Sir. Roger at Church - Joseph Addison(1672-1719)

Augustan Age saw the rise of Journalism and periodical literature.  Following the periodicals ‘The Review’ of Daniel Defoe and ‘The Examiner’ of Jonathan Swift, in 1709, Richard Steele brought out his Whig paper ‘The Tatler’. Having decided to keep the Politics away Joseph Addison and Richard Steele started ‘The Spectator’ in 1711.  The Periodical had two objects, that is reforming of the contemporary society and presenting the true picture of the Age very faithfully.  Out of 555 essays, Addison wrote 274 essays.  'The coverly Papers' were part of 'The spectator' and they were 35 in number. The principal instrument employed by Addison and Steele was gentle satire.  They ridiculed at the eccentricities and idiosyncrasies and never abused.  Their ridicule was gentle and ironical and their humour was tolerant and gentle.

The Remains of the Day – Kazuo Ishiguro (1954 - )

 

Kazuo Ishiguro was born in Nagasaki in 1954.  As his family shifted to Britain in 1969, he had his education in Kent and in East Anglia.  His two novels won Winifred Holtby prize and the third one ‘The Remains of the day’ won Booker Prize in 1989 and was filmed, acted by Anthony Hopkins and Emma Thompson and won many awards.  Ishiguro, as a writer more interested in what people tell themselves happened rather than what actually happened.  Similarly ‘The Remains of the day’ is characterized by nostalgia as Stevens the hero of the novel, looks back to what he regards as England’s golden age.  Hero recollects his memories in fragments that happened in between the First World War and the Second World War. Apart from this ‘emotional restraint’, a traditional trait that is said to be one of the characteristics of English has a big role to play in this novel.

THEYYAM IN NORTHERN KERALA

 

The word ‘Theyyam’ might have originated from the word ‘Daivam’(God).  It also has its origin from ‘Ancestor Worship’.  There are more than 400 types of Theyyam, namely Vettaikkorumakan, Machilot Bhagavathy, Sree Muthappan and Kathivanoor Veeran.  It is mainly performed in Northern Malabar especially in Kasargod and Kannur districts and in the taluks of Koyilandi and Vadakara in Kozhikod district. 

Theyyam deities have their origins from people who were in the lower castes of the Kerala’s caste system and so they were also performed by them.  Theyyam season covers seven months, starting from the tenth of ‘Thulam’ (Malayalam month) and ends in the middle of ‘Edavam’ (from October to May of every year).  Theyyam is also known as ‘Kaliyaattam’ and ‘Tira’.  It is actually considered as a channel to a ‘God’ and thus people seek blessings from Theyyam. Theyyam is performed in front of the village shrine or kaavu. 

The dancers use ‘Thandava’ and ‘Laasya’ in their performance.  They wear war bonnet, breast plate, waste dress and head dress (Mudi).  They are made up of bamboo sticks, red clothes wooden pieces and coconut leaves.  The body painting and face art of Theyyam is one of the best examples of folk painting in Kerala.  The natural colours like red, orange, yellow, black and white from sandal wood, red sandal wood, turmeric, lime, rice flour are used for them.

The dancer comes in front of the shrine and the ‘metamorphosis’ of a Theyyam into the particular deity of the shrine happens then.  This performance is a combination of playing musical instruments like chenda, thudi and kuzhal.  The dancer also has a shield and a sword in his hand.  Classical dances outshone folk dances at the course of time. Similarly, ‘kathakali’s marketing outshone ‘Theyyam’ and it became the face mark of Kerala.  ‘Theyyam’ however, survives in the northern part of Malabar even now.

https://youtu.be/OoOj4Fy8RNc

-----Thulasidharan V

 

 

Malayalam’s Ghazal – Jeet Thayyil

 

Jeet Thayyil (1959 - ) is a performance poet, journalist, writer, editor, and guitarist who has published four collections of poetry and fiction.  He has won many awards including DSC (Distinguished Service Cross) prize for South Asian Literature and Sahitya Academy award for English literature.  ‘Malayalam’s Ghazal’ is a poem taken from Jeet’s ‘Collected Poems’.  The poem depicts what is lost in translation.  As every language has its own identity and depth, the poet asks the readers to open the windows to the fresh air of their mother tongue.  The word ‘Malayalam,’ a palindrome is repeated at the end of all couplets in the poem. That adds beauty to this poem.

Agni – Sithara. S (1972 - )

 

Sithara is a Malayalam short story writer and translator of repute.  She has won Kendra Sahitya Academy Golden Jubilee Award and also Kerala Sahitya Award for her short stories.  Sithara’s characters are rebels with a difference.  They just pass over shameful situations and laugh at the stereotypification of gender roles.  Her heroines search for their genuine individualities.  Her ‘Agni’ is the story of a rape survivor who declines either to be prosecuted or to be destroyed with disappointment or disrespect.  She resolves to penalize the wrongdoers on her own way of vengeance.

When Priya finished typing in her office, it was dark.  She had to ride her cycle for ten minutes along a narrow lane with undergrowth lining its sides to reach her house.  On seeing three men standing on the road, she stopped her bike in shock.  One of them was Sanjeev, a burly fellow who ran a telephone booth near her office.  The other one was Ravi, a spoiled rich boy whom once Priya had slapped for his taking an obscene liberty with her in a bus.  The third one was a stripling who had barely sprouted a moustache.  One picked her off and the other clamped her mouth shut.  The third hesitated slightly on seeing a sanitary pad, but that didn’t stop him.  All her struggles had no any use.  All the three raped her brutally.  After raping, Ravi slapped her and shouted that she should learn how it would be if she played with men.  Priya slipped into a semi-conscious state as the third one moved away from her.

When she came to her senses, Priya dragged herself to her feet with great effort.  Her body was full of unfamiliar aches.  She got into her clothes that were lying scattered somewhere, took her bicycle and reached home.  Her mother was in the kitchen, her sister before the television and father was not at home from work.  Priya went into her room and closed the door.  She washed her body twice.  She decided not to cry.  The next day Priya went to the office as usual.  On seeing her Sanjeev asked her how she felt the previous day.  Priya said that he wouldn’t be able to satisfy a woman.  Then she turned to Ravi and said that he was a real man.  On her way home from work in the evening, she stopped her bike, ignored Sanjeev but smiled at Ravi.  When she got home, the stripling was waiting for her.  He sobbed and begged to forgive him.  Priya patted his hair and asked him to go.  Priya went to Sanjeev’s booth every day and called up all her friends and watched the feeling of inferiority creeping over his face every time, with the spirit of vengeance.  Similarly, whenever she saw Ravi, smiled at him.  However, that created uneasiness in Ravi.  Actually, these small triumphs gave great satisfaction to Priya.

When Ravi asked Priya one day why she smiled at him, she said that she liked him.  For the next two days Priya did not go to the office.  Priya felt she hated herself.  Ravi came to her house, when she was alone and said that he has realized his love towards her.  Then Priya asked Ravi whether that love began the day that she had slapped him. The confused Ravi asked whether she was taking revenge on him and then buried his face in his hands and started to cry.  Priya too started crying and said that his love was her revenge.  Raising his face, Ravi then touched her tear-stained cheeks as if to console her with retreating fingers.  Thus ‘Agni’ presents sexuality and man-woman relationship from a totally different perspective.

----Thulasidharan V

Christian Heritage – Vaikkam Muhammed Basheer (1908-1994)

Vaikkam Mohammed Basheer (1908-1994), an iconic figure in Malayalam literature was born in Thalayolaparambu near Vaikkom.  He received modern education in an English Medium School.  He was greatly interested in the national movement of Gandhi and later to the revolutionary ideas of Bhagat Singh.  So, he was imprisoned twice and to escape further arrest he travelled widely.  Those travels and experiences became apt materials to his stories and novels.  Thus, he became one among the realist writers, who wrote about the downtrodden and the marginalized people.  Apart from this, his unique style, subtle humour, profound human sympathy, specialized use of the language of the commoners and genuine descriptions of the world where he lived, made him much venerated and widely read author.  His ‘Pathumayude Aadu’, ‘Sthalathe Pradana Divyan’, ‘Ormayude Arakal’ and ‘Nerum Nunayum’ etc have brought new style and diction to Malayalam literature.  His ‘Neela Velicham’, ‘Balya Kala Saki’, ‘Mathilukal’, and ‘Premalekhanam’ were adapted to feature films.  Apart from numerous prestigious literary awards, Basheer was awarded Padmasree in 1982.  His story, ‘The Christian Heritage’, talks about an unexpected guest who visits Basheer’s house just to see him in person.

One day on seeing a head bobbing up near the gate, Basheer invited him and came to find that he was there to see Basheer.  He was a Christian from Changanassery. His name, Kochu Thommi, an industrious labour, settled in Malabar for eight or nine years, planting coffee and black pepper.  His wife was no more.  Blessed with four sons and five daughters.  All were married and had settled with their families.  He was hospitalized for a month.  When he got discharged from the hospital he came straight over to see Basheer.  Bahseer felt proud for a Christian’s visit to a Muslim.  They spoke for a long time.  They exchanged stories from Chenganassery, Thalayolaparambu and Vaikkom.  Basheer’s wife Fabi brought tea.  They drank and talked about the market value of rubber, black pepper and coffee.

It became dark.  Kochu Thommi seemed to have no plans of leaving.  Talks continued even after supper.  Basheer asked why he didn’t stay there.  Kochu Thommi gave a big yes.  Fabi spread out a mat in the reading room.  ‘Christian heritage in India’, by Sri. John Ochanthuruth served as his pillow.  Basheer could hear him snoring shortly after.  However, the next day, Thommi left after breakfast. When Basheer gave him ten rupees as way-fare, he didn’t refuse.  Basheer thought that it was wonderful to treat Thommi in that way.  A relative of Basheer’s son-in-law came there after two weeks.  ‘Christian heritage’ was there to serve again as a pillow.  When Fabi opened the book, two hundred rupees notes fell from it.  It must be kept there by Thommi, a rugged peasant and an avid reader of Basheer.  Here, through this story Basheer questions our society’s deep rooted prejudices against commoners like farmers.

----Thulasidharan V

Daughter of Humanity – Lalithambika Antharjanam (1909-1987)

 

Lalithambika Antharjanam (1909-1987), the best known novelist and social reformer, used her writing as a powerful weapon to expose the injustices existing in the society.  She has enriched Malayalam literature with nine volumes of short stories, six collections of poems, two books for children and a novel ‘Agnisakshi (1976) that won the Sahitya Academy Award.  Some of her major themes are the plights of antharjanams, the freedom struggle and the dilemmas of a woman writer.  Daughter of Humanity(Manushyaputri) was written after the communist government’s enacting the land reforms in 1959 that put an end to the Janmi system in Kerala.  Here, she portrays the miserable condition of a woman in the Namboothri house-holds who visits a minister with a small prayer.

The story begins with the entering of the Minister Govindankutty after a long and exhausting journey.  Though he has a headache, he talks to all who have waited for him.  At last a lady enters with a seven year old boy as if she were a woman from an eighteenth century story book.  When she says, ‘I think you haven’t recognized me, Govindankutty,’ he notices a familiar scar on her forehead.  It is Kunhathol Amma, who used to mix curd and mango pickle with rice and give him on his bringing flowers for her prayers every day.  After the death of his father, his mother Lakshmikutty suffered a lot to bring him up.  There was Kunhathol Amma to help them with words and deeds. After the death of his mother the only refuge was Kunhathol amma, who often gave him money and sweets from the offerings to the deity.  Giving food and helping others were Kunhathol’s necessary part of her everyday life.  Every evening someone from the Illam would come to the gate and ask if there is anyone who needed food.  Among the many Govindan Kutty was one there to get food, when he was a boy. 

When Govindan Kutty finished his school and left the village, he did not think it necessary to say good bye to Kunhathol.  Soon he became a success on public platforms and a valuable member of many groups.  When years passed he began to forget his old village.  On his way to a function, he passed the village once.  Then he came to know that the Illam was sold to clear the debt incurred for the funeral ceremonies of the senior Namboothiri.  The older son was stricken with arthritis.  The younger one left the house after joining a political party.  An old tenant who felt sorry for Kunhathol had arranged for her to move with her invalid son and his children to a small house that had once been part of their property.  Though he thought to meet Kunhathol, he couldn’t meet her then.

Kunhathol who stands  in front of him, wants Govindan Kutty’s help to send the child to school and if that happens he would at least get a meal at noon.  Hearing this, Govindan Kutty feels sorry and tears run down his face.  Annapoorneswari herself begs for an afternoon meal for her grandson.  Though he was one among the people who destroyed her illam on their fighting for the cause of the starving, she hasn’t found fault with them instead she envelops him with blessings.  So, he says that though he is not sure of doing what she needs him to do, he begs her to be a mother to motherless Govindankutty.  Then he asks his secretary to take his mother Kunhathol to the car and inform that as he has a son’s duties to attend his mother, he can’t attend that day’s meeting.  Thus, the story ends with a startling moment of the realization of the Daughter of Humanity by Govindankutty.  He decides to be the son of the helpless mother at the end.

 

 -----Thulasidharan V

Vakkam Moulavi: My Grandfather the Rebel – Sabin Iqbal

 

Vakkam Abdul Khadir Moulavi (1873-1932), the Father of Islamic renaissance in Kerala, was an author, Social reformer, religious scholar, freedom fighter and founder and publisher of the vernacular news paper, ‘Swadeshabhimani’.  As he was born in a prominent and affluent family of traders, he imported an automatic flat board printing press directly from England for ‘Swadeshabhimani’, the first news paper in Kerala.  As Moulavi had strong faith in the critical role of the media in social reformation and in achieving and protecting civil right and liberty, he had given full freedom to K. Rama Krishna Pillai, the editor of ‘Swadeshabhimani’.  His severe criticism made the British authorities confiscate the press, in 1910.  Sabin Iqbal, Moulavi’s grandson and a well known novelist and journalist, talks about Moulavi, who has been side tracked by Kerala history, in this autobiographical essay.

Sabin quotes Ngugi Wa Thiong’o’s words “Omission is an effective tool to alter the narrative” and says when the editor is known with the historic news paper, “Swadeshabhimani” by its title, the text books, has an ‘unknown Maulavi’ in it to show the owner, who is known as the ‘father’ of Muslim socio religious reform movement in Kerala.  Vakkam Moulavi foundation Trust had to suffer a lot to replace the photograph of 'unknown Moulavi' from the text books.  Vakkam Maulavi, effectively used communication networks to promote his ideas of patriotism, modern education and religious reform.  Apart from Swadeshabimani, he used his journals ‘Muslim’, ‘Deepika’ and ‘Al-Islam’ to motivate Muslims to pursue modern education and to bring them to the fore front of the nationalist movement.  According to M. A. Shakoor, London Correspondent of ‘Pakistan Times’, 'Maulavi Abdul Khadir' did not accept the puritanical excesses, petty intolerance and the violent methods of enforcement often associated with Muhammed ibn Abdul Wahhab and his movement.

Maulavi was a man with beautiful mind with dreams of a secular and united India where people of different faiths lived in harmony.  He encouraged students to study science and carried articles on photography and films. Influenced by the reformers of earlier centuries like Muhammad Abduh and Muhammad Rashid Rida, Maulavi launched his own call for return to genuine Islam that included the reinterpretation of Quran and Tawhid (unity) in the light of modern needs.  Apart from this Maulavi Abdul Khadir had great faith in Ramakrishna Pillai’s integrity, patriotism and political ideals.  That was why he gave full freedom to his editor Ramakrishna Pillai. When the press of Swadehabhimani was confiscated and the editor was arrested he didn’t want to apologize and get back the press without the editor.  Actually that brought him a huge financial loss. As he was not a businessman, he wanted to achieve only public welfare and prosperity through his news papers.

Jose Abraham, who wrote ‘Islamic Reform and Colonial Discourse on Modern India’, is of the opinion that it is unfortunate that Vakkam Maulavi, the founder of the Swadeshabimani has not been given his due place and recognition in the journalistic history of Kerala, when Ramakrishna Pillai, the editor of Swadeshabhimani, remains a hero today.  As Chimamanda Ngoze Adichie says, the journalistic history of Kerala should have the power to tell the definite story of Vakkam Maulavi instead of just telling the story of one “Unknown Moulavi’.

-----Thulasidharan V

No, not a Single letter is seen – Poykayil Appachan (1879-1939)

 

Poykail Appachan (1879-1939), revolutionary Dalit leader and social reformer was born in Eraviperoor near Thiruvalla.  He changed his name Kumaran to Yohannan on joining Marthoma Church.  Though he became a preacher, he realized that even after conversion, Dalits continued to be marginalized and discriminated against by Church.  He founded Prathyaksha Raksha Daiva Sabha (PRDS) on 1909, where he himself was the God, for the liberation and empowerment of all sections of Dalits without discrimination.  He preached his new philosophy that instead of being something that comes after death, salvation should be visible here and now.  He declared that both Hinduism and Christianity would fail the cause of the Dalits and he even burned the Bible in one of the meetings.

Poykayil Kumara Gurudevan, “Appachan” nominated to Sree Moolam Praja Sabha in 1921 and 1931, and argued for legislative measures in favour of Dalit people.  He opened the first English Medium School for Dalit community and established spinning mills for the betterment of the Dalit people.  He was also a member of SJPS of Ayyankali.  He was an ardent writer who used his literary kills to criticize the evils of the society.  His song and speeches drew people to his meetings.  His poems speak of injustices and brutalities faced by the downtrodden and the wretched.  “No, not a single letter is seen’ was recited at the famous Raksha Nirnaya Yogam held in Kulathoor Kunnu in 1910.  It speaks about the criminal silence of history on its being asked to speak about the history of the people of his race.  The downtrodden people don’t find room in the history books and so he says that it is his duty to speak about his people.

So many histories are seen on many races.  Even after scrutinizing each one of the whole histories of the world, not a single letter is seen on the race of the speaker.  It was a pity that there was no one on this earth to write the history of the downtrodden in the olden days.  So the poet, Poykayil appachan mentions the story of his people who lived in Kerala since the ancient times and how they became demons.  He says that he has no shame to say the faults of his caste, though his men blame him as a cursed one.  He concludes the poem by asking two questions.  How is it possible that all blame the marginalized till the end of the earth?  How can God, who shaped everything, allow these kinds of injustices to happen on earth?  In this way, Poykayil Appahan talks about the silence of everyone on the injustice done to the Dalits.  Thus, along with the other renaissance leaders like Sree Narayana Guru, Ayyankali, Chavara achan and Vakkam Maulavi, Poykayil Appachan too gets a place among the great men who shaped Kerala modernity by his words and deeds.

----Thulasidharan V

Ayyankali (1863-1941)

 

Mahathma Ayyankali (1863-1941), the revolutionary leader of the Dalits of Kerala, was a major figure in Kerala Renaissance.  He was born in Venganoor, Thriuvananthapuram into a marginalized caste and his parents were agricultural labourers.  Dalits were denied almost all fundamental rights at that time.  Ayyankali questioned the practices and customs and proved that even a single man resist the society at large and make a difference.  His ‘Villuvandi Yathra’ in 1893 is one of the best examples for this.

Ayyankali was inspired by the fellow reformists like Ayyavu Swamikal and Sree Narayana Guru.  When he enrolled the Dalits student Panchami in the school at Ooruttambalam, the upper caste Hindus set the school on fire.  Ayyankali, then, declared the first ever strike of Agricultural labourers.  The government intervened and removed the school restrictions.  Similarly his protest against wearing stone ornaments of Dalit women too became successful.  In 1912 he was nominated to be a member of the Srimoolam Praja Sabha and fought for the rights of Dalits.  This extract taken from ‘Ayyankali: A Dalit leader of Organic Protest’, co-authored by Nisar and Meena Kandasamy, talks about the establishment of Sadhu Jana Paripalana Sangam (SJPS).

Education, the powerful resource was denied to Adiyalar (Slave-Castes) of Kerala even in colonial period.  The upper castes and intermediary caste groups not only utilized this facility of modern education but were more conscious of the need to guard it from outside intervention, especially from the Dalits. As far as the Dalits were concerned, they possessed knowledge only about the various techniques and methods of agricultural productions.  So, they can’t enter into the public sphere.  However from the teachings of Thikkatt Ayyavu Swami, he decided to take equality and universal brother-hood.  He was actually more concerned about the economic development of the Dalits rather than any kind of Spiritual upliftment.

Moreover, Ayyankali understood that neither Christianity nor Brahma Nishta Sabha was going to solve all the problems faced by the Dalits.  So he decided to create a platform for the Dalits.  In 1907, The Sadhu Jana Paripalana Sangam (SJPS) was formed under his leadership.  It was not meant for any single caste, but it unified all the depressed servile people (slave-castes).  Apart from fighting against inequality and social discrimination, it brought solidarity among the depressed castes and unified them under the title of Sadhu Janam.  Though SJPS has similarities with name, policies and programs of SNDP (Sree Narayana Gharma Paripalana Sangam), its activities can be considered the genesis of the emergence of Modern Dalit Consciousness in Kerala.

----Thulasidharan V

Indulekha - O. Chandnumenon (1847-1899)

 

Oyyarathu Chandu Menon (1847-1899), who wrote the first and finest novel in Malayalam was honoured by the British Government with the title of Rao Bahadur in 1898. He was then the Sub Judge and earlier he had worked under William Logan to shape the Malabar Manual. When Chandumenon translated English novels into Malaiyalam for his wife, he realized that the Western scenario was inscrutable and un-relatable to Malayali readers. So, he decided to write ‘Indulekha’ a love story of Indulekha and Madhavan. It was first translated into English by Francis Dumergue in 1890 and then by R. Leelavathi and Anitha Devassia.

Indulekha, an English-educated woman, skilled in English pastimes like embroidering, painting and playing musical instruments, is in love with Madhavan, an educated and handsome young man in the family. When Panchumenon decides to marry Indulekha off to Suri Nambudiripad in the form of Sambandham, the hero and heroine decide to move to Madras at the end of the Novel. Through this novel, Chandumenon exposes the importance of English education, argues for the need of changing the matrilineal family system prevalent in the Nair community and stands against the immorality of Sambandham, a non-legal but accepted form of marriage. The present excerpt is taken from the translation of Anitha Devassia.

Madhavan is a man of intelligence, courage and courtesy. He has passed all his examinations in first class and won different prizes and scholarships. He is not afraid to speak his mind openly. He speaks against the injustice his valiammavan, Panchumenon showed to Kummini Amma’s family. When his valiammavan is unwilling to send Shinnan for English education, he is determined to get him educated. His uncle Sankaramenon thinks that it is his English education that has made Madhavan forget their customs, traditions and ways of life. That is why he is speaking against Valiammavan. Even Parvathiamma says that everything is to be decided by Valiammavan. When Sankaramenon talks about Valiammavan’s anger and its consequences, Madhavan thinks about Indulekha and his love for her. Sometimes he may not allow their marriage. But Madhavan being an educated man decides to do things that are right.

Madhvan knows very well that the money left in the hands of Valiammavan by their ancestors is meant for the well-being of all the members of the family. He treats Kummini Amma and her children as servants. He paid no attention to Kalyanikutty’s education. He has also decided to raise the little Shinnan as a bull. He says that he won’t allow his valliammavan do this. Thus Madhvan argues for English education and against the matrilineal system in ‘Indulekha’.

----Thulasidharan V

Atmopadesasadakam – Sree Narayana Guru (1856-1928)

 

Sree Narayana Guru (1856-1928), the social reformer and spiritual leader was born in Chembazhanthi, in Thiruvananthapuram. He is considered as the leading figure of Kerala Renaissance. It was ‘Thycattu Ayyavu’, a ‘Hatha Yogi’ and philosopher from whom he learned meditation and yoga. He established a hermitage at Maruthwamala where he held an austere life of seclusion, meditation and yoga for eight years. He believed and preached that the ultimate reality that underlies the being of everything phenomenal is one and the same. So, he preached equality and universal brotherhood and condemned all discrimination in the name of caste, creed and religion.

He built temples for the backward communities as they were denied entry into temples. Though he consecrated Sivalingams earlier, later it became mirrors and lamps to establish the fact that true worship should be of one’s own inner worth and wisdom. His famous dictums ‘one caste, one Religion and one God for human beings' and ‘ask not, say not, think not caste’ effectively summarise the entire corpus of his spiritual teachings. He believed that education is the only path to achieve self knowledge and thus salvation. He was also an accomplished poet, who wrote Advaita Deepika, Athma Vilasam, Shiva Sathakam, Atma bodham, Vivekodayam, Atmopadesasadakam etc. In’Atmopadesasadakam’ (one hundered verses on self instruction), Guru propses his philosophy of egalitarianism. It expounds the philosophy of Advaita (non-dualism) in the search for knowledge. It contains hundered verses written in Mrugendramukam meter.

Guru says that attaining the core reality that transcends all ordinary knowledge, that radiates the knower and all other external objects, requires the turning inward of all senses accompanied by repeated prostrations, reading, chanting and mastering scriptures. All the people in the world share the ultimate reality, the ultimate knowledge which is God. God is called by different names in different religions. But ultimately he is the same. According to him, mental faculties, senses, the body and the many tangible worlds are the various forms divinely assumed by the one Sun. The illusory appearance of the five basic elements namely earth, water, fire, wind and space exists only externally. They are inseparable as the rows of waves arising in the ocean. So, The knowledge, The object known and the knowledge of the knower are actually nothing but the variations of God, the one that has no beginning and end. So, man’s endeavour should be to get united with that Ultimate Reality, God. Through meditation, he can attain this. Thus Guru establishes the great fact that realizing the Ultimate Reality, The God, is accepting the Universal brotherhood and equality without discrimination.

------Thulasidharan V

Tribals of Kerala

 

Prof. S Achutha Warrier’s (1941- ) book ‘Kerala Samskaram’ is considered as an authentic text on the cultural history of Kerala. This extract taken from this book provides an over view of the tribal life and culture in Kerala. The general attitude of Indians to adivasis and their lives, is inherited from the colonial masters believing that modern education should be provided to them to save them. But, Achutha Warrier is of the opinion that a new sensibility is needed in this regard.

According to Achutha Warrier, the tribals might have come to Kerala near around 4000 BC. That is why only the weapons of Neolithic age were found in Kerala. The available geographical and linguistic evidences have proved that, the tribals of early life came from the eastern side of the Sahya Mountain range. That was how the terms ‘Kizhakku’ (Keezhadhikku) and Mekku (Meldhikku) came to the language. Several anthropologists opine that the majority of the Indian tribes, including that of South India, belong to the Australoid, as they have striking similarities with the tribes of Australia and of Ceylon (Srilanka).

The common Aboriginals in Kerala are Paniyar, Irular, Kuruchiyar, Muthuvanmar, Malayarayar, Ulladanmar, Malavedar and Kanikaar. Paniayr tribe is the most backward among the adivasis of Kerala. Kurichiyar are found only in Wayanad. They are known for the skills of Archery. Irular is widely seen in Attappadi. Muthuvanmar seen in Devikulam, Peerumedu and Udumbanchala are said to be from Tamilnadu. Malavedar and Kanikkar are seen in Kollam and Thiruvananthapuram districts. Kanikkarwere living in caves and tree houses till the last century. As the regions of tribals very close to Mysore and Tamilnadu, their language are either Malayalam-Kannada mixed or Malayalam-Tamil mixed.

The tribes in Kerala live in communities (gothram). Gothrams join together to form Ganam (cluster). Each Ganam has symbols like Neem, Kadamba, bow and fish. The food gathered was common to them, where as weapons, ornaments and utensils were private. Among the tribals, Kurichayar, Kanikar and Malambandarans followed Matrilineal tradition. Uncles had authorities towards the children of their sisters. Property transfer and after death rituals were given to Anantharavan (male) and Anantharaval (female). Marriages between the children of their sisters and brothers were common among the tribals. Kudippaka (community feud) wa also prevalent among the tribes. If one member is attacked or humiliated, the entire community takes it to avenge him. each community has a leader. Marrying a brother’s widow was also common among them.

The tribes worship Kali, Hill Gods and Muthappan. They believe that the anger of Amman (Kali) leads to flood, drought and epidemics. For the blessings they made the Goddess happy with milk, blood and alcohol. During festivals they sing, dance and dine together. Pulikali (Leopard dance) and Kaduva Kali (tiger dance) are common among them. They spend most of the time in hunting and collecting forest resources. As the forest area dwindled considerably now, the resources became scare. So, they engaged in small farming and became labours in plantations. The welfare measures of the government, no doubt, changed their habitat, dressing and language. But their indigenous is being lost and unfortunately they are being exploited in many ways.

------Thulasidharan V

Ghoshayatra – Kunchan Nambiar

 

Kunchan Nambiar (1705-1770) was a great satirist, performer and the inventor of Thullal, an indigenous performance art form of Kerala. Nambiar is believed to have devised the ‘Thullal’ form overnight to avenge a ‘Chakkiar’ who ridiculed him for falling asleep at the ‘Mizhava’ (a percussion instrument)during the performance of ‘Koothu’. Nambiar designed ‘Thullal’ borrowing elements from Padayni, Kolam Thullal and other folk arts. ‘Thullal’ songs are sung in the accompaniment to the performance. The stories adapted from the puranas and other classics are retold in rhythmic verse in ‘dravida’ meters. Nambiar composed songs for all three kinds of Thullal named Ottan Thullal, Sithankan Thullal and Parayan Thullal. The simple Malayalam he used, gave elegance and appeal. As his hilarious poems are filled with wisdom and rare insights, they are used as proverbs. He used to ridicule the follies and foibles of the then contemporary society, through his songs.

In ‘Ghoshayatra’, Nambiar takes an event from ‘Mahabharatha’. Padavas are sent into an exile of thirteen years and an additional year to be spent in disguise as per a bet in a gamble that they lost to Kauravas. Kaurava king Duryodhana sends a person to gather information about Pandavas, who are in Dwaithavanam. In the first part of the poem the messenger who has come back, says that as Pandavas are adorned with the blessings of the Gurus, they live peacefully with the sages in the Dwaithavanam. As they are at the feet of the God, the enemy of the Hell, Duryodana’s betrayal hasn’t touched them. This makes Duryodhana angry and in the second part he says that the messenger eats his food with Duryodhana and sides with his enemies, Pandavas. So, he should go and join Pandavas and eats the berries and fruits of the forest. According to Duryodhana enimies are better than friends who are kind to and support the enimies.

‘Gosha’ of the title refers to pastures where cattle and cattle herders live together. Dwaithavanam has many Goshas where Pandavas live in exile. The poem doesn’t simply narrate an event from the epic. It superimposes the cultural and social scenario of the 18th century Kerala and satirises both. Duryodhana is cast as a local king in Kerala with ‘Nair Pattalam’. He satirises ‘Nair Pattalam’ of the Kerala rulers as they eat a lot, spend time with their wives and generally laze around. Thus through this incident Nambiar ridicules both the soldiers who are not loyal to the king and the king who feed these soldiers who support his enemies.

----Thulasidharan V

Who the hell are you?

 

I am one who is waiting for ‘Godot’ not like Samuel Beckett and his characters, without having any idea about ‘Godot’, but like Emily Dickson waiting to be taken in chariot to ‘Immortality’. 

Beckett - Pic.- Courtesy - Wikipedia

Beckett is an existentialist, who considered that, life is accidental and meaningless. Survival is the only thing what we do. So, as his characters, he is not even sure of one character 'Godot' in his drama 'Waiting for Godot'.

Emily Dickinson - courtesy - Publishers Weekly

Emily Dickinson went behind Revelation, and tried to reveal the divine mysteries through visions and dreams. She considered Death as her lover taking her in a 'chariot' to 'Immortality '. So, you might get a hint about me now. 

A Saivite that is, one who believes in ‘Advaita Philosophy’, a diminishing section among Hindus. One who believes in the words and deeds of Thirumoolan, Vivekanandan and Narayana Guru waiting for ‘Moksha’, the birthlessness, hope fully. So far so good, expecting to say so till the end with the Grace of God, the Omnipresent and Omnipotent. 

As Thiruoolan mentioned Him as ‘Siva’, I call him ‘Siva’ (எங்கும் திருமேனி, எங்கும் சிவசக்தி – everywhere is Shiva and everywhere his power). As he also said ‘தென்னாட்டவரின் ஈசா போற்றி பிறநாட்டவரின் இறையே போற்றி’ (We pray you, the Almighty whom we, the southerners call ‘Eesa’ and whom all others call ‘God’), I don’t have any rivalry with other religions. I love all. Not only the believers of God, I love the non believers too. Even in them, I see the presence of the ‘Omnipresent’. 

But I feel sorry for the radical thinkers in all religions who have misunderstood the fundamentals of their religions. Among Saivites too, there are these radical thinkers. Instead of establishing unity in diversity with the help of love, they try to establish diversity in unity with the help of hatred. 

As I am not blind to see and deaf to hear such things practised in the past and are being practised in the present, I can’t be without saying anything about it. So, don’t categorize me into any other radical section that radicalizes their beliefs. As I believe in Advaita and as I see the presence of Omnipresent in everyone and in everything, if any of my words and deeds hurt you, it is incidental not intentional. If we try to please all, we will please none. Our pleasing one will definitely un please another. 'To err is human, to forgive is divine'. So, bear with me, please.

I have two blogs. ‘Thillaiakathu Chronicles’ https://thillaiakathuchronicles.blogspot.com 

and ‘Thillaiakathu Literary Gazebo’ 

https://thulasithillaiakathu.blogspot.com.  

‘Thillaiakathu Chronicles’ is a Tamil Blog where I share my experiences and opinions in the form of stories and articles. ‘Thillaiakathu Literary Gazebo’ is an English blog which is for the students of English Literature and for those are interested in literature. Many of my translated Tamil stories and articles are also there. 

Apart from these, I have a YouTube channel -https://youtube.com/@MrThulasidharan-Thillaiakathu. 

There, I have eight short films, which are of near around thirty minutes each. Among the eight, three are with contemporary incidents and experiences - 'Parole', 'Parotta Karthik', 'Vivekanandam'  where as the five are based on the historical incidents - 'Sravan The Great', 'Mahamudi The Great', 'Carpenter The Great', 'Poet The Great', 'Saint The Great'. Apart from these there are videos meant for improving English Language - Proficiency in English Language with explanations in Malayalam and Tamil, for meeting University examinations, travel videos, videos on birds, and videos on various subjects. 

Then two books I have written. One in English named ===> ‘How to analyze a visualized drama and achieve English Proficiency’ (Available in this Link) <===. Another book is a novel in Tamil ‘Kaalam Seitha Kolamadi’ காலம் செய்த கோலமடி available in ===> Amazon <===

Having got my retirement as a vocational Higher Secondary School teacher, now, working at SVPK Arts and Science College, Palemad as Asst. Prof. in English since 2018.

As we live in a digital and speedy world, I think it’s better to give a brief about me. It is good to say something about us instead of being said by others. Otherwise, you many sometimes have a question in your mind, ‘Who the hell is he?’ or who the hell are you to talk like this?’

----Thulasidharan

EARLY HISTORY OF MALABAR – WILLIAM LOGAN

 

William Logan (1841-1914) was the collector of Malabar under the British administration. He is remembered for his ‘Malabar Manual’, a guide to the Malabar district that was published in two volumes in 1187. The book has four chapters – province, people, history and land, with several subsections. This portion of ‘Malabar Manual’, describes the journey of Vasco da Gama to Kerala and his association with the Zamorins, the ruler of the kingdom of Kozhikkode. This journey is historically very important because there began colonial mercantilism and subsequent colonization.

Vaco da Gama started his journey from Belem near Lisbon on 25th March 1497 in three vessels namely, San Raphael, San Gabriel and Miguel. Each ship carried eighty men, officers, seamen and servants. After five months, their fleet arrived at St. Helena Bay in South Africa. After staying at many places and after dismantling San Miguel, they reached Melinde on 29th April 1498. They stayed there for three months. The king of Melinde gave them pilots and a broker to help them in trade. He also advised to sail for Capocate (Calicut) instead of Cambay (Khambhat-Gujarat). They left Melinde on 6th August 1498 and sighted the coast of Malabar on 26th August 1498. Then the two ships anchored near Pantalayani, Kollam.

The arrival of Portuguese aroused jealousy in the Moors or Muhammadans. There were three persons in authority under the Zamorin – The overseer of the treasury, the King’s Justice, and the Chief Officer of the palace guard. The Moors bribed both the overseer and the King’s Justice to obstruct the Portuguese. However, Nicholas Coelho, who had commanded San Miguel, got the sanction of the king, written on a palm leaf, for opening trade. Then Gama met the King. The King was a very dark man, half naked, clothed from the middle to the knees. He had a bracelet above the elbow, studded with rich jewels. Round his neck he wore a string of pearls and gold chains studded with rubies and emerald. His long hair gathered up and tied on the top with a knot. That too had a string of pearl around it.

On both sides of the king, there were two page boys. One had a shield and a sword. The other had a gold cup with a wide rim into which the king spat. There was a Chief Brahman who gave a folded green leaf every now and then, which the King ate and spat into the cup. This is how the king is portrayed in the manual. However, Vasco da Gama remained standing during the interview with the King. The King allowed the Portuguese to erect a factory on shore for trading purpose. But the Moors bribed the Chief Officer of the palace guard. He took Gama in a palanquin for a second interview. Gama was then taken to different places and the Chief Officer tried to discourage the Portuguese. But the Portuguese overcame everything with their patience. Later they become the rulers of India.

----Thulasidharan V

Myth and Literature – M. T. Vasudevan Nair (1933---)

 

M.T. Vasudevan Nair, a novelist, short story writer, screen play writer, film director, critic and editor is a prolific and versatile writer. His works depicted the problems of human life with keen social perception. He was awarded Padmabhushan, Kerala Jyoti and he has won Kendra and Kerala Sahithya Awards. He has directed seven films and written screen plays for 54 films. When he delivered a speech at Sahithya Academy, in 1995, he talked about the ways in which Malayalam literature has been influenced by myth, folk lore and legends.

M. V. Vasudevan Nair is of the opinion that literature has always been affected by the history, geography, myths and the provincial wisdom of the places of its origin. Ramayana and Mahabharata have a pan-Indian influence. “Aithihyamala” is the most sold book in Kerala, which is a compilation of regional legends. The genesis of Kerala itself is linked to a myth. Parasuraman decided to get absolved himself of the sins of committing kshatriya murders. So, he donated all his property to Kasyapa Muni. When the muni reminded him that he doesn’t have an inch of land as his own, Parasuraman hurled his axe into the sea, standing on Mount Gokarna. The sea retreated and gave up a piece of land that came to be know as Kerala. This myth has been the raw material for many poets in Kerala. When Balamaniamma connects the axe with sacrifice, Vyloppilli Sreedhara Menon salutes the axe that was with the early migrant societies to pierce the depth of forests.

Though Kerala is a coastal area, our lieterature don’t have much sea related legends in it. In the novel “Chemmeen”, “Kadalamma”, the sea goddess, expects the women folk to live a taint-less life, while their men are toiling in the sea. Many criticized this novel and the film for upholding superstitions. But, the late C. Rajagopalachari justified the superstition saying, “What harm could come out of it, if the women of a remote locality continue being chaste believing in an old legend?”

Prominent Malayalam story writers of thirties and forties were under the sway of the concept of class struggles. But, the lives of our ancient writers are actually linked to several myths and legends. Ezhuthachan, the father of Malayalam language is the reincarnation of a ‘Gandharvan’ (an ethereal spirit). Similarly stories of divine and supernatural interventions are there in the lives of the Poonthanam Namboothiri and Melpathur Narayana Bhattathiri.

However, in our modernist literature of O.V. Vijayan, Kovilan, Punnathil Kunhabdulla, N. P. Muhammed and M. Mukundan, regional folk tales are used with the status of parables and allegories. Moreover, young novelists like K.P. Ramanunni and T.K. Kochubava recreate the folk tales for contemporary times. They consider the myths and legends not as fabrications but as imaginary possibilities. Apart from this, they rediscover the past and blend it with the present as they echo our culture and civilization.

----Thulasidharan V 

Rain-at-Night – Sugatha Kumari (1934-2020)

 

Sugatha Kumari (1934-2020), an illustrious poet and social activist, won numerous awards and recognitions including Kerala Sahitya Academy award, Sahitya Academy Award and Padma Shri. She was the founder secretary of Prakrithi Samarakshana Samithi, an organization for the protection of nature and of Abhaya, a centre for destitute women. In Rain-at-Night (Rathrimazha) Sugatha Kumari not only addresses the rain as a comforting acquaintance but also identifies herself with the rain. It is a romantic poem juxtaposing a sudden downpour with the confinement of the poet in a sanatorium bed.

The poem begins with the weeping laughing and whimpering of the rain-at-night, who is referred to as the pensive daughter of the dusky dark. She is gliding slowly like a long wail into the hospital, where the narrator is admitted. She extends her cold fingers through the window and touches the narrator, who is in her sick bed, when the poet puts her hand to her ears, on her hearing the anguished cry of a mother. The rain at night comforts her. As the narrator has a diseased heart it can’t be cut and removed as other parts of her body. It should only be healed like this.

Rain-at-night, thus witnesses the narrator’s love and grief and lulls her to sleep. So, it becomes an auspicious night to the narrator, who is thrilled with joy. Actually, before the arrival of the rain-at-night the narrator had sleepless hours and was about to freeze into a stone. It gave more joy than the bright moonlight did.

Then the narrator says that she knows the kind and sad music of the night rain, her pity and suppressed rage, her coming in the night, her sobbing and weeping when all alone. And when it is dawn, she wipes her face and forces a smile. Then she hurries to do her routine work as the narrator does. As the narrator is also like the night rain, she knows all of these of the night rain. Thus, the narrator identifies herself with the rain-at-night. The different emotional status of the night rain are similar to the shifting moods of the narrator. That’s why she says at the end, ‘My friend, I too am like you’.

As the emotions of the narrator are expressed effectively in an imaginative and beautiful way and as it reflects a lament for the suffering sick, this poem is considered a fine lyrical elegy.

----Thulasidharan V

FIFTY YEARS OF MALAYALAM CINEMA - V. C. Harris (1958-2017)

 

 

V. C. Harris (1958-2017) was a teacher, thinker, critic, theatre personality and translator.  “Ezhuthum Parachilum” and “Spectres of writing” are the books authored by him.  Here, he traces the history of fifty years of Malayalam cinema beginning with Neelakkuyil (1954) and ending with “Padam Onnu Oru Vilapam” (2003).  According to him, the optimism of the 1950s changed into discontent and disillusionment in the 1960s.  The cinemas of 1970s and 1980s reflected the impacts of modernism and National emergency.  But the films of 1990s didn’t reflect the political and cultural turbulent  situation that had been there, then. However, the music in films has effectively constructed for all the people public sphere for their past and future.

As Kerala has a different socio-political history from the rest of India, it has a distinct film making tradition.  In 1940s and 1950s, the processes of artistic productions in cinema were determined by issues like caste inequality, class consciousness, nationalism and progress.  So, optimism and enthusiasm that existed then was found in “Neelakkuyil” (1954), jointly directed by P. Bhaskaran and Ramukariat.  As many ingredients like a local story, a modern secular subject and fine music were fused into it, it is still considered to be a land mark film in Malayalam.  A decade later, another similar film “Chemmeen” (1965) by Ramukariat that focused on the local culture and mythology of fishing community in Kerala, created another landmark.

The new cinema that emerged in the early 1970s, led by Adoor Gopalakirshnan, G. Aravindan and John Abraham was dubbed as “Art Cinema”.  It was a response to the shifting grounds of politics and aesthetics.  “Swayamvaram” (1972) by Adoor Gopala Krishnan was the inaugural film of this type.  In a slightly different but related way, “Thampu” (1978) by G. Aravindan came next and showed a village community facing the modernity represented by the coming of a circus troupe.  The questioning of religious practices by secularization and modernization was portrayed in M. T. Vasudevan Nair’s “Nirmalyam” (1973).  As National emergency was declared in 1975, all political and civil rights were curtailed.  As a few politicians, government functionaries and the police had all the power, people were disillusioned at this time. Though this period produced a crop of films, of which “Amma Ariyan” (John Abraham, 1986) is a remarkable example of this period. It is an important document on the rise and fall of the revolutionary spirit in contemporary Kerala.

In 1990s the liberalization, privatization and globalization began to play a crucial role.  So, this period began to articulate the concerns of women, the dalits and the adhivasis.  There have been attempts to refine the form and content of the cinema.  Shaji N Karun’s “Vanaprastham, the last dance”, (1999) portrayed an illicit relationship between a kathakali dancer and a young woman from an upper caste family resulted in an illegitimate child.  T.V. Chandran’s “Padam Onnu Oru Vilapam (2003) effectively redefined the subject of art in the light of shifting societal perceptions.  Apart from all these, the film music addressed all the sections of the society, created a public sphere, a space where all kinds of people can come together and share a common experience and chart out a common agenda for life today and tomorrow.

----Thulasidharan V

PICTURES DRAWN ON WATER - K.Sachidanandan

 

K. Sachidanandan (1946-) is a bilingual poet, critic, playwright, editor, translator, and fiction writer.  Having got his voluntary retirement from Christ College, Sachidanandan became the editor of Indian literature, the English Journal of the Sahitya Academy.  Currently, he is the president of Kerala Sahitya Academy and lives in Thrissur.  He is of the opinion that he translates poems from other languages to Malayalam and vice versa to enrich Malayalam literature, train his poetic skills and test the strength of his mother tongue.

‘Pictures Drawn on Water’ is a poem in five parts written in the wake of the great flood in Kerala in 2018.  It shows the different phases of the deluge.  It visualizes how a normal monsoon turned into a fierce deluge, all of a sudden.  It also comments on the courage and resilience shown by the people on their facing a tragedy.  Apart from these, it reminds something that we lost which now resides in the memory of slush left behind by water.  It is actually a translated one from Malayalam by the poet.

“As we look on” is the very first part of the poem. Here, like a long-known neighbour, the flood comes into the house, eats, and has a siesta and then forces the residents to leave the house. The water tells the awe-struck people of the house that there is nowhere else to go.  Here, the ruthless behaviour of human beings who encroached the river’s territory by blocking its usual paths into the sea is implied.  In ‘The Boat’, a sick mother, a pregnant daughter and a son who looks after all at home, are shown.  The three quarrel among themselves for the other to climb in the rescue boat which has space left only for one.  Tragedy makes human beings selfless and death fearless.  In ‘the cat’ we see an abandoned cat that wonders on seeing the fish that tickling him and laughing at him.  Here, the poet says that when there is no branch or wall to climb upon even a cat becomes a philosopher.

In ‘Slate’ we see a slate that sits under the water in the vacant house.  It remembers the words and sketches scrawled on its grey surface by tiny hands.  It also dreams to create a new universe within its four wooden frames and thus became a part of the earth and of infinity.  In ‘Slush’ we find the slush gathered in the house after the flood with the obscure memories of fields, pond and lily and blue flowers in the harvested fields, the flower collecting children, yellow butterflies, the ploughing bulls, seeds sowing dark hands.  Through these memories of ‘The Slush’, the poet says that the things that we had lost now reside in the memory of the slush left behind by the flood.  Thus the poet has effectively used the deluge as a metaphor for social and ecological concerns in the poem.

According to the poet it was the people who forced the flood to encroach their territory by blocking its usual path into the sea. However the flood makes human beings resilient. They have also realized that the earth is not belonged to them but they belonged to the earth. Thus the poem presents flood in a favorable light.

----Thulasidharan V