hectar of the majestic Turns
From the glory of the rising sun of Lord Krishna’s eyes,
And many visions of celestial splendence, Getting rid of the grid of Earth?
Forget ful with complacence, Timely food, work and journey
Remain those Pulay¡s dear, With the Happiest, every day-
With their heads shaved: Do they outmode in this way
Aren’t they lofty Yogies? Even the loftiest in (4)Bilathy?
From morning till evening” Are they the descendants of (5)Parasuram,
Involved they are tirelessly in toil Deserving to be praised even,
So enterprisingly alert- Who have spade in their hands
Are they promoting Idols To till and level the whole of Kerala?
Of earthly service of cultivation?
Thoughts several in this way
Fulfil they their work Evaluate the spade-workers
Willingly and peacefully. As commendable to be virtuous and blessed!
Aren’t spade-workers great, Shouldn’t these tillers, of power
And the bright prosperity they bring And too of compassion,
To our Mother country Be bestowed from others, with some Good?
So widely gets renowned?
Flowers of grace splendid
These Valluv¡s(3) would enthril Are shed from Valluva lips
The peasants of intense enterprise. like streaks of lunar splendour
Are they not hence graceful dark clouds fresh That steal from dark clouds
Duly transformed into humans? And spread along the earth.
Aren’t the space-workers Space-workers at lead shed
Fatherly to Earth Their hot sweat incessant
110 111
During their prolonged endeavour Valluv¡s belong to the (6)Manu caste renowned
Voluntary and strenuous, And they are sure Hindus.
When their masters selfish Why should you have enmity
come up, all sudden, with greed To feel harsh towards your own brothers?
To devour their fruits of effort. Deer commits nothing faulty:
The Valluv¡s bound for hard work, Yet a tiger tortures its life.
And the advanced Hindus for boluses of rice- So also would shrewd idiots do harm
The ‘Have-nots’ any how to make food, To Minds innocent; Obstruct Hari(7)
And the ‘Haves’ to provide and relish! The path of (8)Sankara Valluva.
The reaped ears of corn Tigers are friendly and loving
Have been brought into the granary; Towards one another;
But Pulay¡s are condemned by all means So is one rat to all of its kind.
And left in deep tears. In this (9)Black Age strange
The feet which are selfish to the core There are people who form a caste quite diverse,
Push their canoe off from the shore! Of demarcated feeling of fraternity!
Don’t be generous, Oh Mankind, Pulay¡s though industrious in works varied
To abuse and intimidate Are left unhappy
These Valluva group of workers! And kept off from the blessings of Fate:
How can one cut off the roots May the iron-writing rod of shrewd Destiny
of trees which are useful! Get crested with rust,
Why do you treat these spade-workers Of a disrupting Puranic ancientry!
Like victims of untouchability
As practised in the long past
By thoughtless and selfish Minds? Notes:
Why should we set fire to our abode 1. The traditional spade-workers.
To defeat and surrender rats? 2. Sapphire-type of precious stone of dark blue colour.
Aren’t (5A)Cherumar, Hindus? Here, the blue-blended block colour of their body.
Just think: should we not support them? 3. Caste-title for a section of Pulay¡s.
Why should we keep within 4. Common old usage to denote British countries.
Thoughts of rejection and contempt?
5. Rama,thehatchet-bearer.
Captured fish will cease to swim
Son of Jamadagni conceived as an incarnation of Vishnu. According to legends
And meet its gradual death. he reclaimed the land of Kerala from the sea.
The innocent Valluv¡s 5.A. Another section of Pulay¡s-hence, synonymous.
Are all our Hindu brothers. 6. Manu-father of mankind, the reknowned and blessed architect as mentioned in
Discard not these pitch-dark bodies- puran¡s.
Let your lucid bodies seek compromise!
112 113
7, 8. Two symbolic names for persons of forward and Backward communities.

Persons belonging to Backward communities were not allowed in the remote
past to walk freely along with those of the so called forward communities.
9. ‘Kali Yoja’ - the last of the four Ages-the Age of vice, strife and wickedness, with
Kali as the presiding deity.
* Translation of Malayalam Poem ‘Pulay¡r’ composed by late Pandit K.P.
Karuppan. The poem is included in his collection of poems entitled ‘Kavya
Petakam’
Translated by Paravur Gopalakrishnan
The verandah
VEERANKUTTY
Iam not fond of the verandah

as my mother is
She leaves the door ajar
at night lest the verandah
feel left out
cold and lonely.
In the morning
as she hastily
opens the door
the verandah
sits waiting
with the milk packet, the newspaper or
the newborn kittens of the
night before
in her lap.
Mother rubs
mirror clean
the verandah with softest velvet cloth.
114 115
In the heat of the noon

she sleeps
pressing close to its belly.
perhaps,
the verandah creeps upto the kitchen
quietly through open doors
when alone.
During nights of
Genie-dreams
could the verandah lead my home-bound
mother out through
the garden gates?
Translated by ZAHIRA RAHMAN Silence

AMRUTHA
Upon the hot springs of great tragedies

the sea is calm...
Saturated in the twilight meditation
the waves are silent
Inside the mute cluster of rocks
resentment boils....
Though no gentle breeze is blowing
a terrible storm may be blowong......
Though words don’t drop as meanings
‘Nadabrahma’ may be softly opening
in mind’s lotus flower!
When the dark clouds of rain gather in the skies,
When riot and staugher tear the country,
The cool springs of life are plundered
and life sinks into fathomless depths and
crrents......
When the sea santches away
the sand under your feet
116 117
and the country becomes a terrible forest

where cannibals reign,
A new history evolves out of pomp and power!
When even the gods move off
from thier value system,
Shakunies wake up
Shrinking off their lethargy,
The mouths of volcanoes
seem to be serene.....
Thier hearts, where motlen lava boils,
may be longing for an erruption..........!
Translated by Dr. MARY NIRMALA

The Silent Beast
M.R. RENUKUMAR
Be up
before the crow
touches the ground
Must clear the crow dung.
Clean the cowshed
before he’s here,
The milking-man
The milk-pot,
the oil-can,
Must keep them handly.
When he’s gone,
the milking done,
the milk measured,
Mark today’s volume
with a pencil
on the calendar.
Don’t forget
The haystack’s thinned.
118 119
Even so, the bundle.

must climb up, Be careful.
pull down some, Don’t slip
for it to feed while crossing
Go the single-long bridge.
to three houses Must drink up the rice-gruel.
of the neighbours. Wash the bowl.
Must slip into the Must blow out the lamp.
backyards, Rest head,
get the leftovers. on left hand,
Mud pot on hip, Turn body,
must cross, to one side,
scorching glances Fill up the depth
of men of the soul
angling by the canal. with nothingness.
Stir, stir Must
as the snout dips, be up
searching for feed before the crow
still dry. descends
Must swat hard, quick, to the ground.
Finish off
that bloodsuker,
the leopard-wasp, Translation of ‘Mindaapraani’
on its belly.
Scratch
the folds
on its neck,
as it stretches out,
belly full,
chweing the cud.
Must sharpen
the sickle
on the rough wasing stone.
Go, cut fresh grass
in the priest’s yard.
Must wait for passers-by
to help lift
120 121
Try pouring a green blob

On wilted dry leaves.
this musters a mob
Whole bluster well-high
Resounds in all four directions
2
There’s wind
On the colour’s outer limits-
A question that hardly has any answer!
It tripples down
On the white head-dress
Of disgraceful words,
Fastening the colourless light.
Colour The face, a white sheet of paper
Where, coloures spill over and ooze out.
ROSHNISWAPANA
It’ll rain
And the renagade of a “vethalam*”!
1 Will come to take a list of the springs.
There’s not a bit left to mix- How many colours there are
Dawn, noon, evening, night, yesterday, For the silence of the gaping eyes of idols.
today, tomorrow....... The colours, of which we say
“How secculent they are”
Nothing at all.
Are brought down by wind from the mountains
Not a drop of water
These, for which we endure
Should spurt and fall
The scalding heat, are those
On the cloth on line
That spring out of the earth’s cleavage
Swaying in the wind.
These, of which, we bracingly reckon
A spurt-second would suffice
“how cool it is!”
For the colour to change;
A half-stroke will do. Only those fingers that ache
Sans wounds, know
Renting the minds of raindorps,
How quickly water blends with colour.
A blue light leaps forth.
As to the case among us
It’s sunny.
How easily a colour
Holding an umbrella,
becomes a sea
The colours step into the tarred road.
turns out be a wall
If buffeted by wind,
changes into a non-colour.
They bound back indoors on their own
*. Vethalam : a cropse possessed by evil sprits
122 123
under the blanket, even now? Is not todya Monday?’ Only this
sentence remained unwashed. He quoted this sentence as a
chant. Alas! If he forgot that sentence, his loss will be so abrupt
and intolerable, he thought.
As he felt for office, the children too accompained him. She
brought their small aluminum Tiffin boxes filled with snaks for
school. He noticed some turmeric powder smeared on her right
hand.
While in the office, she never ever crept into his memory. Now
flash of thought passed through his mind of their long, two years
STORY passionate love, which resulted in their wedlock, of course,
without the consent of thier family members. Still, never once
did he guilty about it. Financial crisis, ailments of children and
NEYPAYSAM similar misfortunes often enervated them. In spite of it, she had
MADHAVIKUTTY no plains, but she seemed to have lost intrest in adorning herself.
Gradually his sense of humour and laughter too, drained.
Nevertheless, they loved each other. Their children too loved
Carrying out the last rites in a most brief way and them. Three boys, Unni who was ten, Balan, seven and Rajan
expressing gratitude fittingly to the fellow friends in only five, always appeared with oil-smeared faces. They possessed
the office, he returned home late in the night. Let neither great beauty nor intelligence. However, their father and
us call him father, since, only three little children mother used to comment with great concern:
recongize his value in that town. They call him
‘Unni has a taste for engineerig. He is always mending something
‘father.’
or the other.’
while sitting amidst many strangers in the bus, he
‘We must make Balan a doctor. Did you notice his broad forehead?
contemplated over every second of the day, one by
It is a sign of intelligence.’
one.
‘Rajan is least afarid to walk even in darkness. He is brave.
He worke up hearing her voice:
Probably he is a stuff made for the military.’
‘Unni, is it good to lie rolled up under the blanket,
They were residing in a small locale in the town where middle
even now? Is not today Monday?” She was waking
class people lived. It was a three-bed roomed flat in the first floor
up the eldest son. Afterwards, wearing an old and
with a small verandah in front of a room where hardly two can
wrinkled sari, she made herself busy in the kitchen.
dig in at a time. there grew a rose sapling in a flower pot which
She brought him coffee in a big tumbler. Then, then
mother had watered and nursed but never once bloomed.
what happened? Did she utter any unforgettable
words? Oh! no. It is impossible to recapture any word Several brass spoons and spatulas hung on the many hooks in
she spoke after that. ‘Unni, is it good to lie rolled up the kitchen walls. There was a wooden plank-almost worn out
124 125
on which mother usually sat, placed near the stove. It was while ‘My wife is dead.’ He chanted to himself. ‘As my wife died today
she sat there and made chappathis that father used to return of a heart attack, I urgently need two days leave.’
home from office. That would be a great ‘request’ for leave! It is not that the wife is
As the bus stopped, he got down. He felt a slight pain on his sick, but that she died. The superior officer may call to his office
knee. Is it a warning to be cautious of old age afflictions? If bed room and say, ‘I am sorry, my heart-felt condolence.’
ridden, who would look after the children? His eyes filled. Wiping Ha....ha....ha, his condolence! He does not know her. Her
his face with a faded handkerchief, he hurried towards home. beautiful, curly hair at the end, her weary smile and her slow
The Children, have they slept? Have they eaten anything? of walk, nothing does he know. All these are losses.....only, only
else, have they gone to bed tired of weeping out their heart? No. my losses.
They are not brave enough even to cry. Otherwise, why did When the door opened, the little one came running from the
Unni satand unmoved without crying when he carried her into bedroom and siad: ‘Mother has not yet come.’
the taxi? Of course, the youngest one cried or fussed, but only to Have they forgotton everything so soon? Did the little one think
get into the taxi. They were surely too young to understand the that the body, which he carried into the taxi, would come back
meaning of death. alone? He held the little ones hand and walked towards the
Did he know it himself? No, he never did. Did he evern expect kitchen.
that she, who was a constant presence in thier home, would be He called Unni, who was half-asleep in bed. ‘Unni.....’
lying dead near a broom on the floor, without even bidding ‘What fatehr?’
farewell to anyone? He came rushing, getting up from the cot.
When he returned from the office, he glanced through the kitchen ‘Balan is asleep.’
window. She was not there.
‘Um....Have you all had your food?’
In the counrtyard, the children were playing and the full throng
‘No.’
of their voices was rising in the air.
He lifted the lids of each vessel kept on the kitchen slab. Her
Unni was calling out: ‘First class shot.’
menu was quite appetizing-chappatti, rice, potato curry and in a
He took the key and opened the front door. Then he noticed glass bowl, the most special and delicious dish which she often
her, lying on the floor, sideways, mouth slightly open. Thoughts makes for children-neyapasam.
crept into his mind. She might have collapsed of overstrain.
He could sense the touch of death in every dish! No, You cannot
Perhpas, she had even fallen down unconscious. In the hospital,
have these food items.
the doctor said, ‘Heart attack. It is one and half hour now. She is
dead......’ ‘You must not eat.’
Feelings thronged. An unreasonable hatred flushed towards her. ‘I will prepare some uppuma for you all. All these have turned
Resting all responsiblities on his head, gone, gone, gone for cold.’ He said.
ever......! ‘Father.’ Unni called out in anguish.
Who will, hereafter bathe the children? Who will ever make ‘Um....’
delicious snacks for them? Who will nurse them with care, when ‘When will mother come? Is she not cured of her illness/’
they become sick?
126 127
Let the truth patience enough to wait for one more day, he
thought.
What is the use of making the child feel sad in this night?
‘Mother will soon come.’ He replied.
He cleaned the plates and placed them on the floor.
Two plates.
‘Don’t call Balan. Let him sleep’ He said.
‘Father......neypayasam.’ Rajan said dipping his forefinger into
the bowl of sweet neypayasam.
He sat on the wodden plank on which she used to sit. STORY
‘Unni....Will you serve food? I feel so sick.....my head is throbbing.’
Let them have a full meal. Here after they cannot savour any
food made by her, this......this is the last supper, the last supper Mother’s Advent
made with her hands. V.P. SIVAKUMAR
The children started relishing the tasteful, sweet payasam. He sat
looking rather transfixed.
Seconds later, he asked:
Ramakrishnapillai in a white immaculate attire got
‘Don’t you want rice, Unni’?
down from the second-class compartment of the
“No father, payasam.....this payasam is so tasty.’ He was licking Island Express. After having lived for so long in this
the last bit of payasam in his plate..... world, he could not manage to own a house or
Rajan too smiled, ‘Yes, mother has made this neypayasam so gain the love of a relative or a friend in his native
well, it is tastier than what she has ever made before...... land. He stood there confused not knowing where
Trears rolled down his eyes. To escape from his children, he to go. Not having a place to go, he stepped up the
hurriedly slippped from the scene into ten wash-room. forecourt of his alma mater. It was holiday and the
Translated by GEETHA NAMBUDIRIPAD. school was in slumber. He gazed at the green lawn
that shone in the golden light. Like bits of husk cut
and thrown away from tender coconuts in the
empyrean oasis, memories passed his mind one by
one. The subtext the Great Heroes of Kerala, the
class meetings with sandal, lemon and essays on
showing reverence to teachers, the football match
played with vigour between 9C and 10B, the quarter
rupee liquorice, Sivanandan chettiar’s mono act -
thoughts proceeded one by one.
128 129
Wiht an aura of seasoned coconut oil and Aithihyamala the With agonizing anxiety of adolescent love, he strode through the
biographies of great men, Ramakrishnan spent years of dust with a burning heart to meet his beloved whom his friends
studenthood here. Now he wondered where his classmates were. nicknamed ‘feeding bottle.’ It is along these dusty roads that he
He himself had changed a lot. The poet, revolutionary and sceptic ran like a fiery demon burning with passion and lust. He had lain
have become an ardent lover and adulterer. down on the lap of this mud road many a time with blood
With an indifferent sulky look of a grandfather playing hide and saturated with intoxication.
seek with his grandson, with slow pace he moved in between the When the four corners of the world, deep in silence, shudder at
buildings, peeped into the roofless toilet to see the remains of the roaring of Chambakulam Pachupilla’s Trigarthan*, the paths
what Purushan has scribbled on the walls, confirmed whether lead him to the first light. When the world awoke, it saw toothless
the litmus paper still changed colour in the lab and thought he old men sitting with their back towards time, pounding areca
heard the well chiselled words of Sukumaran the Geometry nuts.
teacher. After breakfast the young men take their cloth bags and walk
These are habits and they mould one’s life. It is not easy to escape away.
form them. It is not like sitting in the Island Express cracking To the left of this mud path, the place where Brigadier Umman’s
foolish jokes and waving hands to bid goodbye to those in the house stood, there was a small house where an old woman and
platform. her grandson lived. At the end of the road stood the Melukavu
Ramakrishnapillai sat down beneath an old mango tree and Bhagavathy temple. Every Sunday at dusk, Ramu used to walk
looked around for fallen mangoes. His mind had found a niche four kilometers to the temple with his mother, pray and return
like humming bird fluttering round and round the pandanus with sandal on his forehead.
bush to make a nest. Thoughts had gone beyond reason and no II
longer denied fate. He thought: Darkness creeps on the lighted
face. Slowly two teeth protrude out. He believed that the mother The story is goings back to a blurred past. Ramu an eight-year
of this universe would one day hold up her golden earrings above old boy clinging to his mother is following her to Melukavu
the sky to help him, who groped in the dark. aarattu**. The whole place is up and decorated with tender palm
leaves. Oil lamps were lit before every house and beside them
With that, the tall buildings built with the money from the MIddle adjusting the wicks were beautiful girls with half closed eyes. Ramu
East vanished before him. The yellow and red magic lamps were buys a plantain, drinks a bottle of soda water and once a while
bolwn out. An energetic young man Ramakrishnan jumped down chews a sweet from his pocket. He runs, skips and stops. He lifts
enthusiastically to the mud path, closing the school gate. his shorts and pisses.
A solemn home at dusk with oil lamps lit on either side. The There is a carnival with magic shows, tricks and games. There is
evening bteeze touched the forehead, damp with sandal and the man driving a motorcycle in the well. In the nearby sesame
sweat. Kids were reciting the multiplication tables. The evening fields Tamilian women are dancing with a record player.
had collected itself likea lamb nibbling tender leaves in the
backyard of a hut. Evenings come and go by. The soujd of cooking Mother and son flowed in the moonlight. Someone informed of
and the noise of spoons in the porridge vessels were heard. a fight in the ground. People rushed to the place. Mother held
her son close and in oreder to avoid the crowd took him to the
130 131
pavillion where a child without a mouth was exhibited. The child and looked like the slithering golden serpnent. The smell of rose
had only a hole instead of a mouth. It was lying on a carpet water, the jingling of anklets and the sound of conches
eating a bonda. Ramu could not stand the repulsive odour that prophesying peace and harmony filled the air. The mother is
came from the child’s wounds. So he walked outside and waited coming back, the mother who is the creator and the preserver of
for his mother. the universe.
The clang of cymbal was heard near the banyan tree where a An exotic perfume fills the air. Floweres drop from the heavens.
temporary stage was set up and someone had begun to recite The heavy bells of time toll wihtout rest. Along with the nine
Sambasivan’s Kathaprasangam*** 20th Century. After hearing planets, the sixteen-armed mother, the mother of the whole of
it for sometime he felt sleepy. He searched for his mother most humanity arrived like a huge dark mountain bellowing loudly
probably sitting in some corner chewing bettle leaves. She was ha! ha! ha! The drums reached frenzy and swaying along with it,
not seen anywhere. Tired, he bought some nuts and went into the mother arrived.
the temple where he fell asleep. IV
“Amma!” He jumped up from his sleep. The moonlight had That child Ramakrishna did not grow up to be either Ramakrishna
dimmed and the temple lights were off. It was derkness all around. the youth or Ramakrishnapillai the middle aged man. He died at
The kathaprasangam stopped and the audience growled. The the age of eight. Ramakrishna and Ramakrishnapillai were only
temple folks had gone to sleep and there was no one to lit the possibilites. Ramu was the only truth. On the rough floor of his
lamps. hut, in the dark light of the kerosene lamp, on the fungus covered
A speck of light shone from inside the temple. It was from the oil mat, on the lap of his mother whose tears had dried up, Ramu
lamp from the shrine. A breeze heavy with the smell of flowers lay. Before dying he enquired, “Dis the mother come?”
and camphor reached him. As if in a trance, Ramu went inside He was the victim of Scheroderma. At eight his teeth dropped.
and closed the door of the shrine. His hair turned grey. His skin wrinkled. The ailments of old age
III scooped him and threw him into the sand banks of immortal time.
The electricity lineman Ittiavirah had swallowed a bottle of arrack When the procession of the deity was coming closer, I remember
and was lying down by the roadside in fornt of a shop. He was in having heard the shriek of his mother. One does not need pomp
complete bliss but the audience who was mad after the to die. Before 1947, when people did not know much about
kathaprasangam pulled him up and shook him to life. Ittiavirah medical science, the doctors and their assistants who had resigned
staggered to the switchboard but happened to peep into the shrine form the Malayalism estates had not heard of such a disease.
and lost his consciousness again. Inside he saw a pretty women, Even today this discease is not diagnosed in an ordinary citizen.
dressed and decked with flowers, sitting on a small stool with a Translated by GEETHA KRISHNANKUTTY
child on her lap. It held the divine sword in its hands and the (A translation of V.P. Sivkumar’s Amma Vannu.)
divine anklets on its legs. The tender body was covered with drops * a Kathakali performance
of sweat that looked like rashes. The mother was wiping away the ** a temple festival
sweat with her attire and patting her son’s cheeks and hair.
*** a story told in verse and prose
The long awaited moment came. Cheers were heard from afar.
The procession was coming back. Fireworks were coming nearer
132 133
helped him laying the bricks for the floor. Isac himself cut down
the branches from the tree to erect the pillars. He did not need
help to dig pits for the four corners and pillars in between. But
the next day carpenter Varu came with his saw and chisels. Both
of them fixed the frame of the roof and the doors. They laid
bamboo sticks and thin branches of trees on the frame of the
roof and tied them up. Finally they spread plam leaves and on
them the thick long reeds collected from the bank of the river.
Thus without investing much capital, Isac could fix a sty to house
twenty-five pigs. The door was strong and he had a lock on it.
Isac was completely satified. Walking around the sty, he grunted,
STORY
showing his satisfaction. He produced such sounds only during
his sleep.
When the angels flap their wings Now we go back to father Willams. He was the representative of
C.V. BALAKRISHNAN the group of artists who believed creation of art to be the toughest
of jobs. Art was a painful experience for him. He was not like
M.F. Hussain who painted withour exertion. He took a lot of
time to finish a work, yet had not till day been satified wiht any
A divine spectacle in the sky. Four angels appeared of them. He did not want his paintings on angels to be one such
with golden wings. work and foresaw in it the birth of a masterpiece. Anxiety and
ecstasy ebbed in him.
Last summer Father Williams began painting four
angels-four flying angels. Somewhat at the same On summer afternoon after lunch he told his cook, “Vincent I
time an eminent member of the parish, Isac am going to paint a picture. Vincent was not intrested and was
Varghese began building a sty for his pigs and piglets. the least interested in this priest’s endeavour. He was heard telling
Because of many invitable problems, the priest a visitor that the priest had began yet another mad plan of
could not complete his work. But Isac finished his painting.
little house within five days. How many unfriendly circumstances an artist has to face in order
Father Williams had planned to sketch two angles to give birth to a great work of art! How they toil to attain that
on either side of the vast sky that filled most of his solitude needed for a creation! For example, look at Father
canvas. He had the necessary paints sent from Italy Williams. Hardly had he fixed the canvas and begun with the sky
by his friend who was his classmate in the than a visitor came. It took an hour to send the person away and
monastery. Four bugles echoed in his mind when he returned to spread the blue. He hoped and wished to finish
he opened his parcel with the Italian stamp on it. his work within two weeks. But when the two angels on the left
His face brightened with wonderment looking at it. hand had begun to show their presence, the Bible convention
came up. After spending days for it and completing it successefully,
Isac Varghese did not do his work alone. Kunjukunju
134 135
he came back to his canvas. But then the church needed a coconut tree in order to reach heaven.
renovation and the committee members seriously began to think Father Williams hadn’t finished with the two angels on the left of
of the expenditure. To collcect money they planned to conduct the canvas. Thier tender bodies needed embellishments. The
an auction to sell a part of the cemetery to families who want smiles on their lips should be more solemn and halo should
them sloely to bury their family members. That again took days appear above their heads. He kept it for the finishing touches
and when the church was beautiful, it was time for the feast. and one fine afternoon mixed colours for the wings.
Thus the wole of the summer passed by without any development It was pouring outside and the cook was taking his usual afternoon
in the painting. The usual masses, the special masses, baptisms, nap. There was no one around.
the last rites, weddings, scripture classes, administration -
engagements came one after another and Father William did Merina the deaf and dumb daughter of Isac was running down
not get any spare time to pay attention to his canvas. the hill, all wet in the rain. She ran through the rubber estate,
through the cashew grove, between the pepper climbers, through
In between, Isac’s pigs increased in number. The piglets ran about the ginger, turmeric, cardamom and brambles. Her dress was
the sty with their pink bodies and short tails. The sty was always drenched and the raindrops dripped from her body. With tear
noisy. filled eyes she ran towards the church.
Father Williams wrote to his friend in Italy. Father Willams heard the frantic steps up the stairs. But he did
“This place is the perfect milieu for a painter. There is is a tempting not move away from th canvas to see who it was.
peace here. After the rains the greenery around is getting denser Merina was beginning to run across the corridor when she saw
day by day. Nowhere can you see a red tinge. I am thinking of the priest standing near the canvas on the left. She stopped and
painting a picture with only the different shades of green. Maybe Father Willams looked at her astonished. She leaned on the door
I’ll get time during this rainy season. That which I had begun in and panted. He woke up from the shock and walked towards
the summer will soon be completed.” her with his long brush in hand.
Three weeks after this letter was posted, Father Willams received “What happened?”
another parcel. Another box full of paints. Once again the priest
was filled with wonderment. The postman pulled up his trousers She was still panting. He looked at her wet eyes and waited.
and walked back in the rain. He asked again. A noise escaped her throat. Her lips trembled
Father Willams lived in the double storey building behind the and her eyes filled with tears.
church. His bedroom was on the western side. The two rooms Father Williams tried to read her gestures, but it was hard. She
to the east were left vacant for the priests who were guests. The continued her gesticulation with her face ready for a scream. He
first room towards th left of the stairs was the storehouse of the tried to concentrate. Pigs?
musical instruments of the church- violin, guitar, tabala, Isac Varghese was an eminent breeder of pigs and so Father
harmonium, saxophone and deserted piano were dumped there. Williams believed that the girl wanted to talk about something
Father Williams considred this room his studio. When he mixed concerning pigs. Pork was his favourite dish. Whenever Isac
his sounds there he thought he heard the sound of music.When slaughtered pigs, he sent a share to Father Williams through
he explained this to Vincent, the cook was petrified. He was Merina or her brother Jenson. So the priest was very keen in the
reminded of his grandfather, who at the age of eighty climbed a
136 137
welfare of the pigs. He somehow got the idea from Merina’s shook her lean body and Father Williams could sense it.
gesture that the pigs were in trouble. “Don’t cry child. We are there.”
He was anxious. What happened to them? He knew that she hadn’t heard it. But his voice also meant that
Merina further showed gestures related to the sty. Father Williams their journey was going to end and that they could escape the
knew it well. He had seen the sty before and and had expressed rain. They crossed a small stream with pebbles and walked through
his awe. What might have happened to the sty? The strong wind the wild banana plants and coffee bushes towards the house.
last night might have blown it away. or did it catch fire? Did all The sound of gravel against the rubber slippers of Father Williams
the pigs burn in it? filled the air.
Father Willams was confused. He once more concentrated on There was no one in the forecourt of the house. When Fatehr
Merina’s gestures. Williams began to look here and there suspiciously, Merina led
“Should I come?” him to the pigsty. The pigs standing close to each other were
squealing loudly. There was a stout pig standing near the door of
“Yes” she nodded the sty. The priest peeped into the sty through a gap in the wooden
Father Williams looked at the brush in his hands and at the canvas. planks. But suddenly his body convulsed. Merina who was
He remembered sadly that it was after a long gap that he had standing behind wailed loudly. A lightning slashed past them.
taken up the brush. Still he decided to go with her, for he wanted “Tresa,” Father Williams called loudly.
to know what had happened at her house. He could not control
his anxiety. Tresa was sitting in one corner of the sty. On hearing the call she
wriggled like the corpse given life in the graveyard. The pigs that
Taking his umbrella from his room he went near Merina. were standing close to her naked body moved back a little.
“Let us go.” he said What am I seeing? The priest could not believe his eyes. He once
Down the stairs he woke up Vincent who was sleeping in the again peeped into the sty.
dining room. By the time the priest and the girl had reached the Merina’s mother held up her face a little. The unruly hair was
forecourt, Vincent had gone to sleep again. falling on her face. The red swollen eyes showed as if from great
Father Williams held Merina close to him. The umbralla was big depths. She flinched on seeing the priest and tried to cover her
enough to hold them both, but the rain was very harsh and wet nacked body with her arms. The pigs helped to cover up the rest
them thoroughly. The mud path with rubber trees on either side of the body.
was drowned. A brown dog ran past them as if it had no place The sty was sealed with a big lock. Father William tried to pull it
on earth to shelter itself. Lightining slashed on the hilltop and out.
Merina shuddered.
“Where is the key?” he asked Merina who was standing in the
They moved from the gravel road to a side path. There were rain.
date plams here and there and dim light shone between the
gapes. The screech of the crickets mingled with the sound of rain She gesticulated. Her father had taken it.
falling all around. “Where is he?”
Her house was nearing and Merina began to sob. The whimpers
138 139
Merina pointed to the distant mountains. The priest understood

that Isac had dumped the naked Tresa into the sty and had gone
to the mountains with his son. He had five acres of land there.
The priest took his eyes from the mountains and once again
peeped into the sty.
“Tell me Tresa, what happened?”
But she said nothing. Father Williams repeated his question, but
she could not utter a word. She and her dauthter kept crying.
All of a sudden the priest heard the sound of bugles. He heard
the heavy flap of wings from the sky and felt many hands pulling STORY
him up.
Between truth and untruth his body shivered helplessy.
What is your Caste
K.P. RAMANUNNI
Translated by GEETHA KRISHNANKUTTY
(A translation of C.V. Balakrishnan’s ‘Malakhamar Chiraku Veshumbol’)
A resounding laugh, Talk punctuated by vigorous

gestures. He would appear among them spinning
around like a ball of fire. “How long is it, man, since
I saw you. Haven’t you been going out at all since
your wedding?” He would hug people he’d met only
at literary seminars, like long lost friends. Head to
foot, he would take accurate aim at the little worm
creeping down the collar and flick it away. “You didn’t
spend anything on the wedding. Winding his arems
around their shoulders, shaking them from
Come on, let’s go to Apsara.” Pulling goading,
exchanging jokes. Fake threats. In short, the man
we are in the process of describing was simple and
straightforward, with no sadistic tendencies, no
secretiveness. Besides, the confidential information
that he belonged to an excellent TARAVAD and was
in some way a distant nephew of VM Nair made
writers and readers of stories like us even happier.
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But, for the last few days, Ravi Master, the man who we’ve just to shatter the shackles of tradition in a flood of intoxication and
finished describing, had sat closeted in his room in the lodge, wrench out the man, that Sisyphean rock. He poured a tall whisky
forlorn and deeply depressed. Unaccustomed to quaffing even but did not drink it at once.
a glass of water without company, he had divided a tall bottle of His words and actions had to be further analyzed in accordance
Green Label into twelve one inch portions with equal measures with Neeli Raman’s theory of the “subconscious Nair mind.” Ravi
of soda and was working his way through each, all by himself, at Master went over the whole episode once again, playing the
half-hourly intervals. A photograph of Koman Valia-ammaman, scene on the day of the seminar over in his mind, when he had
his granduncle, which he’d discovered after much rummaging welcomed each speaker to the Town Hall. His intention was to
in Amma’s old wooden box, stood on the windowsill. The sun study the discrimination that had insinuated its way into his attitude
and moon shapes carved by silverfish on the photograph hinted towards each of them, according to thier caste. He began by
at the light years that separated space from time past. Ravi Master recalling the manner in which he’d greeted the Dalt woman
scrutinized the photograph of his Valia-ammaman, seated in the speaker from MG University and the royal blooded thampuratti
wooden chair with a stricken expression on his face, and tried to who was proffessor in a college, belonging to the princely family,
read his body language. His granduncle’s right hand seemed to the kovilakam- “Hullo, Neeli Raman,” “Hullo, Sudha Varma.” -
be gripping an invisible walking stick. There was ;unwarranted and then examining how consescending was the “Hullo, Neeli
force in the way he squared his wide shouldeers, the rounded, Raman”; how much more deferential the “Hullo, Sudha Varma.”
arrogant ears defied deafness.
It was the literary and culture seminar held a month earlier that
Comparing his own refelction in the mirror with Valiaammaman’s had created the need for this ordeal by fire self-examination.
physique and expressions, Ravi Master felt more and more The literary organizers of the place had entrusted the preparation
damned. The architectural principles that had created Ravi Master, of the programme to Ravi Master with the sole intention of placing
Koman Valia-ammaman, as well as Trivikraman Nair, the a man with no vested interests at the helm of affairs. Working
Thashildar of Kanhirappally, had followed a special system of round the clock, denying himself sleep, he had hurried through
measurements: A backbone that was girderlike, the triangle that his work at school, correcting the children’s answer papers and
took shape, when they stood hands planted on the waist, that preparing pamphlets for the Science Parshad, before springing
was an exact mirror image of the entrance to the courtyard of enthusistically into the preparations for the seminar. From
the traditional four-winged TARAVAD home, the NALUKETTU. choosing the cloth for the banners to personally inviting the
“It is not you who determine the way you stand or sit or walk, speakers, he had to shoulder every responsibility. Already slim,
Ravi Master, but your genes. Tha same DNA that fashioned you, Ravi Master opened now into three, four slender petals, each
fashioned your father, your uncle and your granduncle. The petal rushing around simultaneously, one to arrange for a
stylish way they hitched up their mundus as they walked towards microphone, another to post programme notices, to get the
the paddy sheaves, and the swagger with which they sat in the badges ready........
TARAVAD hall have repeated themselves through history, hence It was while officiating as the moderator for the lengthy discussion
it is that the Kanhirappally Nair and the Nairs of your TARAVAD on the cultural implications of caste during the last session that it
look so alike.” happened. When Neelli Raman, with her dark skinned cast iron
Ravi Master remembered Neeli Raman describing the Nair face, her lips molten as if turned red-hot in a furance, and her
phyisology on the veranda of the Taluk Office. He determined incredibly white teeth, got up to speak, Ravi Master had a
142 143
premonition that she was going to put a spanner in the only when Communist martyrs, spattered with fiery red, felled
proceedings. And, no sooner did he pass her note under the by guns and lathi charges, lay scattered on the ground that the
microphone stand, telling her that she had to keep to the demonstration had come to an end. When Achan, his father,
stipulated time limit, she had barked. had come back home, his face sunburnt and unshavan, Amma
“Stop interfering, Nair! Hasn’t this been going on for centuries, sat him down on her sickbed. He had heard her say all sorts of
this business of keeping pople in order?” things to Achan as she struggled to breathe. That very day,
Gangadharan Master had ushered Ravi out of his class, before
Instead of rhetoric, sounds like the cracking of green bamboo he could finish drawing the map of India, and had taken him
poles rent the air. When inapporpriate words are pronounced home. Amma lay unmoving in a strange sleep in which she was
on a dais, it shatters in a material sense and something indefinable not tormented by breathlessness or any other suffering. Since
and uncultured happens in its place. that day, evey time his father had gathered him up in his arms
The waves of sound that burst from Neeli Raman’s abuse and rushed out, he had participated fully in countless processions
devastated all the modern arrangements in the Town Hall. The and demonstarations, holding on to Achan’s fingers and shouting,
decorative lamps that burned at high voltage began to flicker :Inquilab!”
and grow dim, the tube lights went out and a spluttering like that When Sudha Varma, Dr. Thomas, MR. Mallissery and
of mustard seeds and chillies in hot oil disturbed the clarity of the Aboobacker, all seated on the stage, looked at him surreptitiously
loudspeakers. A murky darkness, like that found in ancient houses, from the corners of their eyes, the man who had been a Comrade
cast shadows over the faces of all those seated on the dais and in from infancy lowered his head, as embarrrassed as if the red flag
the hall. The yound Dalit woman who has shyly pinned her had suddenly turned into a pattukonakam, a red lion cloth. He
delegate’s badge on the curve of her breast had mutated into realized that he would no longer be able to control the discussion
the power and fury a colonized forrest. The realization that the in a displined way.
situation in the Town Hall was a volatile one, terrifled Ravi Master.
Clenching his hands between his legs, as if safeguarding something By that timed, Neeli Raman, her mouth too close to the
very valuable, he called out, microphone, had begun her dpeech.
“All you need to do is to call my name. Don’t be impertinent.” “Isn’t what I said right?” she asked, running her eyes over the
high caste people in the audience as she detailed the sufferings
It was the most moving declaration of protest a Nair could have that subordinates had endured for cenrturies. Her question
made against caste. To think it was he, a true comrade in the roared through the silence that hasdblocked the great throats of
Communist movement, that a young woman had insulted in the loudspeakers. When Neeli Raman shot a look from her half-
public, calling out his caste. moon eyes towards the stage, Ravi Master knew it was aimed
The image of his father, who had adorned the puja room of his not at the coordinator, but at the Nair that he was.
TARAVAD home with portraits of Marx, Lenin and AKG, rose A complaint about a Dalit being insulted by having his caste called
before him, veins jutting out of his neck in support of the Kuthali out is wicked, a mocker. It is like opening your mouth wide and
Estate Farmer’s Revolt. flags, banners and pandals put up for clicking your tongue, uttering the distasteful sound, “tchh.”
the protest workers had blossomed all over their estate and its However, knowing that a high caste man suffers because his caste
vicinity. The games that the police, the landowners and the has been called out evokes everyone’s respect and compassion.
goondas had indulged in had been bloody and terrible. It was
144 145
And, as soon as the meeting was over, intellectuals like Thomas, teasingly called him a Nair. When he went back to the lodge, the
Mallissery and Kannambilly crowded around Ravi Master and lively, dissolute Mani Kurup repeated it, One by one, as they
embraced him, as if he were some sort of hero. came to hear of the frightful comedy that had taken a dig at the
“Oh, Ravi Master imagine calling someone like you by the name seminar, all those close to Ravi Master began to have a dig at
of your castle! Where is our country going to...... nothing but him. However skilfully dissolved the comedy into laughter and
caste and religion everywhere.” drained the laughter into introxication, he found no peace of
mind. Master, leave it alone, urged Sankarankutty and Habbullah,
And it was the buzz at the drinking session at the Amalapuri that inmates of his lodge and colleagues at his school, making light of
evening. it. But it kept coming back, like regurge, to give him nausea.
Kissing Ravi Master’s cheek with drooling lips to express his It was at this point that Ravi Master decided, bolstered by the
respect and admiration, in memory of the Nair women he had large peg he usually had at dusk, to talk directly to Neeli Raman
once been in love with, Mallissery the Ezhava proclaimed, and ask her to explain why she had called him a Nair. It was a
“Whatever caste.....or religion, all we want is the human beings mystery to him how she had discovered his antecedents, the
be good.” horrible truth which only found mention in the appropriate
“Go....go....go....” Pouring out the last peg into all the glasses, column of his SSLC book, a secret that not even his close friends
Kannambilly, proffessor and left wing intellectual, conducted a knew about.
rite of exorcism. “Hindu, Muslim, Nair, Teeyan, Cheruman, may Sankarankutty and Habibulla were quite startled when he
all kinds of evil caste spirits leave us and be doomed by the sorcery suddenly threw down his cards, abandoning the game that
of liquor, may the real person within us emerge-dead drunk!” evening and muttered, “Certainly and clarity are what we need
The clamour and camaraderie of the cultural seminar party ended in all things. Even if I have to go to Kottayam. I will do so and I
in some dark ravine of inebriation where space and time followed will confront her there.”
no order. Having heard the proclamation of strategy-Humanity, “That is sheer madness, Master,” they said to him, scolding him
Humanity, Humanity! -echo around them, they all went back for the way he had changed since the seminar. But take the bus
home and hearth without straying from their path: Thomas to he did, to Mundakayam from the Kottayam bus stand, and got
Thresiamma, Mallisserry to Radhamani and Aboobacker to off at Chittadi. The ghat road that went up from the left stretched
Fathima. Only Ravi Masterm, who was not yet married, though on for quite a while before ending in the rubber estate. A craggy
the silver clouds of moon had descended on his beard, went path from there on wound and twisted itsedf along the edge of
back to his pillow that smelt of oil, in the old Paradise Lodge the estate. The house that the arrow drawn with a thick felt pen
inhabited by teachers and clerks. indicated became visible as soon as the path ended.
He came slowly, to the snakelike touch of sticky vomit and Clutching the piece of paper with the drawing he had got from
cigarette smoke, feeling something more than a headache clinging the University hostel, Ravi Master, who had set out in search of
to consiousness. Ravi Master realized it was Neeli Raman’s call, Neeli Raman’s house, realized the hardship of uneven pathways.
singling him out as a Nair, a leech that brought out drops of The kilometers spanned out when he climbed the slopes, and
blood on his skin. knocked at his knees when he descended them. Rebellious stones
It was Lambodaran Master at school the next day who first rolled around under his feet, threatening his equlibrium, yet he
146 147
hurried on, anxious to come upon Neeli before the courage of kind of enormus shawdows that people living on the cost never
the small peg he had drunk petered out. see, Kochuraman poured out mature palm toddy for him.
“What is it, child. where are you from, is it to see her?” Whenever Ravi Master brought up the questions that were the
Neeli Raman’s father Kochuraman, welcomed Ravi Master. His object of his journy, Neeli Raman replied, “I’ll show you.”
missing teeth, a symbol of the childhood of the human race, That was how, the next day, they went to see Trivikraman Nair,
flashed a smile. “Neeli......” His call swept through the house in the landlord of old, in the Tashildar’s office and how, on the
search of her, while Ravi Master waited in the courtyard, taking a grounds of the physical similarities between Trivikraman Nair and
bird’s eye view of the place-the upside down hills, the rubber Ravi Master, she lay down her case-points one, two, three-for
forests, the little stream that mined silver in the buried abyss. He having called him “Nair” in the seminar hall.
realized that the stamp of these surroundings had entered the When they got back to her room, Neeli explained the deductions
Town Hall along with Neeli’s body and that this was why her she had made from her research on the physiology and
mild assault had suddenly turned the atmosphere savage. phychology of caste. The changes in the anatomy of different
Neeli Raman appeared from within her house and stood there castes who, over generations, had been engaged in different kinds
with no trace of the aggressiveness she had shown at the seminar. of jobs, the diversities in their mental makeup. As organic parallels
When she said in a happy voice. “Who is it? O, Ravi Master!” he to all these, the great variations that occut in the production of
retorted a little viciously, “No, Ravi Nair!” and plunged headlong adrenalin, the expansion of the thyroid glands and the
into the subject. predilection for salty, sour or sweet flavours-why, the way the
First of all, he wanted to know how she had discovered the fact influence of caste determined sexual deviations! She wound her
that his father and mother were Nairs. Second, she must convince way through proofs and statistical data with the impartiality and
him that she had reason for insulting him, progressive that he accuracy of scientist. And all the time, her regret for her the human
was from head to foot, by calling out his caste. suffering that lay behind historical truths gleamed moistly in her
eyes.
Neeli Raman stood smiling all the while. Only her eyes shifted
from where they sat, face to face with wooden ledge in front of Having become a believer after listening to all this, Ravi Master
the house-to the mountain ranges, the rubber forests and the began to fill in the answers to the questionnaire she had given
sky that hung upside down in a yogic sheershasana posture him as a final test, and arrived with absolute exactitude at the
between them. colum marked “Nair.”
The place was so peaceful, so soporific, that it relaxed all the After an analytical study that ran into hours, they leaned back in
tautness in him. When he realized that Neeli was in no mood to their chairs on either side of the table. The optimistic belief in the
talk, he too dissolved into the phenomenon of nature, seeking oneness of man had disappeared with the two pegs Ravi Master
there for deeper replies to simple questions. had had that morning. Sorrow darkened his face like blood
splatters a sacrificial stone on which history has dashed its head,
Neeli Raman laid out a lavish spread for Ravi Master with rice, Neeli Raman too noticed this and became melanchoilic.
boiled and flavoured buttermilk, tappioca, steamed sardines. Then
a walk circling the High Range that sent a pleasnt ache of fatigue They became continents of distress and the vastness of the table
creeping up his knees. As the ghat evening gathered, with the between them turned into a sea and danced like one possessed.
Then, suddenly melting, Neeli Raman lunged forward. Locking
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her fingers into the bridge over the sea, she caught hold of Ravi “Valia-ammaman, Koman Valia-ammaman!” Ravi Master
Master. screamed suddenly, his closed fist breaking an invisible mud pot
“Never mind. Accept the truth first. Then we can rebuild it on his chest. He looked fearfully at the corner of the room, as if
differently.” a corpse had just risen from the burning ground. Sankarankutty
and Habibulla rose from their chairs, their muscles twitching with
Returning on Kannur Express, Ravi Master spent the night shock. Ravi Master spoke unblinkingly, single-minded as an arrow.
relearning his life in the context of his past. Gingerly he touched
the eyes, the nose, the chest, the genitalia, of his alter-ego, that “Koman Valia-Ammaman, here is your nephew, your spitting
Nair Siamese twin who existed alongside his progressive self. The image, your heir, flesh of your flesh, an exact replica of your
prototype for the resemblance between Trivikraman Nair, the qualities. A caricature of the feudal character..... a carbon copy
Tahsildar of Kanhirappally, and himself was not his father. He of arrogance. And...and..... “His tone, which climbed inch by
knew now that it was his mother’s uncle, Koman Valia-ammaman- inch to a threatening crescendo, ended in an angry outburst that
the village wresting his share of the produce from the tenants: drove Koman Valia-ammaman away: “Chi pol!”
the stud bull who established his ownership over tenant gatherings Exorcized, or at least exhausted, Ravi Master embraced KEN
by imperganting them. He recalled Amma saying that his laugh, and lamented like a son who has not been able give his forefathers
his quick temper, his insistence that if he planted a banana tree, peace even after performing all the recommended rituals in the
It had to bear fruit the same day, were all inherited from Koman most sacred places.
Valia-ammaman. “However deeply one is involved in progress, evil spirits stay on
“What is this, Comrade? Just because a woman called you Nair with one, Comrade. Do you know who I am? The infant ghost
do you have to change completely?” asked KEN, an old friend of Adhikari Pandikkakalathil Koman Nair. The same likes and
and comrade-in-arms, who had hurried to see Ravi Master on dsilikes, the same impatience, the same tendency to brag, why
getting wind of the fact that all was not well with him after the even the same ISI stamp at the back of neck and on the lower
infamous incident at the seminar. Sankarankutty and Habibulla chin.”
had reported a couple of days ago that, with the trip to Kottayam, He detailed the conclusive evidence of Neeli Raman’s research,
the phone calls to Neeli Raman and all that, things were no longer begun in mockery, about the decisive influence of caste and
under control. tradition on person’s makeup. Althouth KEN tried to rebut his
Ignoring the question, Ravi Master opened the half-filled bottle argument, fighting with words like human, history and class
on the table with a feeble smile and poured out two pegs each politics, he felt that nothing held water for Ravi Master. If only a
for himself. Sankarankutty and Habibulla. He filled the fourth human being were like what the Comrade said! Even as he cried
glass with soda and pushed it towards KEN. out, Ende, Trikavilamma! a sign spun like a whirlwind around
“Tell me, Ravi Master, what then is the problem?” Sankarankutty him....no, a human beings is not like that.
asked quickly, anxious that KEN’s question should not be an Once Sankarankutty and Habibulla realized that they would gain
isolated one. Engrossed in adding soda to the drinks and downing nothing by argument, they changed their tactics and handled
his own, Ravi Master ignored him. However, it transpired that Ravi Master as if he were out of his senses, completely drunk.
the effect of those large pegs was incendiary. They merely fireballed Using phrases like, “Have this buttermilk and water, now,” “Pour
into one huge outburst. a couple of buckets of water on his head,” they made ready to
150 151
discipline Ravi Master, to rescue KEN from his clutches, and send CR Parameswaran, being annihilated without the use of chemical
him home on his scooter. materials of any kind?”
From that day on, Ravi Master was treated with ridicule or disbelief When Neeli Raman laughed at the other end, the gurgling of
by all the other lodgers. Gathered in the Teachers’ Union Office, mountain streams gushed towards him through the receiver.
his colleagues, including Sankarankutty and Habibulla, concluded “Look, Pulaya woman, you are going to receive a bonus for
that the way the Comrade was going was clearly dangerous. having worked in the sun all this time. Even when the ozone
The Union secretary, whose eyes were surrounded by a forest of layer weakens, the melanin pigment in the black skin resists ultra
warts, spoke in a hushe voice, “We must keep an eye on the violet rays. While fair-skinned people like us go through hell with
Comrade.” And from then Ravi Master’s daily routine was cancer, darkskinned ones like you will escape.” The suicidal Nair
monitored down to its smallest detail. “Oh look, that’s the fifth within Ravi Master, dreaming of his own death, suddenly spoke.
peg you’ve finished today!” they would say, their words taking “But Nair, long, long ago we became as immune to being driven
on the protective tone that guardians use for children and the away and spat upon as we did to ultra violet rays. So we do not
mentally disturbed. However, no one dared to talk to Ravi Master immediately realize it if someone attacks us. The superiority
on one subject-the explosive topic of caste. Only Mani Kurup, complex I display is a kind of anticipatory bail,” Neeli replied.
coming in one day, riding high on his liquor and a woman hunting
sessions. “Do you want Adhikari Koman Nair’s crooked intelligence? I have
plenty of it in stock.”
“So, Master, you’ve begun to believe in the caste? I don’t know
about men, but I’ve known for ages that women have caste, “Mm. Many other things will have to change hands before that.”
Women like your Kottayam character, Master, are good for Ravi Master’s telephone conversations with Neeli Raman
rheumatism, and it is a fact that body aches and join pains will provoked the inmates of the lodge to the kind of insecurity and
disappear in a second. Then, there is the aristocratic, tender touch malice that people feel when listening to a foregin language. He
of Namboodiri women, the deadly games that the sensual was seen as isolated from everyone, like a plannet that has left its
Thambutattis of royal birth play, the gymnastic skill of Nazrani orbit. Sankarankutty and Habibulla felt themselves growing
women. I’m not going to die, Master, unitl I know the women of smaller every time they made fun of their colleague or scolded
every caste mentioned in the gazette, ha ha ha!” him in an attempt to change him, for Ravi Master would respond
Ravi Master had no idea where the alarming HIV decisions only with a low laugh, making no attempt to conceal the contempt
concerning caste, that had come about os unexpectedly, would that dribbled from the corner of his mouth. Or with a deep sigh.
take him. Only in the telephone conversations with Neeli Raman Or a long silence. In reality, this was an alien personality poking
did he experience the thrill of light spreading through worlds fun at them, wearing the guise of their old Comrade.
that had been plunged in gloom. Unable to bear the insult and fear any longer, his colleagues laid
“I believe an American company has discovred a chemical the problem open for discussion once again in the Union Office.
weapon that seeks out and kills only certain tribes.” He called “Why not have a psychiatrist look at him?” The Union Secretary,
Neeli as soon as her read the report in Science Today. clearly distressed, blinked his warty eyes.
“I read it too. I’ve written to ask for more details. But isn’t the “What we should do is catch hold of him and give him a couple
caste species nambidi kanakkova, that includes people like our of blows. All this dressing up as an intellectual and having
152 153
philosophical deiscussions with a pulaya girl!” Sankarankutty was the contrary, the Emergency was going to be repeated, C, in its
losing his patience. qualitative strength, would become C3 or C4 and appear in the
But what they finally accepted unanimously was the crafty warfare F5 generation. This was the methodology that Ravi Master used
of middle-class trade unionists rather than direct combat. to analyze the way in which traditional components were
transformed in accourdance with new circumstances, in the Nair
Ravi Mater did not receive any of the telephone call Neeli made species.
to the lodge-his calls to Kottayam were intercepted by
Neelakantan, the owner of the booth near the school. And all Once the hypotheses, theses, charts, graphs, footnotes and reserch
the letters from MG University were interecepted at the Post Office. papers were complete, he grew taut with eagerness to share them
with Neeli Raman.
Meanwhile, Ravi Master spent all the time available to him trying
to discover a concept resembling Mendel’s Genetic Theory. He Ravi Master presented himself over and over again at the phone
used himself, Koman Valia-ammaman, and Sekhara Ammaman in the lodge, in Neelakantan’s phone booth and in the yard of
as the three prototypes. Placing Koman Valia-mamman in the the post Office, It may very well have been because of the genes
F1 generation, Sekhara Ammaman in F2 and himself in F3, he of the oldsambandam man, Kadupottan Namboodiri, who used
was attempting to draw a chart of the metamorphosis of certain to visit the women of Ravi Master’s travad, that he did not
inherited characteristics. understand their evil machinations. And so the phone boy with
his sheepish smile, Neelakantan’s phone booth with its calamitous
Ravi Master first assumed that cruelty towards those at a lower sounds, and the post poen who turned his head the other way,
level and slavishness towards those at a higher one would be continued to play their tricks on him.
one characteristic. This he named C. Hence, Koman Valia-amma’s
actions-from the high point of standing next to the tenant while “What’s happening, no replies to my letters, nor can I get through
the paddy was being boiled and measuring out the products on the phone,” he said to himself, yearning to rush to Kottayam.
from the tenants’ field, to the depths of being spat upon on his As the days spun out, the hideous activities they were engaged
face and standing obsequiously in the Illam, the Namboodiri in began to worry Sankarankutty and Habibulla. The mountains
residence, where he held the post of manager-would be noted of intercepted letters and telegraphic messages, the endless phone
down in the F1 generation column as C1. Sekhara Amman, calls-it became a habit for Postman Madhavan to complain about
who had been a Police Inspector, had, on the one hand, killed disciplinary proceedings and for the phone boy, sunny, to grumble
someone who had been in his custody and on the other, creded about, “the Kottayam Problem.”
even his wife for his master’s pleasure. Since the quality marked Likening Neeli Raman to the fearful with in the horror stories his
C appeared much more sharply in the F2 generation than in F1. grandmother had told him, Sankarankutty asked Habibulla, “Will
it would become C0 since he had only done discipline on certain that yaks come searching for him here?”
Class IV employees, pick up the school Inspector’s handkerchief
when it fell down and so on. (Even so, it had to be understood “Mm,” snorted Habibulla, who belonged to a high caste Mapilla
that the characteristic is still latent in C0 and that 0 never indicates family and made regular offerings of payasam to the temple of
emptiness.) In a cultural revolution like that in China, the factor the bramarakshasu, “Let her come, we’ll somehow get rid of
C would swing around, harass people on top, gladden people at her.”
the bottom, become C1 and appear in the F4 generation. If, on Ravi Master’s colleagues sighed tragically on the day they learnt
154 155
that Neeli Raman was in. Listening in on the phone, that the yakshi, having devoured her vicitim, strews under the
Sanakarankutty’s face grew progressively more shrivelled like a palm trees of history!)
pickled tender mango and his voice gave way, as he broke the Tchh (The first muffled question). Tchh tchh (The loud question).
news, with the solemity of imparting the announcement of a Tchh tchh What Sankarankutty’s finger tapped out on the door
dear one’s death, to the other teacheres in the staff room. The was the rhythm pattern of his great grandfather shoolapani
news soon reached Sukumaran Nair, the Union Office Secretary variety’s (a world famous magician in his time agitation. tchh
and Habibulla, who had gone to look into some matter tchh tchh tchh tchh tch (The long scream of fury).
concerning the side business in readymade garments that he ran.
Proffessor Kannambilly lost his temper and KEN was plunged in “Should we break open the door?”
thougt. “Isn’t this insolence?”
“Didn’t he walk into her lap, this boy from an excellent family? “Open the door quickly, man.”
She’ll never let him go.” Each one grew angrier and more impatient, as if in an agony to
“She’s a sountherner, remember? And a Kottayam woman too!” empty his bowels, unable to stand it any longer.
“She has sexy eyes, the yakshi, I noticed them on the day of the “Ravi Master, Ravi Master!” Kannambilly pushed the two cries
seminar.” out of his throat like some ritual.
Ravi Master respectable friends were lavish with their sexist At this point I would like to request the readers to stop reading
comments, comments that we all tend to make but which are for a minute and conduct a small soul-searching exercise. In the
seldom dwelled upon later. impattence of all those who want to have the door opened at
As soon as the phone, Sunny, brought the news that Neeli Raman once, is there not, beyond mere plesure, a slightly murderous
and Ravi Master had arrived at the lodge, Sankarankutty, intent? A woman, and that too one from another caste like Neeli
Habibull, the Union Secretary, Proffessor Kannambilly and the Raman, to come in search of Ravi Master, get into his room and
others rushed there. Sunny, who was waiting on the veranda, shut the door? Is there not in this something that weakens the
indicated with a single kathakali gesture that they were both inside unconditional support of readers for the heros and heroine.
the room. Kada kada
Feet moved stealthily through the corridor, tapping out the kada kada kada kada
multiplication tables that multiply four by two, in front of Ravi Although each member of the four-men army banged on the
Master’s room the twin door panels were glued to each other by surface of the closed door in turn, the heartwood of the shutter,
a thread of light. Since a half-closed door is also a half-opened saturated with heavy monsoon rains, held on.
one, it follows that a fully closed door is a fully opened one.
Therefore, since they saw everything inside the room clear Ravi Master and Neeli, who were compassionately discussing the
by,Sankarankutty, Habibulla, the Proffessor and the Union results obtained from their research on caste, grew tired of the
Secretary said to themselves. irriating noise. Ravi Master closed his notebooks and records, lay
down flat on his cot, and closed his eyes. Neeli sat beside him
“What a pity! In the end, she got Ravi Master......” (Echoing the looking at him emotionlessy.
standard lament of those who chance upon the bones and hair
156 157
“Stop your insolence, Nair!”

No sooner did Ravi Master begin to laugh at the image he had in
his mind of himself than he was transformed into a vast sky that
could perceive the entire Nair horizon.
After a long time, he felt as if the scent of rain drenched earth
had enveloped him completely. The slippers that were wronlgy
placed, the unbuttoned shirt, be witness to the fact that he had
reestablished the bonds he had so resolutely cut off with the
earth.
“We have many things to exchange with each other, Ravi
STORY
Mastere,” Neeli’s liquid voice flowed gently into his rigt ear,
Remembering that, since the earth was round, the sky could
situate itself not only above but underneath as well, Ravi Master INDOORS
lay flat, not moving.
P. SURENDRAN
Lacking the strength to touch them and be polluted, the
clamouring elements beyond the door moved awy into the
distance.
Translated by GEETHA KRISHNANKUTTY I was left with only that plot to build a house in. A
piece of family wealth inherited by an unlucky fellow.
There was a tree that branched itself wide on that
plot. Its roots helped the soil from eroding away in
heavy rain.
Didn’t I need a house too?
I ran from pillar to post in my vicinity to shell out
some money to build a house. Sweated out doing
different kinds of jobs. Had to lie out in shanties
and suffer sunburns.
After every journey, I used to return to the shade of
the tree. Resting on its roots, I dreamt of my unbuilt
house. It was the nest building bird community that
taught me lessons on co-existence. It was the guest
wind that brought in news of employment from afar.
I traversed all those distances.
158 159
Assured of finance sufficient to build a house, I took the help of “Isn’t temple craft a different matter, my child?”
a moothaashari*. That was when the tree turned trouble. asked moothasaari.
Moothaashari was in a fix, unable to draw a plan of the house
with the tree outside it. Th ill-effects of felling the tree had already “Don’t change the calculations. Don’t fell the tree either. Let the
been noted in the horoscope. Ill-effects that had no remedies. house be a temple too. I want a house around the tree.”
Therefore moothaashari turned down my plea.

* master carpenter
I cannot even think of felling the tree. The roots touch my ** a native tribe of Kerala
forefathers. They liven up my life with memories of my dynasty. *** a role in the folk art Theyyam
They lie strewn all around this tree. **** a goddess
Translated by ANNIE GEORGE.
The woollen elephant doll was gifted to me by Abida beneath
this tree. It was brought by her father from Malaysia. It had been
dear to her. Even then it was given to me. It was this same tree
beneath which I slipped a ring made of grass onto her golden
finger. A swing would usually be made on the branch of this very
tree. That swing showed me the beauty of her feet draped in
anklets and legs usually covered in long flowing skirts. I vividly
remember mannan** Krishna who’d unmask himself after every
poothamkettu*** and take rest below this tree. He used to
narrate stories of the victories of Bhagavathy****
Moothaasari’s helpessness reminded me of our temples.
Muthassikavu
Ammachikavu
Periyakavu
Cheriyakavu
So many simliar temples.
The sight of the mango and banyan trees standing together on
the bank of the stream, came to mind. A single tree for men and
birds. It bore sweet fruits to its maximum capacity.
Thoughts of temples bring forth images of huge trees. Those
trees were never removed in order to construct temples. Bearing
the halo of Gods in their souls, they would be protected within
the walls of the temple compound.
I told moothaasari about that.
160 161
anchored away in the sea.

Atleast occasionally the sea gave another wonderful sight to her.
Of an empty sea. A sea which was not being interesected by
anything. The blue clear sea spread all around. That made her
horripilate. She painted that picture in her mind. Couldnt copy
it on to a paper as painting was all Greek and Latin to her.
It’s almost a year since she is closeted into this room. That did
hurt her in the beginning. She took time to reconcible to the
fact. But could do it, Finally. Long hospitalisation didn’t help.
And when the Doctor decided that continuing in the hospital
was of no use, it was she who insisted that this room should be
hers. Her mind filled with those pictures drawn by sky and the
sea and their joining spots she had watched from this room. The
Sea
changes that occur to the sea. Sea was generally quiet in nature.
M.K. CHANDRASEKHARAN But, on occasions it takes a devilish demonish form and starts
attacking everything. Those attackes frightened and disturbed
her, The monsoon wind brought water drops inot the room
through these rains. Its more than a fun, more than mere
The open window showed her the vast sea. And enjoyment to stand beside this open window which allowed wind
small boats intersecting it. And occasionally a ship. to bring in those rain droplets, get the hairs wet and.......... she
She saw it all from her window. Lying on her bed. didn’t even bother to close the wind. And didn’t allow her
And the birds flying to horizon. To that spot where mother to do it. She didnt want to miss that opportunity of
the sea meets the sky. What happens after they both watching nature turning to a Durga, reading to destroy everything.
meet there? She used to analyse the reasons for this change of mood of
She woke up at five in the morning . The municipal nature But never did her analysis give a complete answer.
siren woke her up everyday at five in the morning. Once she was enjoying the sight of sea lashing hard at the sea
She would be the first to wake up. She broomed walls builts not from her house. Her mother was worried. “ God!
the rooms, took a bath, completed her prayers and Where will I go with these kids if the sea advaces futher?
then waited for the sun to show its face. Sun was
“Dont worry mom. She will not advance further. I am sure about
never as urgent as she was. He came at his own will,
it”
took his own time, She waited. She didnt have the
luxury to watch the eastern horizon from this room. “ How can you be sure? It has already created havoc around.
And so she looks at west. She sees the east through Anthu’s house has fallen down. The fishing boat of Nanu
west. She could see small black spots moving away Muthalali has disaappeard in the outer sea. People say that Anthu
towards horizon. Those were boats of the fishermen, too was there in that boat. It’s more than twenty four hours
the country boats or some speed boats or a ship since they had gone to the sea,”
162 163
She kept her lips tight. She wanted to talk a lot. need is peace of mind. I need to be in my house, In my room for
Anthu is lucky. He could be a guest to Mother sea. She would that. I want to see the sea from my room. I want to see the sky
have decided not to leave him back. That may be the reason from there. I want to see the colour of setting sun form there.And
why she decided to take his house too. for that”
She couldn’t tell this to her mom. If she utters those words, mom Doctor undersood her state of mind.
would get more bothered, worried. This would be a new subject “I will discharge you immediately. But, don’t forget to take these
for her botheration. medicines continously. And visit me once in a month.”
The sea wall is beside her house. It appeared there only three to She watched the sea from her bed in her room. She watched
four years back. She had heard that the sea used to get violent. the horizon. Silently. They talked to each other. In a language
That was before this sea wall was consructed. But she never had which only they undrestood.
an experience of the sea entering their compound. When she used to go to the school, she used to run towards the
When sea becomes violent, she lost many of her usual and regular sea shore immediatlely on reaching home form school. She would
sights. The sky would also be cloudy in those days. It would be be eager to play with her playmate. “Let us start......” she would
windy too. The rain would be pouring. The waves would be shout happily as soon as she reached there.
lashing one after other. None would dare to take their boat out And when the first wave comes she will start counting”. Yes here
to the sea. This would continue for two to three days. Or for a we go... let us start....One”.
maximum of a week. And then, the great sea would return to its
peaceful days. And when the second one comes she will continue “Two”
Clear blue sky, blue waters. And they would be wondering where And there comes the third “ There”
to meet. And again “Four”
Was the horizon starting where the sea ended or was it from The game was known only two of them. None wins or none
where the horizon ends... loses in that game.
The very next day after the sky cleared she had to be shifted Oh! how much do you have? Where do you hide all these waves?
back to the hospital. It started with a fever. Then it took a different Before the sea could reply she would hear the call from her
form. A slightly violent form. She lost her consciousness. She mother.
was blabbering. She was told about it after she returned to
normally by her younger sister. “Let me go now. You know how my mom shouts. It’s a non-
stop machine. I don’t want her to start.”
It was pain to be in consiousness and at the same time stay back
in the hospial bed. When none was near, she called the duty The sea bid her bye with a gentle wave. The sea washed her feet
nurse and requested that she wanted to talk to the doctor. The with that gentle wave. She took that wave in her hand and washed
doctor came to her. She told him. her face. With all due respects she cleaned her eyes with that
wave and poured a drop on to her head, as she does with the
“ You know that I have now fully recovered. And the weakness sacred water the temple priest gives her when she visits the temple.
of my legs....that has come to stay, will not now recover. What I
That was their last meeting. That night she was down with fever.
164 165
The rain war pouring. Her mother came in and closed the “What sin did I do?”
windows. She pretented as if she was sleeping. And when she She waited for nights together to get an answer. But didn’t. She
was sure that her mom had slept she opened the windows. The continued to wait expecting that her friend will send that answer
wind whislted in . The rain was in full fury. She could hear the to her. It was in those days that she had to be hospitalised again.
roaring of the sea. She was unconsious for almost a week. Then under observation
Next morning when she was being shifted to the hospital, her for a fortnight. It took another full week for the Doctor to be
mother was seemingly upset with what she had done. “ Why convinced that she can be released . And when she returned.
should you keep that window open always? I had closed it. You The construction of a big building had started between her house
are not that young that I should keep on watching and advising and the sea. The construction was in full swing.
you.”
She was devasted. She cried. Why did I be son obstinate and
And when she returned from the hostpiatl and she insisted that insisted that I shouldnt return? Her mind and heart were being
she should be kept in this room her mom didn’t object. She pierced with a sharp knife. The pain in her legs didn’t bother her
noticed her mom’s eyes becoming wet and she hiding it from .
her and wiping those tears as if nothing had happened. She
took her eyes off her mom and watched the sea. “Nanu Muthalali has decided to construct a building there. His
son would be shifting his fish business to this new buiding.”
Many neighbours visited her. They had a handful of news to
share. That means that she would henceforth be able to see only the
far away sights of the sea. A torn piece of sky only. And slowly
“Sea took Janaki’s hut. She and her kids have taken aslyum in even those sights would be taken away form her. It may take at
the school” the most another three to four days for the newly coming up
“I saw Thevan’s dog’s dead body on the beach today” building to cover everything form her.
“That big country boat of Asan has broken into two pieces. Asan That night, when she was sure that everyone had slept, she wept.
is in full of tears and is curing the sea.” Sobbed and asked her friend which had reduced to a spot far
But the sea avoided her house and the compound around it. away.
That night she looked at the sea through the window and asked. “What sin did I do in my earlier lives?”
“What happend? Why were you so furious?” The sea heard her sobs. She too was upset. Sea informed her
When she repeated this question many a time she could hear that she didn’t have an answer to that question. And with that
her sea whispering to her through its waves. “Curse they carry message did it send a huge wave. She saw that huge wave getting
from their earlier births. They were supposed to experience it.” ready to lash the shore.
“Then what about me?” Then the sea regained its normalcy. The sky too was clear.
Moonlight smiled over them.
The sea smiled and sent a gentle wave towards her. That wave
whispered “You have not sinned.” “Why did you abondon me?”
“Then why did you decide to part us?” She wanted to ask. But She asked the next wave.
didn’t. The words didnt come out. I have lost that precious sight, the first sight which I used to see
166 167
when I wake up from my sleep. I have lived this long, even after She has lost that sea shore which gave freedom to move around.
my limbs failed to move, only because you were with me. I have She has lost those waves with whom she used to play.
imagined you talking to the sky at your meeting point, the horizon. Once that shopping complex comes up, the owner of her beloved
Did the sea get her message? It should have. It was upset. It was sights would be he. His boats and his men would fill the sight.
becoming furious. It was becoming violent. All in no time. She is sure to lose her freedom to talk to her sea.
It’s exactly one year since I have been confined to this bed now. She was determined. She opened the door ignoring the pain.
It was you who gave me that strength to carry on. The whispers She stepped into the rain.
you used to send and the silent chats we used to have. You too She undersood that the fury of rain was increasing. But that fury
were ready to understand my position. And tried to make me couldn’t stop her. She walked through the narrow path by the
happy. That made me hopeful and my eagerness to live on. side of the upcoming building. On to the sea shore.
You, even when you were violent and was lashing at everything She was happy when she reached the shore. A happiness which
on the shore, used to be smiling and silent when I look at you. could not be defined. They shared their happiness.
And then you renewed our friendship forgetting that you were
violent till now. It looked as if the rain had stopped.
All those days would be just memories now. She walked on the sea shore. Each wave looked happy to see
her. To welcome her. They smiled at her. They became gentle
She asked again “ Why did you leave me?” than the gentler. She was not seeing the sea. It was not the sea
She looked at the sea far away. The sea had reduced to a small which she saw from the window. It was her play mate. A play
spot. She understood that the sea was in no happy mood. Sea’s mate whom she had not met for years now. She slowly walked
mind was more upset than hers. Sea was becoming ferocious. into her play mate’s hand.
Sea had taken over her sorrow. Sea was becoming dark. The Into the castle of mother sea. The chariot was ready. She stepped
sky too turned dark. The wave rising from the sea couldn’t move into it.
forward and were engulfed in whirlpool.
The sound by the wheels of the chariot produced the sweetest
Then the rain started to rattle the roofs. It started to pour. The music she had ever heard. The wind fanned her. She enjoyed
nature had changed its mood. She could see the half built building that journey.
of Nanu Muthalali oscillating in that fury.
Then someone started to bawl. But a thunder soaked it abruptly.
She couldn’t see the sea. Nor the sky. What she saw was darkness
and only darkness.
She turned..... and it surprised her... yes she could move her
legs. She pressed her hand on to the sides of the bed and slowly
walked towards the door.
She asked herself “What benefit is there with these living legs
now?”
168 169
That fort unfurled the wings of shelter. But all the fifteen residents
bargained for our hut always. I recollected those days in which
dreams were built up in the palships of evenings and were
watered to grow with the tears of expectation extracted from
the eyes of my mother.
I had acquaintances only with a few families in the street. That
developed, by seeing the nameboards regularly, hanging on the
compound walls. Accordingly the first one was a bank officer,
the second one was a Gulf repartiate, and the third one.... In the
thirteenth house lived the retired Judge, Justice George. The
STORY glittering letters on the name board on the compound wall always
gave feeling of fear or mockery. I have never seen this house
open. Whenever I pass by it, I thought of the Judge’s family- his
The dead body to Life wife and children . In the country yard of his house there was a
ISSAC EAPPAN others simply due to human instinct . In the rain as well as summer
alike no others dried garden, in which never sprouts a plant,
even though water was poured abundantly. Often a girl appeared
in the garden in a state of patting and watering it......... I failed to
There were sixteen houses in my street. Out of which
ascertain her realationship with the Justice.
fifteen were sourrounded by compound walls of six
feet high and protected by huge watch dogs. This The out of line relationship of the other fourteen houses always
includes a house, where in the frontyard clusters of made puzzled. In fact I have no business to enquire about all
white grapes hang slantingly with a door, having black these things. Why should I interfere in the life of others as I am
lock and bolt and another one which attracted the a person who spends most of the time in reading Dostoyevsky
attention of all by its artificially made lotus pond, in and Camus who were so beloved to me, next only to my mother
which is roosted in meditation a heron made by clay, and spends time with the friendship in the dusk, simply dreaming
spreading its meloncholy all around. The pathways of all impracticalities. Yet I was forced to know about neighbour
were silent. On the row the sixteenth house, a interfered my thoughts Justice George who stayed in the
thatched one, was ugly with cracked walls. It was a thirteenth house.
disgrace to other magnificent houses as it was like a Then it happened in an ordinary evenings. As usual, I was
stray dog, and it was mine. walking. On that evening, contrary to the usual scence, the gate
But I lived small rooms where dwell silence and cob of Justice George was open. Near the gate stood that girl with a
webs. While sleeping on the subtelity of an easy chair worried look, whom I used to see often she was black in
abandoned by my father, and while listening to the complexion. The house was still in darkness as three no lights
lullaby enfolded in love and dreams of my mother, on. The opened gate, the meloncholice looking black girs,
the house developed in me as an emoumous fort of darkness...... I felt some inconsistancy.
refuge.
170 171
But who is bothered sbout the rich man’s life. Who knows the mahagony astonished me. Finally she took me to the big room
prons and cons of the rich, I thought. where the dead body was lying. At first nothing was visible....She
But suddenly she cried out loudly “the Master lives in here is switched on the lights and showed me the body.
dead, will you please help?” Yes, he was an ordinary man......in full length, upright and dead.
I stopped abruptly and turned to look at her face. I saw the fear But what came to my sight first was not the deadbody, but the
lurking into her eyes. book, “Human Justice A natural view.” It was lying on his chest.
The smiling face of the tribal girl on the outer cover of the book
She said again “the master is dead, I don’t know what to do.” seemed to be kissing him. He knows nothing. He is dead. And in
Slowly I dropped in and asked “How did he die? Didn’t you death there is no knowldge,, No rigidity of sense of justice, or
inform anyone?” perplexity, but only calmness.’
“I know nobody here” “No relatives to this gentleman?’ I asked her.
“Who are you to him” “No, Nobody”
“A distant relative....name Susy.” “What was the illness?”
She revealed her name without my asking. I began to think that “I don’t know. To me he speaks nothing. I came here by the
I should help her. But I was sure that sicne it’s a death, that too insistance of my father. I preaper meals and serve. He eats it and
the death of a retired Justice I should be more carefull. then disappears to his room.”
“How did he die, tell me” I insisted. O’ God, how many persons this man might have sentenced to
I dont’t know. He failed to wake up after the usual nap at 4 o’ death...and how many were rewarded with justice......I thought,
clock. When I tried to wake him up he was cold and stiff...... justice is, in fact, a relative word and its existence is in power
only.
“You killed him or he committed suicide?”
“What to do next?” sh asked again.
But my witty remark made her weep. So I had forsake my jest
and to go along with her. We must inform the neighbours. But don’t think any body will
help us at once. That doesn’t matter, but the problem of
She was walking in front...I followed through an unfamilar path. money..........?
Home we reached and then she earnestly invited me to drop in.
She listened to me attentively. When stepped out, she followed
‘Put the light on’ I asked her. She put a few lights on in the house me.
which has a number of rooms. I walked through the lights in
searsh of the dead body. But what mostly attracted me was the By them I felt she was veiled by an anxiety, wheather to close the
big house than teh dead body. I saw the rooms slumbering in front door or not. How to close the door, when the master is
the annals of history, with an ancient odour. The small insects inside, but how to open it when he is lying dead.
living in between the cob-webs and dust were seen running At last we came out after bolting the door form outside. We,
realising the presence of a strange person. The bats in the ceiling most regretfully informed the matter of death to all the houses
and the cooing of the pigeons in the planked upstairs took me to in the street...house no 1...2...3 capital some of them
the backyard of history. The cots and chains made of teak and encountered us with indecipherable dilects some others grilled
172 173
us. Yet as a duty we went on informing the entire street. The night thickened. Hence she stood close to me. The candles kept
Justice(retd) was still enjoying the smile of the aborginal girl, above the head of Justice George was about to cease burning.
pictured on the cover page of the book. Then it downed upoon What to do next?
me that if he countinue to lie like this he would be more rigid
than while he was alive.Therefore I removed the book “Human I sat near the dead body with Susi. Then I slowly hugged her
Justice” from his chest. closely. Slowly I commenced to travel through her black body.
She had begun to love me. We in turn, began to love the Jusitce
With the help of Susi I removed his outer garments and Pyjama. as well.
When entered into the transperency of his inner garment Susi
blushed. She feared, I felt, perhaps I might remove that too. We We were near the dead. And the Justice lied there as a witness to
cleansed his body in lukewarm water. Whenever she touched these wild games. He silently opened his eyes and looked at us.
him, a state of perhlexity, fear and reverence sourrounded her. The dead was enjoying all our performances, as if he were in the
Finally I wrapped the dead body in the white dothi given by Susi Court listening to the witness.... Perhaps it is for the first time in
and made him lie handsom. By then it became dark. his life (read as in his death), he wore the uniform of a witness.
He slowly uttered.
Till then, no neighbour turned out and made any enquiry. Alone
we sat near the dead body. ‘You showed a new and hitherto unknown world to me which is
beyond all truths, hood, justice and injustice....Now I request
‘What next’, Susi asked. you to receive my abode from me. You should retrieve a life
“Get the candles, if available. Should be lit up....” I said. which I failed to enjoy.’
I lit the candles she brought and placed them near his head. In I also conversed with him from an other end of memory.
its light the face of the retired Justic was illuminated. This is the ‘What happened?’ Susi asked. I then, left all thoughts and returned
most enchanting verdict he ever declared, I thought. The verdict to Susi’s body.
nurtured by the great time for him.
I now held her close and said,
My self and a poor girl, both receipienst of the scoff of the world
are the only witnesses for the judgment. What shall we do? Even ‘Is this the way one should behave when a death occurred in the
otherwise how much time we can spend with a dead body of a house? We must inform the Parish Priest. The funeral must be
person not related to us? She told me that she would prepare conducted.majestivcally...................?
tea for me. I consented to it. She lifted a special cup and showed While she stood perplexed, I walked towards the telephone.
it to me. Translated by Mr. V. SREENIVASAN
‘This is the cup the Master drinks tea’ she said.
“Today I will use it” I said.
She liked that boldness. I thought she accepted the moment as a
symbol of social equality which destructs Fuedalism.
After having tea, we again walked up to the dead body. She had
an apprehension that I might leave her by the dead body as the
174 175
“No. why? Doesn’t he always call on sundays. Today is saturday

only......”
“Oh..... is it like giving ‘biksha’ to beggars..... calling on auspicious
days only....”
“You always find fault with him. Is he that much rich to call us
daily....”
“Thanks for your sermon on richness. During the time of
registration was this son of your’s richer? He used to call daily
those days.” He spat into the courtyard spitefully.
STORY “Is anything important happening now....to call us daily?”
She queried.
Champk Trees “Had Rajan and Rema called?”
SREELATHA She got wild.
“What is this? Are you taking a list of your children and questioning
me...? If they had called wouldn’t I tell you? Or you yourself can
hear.... You are not going anywhere are you?.......”
I am getting older. She told herself.
“We don’t want these champk trees here in this
This short temper is its symptom.
courtyard anymore. Enough of thier flowering. If I
had planted a mango tree instead, how much Hadn’t she mastered the art of smiling with anger suppressed
money would I have made by this time.” within?
Her husband decleared obruptly. A choleric husband and a silent wife were the occupants of the
Wrapped in a bath towel he was pacing in the house.
portico, massaging his oiled body. Winter worsened Through all these years this champak tree stood as her
his arthritis. This doubled his inherent choler. She companion, often leading her gently down memory lane. It
was watering the Jasmines in the courtyard. The gladdened her by showering flowers incessantly, and supported
culprit was standing near the parapet with bent her whenever she faltered. For all others this champak tree was
head, flowers ready to be plucked conveniently an ordinary tree, a useless one. And she a dreamer for growing
from the terrace. The pleasant aroma of the flowers a useless tree in a tiny 10cent plot.
filled the air. If she had planted a mango tree or even a cashew tree instead,
“Had Ajayan called?” how much money.....
He asked suddenly, pausing midway. She wanted to shout at them.
176 177
Do you know.....these champak trees...they are my life...... I How did I reach here...... This double-Storeyed terraced building,
myself..... Umpteen champak tree bloomed in her thoughts. The from a one-storeyed house?......She wondered.
grey green bark and broad rough leaves. The gentle aroma of “Dreaming in this old age......” he sneered.
the yellow red flowers, a deep sign rising from the interiors of the
tree which lingered as a sweet dream refusing to fade. When the She closed the pipe without replying.
senses were filled with the sweet scent of the flowrs she could “Where is that boy.......? He continued.
overcome any hurdle in life in one easy leap.That scent became He had not come yet to pay off the bill......and tomoarrow is the
the key to unlock the store houses of past smells and sounds. last date...... How much will have to pay..... including not only
Her parents, grand mother and brother who had left for ‘the’ the bill but also the late fee.....I myself shall go to pay it tomorrow.
cold, dark and unknown worlds came back to see her.
“You need not bother to stand in the queue with your arthritis. I shall
Father returned home rolling his rally cycle. A bag hung on the pay thebill.”
carrier containing his lunch box and fish bougtht from the market.
His voice dispersed into the silence which followed the rain. “Come on, have you ever gone anywhere alone......even to a
shop......Don’t tell me you can do it......
“Didn’t get anything, amma..... How can the fishermen go fishing
in this torrential rain? Got only ‘thoodapodi’ Ammama’s trembling She felt tired. She sat on the verandha, stretching out her legs.
voice could be heard from yesterday. Vericose veins created ugly maps on her thighs . Shots of pain
tore at the maps. She leaned on the wall and closed her lyes,
a small sea fish. grandmother. gently massaging her veins.
“Doesn’t matter......If only thoodapodi it is enough. How can The soothing aroma of flowers floated around her. In her minds
one eat anything without at least the smell of fish......” eye appeared ‘amma’ with the youthfulness of thirty, wearing a
Fifty odd years have not destroyed the vibrance of those voices. cotton sari, trailing behind her the train of children. Amma carried
a bag in one hand and a flast hung on her wrist. She held an
Ammama’s prayers could be heard distnitly.
open umbrella in the other hand.
‘Nama Shivaya Sankari............ She can’t do without an umbrella for fear of head ache.
Namashivaya parvati..... Sunita close the manger doors.....Nama Once in a while she will collapse with severe headache. It is the
Shivaya...... duty of the daughters (She and sister) to make a smooth paste
The sound of breeding cows could be heard from the manger...... of root skin of gooseberry and apply it on her forehead. She will
catch headache even if she misses the tea at 11’o clock.
The sharp smell of frying dry fish pierced her nostrils. Her mouth
The flask contains tea. Amma also kept a bottle of bournvita
watered.
mixed with milk with her. It was for me, she remembered. She
Suddenly she was startled from her reverie. was afflicted with children’s tuberculosis at the age of four. By
The hose had slipped from her hand. long treatment it was cured. Thenceforth amma was cautious to
give her nutritious food only.
She was standing still in a daze. 1
Chechy and 2chettan always raised complaints on account of
Her husband, pausing, was staring at her. this.
178 179
“amma you dodn’t love us. That is why you are giving egg, fried She didn’t know at that time what both of them were doing in
fish, and chicken liver and bournvita to 3‘unni’ alone. the bathroom......
She could hear amma’s soothing words distinctly from the Thye will see Baby Teacher near the houses of kuruppanmar.
deistance of decades. Baby Teacher was 3Achan’s teacher. Teacher liked her much and
“Don’t you know unni is very weak. She will again fall ill if we she will bring champaka flowers for her. She will reach the school
don’t give her milk, egg and fish and chicken in plenty....... in a trance, smelling the flower and being carried away by the
The procession to school led by amma who is a teacher at the enchanting smell of flowers.
school and they students, can still be seen, she thought. On each One day the teacher gave her a champak sapling. She planted it
side of the road were cashewtrees growing thickly. in a broken stonepot filling it with sand, dried cow duing and
Next was the stone cultverst. Next to it on the left side of the ash. She herself watered it with a tiny pot. But one day the sapling
road was the road side shelter built for the bye-passers. disappeared mysteriously from the pot. She cried bitterly for long.
On its ruined steps sat the beggar called ‘4Thinkalaazhcha’ pasu Teacher gave her another champlalc plant. Aunty Radechi had
on all mondays. Pasu wore a black dhoti and black shirt and come home at that time from her in-laws house. It was Radechy
kept red hibiscus flowers upon both his ears. They were afraid of who had planted the plant this time.
pasu. He always pelted stones at children and chased them away There was a belife that the person who plants the champaka tree
with his long, stout walking sticks. will die in the year in which the tree first blooms. (After her
On the right side of the road were the small coconut leaf-thatched marriage Radechy belonged to 4maman’s house. That may be
houses of ‘6kuruppanmar’ the reason why she did not die)
Menflok could bend their heads before Bala Kurup once in each After many years she bought a champaka sapling from the nursey
month. Once in a while she and chechi also. It is to trim their to plant in this 10 cent plot. Anyway she didn’t try to persue the
hair. Trimming will applocability of the supersstition. She got it planted by the new
servant and it started to bloom from the third year onwards.
1 elder sister
“There started shedding tears again?...... this time no use of your
2 elder brother
tears.....When Mani comes the first thing I will get him to do is
3 youngest kid.
the cutting of this chanpaka tree and the planting of a
4. Monday ‘5moovandan’ Mango tree in its place. Are you still a young girl
5. Barbers to strut up and down donning flowers in your hair? Before whom
enhance the growth of hair. you are exibiting yourself?
She could even now get the smell of cut hair and hear the advice “Yes. Somebody is intersted in me. This is to lure him. Who won’t
of Balakurupp.... get fed up with daily dessert even if it is sweet?”
“Go....tell amma to oil the cut ends of “your hair and tie it up 1. barbar Women
tightly.” 2. grand mother
Freequently Balakurup’s amma 1kurupathi will pay a vist to 3. father.
2
ammama. She takes ammama to the bathroom. When both go 4. Uncle’s
into the bathroom aunti Sunita will start giggling!
5. a variety of mango
180 181
There ended the joke. my children plucking the flowers of the champaka tree and I
“I know for sure. No woman would decorate herself without any could hear their chatters...
reason. I know that very well.” “Amma... see this Rajettan is pushing me down”
“Enough of this nonsense. Better take your bath before the water Rema screams.
turns cold.......” - “Amma you know why? This greedy monkey wants all the
He continued complaining as if he did not hear. flowers all by herself....to show off before her friends in the
“She thinks I won’t understand anything because I am old.....” school”.
She didn’t knw whether to laugh or cry. He was sixty five and I could hear my own words.....
she fifty eight. But he still behaved like a jealous and suspicious “The terrace is slippery. Don’t fall fighting both of you.....”
husban of a 30 year old wife The feel of their soft skins brought goose pimples to her aged
“Where is my dhoti? its always misplaced. When will you learn to wrinkled flesh now.
keep things in the right place......?” Told myself. No I have not lost anything. It’s just my
She got up hearing the pandemonium inside of opening and feeling......nothing is lost. ‘She’ is consoling me. ‘Don’t worry I
shutting shelves. Throughout the thirty eight years of married am always with you.’
life has he ever taken his dress from the cupboard without her I am not alone. Everyone......my children my in - laws, grand
help. children, siblings.......all are with me.
While taking the dhoti out eyes came across the empty medicine For them to be with me ‘she’ should also be with me here itself.
kit. Yesterday he had gone to the town to buy medicines for
both of them for one month. But had forgotten to remind him Neither a mango tree or some mangoes nor a few currency notes
to buy pills for controlling blood pressure. If she remind him can create this comfort and relief......can they......?
now....better to keep mum now....otherwise another quarrel will Please tell me?........she pleaded to him silently.
ensue. After all there was only one medicine for the permanent If they can......only if they can...... do chop this tree......or else
cure of her illness. And it was nothing else, but the presence of when I die may this bosom friend of mine also turn to ashes
her children. along with my mortal body in my ancestral home. Please don’t
Non existing medicine for the incurable illness. She has now given ever.
up hope of breathing her last in the presence of her children. tell me that you are going to cut her down.
The only relief in the alienation and ailment is the champaka Translated by Prof.K. USHA.
trees. Its presence sustained her as her dearest kin in the hostile
world. It revived in her memories of her chilhood and
adolescence. I have the feeling that I am not alone because of
‘her’ . The presence of my parents, my brothers and sisters is
regained to me just because she id here. She recreates in me the
memoirs of long bygone childhood and adolescence. I could see
182 183

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Kerala Sahitya Akademi

LITERARY SURVEY LITERARY SURVEY going 2010 Apl-Sep

Kerala Sahitya Akademi

Going Classical? – This question about Malayalam

glory. The windows of Kerala have always been kept

The poetic radiance in Malayalam screenplays

Rosy Thomas: Life Lived in a Lush Green Literary Valley of

Ritual/Ritual Body v/s colonial signifuers of Hegemonic Body

Folklore Landscape of Kerala - Dr. C.R. Rajagopalan 69

K.Saraswathyamma: the forgotten Poineer of

O.V.Vijayan’s Thalamurakal: Social Discrimination and the

How melodious is the rendering of thy song! - Sajai K.V. 100

Pulayar * - K.P. Karuppan 109

The verandah - Veerankutty 115

Silence - Amrutha 117

The demand for ‘Classic’ status for Malayalam is not ‘sentimental’

The earliest inscription in Malayalam occur only from the 9th

4. An Early Vatteluttu inscription of ca. 5th century C.E. is engraved

criticism and various other branches of philosophy are also 4

Whereas the Government of India have further decided that the

conversing with it throughout her confinement. Thus she

M.T. Vasudevan Nair, the most favourite short story

In terms of visual picturisation, phychological analysis of character,

Rosy Thomas: Life Lived in a Lush Green

Rosy Thomas passed away in her ancestral place in

influenced by her husbans’s political change, who began as

The link between religion and theatre is ritual. Ritual

in Thyamms that of that depict heroic legends. Caste is the

Oral tradition The branches are intact believing the tree,

‘Hail, hail, hail the luxuriant growth, 4. Thottam pattu

denied a voice. Access to education revolutionised the hitherto

rest is history- the praise showered on the poem by W B Yeats,

are not to be compared, it hints the indirect influence that Tagore’s

The Hindu veterans of Malayalam

May be it possible Who would till the soil

7, 8. Two symbolic names for persons of forward and Backward communities.

Iam not fond of the verandah

In the heat of the noon

Translated by ZAHIRA RAHMAN Silence

Upon the hot springs of great tragedies

and the country becomes a terrible forest

Translated by Dr. MARY NIRMALA

Even so, the bundle.

Try pouring a green blob

Merina pointed to the distant mountains. The priest understood

A resounding laugh, Talk punctuated by vigorous

“Stop your insolence, Nair!”

Therefore moothaashari turned down my plea.

anchored away in the sea.

“No. why? Doesn’t he always call on sundays. Today is saturday

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