|
In
theory they tried to draw upon literature in other languages:
Balakrishana Pillai and Mundasseri mostly upon European
literature, including Russian, while Marar was mainly
confined to and contented with vedic and classical Sanskrit
literature. Balakrishna Pillai wrote elaborate studies
of the selected lyrics of Edappalli Raghavan Pillai,
Changampuzha Krishna Pillai, G.Sankara Kurup, Kedamangalam
Pappukkuty and works like Kerla Varma's Mayurasandesam
and Thakazhi's Thalayode (Skull). He was widely
read in European literature, French, Russian, Italian
etc., and often quoted from or referred to works in
these languages for comparison and contrast with contemporary
Malayalam literature. He was in a way responsible for
the cultivation of the exotic in Malayalam literature.
His obsession with theoretical aspects of literary schools
and movements, with archaeology and ancient history,
with myth and psycholanalysis and with literary genres
and formalist criticism helped fertilize the otherwise
barren ground of literary criticism in Malayalam. At
time he seemed to indulge in over-simplification and
categorization, but even then he did help readers to
look for specific elements in literary works. He was
mainly responsible for the modernization of literary
taste in Malayalam. Respect for contemporary classics
seems to have been his watchword.
Joseph
Mundasseri began his career as a critic by looking for
a means of synthesizing Indian poetic with the insights
of Western literary criticism. He was able to set forth
some of these views in his early work Kavya Peetika.
He applied these to the works of Kumaran Asan and tried
to identify the elements of greatness in Asan's work.
Thus, like Balakrishna Pillai, he was also bent upon
interpretting and highlighting contemporary classics.
His essays in Manadandam, show his interest in
ancient classics like Kalidasa's Meghadoot. His
controversial theory about Roopabhadrata - formal
excellence - showed that he was not evaluating a work
of art solely on the basis of the proclaimed aims of
a writer. But he saw the artist fundamentally as a spokesman
of his age. This established his position as the chief
architect of the theory of progressive literature in
the 1940's. He was ably supported by a host of other
critics like M.S.Devadas, S.Guptan Nair and K.Damodaran.
Mundasseri demonstrated the usefulness of the comparative
method even in contemporary studies in Mattoli
(Echo), although his conclusions were not always logical.
He tried his hand occasionally at fiction, but his place
in literature is basically that of a critic. He was
master of a sonorous kind of prose, full of Sanskritisms
and involved construction showing the influence of English
syntax. He used this style to defend proletarian writing
which employs the opposite kind of style.
Exactly
opposed to the stand of Mundasseri was that of Kuttikrishna
Marar, a champion of Indian classics and the values
of classical criticism. He started his career an an
interpreter-commentator of the works of Vallathol, but
soon emerged into the arena fully armed to defend values
which seemed to be threatened with extinction under
the onslaughts of the progressivists. His eleborate
critical study of Mahabharata from the point of view
of a dedicated and enlightened classicist (Bharataparyatanam),
his open avowal that critical impartiality is a misconception
where values are at stake, his advocacy of art of life
itself, as against art for life's sake, his wonderful
penetration into the fundamental principles of spiritual
and moral elements in literature enabled him to establish
his position as a major critic although he did not know
English well and did not have the benefits of western
education.
As
sober as Marar, but with all the erudition of A.Balakrishna
Pillai and the social commitment of Mundasseri was M.P.Paul
who however did not live long enough to do justice to
his talents. His studies of literary genres, especially
the short story and the novel, had a tremendous impact
not only on critics, but on the novelists themselves.
His attempt to study aesthetics as fundamental to the
practice of literary criticism shows the influence of
his English education. He had an easy, unaffected kind
of middle style at his command, a prose free from the
mannerisms of Mundasseri and the obscurantism of Balakrishna
Pillai.
A
number of essayists had contributed to the growth of
prose and literary criticism in the forties and fifties.
K.R.Krishan Pillai , R.Narayana Panikkar, P.Sankaran
Nambiar, Sooranad Kunjan Pillai, Govindankutty Nair,
Kainikkara Kumara Pillai and A.D.Harisarma are only
a few of them. Among the writers of biographical and
critical studies may be mentioned P.K.Paremeswaran Nair
(Sahitya Panchanan, C.V. Raman Pillai), K.M.George
(Sadhu Kochuoonju, Jeevacharita Sahityam), K.Bhaskaran
Nair (Daivaneetikku Dakshinyam IIIa), N.Krishna
Pillai (Thiranjedutha Prabandhangal) and P.K.Balakrishanan
(Narayana Guru, Tippu Sultan and Chandu Menon
- A Study). Among the travelogues are K.P.Kesava
Menon's Bilathivisesham and numerous volumes
by S.K.Pottekkat. There have been many great masters
of humour; the most important of them are E.V.Krishna
Pillai (1895-1938) and M.R.Nair (Sanjayan, 1903-1944).
Among their followers are N.P.Chellappan Nair and P.K.Rajaraja
Varma. The most important autobiographies in the language
include those of P.K.Narayana Pillai (Smaranamandalam:
1938), E.V.Krishna Pillai (Jeevithasmaranakal:
1941), K.M.Panikkar (Atmakatha: 1953), K.P.Kesava
Menon (Kazhinja Kalam), Mundasseri (Kozhinja
Ilakal) and C.Kesavan (Jeevithasamaram).
The
informal essay has been enriched by the writings of
E.V.Krishna Pillai (Chiriyum Chintayum in 2 parts:
1936), which are marked by satire. Sanjayan wrote social
satire both in prose and in verse. The light essay has
had a number of practitioners but they are mostly scattered
in various periodicals. The tradition of Cherrusseri
and Kunchan Nambiar have been kept up by prose writers
in our time. The literature of research has grown immensely,
during the period. Among the histories of literature,
the gratest monuments is Ulloor's Kerala Sahitya
Charitram which is a compendium of the history of
Sanskrit literature in Kerala too. Dictionaries like
Sreekanteswaram Padmanabha Pillai's monumental Sabdataravali
have been followed by other more diversified ones.
Books on science and technology and on different aspects
of Gandhism and Marx have come out in recent times.
Journalism
is a flourishing field and weeklies like Mathrubhumi
and Malayalarajyam and monthlies like Mangalodayam
used to cater to the tastes of the young as well as
the older generation of both readers and writers. The
fifties began as a period of controversies set afloat
by the progressive movement and its politicalization.
Writers were often urged to take sides, and it was argued
that not taking side at all was itself taking a certain
side. But amidst the din and noise of the polemics and
the splash of slogans and catchwrods and stereotyped
formulas, it seems that efforts were being made somewhere
for a powerful take-off after the fifties.
Njanapeet Award
| 1965 |
G.Sankara Kurup |
. |
| 1980 |
S.K.Pottakkad
|
. |
| 1984 |
Thakazhi Sivasankara Pillai |
. |
| 1995 |
M.T.Vasudevan Nair |
. |
Vayalar
Ramavarmma Award
| Year |
Name |
Name
of Book |
| 1977 |
Lalithambika
Antherjanam |
Agnisakshi |
| 1978 |
P.K.Balakrishnan
|
Ini
jnan Urangatte |
| 1979 |
Malayattoor
Ramakrishnan |
Yanthram |
| 1980 |
Thakazhi
Sivasankara Pillai |
Kayar |
| 1981 |
Viloppilli
Sreedhara Menon |
Makarakoythu |
| 1982 |
O.N.V.Kurup
|
Uppu |
| 1983 |
M.K.Menon
(Vilasini) |
Avakasikal |
| 1984 |
Sugathakumari
|
Ambalamoni |
| 1985 |
M.T.Vasudevan
Nair |
Randamoozham |
| 1986 |
N.N.Kakkadu
|
Sabhalameeyathra |
| 1987 |
Prof.N.Krishna
Pillai |
Prathipathram
Bhashanabhedam |
| 1988 |
Thirunellur
Karunakaran |
Thirunellur
Karunakarante Kavithakal |
| 1989 |
Sukumar
Azhikkod |
Thathwamasi |
| 1990 |
C.Radhakrishnan
|
Munpe
Parakkunna Pakshikal |
| 1991 |
O.V.Vijayan
|
Gurusagaram |
| 1992 |
Prof.M.K.Sanu
|
Changambuzha-Nakshathrangalude
Snehabhajanam |
| 1993 |
Anand
|
Marubhoomikal
Undakunnathu |
| 1994 |
K.Surendran
|
Guru |
| 1995 |
Thikkodiyan |
Arangau Kanatha Nadan |
| 1996 |
Perumbadavam
Sridharan |
Oru
Sangheerthanam Pole |
| 1997 |
Madhavikutty
|
Neermathalam
Pootha Kalam |
| 1998 |
S.Guptan
Nair |
Srishtiyum
Srashtavum |
| 1999 |
Kovilan
|
Thattakam |
Odakkuzhal
Award
| 1982 |
Sugathakumari
|
Ambalamani |
| 1983 |
VishnuNarayanan
Nambudiri |
Mukhamevide |
| 1984 |
G.Kumarapilla
|
Sapthaswaram |
| 1985 |
Kadavanadu
Kuttikrishnan |
Kalimuttam |
| 1986 |
Usafali
Kecheri |
Kecheripuzha |
| 1987 |
Olappamanna
|
Nizhalana |
| 1988 |
M.P.Sankunni
Nair |
Chathravum
Chamaravum |
| 1990 |
P.Narayana
Kurup |
Nisagandhi |
| 1993 |
M.T.Vasudevan
Nair |
Vanaprastham |
| 1994 |
N.S.Madhavan
|
Higwitta |
| 1995 |
T.Padmanabhan
|
Kadal |
| 1996 |
Anand
|
Govardhanante
Yathrakal |
| 1997 |
M.P.Virendra
Kumar |
Athmavilekkoru
Theerthayathra |
| 1998 |
Chandramathi
|
Raindeer |
Vallathol
Award
| Year |
Name |
| 1991 |
Pala
Narayanan Nair |
| 1992 |
Sooranadu Kunhan Pillai |
| 1993 |
Balamaniyamma, Vaikom Muhammad Basheer |
| 1994 |
Ponkunnam Varkey |
| 1995 |
M.P.Appan |
| 1996 |
Thakazhi
Sivasankara Pillai |
| 1997 |
Akkitham Achuthan Nambudiri |
| 1998 |
Dr.K.M.George |
| 1999 |
S.Guptan
Nair |
| 2000 |
P.Bhaskaran |
Ezhuthachan
Award
| 1993 |
Sooranadu
Kunhan Pillaiaskaran |
| 1994 |
Thakazhi Sivasankara Pillai |
| 1995 |
Balamaniamma |
| 1996 |
Dr.K.M.George |
| 1997 |
Ponkunnam Varkey |
| 1998 |
M.P.Appan |
| 1999 |
K.P.Narayana Pisharadi |
Lalithambika
Antharjanam Award
| 1992 |
Vaikkom Muhammad Basheer |
| 1993 |
Balamaniamma |
| 1994 |
Sukumar Azhikkod |
| 1995 |
S.Guptan Nair |
| 1996 |
Akkitham |
| 1997 |
N.P.Muhammad |
| 1998 |
T.Padmanabhan |
| 1999 |
M.Leelavathi |
| 2000 |
K.T.Muhammad |
Muttathu
VarkeyAward
| 1992 |
O.V.Vijayan |
| 1993 |
Basheer |
| 1994 |
M.T.Vasudevan Nair |
| 1995 |
Kovilan |
| 1996 |
Kakkanadan |
| 1997 |
V.K.N |
| 1998 |
M.Mukundan
|
| 1999 |
Punathil
Kunjabdulla |
| 2000 |
Anand |
KENDRA
SAHITYA ACADEMY AWARDS (MALAYALAM)
| Name
|
Books |
Year |
| R.Narayanappanikkar |
Bhashacharitram
|
1955 |
| I.C.Chacko
|
Paananeeya
Pradyoditham |
1956 |
| Thakazhi
Sivasankara Pillai |
Chemmeen
|
1957 |
| K.P.Kesava
Menon |
Kazhinjakalam
|
1958 |
| P.C.Kuttikrishnan
|
Sundarikalum
Sundaranmarum |
1960 |
| G.Sankara
Kurup |
Viswadarshanam |
1963 |
| P.Kesava
Dev |
Ayalkkar
|
1964 |
| Balamaniamma
|
Muthassi
|
1965 |
| Kuttikrishna
Marar |
Kala Jeevitham Thanne |
1966 |
| P.Kunhiraman
Nair |
Thamarathoni
|
1967 |
| Idasseri
Govindan Nair |
Kavile
Pattu |
1969 |
| M.T.Vasudevan
Nair |
Kaalam
|
1971 |
| Viloppilli
Sreedhara Menon |
Vida |
1971 |
| S.K.Pottakkad
|
Oru
Desathinte Kadha |
1972 |
| Akkitham
Achuthan Nambodiri |
Balidarsanam
|
1973 |
| Vennikkulam
Gopala Kurup |
Kaamasurabhi
|
1974 |
| O.N.V.Kurup
|
Aksharam
|
1975 |
| Cherukaadu
|
Jeevithappatha
|
1976 |
| Lalithambika
Antharjanam |
Agnisaakshi
|
1977 |
| Sugathakumari |
Raatrimazha |
1978 |
| N.V.Krishna
Warrier |
Vallatholinte Kavyasilpam |
1979 |
| Dr.Punathil
Kunjabdulla |
Smarakasilakal
|
1980 |
| Vilasini
|
Avakasikal
|
1981 |
| V.K.N |
Payyankathakal |
1982 |
| Prof.S.Guptan
Nair |
Theranjedutha
Prabandhangal |
1983 |
| Dr.K.Ayyappa
Panikkar |
Ayyappapanikkarude
Kavithakal |
1984 |
| Dr.Sukumar
Azhikkod |
Thathwamasi |
1985 |
| Kamaladas
|
Theranjedutha
Kavithakal (Eng.) |
1985 |
| Dr.M.Leelavathi
|
Kavithadhwani
|
1986 |
| Prof.N.Krishna
Pillai |
Prathipaathram
Bhashana Bhedam |
1987 |
| C.Radhakrishnan
|
Spandamapinikale
Nandi |
1988 |
| Olappamanna
|
Nizhalana
|
1989 |
| O.V.Vijayan |
Gurusaagaram |
1990 |
| M.P.Sankunni
Nair |
Chathravum Chamaravum |
1991 |
| M.Mukundan
|
Daivathinte
Vikrithikal |
1992 |
| N.P.Muhammad
|
Daivathinte
Kannu |
1993 |
| Vishnu
Narayanan Nampudiri |
Raappakalukal
|
1994 |
| Thikkodiyan
|
Arangukanaatha
Nadan |
1995 |
| T.Padmanabhan
|
Gowri |
1996 |
| Anand
|
Govardhanante
Yaathrakal |
1997 |
| Kovilan
|
Thattakam
|
1998 |
| C.V.Sreeraman
|
Sreeramante
Kadhakal |
1999 |
|