After
Nambiar
There has been a great lull in the field of literary
creation in Malayalam for nearly a century after the death of
Kunchan Nambiar. No great work of literature was produced during
this long and uneasy interregnum. There was a consistent and steady
development of prose at this time.
Several
regional versions of Keralolpathi, tracing the beginnings of
Kerala history, began to appear. Father Clement's Sankshepa
Vedartham came out in 1772. Paremmakkal Thoma Kathanar (1737-1799)
wrote the first travelogue in Malayalam, Varthamanapustakam,
(Book of News). It is perhaps the most sustained piece of prose
writing written till that date. The works of Christian missionaries
like Arnos Patiri (John Ernestus Hanksalden, 1699-17332) and
Paulinose Patire (John Philip Wesdin, 1748-1806) also led to
a widening of the range of topics and themes in Malayalam literature.
The transmission from the 18thcentury to the 19th century did
not immediately lead to any great spurt of literary activity.
The intrusion of European influence was beginning to be felt
in the national life at large. The starting of schools on the
British model and the introduction of English as a subject of
study were to have a tremendous impact in the years to come.
Maharaja Swati Thirunal (1813-1847) is a symbol of the process
of modernisation that was beginning to be set in motion at the
time. Like Kartika Tirunal Rama Varma who was not only a patron
of literature and the arts but also a distinguished writer of
attakkathas, Swathi Tirunal was both a patron and a poet-musician.
He is perhaps the most distinguished music composer of Kerala.
The foundations of modern education were laid in the former
State of Travancore during his reign. Among the great writers
at his court, the most talented was without doubt Irayimman
(Ravi Varma) Tampi (1783-1856). He is chiefly remembered today
for two things: one, a delicate and exquisite lullaby poem ("Is
it the darling baby moon") and three well-designed and
superbly composed attakkathas (Keejakavadham, Utharaswayamvaram
and Dakshayagom). Like his patron, Tampi also wrote a number
of songs to be set to music. As a writer of attakkathas Tampi
has only one formidable rival, Unnayi Warrier. His Padas are
themselves exquisite musical compositions. Tampi has an unerring
ear, and for sheer verbal felicity, his attakkathas have few
rivals. He was a master of words and melody. The famous dandaka
(long stanza) in Keechakavadham reveals Tampi's exquisite artistry
with words; it describes in graphic and dramatic terms, the
response of Draupadi to the queen who had asked her to go to
Keechaka's palace with his food:
Hearing the words of the queen
The deer-eyed one shuddered,
Her eyes turned red-she was overcome with fatigue.
She offered many excauses to her
But harsh words made her quiet.
Servitude, she thought an object of derision for all;
She lowered her eyes,
She, superior to heavenly damsels-but now
Benefit of joy
Her clothes became soiled and wet
With tears and sweat;
Her body trembling, she stood there
With the vessel in her hand
Then started walking-then stopped on the way,
She felt exhausted like a deer
That goes to the den of the enemy of all deers.
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Kilimanoor Vidwan Rajaraja Varm Koyitampuran (1812-1846
also known as Kareendran) was also at the court of Swati Tirunal.
He is chiefly remembered for his attakkatha, Ravana Vijayam, one
of the most popular of attakkathas. The roles of Ravana and Rambha
are particularly suited to the Kathakali style of presentation,
and although part of the play represents a rape, its crudity is
considerably toned down by the highly stylized gestures and movements
and the lyrical quality of the verse. In the hands of inept actors
it can lead to excessive vulgarity. Critics of attakkatha literature
will take these as signs of decadence, as a true representation
of the erotic exuberance characteristic of elitist feudal class
of the time.
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