There is little place for the old history of
Malayalam literature in this bird’s eye view. Yet, to have a proper perspective
of the Renaissance, a short review of the past is necessary.
Malayalam was bred in the cradle of Dravidian
languages. While still a baby she lisped simple folk songs most of which are
now forgotten. Of late, a few enterprising literary men have published
collections of those old ballads now available. This publication has inspired
many young poets today to open new and refreshing fields of ballad poetry.
Malayalam became independent and assumed a noble
status of her own, only after her association with Sanskrit. This opens the
second epoch in the history of Malayalam literature. A number of great poets
came to the forefront during this period. Among them, Thunjath Ramanujan
Eruthachan occupies a unique position. His place in Malayalam is similar to
that of Tulasidas in Hindi. Works of great merit like ‘Ramayana’ and ‘Bharata’
emanated from his gifted pen; and people of Kerala read them even today with
profound devotion. His works are read not only for literary enjoyment, but also
for spiritual elevation. Great poets like Cherusseri, Kunjan Nambiyar, Unnayi
Warrier and Erayimman Tampi, whose names will be remembered as long as the
language lasts, adorned this period. They belonged to the classic group of
literary men. Elaborate descriptions in keeping with the learned traditions of
Sanskrit literature, a style dignified and majestic, or simple and sweet,
according to the theme and emotion, brilliant figures of speech and great
devotional exuberance were some of the characteristics of these classical
authors; and their works present a sight as grand and delightful as the tropical
forest in colourful bloom. The fact that during this period no attempt was made
in Malayalam to imitate Sanskrit dramas is proof of the artistic peculiarity
and independence of the people of Kerala. Chakkyar Koothu, Ottanthullal and
Kathakali were developed in the place of dramas. These three branches of native
histrionic art were connected with well-defined literary forms. Chakkyar Koothu
had behind it the grand flow of the ‘Champus’. Kunjan Nambiyar was the father
of Ottanthullal. He created an unrivalled literature of humour and grace
wellknown as “Thullal Kathakal.” Kathakali as a dance of classic grandeur is
today known throughout India. But those who do not know Malayalam cannot
appreciate the singular beauty and majesty of the literature that forms its
background.
The third period in Malayalam literature begins
with its association with English. The beginning of this period was
characterised by a literary sterility, and for adequate reasons. Political
bondage and a slavish craze for the rulers’ language and manners produced an
all-round cultural frustration. It became distasteful not only to study the
mother tongue, but also to speak it. In schools English replaced Malayalam.
Degrees of English Universities became the measuring rod of intellectual
attainments, scholarship and culture. Political, economic and spiritual
degradation reached its lowest depths during this period and literature
reflected this sorry plight. Art is the sublimation of the creative faculties
of man. Slavish imitation cannot become the motive force for the creation of
sublime and living art. Therefore, during this period, even as in other
languages of India, the creative activities of the human mind were brought to a
stand-still in Malayalam. The works that were reduced at this time were or
little literary value. Now, as then, nobody cares to read them.
A change in this pitiable state came when the
resurgence of our national spirit created a new awakening among the people.
When the Congress under Gandhiji’s leadership gave the clarion call for
freedom’s struggle and when different items of the constructive programme
pumped fresh blood into our veins, a new life surged up in the country and an
unparalled renaissance was witnessed in the literary field.
Among the literary men who created the background
for the revolution, Kerala Varma Valia Koil Tampuran and his nephew Raja Raja
Varma Koil Tampuran stand prominent. Their efforts in creating a love for the
mother tongue among educated men deserve special mention. The renaissance in
Malayalam took many forms. Young poets broke open fresh paths of progress.
Sanskrit metres were abandoned in favour of old Dravidian metres. Irrepressible
thirst for independence and uncompromising hostility to untouchability and
other injustices echoed in thrilling lyrics. Vallathol, Kumaran Asan and Ulloor
became the leaders of this new movement. They too used Puranic stories for the
exposition of their ideas. But their treatment was different. They interpreted
the noble ideals of ancient India in accordance with the spirit of the age. It
is not possible now to attempt even a brief appreciation of the magnificent
works of these masters. Vallathol’s poem on Mahatma Gandhi entitled “My
Teacher” is a work of exceeding grace and national appeal. Few poets can excel
the beauty of Vallathol’s diction. He is the author of many an inspiring
national song. His “Salutation to the Mother,” a song written in homage to
Kerala, shows Vallathol at his best in this line of poesy–not only the natural
beauty of the motherland but also the terrible hunger and poverty that ravage
her, touched his heart and verses of burning patriotism flowed from it.
“Kumaran Asan, another luminary of this
constellation, is the first great lyric poet of Kerala. His poem, “The Fallen
Flower,” stands supreme among the lyrics of Malayalam Literature. He had
personally suffered the injustices and humiliations of the caste system and no
other poet in Malayalam has depicted the evils of this system with such depth
of feeling as he. The disabilities of untouchability have on occasions driven
this sensitive soul to the very verge of despair. But his firm grounding in the
spiritual truths of our culture helped him to steer clear of this abyss and
created in him a healthy optimism. His poems are eminent thought-provoking.
They look deep into the mysteries of human life and reveal fundamental
realities.
Ulloor has the characteristics of the classical
authors. His works are noble examples of the new spirit that has blossomed,
with this awakening. Poets like Nalappat Narayana Menon and Kutipuram Kesavan
Nair stand beside these masters in the vanguard of this movement.
Their literary efforts have heralded the season of
spring in the garden of Malayalam literature. Creepers and plants in buds and
blossoms enhance the beauty of this garden. The new spirit sponsored by the
above mentioned pioneers spread fast to the younger generation.
Though a great deal could be said about the work of
the younger poets, only a brief survey is attempted here. Generally speaking,
they are specialising in lyrical poems, and may be classified into two broad
groups. The first group is animated by a feeling of healthy optimism. Their
poems give an impetus for progress. The second group cultivates a pessimistic
outlook on life. They may be termed as defeatists. Their works show neither
vital force nor robust individuality. They are afflicted by the injustices of
the present social order. But this agony does not impel them to action.
Instead, it drags them to the depths of despair, with the result that they weep
and complain most piteously. In suicide they see a means of escape and a final
release from worldly ills. There are many gifted young poets in this group.
But, as a rule, they keep away from the invigorating current of the renaissance.
Changapuzha Krishna Pillai is the leader of this defeatist school.
In the group of the optimists, on the other hand,
there are a number of first-rate poets. Some of them, especially G. Sankara
Kurup, P. Kunhiraman Nair and Balamani Amma have risen to great heights. I am
mentioning the names of only these three, because Malayalam literature has
reason to be proud of their achievements. The poems of Kurup are deep and
superficial reader many not grasp their full import even though he may be enchanted
by their dexterous diction.
Kunhiraman Nair is gifted with an astounding
imagination. His cultured and delicate pen has drawn many a soul-stirring
picture of the natural beauty of Kerala and its unsophisticated village life.
Balamani Amma is the songstress of domestic life.
In this field there is none to beat her. The noble ideals that should guide a
happy home and the sweetness and charm of married life are reflected in her
poems.
Let us now turn to prose. This branch of literature
has not shown any luxuriant growth which we witnessed in the case of poetry and
there is a reason for it. Prose in its present form developed only as a result
of the influence of English literature. Therefore, unlike poetry, it does not
have the advantages and inspiration of a glorious past. Except for the works of
C. V. Raman Pillai and O. Chandu Menon, Malayalam can boast of very few
original novels of distinction. Similar is the case with prose dramas. But a
number of first-rate novels and dramas from other languages, both foreign and
Indian, have been translated into Malayalam. Of late a few talented authors
have begun to write interesting and useful essays and books on scientific
subjects. K. Bhaskaran Nair is by far the best among them. Malayalam has also
produced many short story writers. Some of them show admirable originality and
talent. S. K. Pottekkat tops the list of rising short story writers.
Malayalees are lovers of fun and frolic. They have
an intense capacity to enjoy a joke, even at their own expense. It is,
therefore, no wonder that Malayalam literature contains many brilliant works of
humour, ridicule and satire. In the period under review, Kesari, E. V. Krishna
Pillai, and Sanjayan deserve special mention. Sanjayan is perhaps the greatest
humourist of the renaissance. His deep scholarship and culture lend a delicacy
to the most piercing of his rapier thrusts. He had the capacity to lead people
through laughter to the highest pitch of patriotism. His untimely death is an
irreparable loss to the Malayalam language and the national movement in Kerala.
One of his last contributions was an attack on the alleged molestation of women
by Australian solders at Cochin. It was published in the “Mathrubhumi.” The
attack was bitter and yet in his usual grace of style and the government unable
to bring the writer or the paper to a court of law, chose to order the closing
down of the paper.
The latest development in Malayalam is the movement
started by a group of young men styling themselves “Progressive Writers.” As an
endeavour to bring literature closer to the lives of the common man and to
emphasize the propaganda aspect of literature, this movement has great
potentialities. But most of the so-called progressive writers of Kerala are
producing only worthless stuff and seem, in general, to be influenced by the
sterile defeatist group previously mentioned. Let us hope that this defect will
soon be remedied.