Sangeetha Paraagam | Aspects of Carnatic Music - Brehath Sangeetha Kendram

tUm. _n. ]pjv]mIrjvW≥
Former Dean, Faculty of Fine Arts, ( Former Professor & Head)
Department of Music, University of Kerala
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SANGEETHA PARAAGAM
Published by:
Kerala Sangeethacharya Dr. B. Pushpakrishnan
Former Dean, Faculty of Fine Arts (Former Professor & Head)
Department of Music, University of Kerala
January 2020
Cover design, Lay-out & Printing
Prasad. P.G, 9447246645
Copy Right : Reserved
Price : Rs.350

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1.\mZabw {]]©w.......................................................................5
2.\mZw ]ctZhX............................................................................6
3.{ipXn................................................................................................8
4.{ipXnIƒ .................................................................9
5.kzcßƒ {ipXnIƒ .................................................................12
6.inhkzcßƒ...............................................................................14
7.kwKotXm]mk\.......................................................................15
8.kwKoXw thZØn¬.................................................................18
9.`mcXob kwKoXw.....................................................................21
10.`mcXob kwKoXhpw B≤ymﬂnIXbpw........................25
11.tIcfØnse kwKoX ]mcºcyw.......................................27
12.tkm]m\kwKoXhpw KaIhpw............................................30
13.{io tijø¶m¿ kwKoXtemIØnse am¿KZ¿in.... 32
14.{io kzmXnXncp\mƒ almcmPmhns‚
D’h {]_‘w.........................................................................36
15.cmPIpSpw_Ønse Hcp kwKoX⁄.............................39
16.BZyambn Un.en‰v _ncpZw e`n® hmt§bImc≥.......42
17.ssIcfnbpsS Ihbn{Xn..........................................................44
18.tIcfØnse Hcp DØahmt§bImc≥...........................48
19.Km\cNbnXmhmb {io sI.F≥.tKm]me]n≈...........50
20.Fw.Fkv.kp∫e£van : A\izckwKoX cXv\w.......52
21.kph¿ÆbpKØnse ]q¿ÆXmcI....................................54
22.tZhcmP≥ amÃdpsS kwKoXimkv{X {KŸw.............55
23.a[pcna Hm¿Ω°pdn∏v...............................................................57
24."kwKoXm¿∞ap' km[yXbpw {]k‡nbpw.................58
25.kwKoXhpw BtcmKyhpw..........................................................60
26.tIcf kwKoXw 60 h¿j-ßƒ ]n∂n-Sp-tºmƒ...................62
27.{]Xn`Ifnse sshhn[yßƒ:..................................................66
28.Malainadu Paadalkal.....................................................................68
29.Krishna Leela Tarangini.................................................................71
30.The Five Gems of Saint Tyagaraja.................................................73
31.A Woman Composer of Royal House of
Travancore Princess Rukmini Bai.................................................75
32.Maharaja SriSwati Tirunal- A Versatile Genius........................78
33.Kritis on Grahas.............................................................................80
34.Contributions of Muthayya Bhagavatar to Music World.............85
35.Irayimman Thampi A Musical Genious of Kerala........................88
36.Ajamila Upakhyanam....................................................................91
37.A Musical Gem of Kerala...........................................................93
38.Arat Mahotsavam at Sri Padmanabha Swamy
Temple of Thiruvananthapuram.....................................................95
39.Musical Icons of Shimoga...........................................................99
40.A Study of the Padams of Swati Thirunal..................................100
41.Role of Swarasahithya in Kritis...................................................102
42.Two Doyens of Music..................................................................106
43.The Musical Genius of Harikesanallur........................................108
44.Kadha Kalakshepam- A Sublime but Fading Art.......................111
45.Rhapsodies of 6 Decades...........................................................113
46.Prominent Women Composers of Kerala and Tamilnadu..........114
47.The Daaru Veena..........................................................................117
48.Maharaja Sri Swati Tirunal and Sesha Iyengar...........................118
49.An Australian Instrument - Ancient as well as Modern...........121
50.Brahmasree Papanasam Sivan and his Compositions..................122
51.A Comparative Study of Maharaja Sri Swati Tirunal’s
Padas And Some Tamil Padas......................................................126
52.Traditional Music of Kerala.......................................................129
53.Neelakanta Sivan - A Musical Sapphire.......................................131
54.The Group Kirtanas of Maharaja Sri Swati Tirunal.................134
55.Structure of Vocal Concert...........................................................137
tIcf kwKoXw............................................................................138
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km[n°p∂ hfsc sNdnb Hcp i_vZw D≠v, AXpw {ipXnbmWv.
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km[\sNbvXp {ipXnbn¬ ebn°p∂p.
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{ipXnIfpw A\¥ßfmWv. Cßsp≈ hnhn[ {ipXnIsf
hoWbneqsS th¿Xncn®p a\ nem°m≥ km[n°pw.
kwKoXimkv{XØn¬ {ipXnIsf Xn´s∏SpØnbn´p≠v.
jUvP˛]©a`mhØns‚ ASnÿm\Øn¬ IqSn, hy‡nXzap≈
22 {ipXnItfbp≈q. lrZbØn¬ Du¿≤z\mUn_≤ßfmbn
22 Xnc›o\mUnIƒ D≠v. aqem[mcØn¬ ∂pw D¤hn°p∂
hmbp Cu \mUnIfn¬ X´n, ta¬t∏m´v t]mIptºmƒ `n∂
ßfmbpw D®Xzw IqSnbXpamb 22 {ipXnIƒ D≠mIp∂p.
Hcp ÿmbn°p≈n¬ hcp∂ Ggv kzcÿm\ßfmWv
`mcXob kwKoXØns‚ ASnÿm\w. "kcnKa][' F∂
k]vXkzcßfn¬ "k' apX¬ "' hsc (jUvPw apX¬ jmZw
hsc) A\p{Iaambp≈ Ggp kzcßƒ ]mSn ta¬ÿmbn jUvPw
IqSn ]mSptºmƒ Hcp kzcmjvSIamIp∂p. Cßsp≈ Hcp
kzcirwJesbbmWv "ÿmbn' F∂v ]dbp∂Xv. km[mcW
bmbn aq∂v {][m ÿmbnIfmWp≈Xv.
a{µÿmbn As√¶n¬ Iogvÿmbn, a[yÿmbn As√
¶n¬ kaÿmbn Xmcÿmbn As√¶n¬ ta¬ÿmbn.
Hcmƒ°v F{XtØmfw Xmgv∂ kzcØnepw F{XtØmfw
Db¿∂ kzcØnepw ]mSm≥ km[n°ptam, B kzcßfpsS G‰
°pd®nens kqNn∏n°p∂Xn\mWv ÿmbnsb aq∂mbn hn`Pn
®n´p≈Xv. \√ imcocKpWap≈h¿°v ]q¿Æambn aq∂v ÿmbn
Ifnepw ]mSm≥ km[n°pw. F∂m¬ hoW, hben≥ apXemb
hmZyßfn¬ t\csØ ]d™ aq∂v ÿmbnIƒ IqSmsX A\p
a{µÿmbnbnepw, AXnXmcÿmbnbnepw kzcßƒ \√t]mse
hmbn°phm≥ km[n°pw. a\pjyicocamb Km{XhoWbn¬ aq∂v
ÿmbnIfn¬ am{Xta ]mSm≥ km[n°pIbp≈q.
]pcmX\ImeØv Hcp ÿmbn°p≈n¬ 22 {ipXnIƒ
I≠p]nSn®Xv kzcßsf ¿Æbn°p∂Xn\pth≠nbmbncp∂p.
"k' "]' F∂ kzcßƒ°pt]mepw A∂v ÿncÿm\ßƒ
C√mbncp∂p. AXmbXv " "4,3,2,4,4,3,2'' F∂ tXmXn¬
""kcnKa][''Iƒ°v hnhn[ {ipXnIƒ IW°m°s∏´ncp∂p.

v
v
9kwKoX]cmKw
vv
]n∂oSv {ipXnIsf°pdn®p≈ KthjWßƒ \SØnbXp
aqeamWv Hcp ÿmbn°p≈nse k]vXkzcßfn¬ h®p jUvP
Øn\pw (k) ]©aØn\pw (]) Hcp {ipXnhoXhpw AXmbXv
Hcp ›nXÿm\hpw, cnj`w, Km‘mcw, a[yaw, ss[hXw,
jmZw F∂o A©p kzcßƒ°v \mep {ipXnIƒ hoXhpw,
IW°m° s∏´n´p≈Xv. Aßs :
(k)jUvPØn\v 1 {ipXn
(cn)cnj`Øn\v 4 {ipXnIƒ
(K)Km‘mcØn\v 4 {ipXnIƒ
(a)a[yaØn\v 4 {ipXnIƒ
(])]©aØn\v 1 {ipXn
([)ss[hXØn\v 4 {ipXnIƒ
() jmZØn\v 4 {ipXnIƒ
Hmtcm kzcÿm\ßfnepw Hmtcm ÿm\Øns‚bpw
sXm´v Nph´ntem, apIfntem Bbn Hmtcm kq£va{ipXnIƒ
hoXw D≠v. Ahbv°v {]tXyIw t]cpIfpw \¬Inbn´p≠v.
{ipXnIƒ
A\¥hpw A⁄mXhpamb, Xe\mcng am{Xw
hyXymkhpw D≈ At\Iw {ipXnIƒ Ds≠¶nepw Hcp
ÿmbn°p≈n¬ As√¶n¬ Hcp kzcmjvSIØn\p≈n¬,
kv]jvSambn tIƒ°m≥ km[n°p∂Xmbn 22 {ipXnIƒ
am{XamWv D≈Xv. t\ctØ kqNn∏n®Xpt]mse Chsb
jUvPw˛]©a`mhØn¬ IqSnbpw, jUvP˛a[ya`mhØn¬
IqSnbpamWv IW°m°nbncn°p∂Xv. Hcp ÿmbn°p≈nep≈
22 {ipXnIsf∏‰n "kwKoXaIcµw' kwKoX ZmtamZcw,
kwKoX]mcnPmXw, kwKoXkabkmcw F∂o {]mNo\
{KŸßfn¬ ]cma¿in®n´p≠v. C u {ipXnIsf √mw
{]tbmKØn¬ hcptºmƒ AXmbXv cmKßfnse kzcÿm
\ßfmbn cq]m¥cs∏Sp∂p.
B[pI kwKoX k{ºZmba\pkcn®v jUvPØn\pw
(k) ]©aØn\pw (]) hIt`Zßfn√, Ahsb {]IrXn
kzcßƒ F∂mWv hntijn∏n®ncn°p∂Xv. a‰v kzcßfmb
cnj`w (cn), Km‘mcw (K), a[yaw (a), ss[hXw ([), jmZw
() F∂o kzcßƒ°v 4 hoXw hIt`Zßƒ D≈XpsIm≠v
Ahsb hnIrXn kzcßƒ F∂p ]dbp∂p. Aßs\
jUvPw ˛ k ˛ 1
cnj`w ˛ cn ˛ 4
Km‘mcw ˛ K ˛ 4
a[yaw ˛ a ˛ 4
l

v
v
10kwKoX]cmKw
vv
]©aw ˛ ] ˛ 1
ss[hXw ˛ [ ˛ 4
jmZw ˛ ˛ 4
{Ia\º¿{ipXnIƒ \maßƒ AXmXv {ipXnIƒ hcp∂ cmKw
1. k jUvPw DZmlcWØn\v F√mcmKßfnepw
2. cn 1 GI{ipXn cnj`w Kuf˛kmthcn
3. cn 2 Zzn{ipXn cnj`w
ambmamfhKuf kucmjv{Sw
4. cn 3 {Xn{ipXn cnj`w Jclc{]nb ss`chn
5. cn 4 NXp{ipXn cnj`w i¶cm`cWw IeymWn
6. K 1
tImafkm[mcW Km‘mcw tXmSn ss`chn
7. K 2 km[mcW Km‘mcw Jclc{]nb Bt`mKn
8. K 3 A¥cKm‘mcw
i¶cm`cWwImwt_mPnIeymWn
9. K 4 NypXa[yaKm‘mcw tZhKm‘mcn Bc`n
10. a 1 ip≤a[yaw Ipµfhcmfn Ipdn©n
11. a 2 Xo{hip≤a[yaw t_KU \oemw_cn
12. a 3 {]Xna[yaw IeymWn j¨apJ{]nb
13. a 4 NypX]©a a≤yaw hcmfn ip`]¥phcmfn
14. ] ]©aw ]©ah¿Pya√mØ cmKßfn¬
15. [ 1 GI{ipXn ss[hXw kmthcn aelcn
16. [ 2 Zzn{ipXn ss[hXwambmamfhKuf kucmjv{Sw
17. [ 3 {Xn{ipXn ss[hXwImwt_mPn Jclc{]nb
18. [ 4 NXp{ipXn ss[hXw
i¶cm`cWwIeymWn Kucnat\mlcn
19. 1 tImaf ssIinIn jmZwss`chn tXmSn
20. 2 ssIinIn jmZw Jclc{]nb
lcnImwt_mPn
21. 3 ImIen jmZw IeymWn i¶cm`cWw
22. 4 NypXjUvP jmZw Ipdn©n \oemw_cn
F√mw IqSn {ipXnIƒ 22. Chsb√mw AXXv cmKßfn¬
hcptºmƒ Ahbv°v {]tXyIw \maßƒ D≠v. AhbpsS hnhcw
]´nIbn¬ t\m°pI.
Hcp sk°‚n¬ F{X kv]µ\ap≠mIp∂pthm AXns\
A`ojvWX (Frequency) F∂p ]dbp∂p. Cßsp≠mIp∂
[zbpsS D®Xzw, A`ojvWXbv°v B\p]mXnIambncn°pw.
A`ojvWX IqSpwtXmdpw D®Xzhpw IqSpw. Aßs a[yÿmbn
"k' (jUvPw) apX¬ jmZw () hsc {Iaambn D®Xzw IqSnbn´v
Xmcÿmbn (k) jUvPØn¬ FØptºmƒ a[yjUvPØns‚
Cc´n D®Xzw [z°p∂p. AXmbXv a{µÿmbn jUvPw = 1,
Xmcÿmbn jUvPw = 2 F∂mWv A¿∞w.
GsX¶nepw c≠v {ipXnIƒ XΩnep≈ CSsb, A¥cw
F∂mWv ]dbp∂Xv. Cu {ipXnIfpsS A`ojvWXbpsS A\p
]mXw Ah XΩnep≈ A¥csØ ImWn°p∂p. AXmbXv
D®Xzw IqSnb {ipXnbpsS, A`ojvWXsb D®Xzw Ipd™
{ipXnbpsS A`ojvWX sIm≠v lcn®m¬ AhXΩnep≈
A¥csØ shfns∏SpØp∂p. C u A¥cßsf√mw Xpeyambn
´√ hoXn®ncn°p∂Xv. AXmWv `mcXob kwKoXØns‚
{]tXyIX. {ipXnIƒ XΩn¬ hcp∂ A¥cØn\p \¬Inbn´p≈
aqeyw a\ nem°m≥ hniZambn´v Ahsb hniIe\w
sNtø≠Xp≠v.
Ct∏mƒ ehnep≈ kwKoXk{ºZmba\pkcn®v
"{ipXn' F∂ ]ZØn\v thsdmcp A¿∞w IqSnbp≠v. AXmbXv
Hcp hy‡n ]mSptºmƒ ÿmbnbmbn´p≈ [zsb B[mc{ipXn
F∂p ]dbp∂p. CXv hmZyßfnepw _m[IamWv. am{Xa√,
AXmXv hmZyØn\pkcn®v {]tXyI t]cpIfpw IºnIƒ°v
\¬Inbn´p≠v. {ipXnhmZyßfn¬ h®v G‰hpw t{ijvTamb
hmZyamWv Xw_pcp. Xw_pcphn\v 4 IºnIƒ D≠v. BZysØ
Iºn ]©aw, ASpØp≈ c≠pw kmcWbpw, A\pkmcWbpw
HSphneØXv a{µIºnbpamWv. C u \mev IºnItfbpw

v
v
11kwKoX]cmKw
vv
\√t]mse {ipXn tN¿Øv ao´nbm¬ hgn°phgntb ]©a
kzchpw, c≠v Xmcÿmbn jUvPhpw, a[yÿmbn jUvPhpw
[z°pw.
hoWbnemsW¶n¬ 24 sa´pIfpsSbpw apIfn¬°qSn
ZWvUn¬ 4 IºnIfpw Hcp hiØmbn 3 IºnIfpw D≠v. C u
Ggp IºnIfn¬, BZysØ 4 IºnIfn¬ ao´nbmWv kzcßƒ
tN¿Øv hmbn°p∂Xv. C u IºnIƒ°v A\pa{µ]©aw,
a{µjUvPw, a{µ]©aw, a[yjUvPw F∂mWv t]cpIƒ
\¬Inbn´p≈Xv. hiØp≈ aq∂v IºnIƒ XmfØn\pth≠n
D]tbmKn°p∂p. Ah ao´ptºmƒ a[yjUvPhpw [z°pw
I¿ÆmSIkwKoXtemIØn¬, C∂v {]NmcØnep≈ cmKßƒ
F√mw e∂p t]mcp∂Xv, Ah bnse Hmtcm kzcßfnepw
CWßnt®¿∂ncn°p∂ {ipXnIfpsS {]tXyIX sIm≠mWv.
jUvPhpw, ]©akzchpw, AhnIrXkzcßfmbn
As√¶n¬ ANekzcßfmbn IW°m°s∏´Xn\ptijw,
Ahbv°p Hmtcm {ipXnhoXhpw, _m°nbp≈ A©p kzcßƒ°v
(cn, K, a, [, ) \mep {ipXnIƒ hoXhpamWv \¬Inbn´p≈Xv.
Hcp kzcmjvSIØn\p≈nse 12 kzcÿm\ßƒ°v,
sXm´papIfnepw, Xmsgbpambn thsdbpw kq£va{ipXnIƒ
Ds≠¶nepw Chsb D]tbmKn®v ImWn°p∂Xn\mbn, Chbv°v
Hmtcm kzcÿm\ßƒ A\pam°s∏´n´p≠v. Cßsp≈ 22
{ipXnIsf jUvP˛a[ya`mhØn¬ IqSnbpamWv I≠p]nSn®n
cn°p∂Xv.
AXmbXv "k' As√¶n¬ jUvPamWv BZysØ kzc
ÿm\w. "k'bn¬ ∂pw, A©masØ kzcw ]©aw BWv.
]©aØns‚ [zIƒ°v 3/2 tXmXmWv. AXmbXv hoWbnep≈
hmbn°m≥ D]tbmKn°p∂ \mep IºnIfn¬ BZysØ
IºnbpsS apgph≥ `mKhpw Nen°m≥ D≠m°p∂ i_vZw
B[mcjUvPamWv. B[mcjUvPØns‚ i_vZØn\v H∂v (1)
F∂mWv tXmXv. Cu IºnbpsS a[y`mKØmbn hnc¬
Aa¿Ønbn´v, Hcp `mKw ao´nbm¬ IºnbpsS c≠nsemcp `mKw
Ne\w D≠mIp∂p. B i_vZw Xmcÿmbn jUvPØnt‚XmWv.
AXn\v "2' F∂mWv tXmXv. Cßs Iºnsb aq∂p`mKam°n
c≠p`mKw ao´ptºmƒ, a[yÿmbn ]©aw [z°pw AXp
sIm≠p ]©akzcØn\v 3/2 F∂mWv tXmXv \¬Inbn´p≈Xv.
CXpt]mse a[yaØn\v 4/3 BWv tXmXv. Xmcÿmbn
jUvPØn\v a[yÿmbn jUvPØns‚ Cc´n i_vZ
ambXpsIm≠mWv "2' F∂v IW°m°nbn´p≈Xv.
Cßs "k'bpw "k'bpsS A©masØ kzcamb
"]©ahpw' ho≠pw, "]'bpsS A©masØ kzcamb Hcp "cn'bpw
(cnj`w) ho≠pw "cn'bpsS A©masØ kzcamb "['bpw
(ss[hXw) Cßs Hmtcmtcm h´hpw IW°m°nbm¬ hnhn[
{ipXnIƒ In´pw. AXp t]mse jUvPØns‚ \memasØ kzcw
a[yaamWv. a[yaØns‚ \memasØ kzcw Hcp jmZhpw.
jmZØns‚ \memasØ kzcw Hcp Km‘mchpw, Cßs\
Hmtcmtcm Bh¿Øn IW°m°nb t∏mgpw hnhn[ {ipXnIƒ
In´nbn´p≠v.
DZmlcWambn :˛˛
k = 1, ] =
]©aw =
ChnsS ]©aØns‚ A©masØ kzcamb "cnj`w'
3
2
3
2
3
2
9
4
x=
In´Wsa¶n¬, In´nbn´p≈ s "2' sIm≠p lcn°Ww. "2'
F∂Xv XmcÿmbnbpsS kwJybmbXp sIm≠pw, In´nb
F∂Xv AtX ÿmbnbnte°p hcpØphm\pambn´mWv "2'
sIm≠v lcn°p∂Xv. At∏mƒ F∂
"cnj`Øns‚' tXmXv In´pw. C cnj`Øns‚ A©masØ
kzcamb "ss[hXw' F∂Xns‚ tXmXv In´m≥ th≠n s\
sIm≠p KpWn°Ww.
Cßs ho≠pw In´p∂ kwJysb sIm≠v KpWn
9
4
9
4
x
1
=
99
2 =
9
4 4 2 8
.
.
9
8 3
2
3
2
9 3 27
8 2 16
x =

v
v
12kwKoX]cmKw
vv
kzcßƒ {ipXnIƒ
`cXapbpsS "\mSyimkv{XØnepw im¿MtZhs‚
kwKoX cXv\mIcØnepw a‰pw 4-˛3˛2˛4˛4˛3˛2 F∂ {IaØn¬
kcnKa][ F∂o k]vXkzcßƒ°v \¬Inbn´p≈ 22
{ipXnIfpsS t]cpIƒ Xmsg sImSpØncn°p∂p.
kzcßƒ {ipXnbpsS t]cpIƒ {ipXnIfpsS FÆw
1.k Xo{h
jUvPw IpapZzXn
aµm
OtµmhXn 4
2.cn ZbmhXn
cnj`w cRvP 3
cXnIm
3.K cu{Zm
Km‘mcwt{Im[m 2
4.a h{PnaIm
a[yaw {]kmcnWn
{]oXn 4
am¿P
5.] £nXn
]©aw c‡m
kµo]n 4
Bem]n
CXpt]mse a[yaØns‚ tXmXmb sIm≠p
KpWn®m¬ thsd {ipXnIƒ In´pw.
k = 1 a =
a[yaØns‚ \memasØ kzcamb Hcp jmZw
In´m≥ s sIm≠p KpWn°Ww. = .
Cßs In´nb kwJysb ho≠pw sIm≠p KpWn®m¬
thsdbpw {ipXnIƒ In´p∂p. CXmWv jUvP˛a[ya`mhw.
Cßs jUvP˛]©a `mhØn¬ IqSn 10 {ipXnIfpw,
jUvP˛a[ya `mhØn¬ IqSn 10 {ipXnIfpw, "k'bv°pw
"]'bv°pw Hmtcm {ipXn IqSn tN¿∂t∏mƒ 22 {ipXn Hcp
ÿmbn°p≈n¬ Ds≠∂v a\ nem°m≥ km[n®p. CXn\p
]pdta thsdbpw {ipXnIƒ D≠v. ]t£ Ahsb XΩn¬
XΩn¬ {]ISambn a\ nem°m≥ km[ya√mØXpsIm≠v
tIƒ°ptºmƒ \√hÆw a\ nem°m≥ km[n°p∂ 22
{ipXnIƒ am{Xta, Hcp ÿmbn°p≈n¬ IW°m°s∏
´n´p≈q.
®m¬ hnhn[ {ipXnIƒ In´pw, CXmWv jUvP˛]©a`mhw.
4
3
4
3
4
3
4
3
4
3
4
3
x
16
9
4
3
l

v
v
13kwKoX]cmKw
vv
kzcßƒ {ipXnbpsS t]cpIƒ {ipXnbpsS FÆw
1.k \µ\m˛jv°fm 4
jUvPw KqVm˛kIem
2.cn a[pc˛efnX
cnj`w Im£cm 3
3.K {`KPmXn˛{lkzKoXn 2
Km‘mcw
4.a cRvPnIm˛Nm]cm
a[yaw ]q¿Æm˛Ae¶mcnWo 4
5.] sshWnIm˛henXm
]©aw {Xnÿm\m˛kpkzcm 4
6.[ kuaym˛`mjm¶nIm
ss[hXwh¿ØnIm 3
7. {]k∂˛kp`Km 2
jmZw
Ime{ItaW Hcp kzcmjvSIØn\p≈nep≈ As√¶n¬
Hcp ÿmbn°p≈nep≈ jUvPØn\pw (k) ]©aØn\pw (])
Hmtcm {ipXnhoXw Xn´s∏SpØn, Ahsb ANekzcw F∂v
Iev]n°p Ibpw sNbvXp. IqSmsX cn, K, a, [, F∂o A©v
kzcßƒ°v 4 {ipXnIƒ hoXw Xn´s∏SpØpIbpw sNbvXp.
Aßs IW°m °nb 22 {ipXnIfpw, AhbpsS t]cpIfpw,
Ah°v \¬Inbn´p≈ (AfhpIfpw) tXmXpIfpamWv Ct∏mƒ
{]tbmKØnep≈Xv.
Cu 22 {ipXnIfpw jUvP˛]©a jUvP˛a[ya`mhw F∂
XXzØn¬ IqSnbmWv IW°m°s∏´n´p≈Xv. Atlm_es‚
"kwKoX]mcnPmXw' F∂ {KŸØn¬ CXns\∏‰n ]dbp∂p≠v.
jUvP]©a`mth\
{ipXn¿ZzmhnwiXnPKpx
{ipXn¿XzmhnwiXnPKpx
6.[ aZ¥n
ss[hXwtcmlnWn 3
caym
7. D{Km
jmZw t£m`nWn 2
Hmtcm kzcØns‚bpw Ahkm\sØ {ipXnIfpw, ASnbn¬
hcbn´Xpamb {ipXnIsf "bX' {ipXnIƒ F∂p ]dbp∂p.
Chsb√mw ]pcmX\ImeØv {]tbmKØn¬ D≠mbncp∂
{ipXnIfmWv.
\mcZapbpsS "kwKoXaIcµ'Øn¬ 22 {ipXnIƒ°pw thsd
t]cpIfmWv sImSpØncn°p∂Xv.
kzcßƒ {ipXnbpsS t]cpIƒ {ipXnbpsS FÆw
1.k kn≤m˛{]`mhXn
jUvPw Im¥m˛kp{]`m 4
2.cn inJw˛Zo]vXnaXn
cnj`w D{Km 3
3.K lvfmZn˛¿hnco 2
Km‘mcw
4.a Zncm˛k¿∏klm
a[yaw £m¥n˛hn`qXn 4
5.] amen˛N]em
]©aw _mem˛k¿∆cXv\ 4
6.[ im¥m˛hnIen\o
ss[hXwlrZtbm∑men 3
7. hnkmcnWo˛{]kq\m 2
jmZw
F∂m¬ `h`´s‚ "A\p]kwKoXhnemkw' F∂
{KŸØn¬ k]vXkzcßƒ°v \¬Inbn´p≈ 22 {ipXnIƒ
°pw hyXyÿamb \maßfmWv sImSpØn´p≈Xv.
l

v
v
14kwKoX]cmKw
vv
inhkzcßƒ
]cainhs‚ ]©apJßfn¬ ∂pw kwKoXw D¤hn®
Xmbn ]pcmX kwKoX{KŸßfn¬ H∂mb "kwKoXZmtamZc'
Øn¬ hnhcn®n´p≠v.
""i¶cw ]m¿∆Xo\Xzm ZrjvSzm tNZw
hm tNm {_hoXv
kwKoXimkv{Xw tl \mY! alyw hZ kpJ{]Zw.''
kwKoXØns‚ imkv{Xob XXzßsf°pdn®p ]d™p
sImSp°Wsa∂ ]m¿∆XnbpsS At]£{]Imcw ]cainh≥
kwKoXXXzßfpw a‰pw ]I¿∂psImSpØ Imcyhpw kwKoX
ZmtamZcØn¬ Xs∂bp≠v.
""irWp ]m¿∆Xn ]q¿∆w ta k¿∆ temI kpJmbN
ktZymPmX apJmXv]rYzn Km‘mc› kztcm`hXv
]rYzn hym›¿ a hmZym PmXm XZ\¥cw
hmatZhapJmZm]x ss[hX› kztcm `hXv
AZvt`ym PmXmiwJmZnhmZym kp`Km \!
AtLmtcm \ex jUvPw Ej`› XYm`h≥
PmXmlym·ntNm temtI Imwky
hmtZym ]m¿∆Xn
XX kvXXv ]pcpjmZzt{ImXv hmXx ]›a Gh
XkvamZv hmXmXv kaqXv ]T\w thWzmZyw c{‘hmZyIw
Cuim\mkym∂njmZ› a[ya› kz kvXYm
BImtcm ]pkapXv ]∂x X{¥o hmZyw XtXm `hXv.
AXmbXv ]cainh≥ ]m¿∆Xn tZhn°v D]tZin®Xn¬
Cßs ]dbp∂p. ]cainh≥ Xs‚ A©p apJßfn¬ ∂pw
]©`qXßsfbpw krjvSn®p. "ktZymPmXw' F∂ apJØn¬
∂pw `qantbbpw, Km‘mckzctØbpw `qanbn¬ ∂v, N¿Ω
hmZyßtfbpw D¤hn∏n®p. "hmatZhw' F∂ apJØn¬ ∂pw
PetØbpw, ss[hXkzctØbpw, PeØn¬∂v iwJp
t]mep≈ hmZyßfpw. "AtLmcw' F∂ apJØn¬ ∂pw
A·nbpw, jUvPw, cnj`w F∂o kzcßtfbpw A·nbn¬ ∂v
sh¶eØnep≈ hmZyßfpw krjvSn®p. "XXv]pcpjw' F∂
apJØn¬ ∂pw hmbphpw ]©akzchpw, hmbphn¬ ∂v
HmS°pg¬ hmZyhpw D¤hn®p. "Cuim\w' F∂ A©masØ
apJØn¬ ∂pw BImihpw jmZkzchpw a[yakzchpw,
X{¥nhmZyßfpw krjvSn®p. Aßs Hmtcm apJßfn¬ ∂pw
]©`qXßfpw k]vXkzcßfpw D≠mbn.
kwKoXtemep]\mb ]cainh≥ XmWvUhw BSp∂
AhkcØn¬ {_“mhv, XmfanSp∂p F∂pw, hnjvWp ]Sl
hmZyw hmbn°p∂p F∂p, kckzXn hoW hmbn°p∂p F∂pw,
kqcyN{µ ∑m¿ IpgeqXp∂p F∂pw kn≤∑m¿, A]vkc pIƒ,
In∂c∑m¿ F∂nh¿ {ipXn ao´p∂p F∂pw, \µo, `rwKo apXemb
h¿ a±fw hmbn°p∂p F∂pw, \mcZ≥ ]mSp∂p F∂pw "kwKoX
aIcµw' F∂ kwKoX{KŸØn¬ at\mlcambn h¿Æn®n´p≠v.
{_“m Xmf[tcm lcn› ]Slo hoWmImc`mcXo
hwi⁄u iin `mkvIcu {ipXn
[cmx kn≤m]vkcIn∂cmx
\µo `rwKncnSmZn a±f[cmx

v
v
15kwKoX]cmKw
vv
kwKoXtIm \mcZx
iwt`m¿ØIcky awKfXt\m¿
\mSyw kZm ]mXp\x
Aßs ]cainhs‚ ]©apJßfn¬ ∂p¤hn®
kwKoXk]vXkzcßfpsS {]NmcWØn\p ]m¿∆XotZhn,
{_“mhv, aXwKap, Iiy]ap, \mcZap apXembh¿ aqe
ImcWambn Xo¿∂p.
Cßs D≠mb kwKoXw sshZnIkwKoXsa∂pw,
euInI kwKoXsa∂pw c≠v hn[Øn¬ Adnbs∏Sp∂p.
bmKßƒ sNøptºmƒ kmaKm\w ]mSp∂Xv tam£Øn\p
ImcWambn amdp∂ sshZoIkwKoXhpw, km[mcW P\ßsf
{]oXns∏Sp Øp∂Xv euInIkwKoXhpw AXpt]mse
am¿§kwKoXw As√¶n¬ "am¿§n' kwKoXw F∂Xv
sshZnIkwKoXhpw, "tZin' As√¶n¬ "tZiy' kwKoXw F∂Xv
euInI kwKoXamsW∂pw. kwKoXZmtamZcØn¬ ]dbp∂p≠v.
""KoXw hmZyw Øw N {Xbw kwKoXapNytX' ' F∂
t«mI{]Imcw, kwKoXw \mZabambXpsIm≠p \mZsØ
B{ibn®mWv esIm≈p∂Xv. temIw apgph\pw \mZm[n\
amWpXm\pw.
""BImikw`thm\mZx'' F∂v \mcZap ]d™ncn°p
∂Xp t]mse BImiØn¬ ∂v BZyambn D≠mb hmbphn\v
aqeImcWamb "kv' F∂ i_vZsØ tXm∂n∏n°pIbpw "A'
F∂ A£cw tN¿Øp D®cn®t∏mƒ "k' F∂ kwKoXØnse
BZy A£cw D≠mhpIbpw sNbvXp. temIØnep≈ \mZw c≠p
hn[Ønep≈XmWv. BlX\mZhpw, A\mlX\mZhpw. {]mW
hmbphnt‚bpw, tZlm·nbpsSbpw kwtbmKØmemWv \mZw
D≠mIp∂Xv. B \mZsØ HmwImcw As√¶n¬ {]Whw F∂p
]dbp∂p. l
kwKotXm]mk\
kwKoXsØ°pdn®v thZßfnepw D]jØpIfnepw
]cma¿iaps≠¶nepw {]mtbmKnIXeØn¬ hnIk\w D≠mbXv,
a\pjykwkvImc hyXnbm\ØneqsSbmWv. tam£ {]m]vXn°v
Zm\ambn ¬°p∂ Hcp LSIhpw "kwKoX'amWv. kwKoX
hpw B[ymﬂnIXbpw XΩn¬ At`Zamb _‘ap≠v. am{Xa√
{]]©Ønse kIe IeIsfbpw At]£n®v G‰hpw ap≥]¥n
bn¬ ¬°p∂Xpw kwKoXamWv. kwKoXØn¬IqSn Hcp
hy‡nbpsS ]e hnImcßsfbpw˛`‡n, irwKmcw, tIm]w,
kt¥mjw, k¶Sw˛ {]ISam°m\pw Ignbp∂p. hy‡nbpsS
a\ ns‚ GIm{KXbv°v A\pKpWambn tN¿∂v, `‡s‚ hnhn[
`mhßƒ°v cq]w \¬Iphm≥ km[n°p∂p. kwKoXØn\v
a\pjysc am{Xa√, ]£narKmZnIsfbpw, hr£eXmZnIsfbpw,
Hcp t]mse BI¿jn°m\pw, B\µn∏n°m\pap≈ i‡nbp≠v.
iniphnspw, ]iphnspw, am{Xa√ k¿∏sØt∏mepw
ckn∏n°m≥ kwKoXØn\v km[n°p∂ps≠∂v, hfsc ]g°
ap≈ Hcp t«mIw sXfnbn°p∂p.
""inip¿t∆Xn ]ip¿t∆Xn
thXn Km\ckw ^Wn..........''
tbmKimkv{X{]Imcw, a\pjys‚ icocØn¬ hnhn[
N{Ißfp≠v. AXn¬ G‰hpw BZytØXmb aqem[mcN{IØn
emWv IpWvUen F∂ i‡n ÿnXn sNøp∂Xv. B IpWvU
en i‡nsb {]mWhmbphns‚ klmbtØmsS DW¿Øn.

v
v
16kwKoX]cmKw
vv
kzm[njvTm\w, aWn]qcIw, A\mlXw, hnip≤n, B⁄ F∂o
N{Ißfn¬ IqSn ISØn, inc nep≈ kl{kZfßsf
N{IØn¬ {]thin∏n®v AXns hnS¿Øn AXn¬ ∂v AarXw
{]hln∏n°m≥, \mtZm]mkn¬ IqSnb√msX as‰m∂pw
sIm≠v, A\mbmtk km[n°pIbn√. aqem[mchpambn
tN¿∂ncn°p∂ {_“{KŸn, F∂ ÿm\Øv Ft∏mgpw d™n
cn°p∂ {]mWhmbphnt\mSv tZlm·n kwtbmPn°ptºmgmWv
\mZw D≠mIp∂Xv. Cu \mZw anjßtfmfw XpS¿∂p tIƒ°p
Ibpw sNøp∂p. hy‡nbpsS kt¥mjØn\pw, kam[m \Øn
\pw, th≠n Cuizc≥ X∂ Hcp hcZm\amWv kwKoXw. ckm\p
`hØn¬ IqSn kwKoXØns‚ {]tXyIX a\ nem°m≥
km[n°p∂p. a\pjys‚ hnImcßsf X´nbpW¿Øp∂Xp
t]mse, kmaply]cambpw, aX]cambpap≈ hy‡nbpsS F√m
PohnXNcyIfnepw kwKoXØn\v ÿm\w D≠v. Hcp Ip™v
P®Xp apX¬ Hmtcmtcm {]tXyI Ahkcßfnepw \ma
IcWw, D]\w, hnhmlw XpSßn ]e kmlNcyßfnepw,
kwKoXw, kvXpXy¿lamb ]¶v hln°p∂p≠v. kwKoXØn\v,
thZØn¬ DZvKoXw F∂mWv ]dbp∂Xv.
imcocnIhpw, am\knIhpamb BtcmKyØn\v, BZnXy
`Khms D]mkn°p∂Xpt]mse, PohnXØnse t¢ihpw
{]bmkhpw a‰pw AI‰m≥ kwKoX D]mk sIm≠v AYhm
kwKoXkm[ sIm≠v km[n°pw hy‡nhnjbNn¥Isf ad∂v,
`KhXvNn¥bn¬ ebn®m¬ am{Xta [\y\mhpIbp≈q.
km£mXvImcØnte°v, As√¶n¬ e£yØnte°v FØphm
\p≈ Hcp D]m[n am{XamWv icocw. B icocØnep≈ N{I
ßsf DW¿Øn ]cnt]mjn∏n®v B\µm\p`qXn ssIhcn°m≥
Hcp kwKoX D]mkI\v A\mbmtk km[n°p∂XpsIm≠v,
hy‡n ]q¿WXbnte°v FØp∂p. AXpsIm≠v Bﬂmhns\
Adnbm\pw, kpJw A\p`hn°m\pw A\izcamb B\µØm¬
BdmSm\pap≈ G‰hpw DZmØhpw, efnXhpamb am¿Kw kwKoX
D]mkmWv. ⁄m\w, {Inb apXemb KpWßƒ Poh
ep≈XpsIm≠v Pohmﬂmhv \√ kwKoXw tIƒ°m≥ B{Kln
°pIbpw, AtXmsSm∏w, AXv Adn™v kpJw A\p`hn°pIbpw
sNøp∂p.
GsXmcp hy‡n°pw, Poh≥ap‡n In´Wsa¶n¬, tam£
{]m]vXn ASbWsa¶n¬, k¤‡nbpw kXvNn¥bpw kwKoX
D]mkpw D≠mtbXocq. `‡nbpw kwKoXhpw ]ckv]c
]qcIßfmbXpsIm≠v, `‡n{]ÿm\w DSseSpØXn\p tij
amWv, `‡n]camb At\Iw kwKoXcq]ßfpw, cNn°s∏´Xv.
kwKoXamlmﬂysØ∏‰n Hcp t«mIØn¬ Cßs hnh£n®n
´p≠v.
""P]tImSn KpWw [ym\w
[ym ImSn KpWmebw
ebtImSn KpWw Km\w
Km\mXv]cXcw \lnx''
AXmbXv [ym\w, HcptImSn P]Øn\v Xpeyhpw, ebw
Hcp tImSn [ym\Øn\v Xpeyhpw, Km\w Hcp tImSn ebØn\v
Xpeyhpw BIp∂p. Km\Øn\v Xpeyw as‰m∂n√. kwKoX
D]mk sNøp∂hcpw, `Kh¤‡∑mcpw, Hcp t]msebmWv.
{_“˛hnjvWp˛ atlizc≥ F∂o hniz{Xnaq¿ØnIƒ \mZmﬂI
∑mcpw, \mtZm]mkn¬ CgpIntN¿∂hcpambXpsIm≠m
Wt√m, \mw Ahsc hWßp∂Xpw, kvXpXn°p∂Xpw
]qPn°p∂Xpsa√mw! CXns\∏‰n "kwKoXcXv\mIcw' F∂
{KŸØn¬ im¿MtZh≥ Cßs ]d™n´p≠v.
""\mtZm]mk bm tZhm {_“mhnjvWpatlizcx
`h¥yp]mkoXm\q\w bkvamtZtX kZmﬂImx' '
kwKoXw \mZm[njvTnXamWt√m "\mZw' F∂ hm°nse
"\' F∂ A£cØ\v {]mWhmbp F∂pw "Zw' F∂ A£c
Øn\v A·nsb∂pw A¿∞w D≈XpsIm≠v, {]mW\pw A·nbpw
tNcptºmgmWv \mZw D≠mIp∂Xv.

v
v
17kwKoX]cmKw
vv
A©mw \q‰m≠n¬ Pohn®ncp∂ aXwKap At±l
Øns‚ ""_rlt±in'' F∂ Aaqey{KŸØn¬ \mZsØ∏‰n
Cßs ]cma¿in®ncn°p∂p.
\mtZ hn\m KoXw
\mtZ hn\m kzcx
\mtZ hn\m Øw
Xkva∂mZmﬂIw PKXv
\mZcq]x kvartXm {_“m
\mZcqt]mx P\m¿±\x
\mZcq]m ]cmi‡nx
\mZcqt]m atlizcx
AXmbXv \mZan√msX KoXw C√. \mZan√msX kzcan√,
\¿Ø\w C√msX \mZhpan√. {_“mhpw hnjvWphpw atliz
c\pw ]cmi‡nbpw Ft∏mgpw \mZkzcq]tØmSpIqSnbhcpamWv.
{]Whi_vZamb "Hmw' ImcØn¬ "Hm' F∂Xv \mZhpw
"w' F∂ A\pkzmcw _nµphpamWv. \mZhpw _nµphpw tbmPn°p
tºmgp≠mIp∂ "Hmw'ImcØn¬ Iesb∂Xv kzbw tNcp∂p.
CXnsmWv, "\mZ_nµpIemZo am am' F∂v AcpW Kncn
\mY¿ {]Wh i_vZsØ∏‰n ]mSnbn´p≈Xv. Bﬂm\p`qXn°p
th≠nbp≈ am¿Kw Im´nØcpIbpw c¥cw kwKoX D]mk\
bn¬ IqSn Pohn°pIbpw sNbvX Hcp XymKnbpw kwKoX
⁄mbpw {iocma`‡\pambncp∂p {io XymKcmPkzmanIƒ.
Bﬂob`mhØn\v ap≥Xq°w \¬In AXns Db¿Øn∏nSn®v
kZm kwKoXkm[ sNbvXncp∂ At±lw Xs‚ IrXnIfn¬
IqSn, \mtZm]mk\, \mZØns‚ alXzw, `‡n, ⁄m\w, {_“m
\µw, km£mXv°mcw F∂nh shfns∏SpØnbn´p≠v.
{]mW\pw A\e\pw tN¿∂m¬ \mZap≠mIp∂p. AXp
t]mse {]Whi_vZw D≠mIp∂p˛ F∂Xn\v At±lØns‚
"tam£apKeZm' F∂ kmcaXncmKØnep≈ Io¿Ø\w
DZmlcWamWv. B Io¿Ø\Øns‚ ]√hnbn¬ "tam£apKeZm
`phntem Poh≥ ap‡ypepKmhceIp'' F∂pw
""km£mXvImc\o kZv`‡n
kwKoX⁄m hnlo\peIp' '
F∂v A\p]√hnbnepw D]tbmKn®ncn°p∂ hm°pIƒ
sIm≠v, temIØn¬ B¿°mbmepw, Poh≥ ap‡n In´Wsa¶n¬
kZv`‡nbpw kwKoX D]mkpw sIm≠v km[n°pw F∂v
sXfnbn®n´p≠v. NcWØnemsW¶n¬˛ \mZw, kzcw, {]Whw,
k]vX kzcßƒ˛F∂nhsb hnh£n®n´p≠v.
""{]mW\e kwtbmKaph√
{]Wh\mZapk]vXkzapsse_cK' '
XymKcmPkzmanIfpsS thsdmcp Io¿Ø\Øn¬˛
"\mZX\paiw' F∂ NnØcRvP cmKIo¿Ø\Øn¬˛ ˛
\mZkzcq]nbpw kmathZØns‚ k¿hhpw ]©apJßfmb
ktXymPmXw, hmatZhw, AtLmcw, XXv]pcpjw, C uim\w
F∂nhbn¬ ∂pw k]vXkzcßƒ krjvSn® ]cainhs\
As√¶n¬ i¶cs a\ mepw inckmepw hWßp∂psh∂v
]d™n´p≠v.
""\mZX\paiw i¶cw
\amanta a\km inckm
tamZIc KtamØakma
thZkmcw hmcw hmcw
ktXym PmXmZn ]©h{‡
kcnKa][ hck]vXkzc
hnZymtemew hnZfnXImew
hnaelrZbXymKcmP]mew''
""\mZtemepssS {_“\µth'' (kmbqPyaSbq, A√tbm
a ) F∂ IeymWhk¥w cmKØnep≈ Io¿Ø\Øn¬
∂v \mtZm]mk {_“m\µXpeyhpw tam£ZmbIhpam

v
v
18kwKoX]cmKw
vv
sW∂pw {Xnaq¿ØnIfpw almaphcy∑mcpw kwkvIcns®SpØ
XmWnsX∂pw \ap°v a\ nem°mw. " "\mtZm]mk\'' F∂p
XpSßp∂ t_KU cmKIo¿Ø\Øn¬ "cmKkp[mck ]m\ap'
F∂ BtµmfnI cmKIo¿Ø\Øn¬ "kzccmKkp[m ck
bpX`‡n'' F∂ i¶mc`cW cmKIo¿Ø\Øn¬˛Cßs\
A\h[n Io¿Ø\ßfn¬ IqSn \mZw, kwKoXckw, `‡nbpw
kwKoXhpw F∂nhsb A\p`hn®dn™v XymKcmP kzmanIƒ
AhbpsS alXzØns \√t]mse hnhcn®ncn°p∂p.
CXns\√mw D]cnbmbn tam£{]m]vXn°v D∂Xamb
am¿Kw, kwKoXw Xs∂bmWv F∂v bm⁄h¬Iy al¿jnbpsS
A`n{]mba\pkcn®v hoW hmbnt°≠ XXzw Adn™h\pw,
{ipXn, kzcw, cmKw apXembhbn¬ ]mcwKX\pw, Xmf⁄m\w
t\Snb h\pw A\mbmtk tam£am¿§w {]m]n°p∂p
F∂p≈Xv Xmsg ]dbp∂ hcnIfn¬ IqSn hy‡amWv!
""hoWmhmZ\XXz⁄
{ipXn¿PmXn hnimcZ
Xmf⁄›x {]bmtk\
tam£am¿Kw b›Xn.......''
hnjbNn¥Iƒ F√mw Ign™v AXns\√mw
D]cnbmbp≈ `KhXvNn¥bneqsS am{Xw BﬂkpJhpw
kt¥mjhpw t\Sm≥ Ffp∏amb am¿Kw kwKoX D]mk\
bmsW∂pw, P\ßƒ AXv kzoIcn°Wsa∂pw, At\Iw
aphcy∑mcpw kwKoX{KŸ Imc∑mcpw kwKoX⁄mIfpw
a‰pw A`n{]mbs∏´n´p≈Xn¬ bmsXmcp A¤pXhpan√!
l
kwKoXw thZØn¬
temIsØ G‰hpw ]g°tadnb B[mc tcJIfmWv
thZßƒ. kwkvImcw, kwKoXw, kmlnXyw XpSßnb ]e
hnjb ßsf°pdn®p≈ ASnÿm\]camb Adnhv thZßfn¬
∂mWv \ap°v e`n®n´p≈Xv. ]ucmWnI ImeØv Pohn®ncp∂
Ejoizc∑m¿ thZßsf°pdn®v a\ nem°pIbpw, thtZm®m
cWw \SØpIbpw sNbvXncp∂p. thZw, DcphnSp∂Xns "{ipXn'
F∂mbncp∂p ]d™ncp∂Xv. BZn i_vZamb "Hmw' F∂
hm°nemWv temIØp≈ kakvXhpw ASßnbncn°p∂Xv.
thZImeØp Xs∂ kwKoXØnse BZnkzcßƒ DSseSpØn
cp∂p. kwKoXØns‚ DXv]Ønsb°pdn®pw A∂sØ
kwKoXhmZyßsf Ipdn®pw hnhcßƒ e`n®Xv thZßfn¬
∂pw Xs∂bmWv.
thZßfn¬ BZytØXv EtKzZamWt√m. B ImeL´
Ønep≈ thZßƒ EIv cq]Ønembncp∂p. bPp¿thZ
ImeL´Ønse thZa{¥ßƒ hN cq]Ønembncp∂p.
kmathZImeL´ØnemIs´ Ah Km\cq]Ønembn. kmathZw
D®cn®ncp∂ ]ptcmlnXs "DZvKXr' F∂mbncp∂p Adnbs∏´n
cp∂Xv. thZa{¥ßƒ°v F√mw s]mXphmb c≠p hIt`Zßƒ
Iev]n®ncp∂p. "kwlnX' As√¶n¬ "A¿®nI' F∂pw, "Km\'
F∂pw BZytØXn\v ho≠pw c≠p ]ncnhpIƒ D≠mbncp∂p˛ ˛
]q¿∆ A¿®nI F∂pw DØc A¿®nI F∂pw. "Km\' F∂Xn\v

v
v
19kwKoX]cmKw
vv
"{KmatKb', "BcWytKb', "DulKm\', "DulyKm\' F∂o
]ncnhpIƒ D≠mbncp∂p.
kmathZ D®mcWw lpwImc {]kvXmc, DZvKoX,
{]Xnlc, D]{Zh, [m\, {]Wh F∂o Ggp i_vZßfpsS
klmbtØmsS bmWv {]tbmKn®ncp∂Xv. thZa{¥ßƒ
sNm√phm≥ BZyw DZmØw, kzcnXw, A\pZmØw F∂nßs\
Adnbs∏´ncp∂ aq∂p kzcÿm\ßƒ D]tbmKn®ncp∂p.
DZmØw F∂m¬ "cn' (cnj`w), A\pZmØw F∂m¬ "'
(jmZw), kzcnX F∂m¬ "k' (jUvPw). C u aq∂p
kzcßsfbmWv "BZnkzcßƒ' F∂v ]mWn al¿jn
hntijn∏n®n´p≈Xv. Hcp kzcw am{Xw D]tbmKØn¬ D≠m
bncp∂ EtKzZ ImeL´sØ "A¿®nIKm\'sa∂pw thsdmcp
i_vZhpw IqSn tN¿∂v c≠v kzcßfn¬ thtZm®mcWw \SØnb
ImeL´sØ "KmXnI Km\w' F∂pamWv ]d™ncn°p∂Xv.
F∂m¬ aq∂v kzcßƒ D]tbmKn®p XpSßnb kmathZIme
L´sØ "kmanI Km\w' F∂mWv Adnbs∏´ncp∂Xv. C u aq∂v
kzcßtfbpw Ipdn®v ]mWn al¿jnbpw, \mcZapbpw
AhchcpsS {KŸßfn¬ Cßs hnhcn°p∂p ˛ ˛
""DZmØ\pZmØ› kzcnX kzc{ibw' '
(]mWn al¿jn)
""kma kq{Xb¥cw Xrkzssc› kmanIw'' (\mcZ in£)
]mWn al¿jnbpsS A`n{]mba\pkcn®v "DZmØw'
F∂m¬ jmZhpw Km‘mchpw "A\pZmØw' F∂m¬
cnj`hpw ss[hXhpw "kzcnX' F∂m¬ jUvPhpw, a[yaw,
]©aw F∂o kzcßfpamWv Dƒs°m≈p∂Xv. At\Iw
ImeL´ßƒ IS∂t∏mƒ am‰ßƒ h∂X\pkcn®v, hgn°p
\mep kzcßfpw, A©v kzcßfpw, Bdv kzcßfpw ]n∂oSv
Ggp kzcßfpw thZa{¥ßƒ C uWØn¬ sNm√phm\mbn
D]tbmKØn¬ h∂p.
Cu kzcÿm\ßƒ°p ]pdta, thZa{¥w DcphnSm\mbn
thsdbpw i_vZßƒ D≠mbncp∂psh∂v ]dbs∏Sp∂p.
AXmbXv, "{]Nb kzcw' F∂ Hcp i_vZw IqSn D]tbmKØn
ep≠mbncp∂p. DZmØØn¬ ∂pw (cnj`kzcw) kzcnXØn¬
(jUvPØn¬) h∂ptNcpwapºv CSbv°p≈ i_vZsØbmWv
"{]Nbkzcw' F∂v ]d™ncp∂Xv. Imebfh\pkcn®v
a{¥ßsf {lkzw, Zo¿L, πpXw F∂o aq∂v XcØnemWv
D®cn®psIm≠ncp∂Xv. {lkzØn\v Hcp am{XImebfhpw,
Zo¿LØn\v c≠v am{XIfpw πpXØn\v aq∂v am{XIfpamWv
IW°m°nbncp∂Xv.
"kmak]vXIw' F∂dnbs∏Sp∂ k]vXkzcßsf
(kcnKa ][) BZyambn ]cma¿in®ncn°p∂Xv "\mcZ
in£bnepw' "kmahn[m {_m“W'ØnepamWv. kmathZ
a{¥ßƒ CuW Øn¬ sNm√m≥ k]vXkzcßsf AhtcmlW
{IaØnemWv BZyw {]tbmKn®ncp∂Xv. AXmbXv "aKcn
k[]' F∂ {IaØn¬. thZa{¥ßƒ kzÿm\ßƒ
D]tbmKn®v CuWØn¬ sNm√phm≥ "kmalkvXw' F∂
coXnbnemWv A\ph¿Øn®v t]m∂sX∂v "\mcZnin£' F∂
{KŸØn¬ {]Xn]mZn®n´p≠v. AXmbXv heXp ssIønse
hncepIfnep≈ hcIfpw A{K`mKß fpamWv kzcÿm\ßfmbn
k¶ev]n®v kzoIcn®ncp∂Xv. "kmahn[m {_m“W' F∂
{KŸØn¬ kzcßƒ°v sImSpØn´p≈ t]cpIƒ ˛ {XpjvT,
{]Ya, ZznXob, XrXob, NXp¿∞, ]©a, A¥y As√¶n¬
jjvT F∂mWv. X≈hncens‚ a[y`mKØv a≤yakzchpw
A{KØn¬ ]©ahpw Nq≠phncens‚ a[y`mKØv X≈hncep
sIm≠v sXm´m¬ Km‘mchkzchpw a[yhncens‚ a[y`mKØv
sXm´m¬ cnj`kzchpw tamXnchncens‚ a[y`mKØv X≈
hncepsIm≠v sXm´m¬ jUvPhpw sNdphncens‚ a[y`mKØv
ss[hXhpw sNdphncens‚ XmgsØ `mKØv jmZkzchpw

v
v
20kwKoX]cmKw
vv
ÿm\ßƒ Iev]n°s∏´ncp∂p. Cßs kzcßfpsS ÿm\w
ssIhncepIfn¬ k¶ev]n®mWv kmaKm\w C uWØn¬
sNm√nbncp∂Xv.
Cßs ]mSp∂ coXn Iptd°mew e∂ncn°Ww.
AXn\ptijw Hcp ÿmbnsb°pdn®v t_m[w, As√¶n¬ Adnhv
D≠mbt∏mgmWv, "aKcnk[]' F∂ AhtcmlWØn¬ amdn
"kcnKa][' F∂ hkvXpXbnte°v FØnbXv. kmaKm\
ImeL´Øn¬ ehn¬ h∂ k]vXkzcßfmWv, ]n∂oSv
D≠mb {Kmaßƒ°pw, aq¿®\Iƒ°pw, PmXnIƒ°pw a‰psa√mw
ASnÿm\ambn ¬°p∂Xv.
kmathZKm Bem]\w kzcßfpsS klmbtØmsS
sNbvXp XpSßnsb¶nepw, a{¥ßsf \o´nbpw, Ipdp°nbpw
dpØnbpw sNm√nbncp∂p. IqSmsX CS°v "kvtXm`' As√¶n¬
"^p√' F∂dnbs∏´ {]tXyIn®v A¿∞an√mØ Nne hm°pIƒ
IqSn {]tbmKn®ncp∂p. AXmbXv _n, hv, Clv, ø, bmlv
F∂nhbpw a{¥ßƒ°nSbn¬ ÿm\w ]nSn®ncp∂p.
Chbv°p ]pdsa, kzcßƒ°v sImSpt°≠ sNdnb
Iº\sØ, {]tXyI ASbmfamb sNdnsbmcp hcbn¬ (˛) IqSn
{]ISn∏n®ncp∂p. AXpt]mse Hcp kzcØn¬ ∂v as‰mcp
kzcsØ _‘n∏n°m≥ D]tbmKn® ASbmfw "d' F∂mbncp∂p.
"kzcnX' F∂ jUvPØn\v "1' F∂pw, A\pZmØw F∂
jmZØn\v "3' F∂pw, DZmØw F∂ cnj`Øn\v "2' F∂pw
kwJyIƒ \¬Inbncp∂p. kmathZØn¬ ∂pw Hcp ]mZw
NphsS kzcs∏SpØn FgpXnbn´p≠v.
312 3 12 3 12 3 1
kcn kcn kcnk
ap≤m\wZnthmlcXn{]Zn hy
Npcp°Øn¬ {ipXn, kzcw, KaIw, kzcmjvSIw, Xmfw,
kwKoXcq]ßƒ XpSßnb A\h[n hnjbßsf°pdn®p≈
Aht_m[w \ap°p≠mbXv thZßfn¬∂mbXp sIm≠v
`mcXob kwKoXØns‚ hf¿®bv°pw, ]ptcmKXn°pw B[mcw
thZßfmsW∂v hnizkn°s∏Sp∂p. thZßfn¬ D]tbmKn®n
cp∂ "kvtXm`' F∂ A¿∞an√mØ Nne hm°pIƒ ˛ (ø, lv,
hlv) F∂o {]tbmKßƒ kwKoXcq]amb KoXßfn¬
ImWs∏Sp∂p≠v. IqSmsX thZImeØv e∂ncp∂ "kma
lkvXw' F∂ coXn, ]n∂oSv kwKoXcq]ßsf kzcs∏SpØn
FgpXp∂ coXn°v aqeImcWambn Xo¿∂p. Cßs kwKoXhpw
thZhpw ]ckv]c]qcIßfmsW∂v \ap°v a\ nem°m≥
km[n°p∂p.
l

v
v
21kwKoX]cmKw
vv
`mcXob kwKoXw
Hcp {]tXyI `mjbpsStbm P\kapZmbØns‚tbm
]cn[n°p≈n¬ HXpßn°qSp∂X√ `mcXob kwKoXw. AXy¥w
BI¿jIamb Hc£b`WvUmImcamWXv. {]mNo\ImeØn¬
thtZm®mcWØn\v kmam\yambn hn[n®n´p≈Xv aq∂pkzcßfm
sW∂pw Ah thZØnse {ipXnIfmsW∂pw ]dbs∏Sp∂p≠v.
Chbv°v DZmØw, A\pZmØw, kzcnXw F∂mWv t]cp
\¬Inbncn°p∂Xv. Cßs aq∂pkzcßƒ A\p`hs∏Sp∂
Km\sØ "kmanIw' F∂p ]dbp∂Xn¬∂p Xs∂, kma
thZhpambn CXn\p≈ _‘w a\ nem°m≥ Ignbpw.
kn≤m¥]cambn kwKoXØns‚ DXv]Ønsb Ipdn®v
"thZImeØn¬' hniZoIcn°msa¶nepw, {]mtbmKnIXeØn¬
a\pjys‚ kmwkvImcnI PohnXhpambn _‘s∏´mWv kwKoX
Øns‚ hnImksat∂m¿°Ww. ssZhtØmSv {]m¿∞n°p
tºmtgm kvXpXn°ptºmtgm F√mw Cu CuWw \Ωn¬ h∂p
IqSp∂Xv kzm`mhnIamWv. kzcßfpsS klmbtØmsS Bib
{]IS\w \SØp∂ Cu "\mZ`mj' hgn, \ΩpsS F√m hnImcß
sfbpw˛ `‡n, tIm]w, kt¥mjw, irwKmcw XpSßnbhsb˛
kwKoX cqt]W {]Xn^en∏n°m≥ Ignbp∂p. a\ ns‚
GIm{KXbv°\p KpWambn {]thin® kwKoXw `‡s‚ hnhn[
`mhßƒ °\pkrXambn sshhn[yw {]m]n®p. Aßs ]n¬
°meØv cmKßƒ F∂ t]¿ e`n® kzcq] hntijßƒ
D≠m°mSh∂p. hnt\mZ]cambpw A[ymﬂ]cambpw
{]m[m\yap≈ \mSyØn\v AXn\ptbmPn® coXnbnep≈
Km\ßƒ D≠mbnØpSßn.
eLphmb cq]ßfn¬ DZbw sNbvX CØcw "Km\ßƒ'
Ah bpsS LSnepw D≈S°Ønepw {ItaW am‰ßƒ°v
hnt[bßfmbnØo¿∂tXmSp IqSn C∂p ImWp∂ Io¿Ø\w,
h¿Ww, ]Zw apXembh h∂p tN¿∂p. ChbmkzZn°p∂Xn\p
th≠ ⁄m\w imkv{XobkwKoXØn\p kam¥cambn Xs∂
hf¿® {]m]n®Xmbn IW°m°mw. a\pjysc am{Xa√ ]£n
arKmZnIsft∏mepw BI¿jn°m≥ X°tijn Ds≠∂Xn\v ...
""inip¿thXn ]ip¿thXn
thXnKm\ckw ^Wn!''
F∂ t«mIw t]mepw sXfnhmWv.
\mSyimkv{Xw, \mcZnin£, bm⁄h¬IrkvarXn, ]mWn
\ob in£, _rltZin, kwKoXkabkmcw, kwKoXcXv\mIcw,
kwKoX Nn¥maWn, kwKoXNqUmaWn, NXp¿ZWvUn{]IminI,
kw{Kl NqUmaWn F∂nßs At\Iw sXep¶p`mjbnse
kwKoXkw{Klhpw Nne∏XnImchpw `mcXob kwKoXØn\v
D]Ic®n´p≈ hgnIm´nIfmWv.
GXm≠p 12˛mw \q‰m≠phsc `mcXobkwKoXw H∂mbn
cp∂p. AXn\ptijamWv DØtc¥y≥ kwKoXw, Z£ntW¥y≥
kwKoXw F∂ hn`P\w D≠mbXpw, c≠p hgnIfn¬IqSn
k©cn°m≥ XpSßnbXpw.
\mZw F∂m¬ {Iaamb kv]µ\ßfn¬ ∂pw D≠mIp∂
A\pcW\mﬂIamb i_vZhntijamWv. C u i_vZw anj
ßtfmfw XpS¿∂p tIƒ°m≥ km[n°p∂p. kwKoXØn\v
B[mcam°nbncn°p∂Xv \mZamWv. "\' F∂ A£cØn\v
{]mWhmbp F∂pw "Zw' F∂ A£cØn\v A·n F∂pw
Iev]n®n´p≠v. {]mW hmbphpw A·nbpw tN¿∂m¬ am{Xta

v
v
22kwKoX]cmKw
vv
\mZap≠mhpIbp≈q F∂Xn\v sXfnhmbn´v XymKcmP
kzmanIfpsS "kmcaXn' cmKØnep≈ "tam£apKeZ' F∂ IrXn
{i≤n°pI. NcW `mKØn¬ Cßs ]dbp∂p.
""{]mWm\e kwtbmKaph√
{]Wh\mZap k]vXkzcapsse_cK' '
{ipXn F∂m¬ kwKoXimkv{XØn¬ G‰hpw kq£va
ambpw hy‡ambpw tIƒ°m≥ Ignbp∂ hfsc sNdnb Hcp \mZ
hntij amWv. Xangn¬ CXns "]msseIƒ' F∂p ]dbp∂p.
Cu {ipXnsb kzcßfpsS CSbn¬ hcp∂ CSthfIƒ F∂pw
]dbmdp≠v. Cßs Hcp ÿmbn°p≈n¬ A\pkrXambn
esIm≈p∂ 22 {ipXnIƒ Ds≠∂mWv IW°m°s∏´n´p≈Xv.
imkv{Xob kwKoXØnse KaIßfpw a‰pw hfsc IrXyambn
{]tbmKn°m≥ km[n°p∂Xv kzcw sIm≠pam{Xa√, Ahbv°nS
bnep≈ {ipXnIfpsS klmbtØmSpw IqSnbmWv. DZmlcW
Øn\v Htc kzcßƒ hcp∂ Nne cmKØns‚ k©mcßƒ
{]tbmKn°ptºmƒ `mhhyXymkw hcp∂Xv, {ipXnIfpsS G‰
°pd®n¬ sIm≠mWv. (DZm: Kuf "cn', ambmamfhKuf "cn',
t_KU "a', i¶cm`cW "a', kpcp´n "', tIZmcKuf "').
Npcp°Øn¬ {ipXnIƒ F∂Xv AhbpsS {]m[m\ya\pkcn®v
kzcßfmbn amdpIbmWv sNøp∂Xv.
\mZw Ign™v {]m[m\ya¿ln°p∂ as‰mcp \mgnI°√mWv
"kzcw'. kwKoXØns‚ ASnÿm\XXzw kzcßfmWv. `mcXob
kwKoXØn¬ jUvPw, Ej`w, Km‘mcw, a[yaw, ]©aw,
ss[hXw, jmZw F∂o t]cpIfmepw Ch Adnbs∏´ncn°p∂p.
BZyImeØv Hcp kzcw am{Xw D]tbmKn®mWv thtZm®mcWw
\SØnbncp∂Xv. B ImeL´sØ A¿®nI Kmb\sa∂pw, c≠p
hyXykvXkzcßƒ I≠p]nSn°s∏´t∏mƒ "KmXnt\m'
Kmb\sa∂pw (AXmbXv DZmØhpw A\pZmØhpw "cn'bpw ˛
"'bpw) ]n∂oSv Cu c≠pkzcßƒ°nSbn¬ kzcnXhpw (k)
I≠p]nSn°s∏´t∏mƒ B Km\coXnsb "kmant\m' Kb¥n
F∂pw ]d™ph∂p. C u aq∂v ÿm\ßsf ˛ AXmbXv
cn˛˛k BZn kzcßƒ F∂mWv ]mWn At±lØns‚
hymIcW imkv{XØn¬ hntijn∏n®ncn°p∂Xv. Cu ImeL´w
EtKzZ ImeL´amWv. h¿jßƒ IS∂t∏mƒ " K' F∂ kzcw
"cn'bpsS apIfnembn´pw "[' F∂ kzcw "'bpsS Xmsgbmbn´pw
I≠p]nSn®tXmSp IqSn Kcnk[ F∂ Hcp kzc]©Iw
(Pentatonic scale) In´n. CXv hfsc\mƒ XpS¿∂p. AXn\ptijw
Aev]w ]cnWmaßfneqsS "a' F∂ kzcw "K' °p apIfnepw
"]' F∂ kzcw "[' °p Xmsgbpw ehn¬h∂p. Aßs\
"aKcnk[] ' F∂ Xmtgm´p≈ (downward) Hcp kvtI¬
cq]m¥cs∏´p. Cu kzcßfmWv kmaKm\w ]mSm≥ D]tbmKn®
kzcßƒ. ImeØns‚ KXnthKØn¬ " k[] ' F∂
kzcßfpsS XpS¿®bmbn "aKcnk' ]mSn t\m°nbt∏mgmWv
"k[]aKcnk ' F∂ "kzcmjvSIw' P°pIbpw
"kmak]vXIw' F∂ t]cn¬ Adnbm≥ ImcWamIpIbpw
sNbvXXv. ]n∂oSmWv "kcnKa][k ' F∂ {IaØn¬
Ct∏mƒ ehnep≈ Hcp ÿmbn°p≈n¬ ta¬∏d™
Ggpkzcßƒ ¿Wbn°s∏´Xv. C u GgpkzcßsfbmWv
"ip≤kzck]vXIw' F∂pw "kmak]vXIw' F∂pw ]d™p
hcp∂Xv.
Cu k]vXkzckwKoXØns‚ D¤hamsW¶n¬ iXm_vZ
ßtfmfw ]g°ap≈XmWv. kwKoX]cambn Ah A`nhr≤n
{]m]n°pIbpw sNbvXncp∂p. A∂sØ kmaKm\Øn\v ]mSnbn
cp∂ Ggp kzcßƒ°v C∂sØ Jclc{]nb cmK kzcßfp
ambn kmZriyap≠v. kmaKm\sØ ]cnjvIcn®ImesØ
"D]jØv' ImeL´sa∂pw ]d™phcp∂p. Aßs\
kmaKm\Øn\mWv AYhm kmaKm\w ]mSm\mWv BZyambn
Ggpkzcßƒ D]tbmKØnepw {]NmcØnepw h∂Xv.
Cu Ggp kzcßsf XymKcmPkzmanIƒ, At±lØns‚

v
v
23kwKoX]cmKw
vv
NnØcRvPn cmKIrXnbn¬ kcnKa][ F∂ {IaØn¬
D]tbmKn®ncn°p∂Xv {i≤n°mw. "\mZX\paiw ' F∂
IrXnbpsS NcWØn¬ Cßs ImWp∂p ˛ ˛
""ktZymPmXmZn ]© h{‡P
"kcnKa][' hckv]Xkzc' '
Ggp kzcßfpsS BZym£cßƒ am{XamWv ]n∂oSp
kuIcym¿∞w D]tbmKn°m≥ XpSßnbXv. CXv GXm≠v
thZImeØn\ptijamWv. CtX∏‰nbp≈ hnhcWw BZyambn
{]Xn]mZn°p∂Xv ""\mcZ]cn{hmPI D]jØn' 'emWv Cu
BZym£cßƒ kwKoXØns kzcs∏SpØp∂Xn\pw D]Imc
s∏´p. Cw•ojv `mjbn¬ Cu Ggp kzcßsfbpw Sa, Ri, Ga,
Ma, Pa, Da, Ni F∂v BZyambn FgpXn°≠Xv. "IpSpanbmasse
inemimk\''ØnemWv (7th cy). CXn\v Xpeyamb kzcßƒ
doh, re, mi, fa, so, la, si BZyambn´v {]NmcØn¬ h∂Xv
]Ømw\q‰m≠nemWv "kcnKa][' F∂ {]tbmKw h∂tXmsS
at\m[¿akwKoXØn\pw hgn sXfn™p. Iev]\mkzcßƒ
]mSm\pw, ch¬, cmKhnkvXmcw F∂nhbv°pw AXv hfsc
{]tbmP\ambn.
AXphscbpw ]e{ipXnIfn¬ ]mSns°m≠ncp∂ Hcp
coXnamdn, B[mcambn´v Hcp {ipXnthWsa∂v tXm∂nbXv
a[yÿmbn jUvPw B[mcjUvPambnØocm≥ CShcpØn.
AXn\ptijamWv "k'bpw "]'bpw ANekzcßfmbn As√¶n¬
{]IrXnkzcßfmbn amdnbXv. AXphscbpw "k'°pw "]'°pw,
a‰p A©pkzcßƒ°v D≈Xpt]mse {ipXnhyXymkßƒ
D≈Xmbpw IW°m°nbncp∂p. `cXapbpsS ImeØv (s r g
m p d n) F∂ kzcßƒ°v 4 3 2 4 4 3 2 F∂ apdbv°mWv
{ipXnhyXymkßƒ D≠mbncp∂Xv. {ItaW ]e ]co£W
ßfpsSbpw ^eambn´mWv "k'°pw "]'°pw Hcp {ipXnhoXhpw
"cnKa]['°p 4 {ipXnIƒ hoXhpw Aßs 20+1+1=22
{ipXnIƒ Hcp ÿmbn°p≈n¬ D≈Xmbn I≠p]nSn° s∏´Xv.
Cu ]d™ 22 {ipXnIƒ IqSmsX hfsc sNdnb i_vZßƒ,
Hcp kzcmjvSIØn¬ It≠°msa¶nepw, tI´m¬ XΩn¬
hyXymkw a\ nem°m≥ ]‰p∂ 22 i_vZßƒ am{Xw
D≈XpsIm≠mWv 22 {ipXnIƒ F∂v IW°m°s∏´ncn°p∂Xv.
Aßs kzchpw {ipXnbpw F√mw AhbptSXmb hy‡nXzw
t\Sn°gn™t∏mgmWv Ahbv°v {]tXyI tXmXv, As√¶n¬
BhrØnaqeyw \¬InbXv.
DZm: k = 240 Ne\w
a = 320 Ne\w
] = 360 Ne\w
F∂nßsmWv AhbpsS ]´nI. Npcp°Øn¬ C u
{ipXnIƒ Hmtcm∂pw, ]e cmKßfn¬ Hcp kzcØns‚ ÿm\
amWv hln°p∂Xv.
cmKßfpsS D¤hw ]n∂oSmWv DSseSpØXv. AXphsc
"cmKw' F∂ t]cpt]mepw {]tbmKØnen√mbncp∂p. AXn\p
]Icw {Kmaw, aq¿O\, PmXn Fs∂ms°bmbncp∂p. aXwK
apbpsS Imew apX¬°mWv "cmKw' F∂ t]cp h∂Xv (5˛mw
\q‰m≠nemWv). XpS¿∂v ]e cmKßƒ cq]w sIm≠p. AtX
ØpS¿∂v cmKßfpsS ]e hn`P\hpw D≠mbn. XXv^eambn
P\IP\ycmKw, ip≤Ombm eKk¶o¿WcmKw, h¿PycmKw,
I¿WmSItZiycmKw, D]mwKcmKw, `mjmwKcmKw F∂nßs\
cmKßƒ D≠mbn.
CXnsS Xmfßƒ I≠p]nSn°s∏´tXmSpIqSn BZnXmfw,
]©Xmfw, 108 Xmfw, iqemZnXmfw, k]vXXmfw, 35, 175, 350
XmfßƒF∂nßs cmKhpw Xmfhpw ehn¬h∂Xns‚
^eambn At\Iw kwKoXcq]ßfpw DSseSpØp. cmtKm¤
hØns‚ {]tXyI ImcWw kzcßƒ°v sImSpØ Iº\amWv.
Hmtcm∂n\pw, C{X C{X Iº a ]mSp≈q F∂p≠v. C u

v
v
24kwKoX]cmKw
vv
Iº\amWv "KaIw' F∂ t]cn¬ Adnbs∏Sp∂Xv. Cu KaIsØ
Z£ntW¥y≥ kwKoXØns‚ \s´√v F∂mWv hntijn∏n®n
cn°p∂Xv.
kwKoXcq]ßfn¬ BZysams° kzcßƒ am{Xw D]tbm
Kn®p. kmlnXyw ]n∂oSmWv tN¿ØXv. kmlnXyw D]tbmK
Øn¬ h∂t∏mƒ AXnse hnjbw A\pkcn®v ssZhnIw,
euInIw F∂v XcwXncn°s∏´p. Ahbv°v hgn°phgnsb
AwKßfpw tN¿°s∏´p. BZysams° ]√hnbpw NcWhpw
am{Xambncp∂p. ]n∂oSmWv A\p]√hn F∂ AwKw h∂Xv.
Cu aq∂v AwKßƒ {][m\AwKßƒ (Essential Angas)
F∂mWv Adnbs∏´Xv. AXn\ptijamWv hntijAwKßƒ
(Decorative Angas) IrXnIfn¬ tN¿ØXv.
{]Xn`mimenIfmb Km\cNbnXm°ƒ At\Iw kwKoX
kw`mh\Iƒ \¬Inbncp∂psh¶nepw, AXphsc D≠mbncp∂
kwKoXkmlnXycq]ßsf adnIS°msX Xs∂ kwKoX
{Xnaq¿ØnIƒ, ]pXnb cmKßƒ, Xmfßƒ apXembh I≠p
]nSn°pIbpw, Ahsb {]tbmKØn¬ hcpØpIbpw sNbvXp.
kwKoXhmZyßƒ°pw ]pcmWhpambn _‘ap≠v (]ca
inhs‚ ssIbn¬ CSbv°bpsS BIrXnbnep≈ "DSp°pw'
kckzXotZhnbpsS ssIbnep≈ hoWbpw, {ioIrjvWs‚
HmS°pgepw {i≤n°pI). hmZyßfn¬ h®v BZyw DSseSpØXv
XXhmZyw (Percussion) BWv. c≠maXmbn kpjnchmZyhpw
aq∂maXmbn X{¥nhmZyhpw.
19˛mw \q‰mt≠mSpIqSn ]m›mXyhmZyßfmb "hben≥',
"¢mcs\‰v' F∂nh Z£ntW¥y≥ kwKoXØn\v D]Icn° s∏´
hbmsW∂v I≠p ]nSn®p. almcmjv{Sbn¬ ehnep≠mbncp∂
"Imet£]w' F∂ kwKoXcq]w X©mhqcn¬ BZyambn
hnIkn∏n°pIbpw ]n∂oSv Z£ntW¥y≥ cmPyßfn¬ {]tbmK
Øn¬ hcpØpIbpw sNbvXp.
hSt° C¥ybpw sXt° C¥ybpw XΩnep≈ kzm[o\w
anØw lnµpÿm cmKßfpw Nne Xmfßfpw hmZyßfpw
a‰pw \ΩpsS cmPyØn¬ D]tbmKn°s∏´p XpSßn. DZm : tZiv,
Im∏n, _nlmKv, lao¿ IeymWn apXembcmKßfpw tZimZnXmf
{Iahpw, Xp°mdmans‚ A`wKpw, aocm_mbv˛I_o¿Zmkv
XpSßnbhcpsS `P≥ F∂nhbpw sX∂n¥y≥ It®cnIfn¬
ÿm\w Dd∏n®p.
B[pIImeL´Øn¬ kwKoXw tIƒ°m\pw, ]Tn°m\p
ap≈ kuIcyßƒ h¿[n®tXmsS kwKoXsØ Hcfhphsc,
hcpwXeapd°m¿°pth≠n kwc£n°m\p≈ am¿§ßsf
°pdn®pw Nn¥n®p XpSßn. tPW¬, kph\o¿ tdUntbm, sSen
hnj≥ XpSßnbh CXn\v klmbI am[yaßfmWv. kwKoX
en]nIfn¬°qSn kzcs∏SpØnb kwKoXcq]ßƒ kq£n°m\pw
]Tn°m\pw km[n°p∂p≠v. am{Xa√ kvIqƒ, tImtfPv XeØn¬
kwKoXØn\v {][m\yw \¬Inbncn°p∂p.
l

v
v
25kwKoX]cmKw
vv
`mcXob kwKoXhpw
B≤ymﬂnIXbpw
]pcmX\Imew sXm´pXs∂ kwkv°mcØns‚ thcp
Iƒ B≤ymﬂnIXbnemWv D u∂n∂n´p≈Xv. kpIpamc
IeIƒ F√mwXs∂ a\pjy kwkv°mcsØ sI´n∏Sp°m≥
klmbn°p∂ D]m[nIfmbncp∂p ChnsS. AXn¬ G‰hpw
t{ijvTamb IebmWv kwKoXw.
tbmKimkv{Xw A\pkcn®v a\pjyicocØnse aqem
[mcØn¬ ÿnXnsNøp∂ IpWvUen\oi‡nsb {]mWhmbp
hns‚ klmbØm¬ DW¿Øn a‰p N{Ißfn¬ IqSn ISØn
inc nep≈ kl{kZf N{IØn¬ {]thin∏n®v AXns\
hnS¿Øn AXn¬∂v AarXw {]hln∏n°m≥ \mtZm]mk\
bn¬°qSn A\mbmtk km[n°pw. aqem[mchpambn
tN¿∂ncn°p∂ {_“{KŸnsb∂ ÿm\Øv {]mWhmbp
Ft∏mgpw d™ncn°p∂p. B hmbphnt\mSv tZlm·n
kwtbmPn°ptºmƒ \mZw D≠mIp∂p. Cu \mZw anjßtfmfw
XpS¿∂p tIƒ°m\pw km[n°p∂p. kwKoXØn\v B[mcambncn
°p∂Xv Xs∂ \mZamWt√m.
"\' F∂ A£cØn\v "{]mWhmbp' F∂pw "Zw' F∂
A£cØn\v "A·n' F∂pamWv A¿∞w Iev]n®n´p≈Xv.
{]mWhmbphpw, A·nbpw tN¿∂mte \mZw D≠mIp F∂Xns\,
XymKcmPkzmanIƒ "kmcaXn' cmKØnep≈ "tam£\pKeZ'
F∂p XpSßp∂ Io¿Ø\Øns‚ NcWØn¬ Cßs\
]cma¿in®n´p≠v.
"{]mWm\e kwtbmKaph√
{]Wh\mZap k]vXkzapsse_cK'
\mZØns‚ alXzØns Hcp t«mIØn≥ Cßs\
h¿Æn®ncn°p∂p.
"P]tImSn KpWw [ym\w
[ym ImSn KpWmeb
eb tImSn KpWw Km\w
Km\mXv ]cXcw \ln''
AXmbXv [ym\w Hcp tImSn P]Øn\v Xpeyhpw, ebw
Hcp tImSn [ym\Øn\v Xpeyhpw, Km\w Hcp tImSn ebØn\v,
Km\Øn\v Xpeyw as‰m∂pan√.
\mtZm]mk sNøp∂ kwKoXhnZzm≥amcpw `Kh¤‡
∑mcpw Hcpt]msebmWv. {_“, hnjvWp atlizc≥ F∂o
{Xnaq¿ØnIƒ \mZmﬂI≥amcmbXpsIm≠pw \mtZm]mkn¬
D]mkn°s∏´hcmbXpsIm≠pamWt√m a\pjy¿ Ahsc
hWßp∂Xpw kvXpXn°p∂Xpw \mtZm]mk {_“{]m]vXn
bnte°p n°p∂p. "Hmw' Imc \mZamb {]WhØn¬ "H'
F∂Xv \mZhpw A\pkzc(w) _nµphpw BWv. \mZhpw _nµphpw
tN¿∂p≠mIp∂ "Hmw' ImcØn¬ Iesb∂Xv kzbw hcp∂p.
CXnsmWv "\mZ _nµpIe Zo am am' F∂v 15˛mw
\q‰m≠n¬ Pohn®ncp∂ AcpWKncn\mY¿ F∂ {]kn≤
kwKoX⁄≥ {]WhsØ∏‰n ]mSnbn´p≈Xv.
A©mw \q‰m≠n¬ Pohn®ncp∂ aXwKap At±l
Øns‚ "_rlt±in' F∂ kwKoX {KŸØn¬ \mZsØ∏‰n
Cßs hnh£n®n´p≠v.
"" \mtZ hn\m KoXw
\mtZ hn\m kzcw

v
v
26kwKoX]cmKw
vv
\mtZ hn\m Øw
Xkv am∂mZmﬂIw PKXv
\mZ cq]x kvartXm{_“m
\mZ cq]m P\m¿±\x
\mZ cq]m ]cmi‡n
\mZ cqt]m atlizcx''
AXmbXv \mZan√msX KoXw C√. \mZan√msX kzcan√.
\mZan√msX \¿Ø\w C√. {_“mhpw, hnjvWphpw, atl
izc\pw, ]cmi‡nbpw Ft∏mgpw \mZkzcq]tØmSp IqSnb
hcmWv.
Cu XXzw a\ nem°nb \mZtPymXnbmb XymKcmP
kzmanIƒ "\mZX\paiw' F∂ NnØcRvP cmK Io¿Ø\
Øn¬, Xm≥ ]camﬂmhns \mZcq]nbmbn A\pk‘m\w
sNøp∂p F∂v hy‡am°nbn´p≠v. AXpt]mse \mtZm]mk\
{_“\µXpeyamb tam£w {]Zm\w sNøp∂psh∂v "\mZtemep
ssU {_“m\µ aµth am\km' F∂pw. {Xnaq¿ØnIsf
t]msebpw alm aphcysct]msebpw, Ah¿ \mtZm]mk\sb
kwkv°cns® SpØXpt]mse A√tbm a k, {_“m\µsØ
As√¶n¬ kmbqPysØ ASbq˛ ˛F∂v a‰v c≠v hyXykvX
IrXnIfn¬°qSn shfns∏SpØnbn´p≠v.
`‡nbpw kwKoXhpw ]ckv]c ]qcIßfmWt√m. `‡n
{]ÿm\w DSseSpØXn\p tijamWv `mcXØn¬ `‡n]camb
At\Iw kwKoXcq]ßƒ cNn°s∏´Xv. kwKoX⁄m\w
t\Sm≥ `‡n C√msX km[n°pIbn√msb∂v "kwKoX⁄m\
ap`‡nhn\m k∑m¿§apKsesX a\km' F∂v "[\ymkncmK
IrXnbn¬ XymKcmPkzmanIƒ shfnhm°nbn´p≠v. "kzccmK
kp[mckw' F∂ i¶cm`cW cmK IrXnbn¬ ˛"aqem[mc
P\mZsacnKsX'˛ F∂v aqem[mcØv ∂v D¤hn°p∂
\mZØns\∏‰n Adnbp∂Xpw D]mk sNøp∂Xpw tam£
{]m]vXn°p XpeyamsW∂p ]dbp∂p. Bﬂm\p`qXn°p
th≠nbpw, AXn\pth≠nbp≈ am¿§w Im´nØcp Ibpw kwKoX
D]mkn¬°qSn AXn\pth≠n Pohn°pIbpw sNbvX Hcp
kwKoX⁄\pw XymKnbpw, ⁄mbpw Bbncp∂p XymKcmP
kzmanIƒ. Bﬂob`mhØn\v ap≥Xq°w \¬In AXns\
Db¿Øn∏nSn®v \mtZm]mk kZm A\pk‘m\w sNbvXncp∂
At±lw \mtZm]mkpsS alnasb°pdn®v At\Iw IrXn
Ifn¬ {]Xn]mZn®n´p≠v.
kn≤m¥]cambn kwKoXØns‚ D¬∏Ønsb°pdn®v
thZImeØn¬ hniZoIcn®n´ps≠¶nepw {]mtbmKnIXeØn¬
a\pjys‚ kmwkv°mcnI PohnXhpambn _‘s∏´mWv
kwKoXØns‚ ]cnWmaw As√¶n¬ hnIk\w D≠mbn´p≈Xv.
Cuizct\mSv {]m¿∞n°ptºmtgm, kvXpXn°ptºmtgm F√mw
kwKoXw a\pjycn¬ h∂pIqSp∂Xv kzm`mhnIamWv. kzc
ßfpsS klmbtØmsS Bib{]IS\w \SØp∂ C u "\mZ
`mj' hgn a\pjys‚ F√m hnImcßsfbpw˛ ˛`‡n, tIm]w,
kt¥mjw, k¶Sw, irwKmcw XpSßnbhsb kwKoXcqt]W
{]Xn^en∏n°m≥ Ignbp∂p. a\ ns‚ GIm{KXbv°v
A\pKpWambn {]thin® kwKoXw `‡s‚ hnhn[ `mhßƒ°v
A\pkrXamb sshhn[yw {]m]n®p. kwKoXw sIm≠v kwKoX
D]mk\sIm≠v a\pjy\v BﬂobØns‚ D®tImSnbnseØm≥
km[n°p∂p. kwKoXØn\v a\pjysc am{Xa√, ]£narKmZn
Isfbpw hr£eXmXnIsfbpw Hcpt]mse BI¿jn°m\pw
B\µn∏n°m\pap≈ i‡nbp≠v.
i_vZßtfmfw ]g°ap≈ k]vXkzcßsf Bkv]Z
am°n At\Imbncw cmKßƒ D≠mbn´p≠v. Cu cmKßfn¬°qSn
kwKoX km[ sNbvXm¬ Bﬂmhn\v im¥nbpw kpJhpw
e`n°p∂p. a\pjys‚ kt¥mjØn\pw kam[m\Øn\pw th≠n
Cuizc≥ X∂ Hcp [n Xs∂bmWv kwKoXw, ckm\p`hamWv
kwKoØns‚ {]tXyIX. a\pjys‚ hnImcßsf X´nbpW¿
Øp∂Xpt]mse, kmaqly]cambpw aX]cambpap≈ a\pjys‚
F√m PohnXNcy Ifnepw kwKoXØn\v ÿm\w D≠v. Hcp
Ip™v P®Xp apX¬ Hmtcm {]tXyI Ahkcßfnepw

v
v
27kwKoX]cmKw
vv
AXmbXv \maIcWw, D]\w, hnhmlw XpSßn A\h[n
kmlNcyßfnepw kwKoXw kvXpXy¿ lamb ]¶v hln°p
∂p≠v. thtZm®mcWØn¬ ∂pw DSseSpØ kwKoXØn\v
thZØn¬ DtZKoXw F∂mWv t]cv Iev]n®n´p≈Xv.
imcocnIhpw am\knIhpamb BtcmKyØn\v BZnXy
`Khms D]mkn°p∂Xp t]mse, PohnXØnse t¢ihpw {]bm
khpw amdm≥ \mtZm]mk\°v As√¶n¬ kwKoXkm[\°v
Xpeyambn as‰m∂n√. Hcp hy‡n Ahep≈ ]ehn[Øep≈
hnjbNn¥Isf F√mw ad∂v `KhXvNn¥bnte°v FØnbm¬
am{Xta Ah≥ [\y\mhpIbp≈q. km£mXvImcØnte°v
As√¶n¬ e£yØnte°v FØphm\p≈ Hcp D]m[nam{XamWv
icocw. B icocØnep≈ N{Ißsf DW¿Øn. ]cnt]mjn∏n®v
B\µm\p`qXn ssIhcn°m≥ kwKoX D]mkI\v A\mbmtk\
km[n°p∂p. Aßs Hcp hy‡n]q¿ÆXbnte°v FØp∂p.
AXpsIm≠v Bﬂmhns Adnbm\pw kpJw A\p`hn°m\pw
A\izcamb B\µØn¬ BdmSm\p≈ G‰hpw DZmØhpw,
efnXhpambp≈ am¿§w kwKoX D]mk Xs∂bmWv.
⁄m\w, {Inb apXemb KpWßƒ PohepffXp
sIm≠v Pohmﬂmhv, \√ kwKoXw Adnbm≥ B{Kln°p∂p.
AtXmsSm∏w AXv AdnRv kpJw A\p`hn°pIbpw sNøp∂p.
tam£{]m]vXn°v D∂Xamb am¿§w kwKoXamWv. b⁄hm¬
Iyal¿jnbpsS A`n{]mba\pkcn®v hoWhmbn°p∂ XXzw
Adnbp∂h\pw {ipXn kzcw, cmKw apXembhbn¬ ]mcwKX\pw
Xmfw Adnbp∂h\pw A\mtbtk tam£am¿§w {]m]n°p∂p.
""hoWhmZ\XXz⁄x
{ipXn PmXn hnimcZx
Xmf⁄ivNm {]bmtk\
tam£am¿§w b—Xnx''
(b⁄hm¬Iyal¿jo)
l
tIcfØnse kwKoX ]mcºcyw
Hcp {]tXyI`mjbptStbm, P\kapZmbØns‚tbm
]cn[n°p≈n¬ HXpßn°qSp∂X√ kwKoXw AXy¥
BI¿Iamb Hcp A£b `WvUmImcamWv. {]mNo ImeØn¬
thtZm®mcW Øn\v kmam\yambn hn[n®ncp∂Xv aq∂p kzcß
fmsW∂pw Ah thZØnse {ipXnIfmsW∂pw ]dbs∏´n´p≠v.
Chbv°v DZmØw (cn) kzcnXw (k) A\pZmØw () F∂mWv
t]cv \evInbncn°p∂Xv. Chsb BZnkzcßƒ F∂v, ]mWn˛ ˛
aln¿jn hnhcn®n´p≠v. kn≤m¥]cambn kwKnXØns‚
hnhcWw Ds≠¶nepw {]mtbmKnIXeØn¬ a\pjys‚ kwkv
Imcw, PohnXhpambn _‘s∏´mWv kwKoXØns‚ hnIk\w
D≠mbXv.
ssZhtØmSp {]m¿∞n°ptºmgpw, kvXpXn°ptºmgpw
F√mw sNdnsbmcp CuWw \Ωn¬ \mw AdnbmsX h∂pIqSp
∂Xv kzm`mhnIamWv. kzcßfpsS klmbtØmsS F√m
hnImcß tfbpw ˛˛`‡n, tIm]w kt¥mjw, irwKmcw
XpSßnbhsb kwKoX cqt]W {]Xn^en∏n°m≥ Ignbp∂p.
a\ ns‚ GIm{KXbv°\pKpWambn {]thin® kwKo
Xw, `‡s‚ `mhßƒ°\pkrXambn sshhn[yw {]m]n®v ]n¬
°meØp cmKßƒ F∂v t]cv e`n®v kzcq]hntijßƒ D≠m
ImSh∂p. eLphmb cq]ßfn¬ DZbw sNbvX CØcw Km\
ßƒ AhbpsS LSnepw D≈S°Ønepw {ItaW am‰ßƒ°v

v
v
28kwKoX]cmKw
vv
hnt[bßfmbnØo¿∂tXmSpIqSn C∂v ImWp∂ KoXw,
PXnkzcw, kzcPXn, IrXn, h¿Æw, ]Zw apXembh h∂p
tN¿∂p.
AXn{]mNo\Imew apX¬Xs∂, kmlnXy hnN£W≥
amcpw ]WvUnX∑mcpw almIhnIfpamb tIcfØnse \mKcn
IXbpsSbpw, kwkvImcØns‚bpw XWen¬ sskzcambn
hkn®psIm≠v ]WvUnX∑mcpw, almIhnIfpw kmlnXy
kº¿°waqew XßfpsS amXr`mjsb∂t]mse kmlnXy
km{amPyØns‚bpw sNt¶m¬ [cn®ncp∂p. Im¿ØnI
Xncp\mfns‚ _mecma`mcXw kzmXnbpsS FÆa‰ kwKoX
kmlnXy cN\Ifn¬, IYIfn Chsb√mw Aaqey [nIfmWv.
tIcfØns‚ kz¥sa∂v A`nam°p∂ IYIfn∏m´v
As√¶n¬ IYIfn ]Zßƒ tkm]m\Øn\cnIn¬ ∂v
]mSp∂XmWv tkm]m kwKoXw. Aßs ]mSp∂ ]m´n\v
AIºSnbmbn CSbv°sIm´n ]mSpambncp∂p. D’hßfnepw
a‰pambn tkm]m\kwKoXw ]mSpI ]Xnhmbncp∂p. I¿ÆmSI
kwKoXhpw, tkm]m kwKoXhpw Htc thcn¬ ∂pw s]mSn®v
c≠mbn amdnb hyXyÿ c≠p imJIƒ am{XamWv.
hm°pIfpsS D®mcWØns‚ kv^pSXbn¬ {]m[m\yw \evIn
s°m≠v hfsc ]Xn™ a´n¬ ]mSp∂ Hcp k{ºZmbamWv
tkm]m kwKoXw. AXn¬ ch¬ Iev] kzcw F∂nh
]mSmdn√. ]pcmX {ZmhnU kwKoXØnep≠mbncp∂ Nne
cmKßƒ IYIfn ]Zßfnepw ImWp∂p.DZm:˛ZznPmh¥n,
Imwt_mPn, \oemw_cn, bZpIpe Imwt_mPn.
cmKhnkvXmcw F∂Xv B˛ ˛B F∂v AImcw
D]tbmKn®v XmfØn\p≈nemWv ]mSp∂Xv. IYbpw kwKoXhpw
]ckv]cw ]qcIambncp∂m¬ am{Xta IYIfn AhXcn∏n°p
hm\pw BkzZn°m\pw km[n°pIbp≈q. IYIfn Ifn°p∂
hy‡n kwKoXØn¬IqSn Bibßsf apJ`mhØmepw
lkvXap{ZIƒ sIm≠pamWv shfns∏SpØp∂Xv. IrjvW
\m´hpw ]n∂oSv cma\m´hpw cwK{]thiw sNbvXXpaqew
tIcfØn¬ kwKoXØn\v IqSpX¬ {]m[m\yw ssIh∂p. GI
tZiw 16˛mw \q‰m≠v hsc tkm]m kwKoXw AXnt‚Xmb a´n¬
ehn¬ D≠mbncp∂p.
Bcy{ZmhnU kwkv°mcØns‚ kzm[o\wsIm≠pw
`‡n{]ÿm\Øns‚ D¤htØmSpIqSnbpw ]e kwKoX
cq]ßƒ DSseSpØp. kwKoX {Xnaq¿ØnIƒ `‡nckw Df
hm°p∂ IrXnIƒ cNn®p. hmkvXhØn¬ tXhmcw apX¬
Ct∏mgsØ imkv{Xob kwKoXw hscbp≈ ]mSp∂ k{ºZmbw
Xangv kwKoXØn¬ ∂pw \ΩpsS tIcfsØ kzm[o®n´p≠v.
]e cmKßfpw, Xmfßfpw hmZyßfpw D®mcW hyXymk
tØmsS ehn¬ h∂n´p≠v. kwKoX {KŸßfn¬ BZytØXv
F∂ t]¿ e`n®ncn°p∂Xv Cft¶mhSnIfpsS Nne∏XnImc
Øn\mWv. kwKoXw, hmZyw, Øw, cmKw, Xmfw F∂nhsb
°pdn®v CXn¬ {]Xn]mZn®n´p≠v. BZnXyh¿ΩbpsS DÆn
\oenktµiØn¬ Ncn{Xw, kmaqlyPohnXw, kwKoXw
F∂nhsb°pdn®v hnhcn®n´p≠v. kwKoXNqSmaWnbnemIs´
\mZw, kzcw, {ipXn, cmKw, \mUnIƒ kzcßfpsS Zzo]pIƒ
F∂nhsbIpdn°p∂p. GItZiw 100˛-¬ ]cw cmKßsf
]cam¿in°p∂p≠v. KaIßƒ, e£Wßƒ, cmKhn`P\w,
jmUhw, HuUhw, ip≤w, OmbmeIw, k¶o¿Æw, D]mwKw
F∂nßs t]mIp∂p. IqSmsX kwKoX kZ v KmbIs‚
e£Ww, Xmfßƒ AhbpsS AwKßƒ, am{XIƒ F∂nhbpw
Iq´Ønep≠v.
sIm√h¿jw 853˛860 hsc DabΩdmWnbpsS ImeØv
Pohn®ncp∂ hS°≥ tIm´bsØ tIcfh¿ΩbpsS Hcp kwkv
IrX cmKamenIbp≠v. AXn¬ cmKØns‚ t]cv IqSn hcp∂Xv
Hcp khntijXbmWv.
DZm:˛ Ietb Imwt_mPn..........
kwKoXtØbpw kmlnXytØbpw Hcpt]mse,

v
v
29kwKoX]cmKw
vv
Xmtemen®ncp∂ [¿ΩcmPmhv F∂dnbs∏´ Im¿ØnI Xncp\mƒ
almcmPmhv kwKoXIrXnIƒ cNn®n´p≠v. IqSmsX At±l
Øns‚ _mecma `cXw F∂ kwkvIrX {KŸØn¬, kwKoXw,
imkv{Xw, \mSyw hmZyßƒ XpSßnbhsb hnhcn®n´p≠v.
^enXIhnXm km{am´mb Ip©≥ºymcpw A∂v ehnencp∂
cmKßsf Xs‚ IrXnIfn¬ IqSn shfns∏SpØnbn´p≠v.
XmfØntpw hmZyßtfbpw Ipdn°p∂ IrXnIfpw D≠v.
kwKoX imkv{X {KŸßƒ, B´°YIƒ F∂nhbpsS
Bhn¿`mhw sIm≠p almcmPm°∑mcpsS IeIƒ°mbp≈
t{]m’ml\w sIm≠pw IYIfn]Zßƒ hfsc A[nIw ]n∂oSv
cNn°mSbmbn.
kzmXnXncp\mƒ almcmPmhns‚ `cWImew tIcf
kwKoXØns‚ kph¿ÆImeambncp∂t√m. At±lw A\h[n
kwKoX cq]ßƒ hnhn[ `mjIfn¬ cNn°pIbpw kzbw
Bÿm hnZzm∑mtcmsSm∏w ]mSpIbpw kwKoXØn\pth≠n
kabw Nnehgn°pIpbpw sNbvXncp∂p. tIcfØn\p ]pdØpw
AIØp ambn [mcmfw IemImc∑msc £Wn®phcpØpIbpw
t{]m’ml\w sNøpIbpw sNbvXn´p≠v. XncphnXmwIqdns‚
Ncn{XØn¬ kwKoXw D®tImSnbn¬ FØnbncp∂ Hcp
Imeambncp∂p AXv. CcbnΩ≥ Xºn, At±lØns‚ sIm´mc
Ønse Bÿm hnZzm∑mcn¬ A{KlWy\mbncp∂p. CcbnΩ≥
XºnbmIs´ almcmPmhns‚ IqsS Ign™ncp∂XpsIm≠v At±
lsØt∏mse At\Iw IrXnIfpw, ]Zßfpw, B´°YIfpw
cNn®p. XºnbpsS a°fn¬ Hcmfmb Ip´n°p™p X¶®n BZy
sØ Ihbn{Xnbmbncp∂p. am{Xa√ Ahcpw, kwKoXIrXnIfpw
]Zßfpw, B´°YIfpw a‰pw cNn®n´p≠v.
kzmXn almcmPmhn\ptijw, D{Xw Xncp\mƒ, Bbneyw
Xncp\mƒ, hnimJw Xncp\mƒ, aqew Xncp\mƒ, NnØnc Xncp\mƒ
F∂o almcmPm°∑mcpw kwKoXØn\pw a‰pIeIƒ°pw
th≠pthmfw t{]m’ml\w \evInbhcmWv.
almdmWn tkXp]m¿∆Xn_mbn hoWhmbnepw,
kwKoXØnepw, kwKoX imkv{XØnepw AXoh ]pWbmbn
cp∂p. Ahcpw CXc IemImc∑m¿°v t{]m’ml\w
\evInbncp∂p. A\y kwÿm\ßfn¬ ∂pw kwKoX⁄sc
£Wn®v Xncph\¥]pcw \hcm{Xn aWvU]Øn¬ kwKoX
It®cn \SØphm≥ th≠ G¿∏mSpIƒ sNøphm≥ Xmev]cyw
ImWn®ncp∂p.
hmkvXhØn¬ GItZiw 600 h¿jtØmfw XncphnXmw
Iq¿ sIm´mcw At\Iw IemImc∑msc £Wn®phcpØpIbpw
Ahcnep≈ Ignhpw hmkpw a\ nem°n t{]m’ml\w
\evInbXn¬ kvXpXy¿lamb ]¶phln®n´p≠v F∂ Imcyw
FSpØp ]dtb≠ H∂mWv. Ct∏mgpw sIm´mcØn¬ ∂p≈
t{]m’ml\w c¥cw IeIƒ°pw, IemImc∑m¿°pw D{XmSw
Xncp\mƒ almcmPmhpw, cmPIpSpw_Ønse F√m AwKßfpw
\evIp∂p≠v.
B[pI ImeØn¬ kwKoX kw`mh sNbvXhcn¬
apØøm`mKhX¿, \oeIWvTinh≥, ]m]\miw inh≥,
‰n. e£vaW≥]nss≈, FÆ∏mSw sh¶´caW`mKhX¿,
sI.kn.tIih]n≈, Ip´aØv Ip™pIrjvW°pdp∏v apXemb
hsc√mw tIcfØnse DØa hmt§bImc∑mcmWv. AhchcpsS
kwKoXIrXnIƒsIm≠pw {KŸßƒ sIm≠pw Ah¿ kzbw
Adnbs∏SpIbpw, Ahsb {]Ncn∏n°pIbpw sNbvXp.
Aßs tIcfØnse kwKoX ]mcºcyw ]≠v apX¬
C∂phsc ]e imJIfnembn Adnbs∏´v ]S¿∂v ]¥en®v
e∂v t]mcp∂p. tIcfØnse aÆn\pt]mepw kwKoXØns‚
aWw, KpWw F∂nh D≠v F∂Xn¬ bmsXmcp kwibhpan√.
Cbpw F{Xtbm \mfpIƒ hsc tIcfØn¬ kwKoX
]mcºcyw XpScpw.
l

v
v
30kwKoX]cmKw
vv
tkm]m\kwKoXhpw
KaIhpw
tIc-f-Ønse t£{X-ß-fn¬ K¿`-{K-l-Øn\p apºn-ep≈
I¬∏-Sn-sI-´n-\-cn-In-embn FSbv° sIm´n-sIm≠p AjvS-]Zn
]mSp∂ coXn-°m-Wt√m tkm]m kwKo-X-sa∂p ]d-b-s∏-Sp-∂-
Xv. CtX-°p-dn-®p≈ `n∂m-`n-{]-bm-ßfpw C√m-Xn-√. I¿Æm-SI
kwKo-X-Øn¬ ∂pw `n∂-amWv tkm]m-\w Fs∂mcp [mcW
GXm-bmepw e-hn-ep-≠v. F∂m¬ tkm]m-\-kw-KoXw ]cntim[n
®m¬ Km\coXnbne√msX ASnÿm\]cambn hyXymkans√∂p
ImWmw. "KaI' {]tbmKw hfsc hncfamb, tkm]m\am¿§w
Hscm‰s∏´ kwKoX kw{]ZmbamWv. hnjbw "KaIw' BbXn
\m¬ AXnte°p IS°mw.
Km\ßfn¬ bXambn D≠mbncnt°≠ _‘\
IfpsS ¿_‘an√bvabpw, F∂m¬ kzkm∂n≤yØm¬
Km\ßsf Ae¶cn°pI hgn am[pcyw Iq´p∂ kwKXnIsf
Km\me¶mcßƒ F∂mWt√m ]dbpI. KaIw, kwKXn, Nn´
kzcw, kzckmlnXyw, sim¬s°´v, a[yaImekmlnXyw,
kzcm£cw XpSßnbh CXn¬ s]Sp∂p. KaIw Km\ßfn¬
Kabmbn Xs∂ Hcp kp{][m ]¶phln°p∂p. a‰p kwKoX
coXnIsf At]£n®v Z£ntW¥y≥ kwKoXØn¬ KaIsØ
`mcXob kwKoXØns‚ \s´√mbn hntijn∏n®n´p≈Xv, H´pw
AXnitbm‡nbn√. {ihWkpJw' D≠mIp∂ XcØnep≈
kzcßfpsS hnhn[ coXnbnep≈ Ne\ßsf KaIw' F∂p
]dbp∂p.
kz {ipXn ÿm kw`pX: Ombmw {ipXy¥cm{ibmw
kz tcmb¿ KatbZ KotX KatIm kucq]nX:
(kwKoXkabkmcw)
Z£ntW¥y≥ kwKoXØn¬ Ne\an√mØ ip≤kzc
{]tbmKw, cmKmem]\Øntem, IrXnIfntem at‰m, hfsc
A]q¿∆ambnt´ tIƒ°mdp≈p. Hcp kzcw Nen°ptºmƒ as‰mcp
kzcØn¬ kv]¿in®psImt≠m kzÿm\ØpXs∂ Nen®p
sImt≠m Bbncn°pw, KaIßƒ D≠mhpI. C u hn[Øn¬ ]e
KaI{]tbmKßfpw D≠v. KaIØns‚ FÆsØ∏‰n ]e
A`n{]mbßfpw ImWp∂p≠v. DZmlcWambn 7.9.10.15.19
F∂nßsmWv Ah. F∂m¬ s]mXpsh AwKoIcn°s∏´n´p
≈Xv ‘Zihn[' KaIßfpw ‘]©Zi' KaIßfpamWv. KaI
Øns Hce¶mcambn´mWv ]e BNmcy∑mcpw ImWs∏´ncn
°p∂Xv. KaIan√mØ kwKoXw Ae¶mcan√mØhbmWv.
‘`cXap' At±lØns‚ \mSyimkv{XØn¬ C{]Imcw
]d™ncn°p∂p:˛˛
iin\m cltXh im˛
hnPte \ZoeXm hn]pjvt]h
Ahn`ujntXh Im¥m
KoXnce¶mc lo kzmXv:˛˛
(KaIan√mØ kwKoXØns N{µ≥ C√mØ cm{Xn
tbmSpw, sh≈an√mØ \ZntbmSpw, ]pjv]an√mØ h≈ntbmSpw
B`cW an√mØ kv{XotbmSpw At±lw D]an®ncn°p∂p.)
{]NmcØnep≈ ‘Zihn[ KaIßƒ' Xmsg ]dbpw
hn[ØnemWv.
1.BtcmlWw : BtcmlW{IaØn¬ kzcßsf AImcambn
{]tbmKn°p∂ coXn ˛˛ k,cn,K,a],[,,k
2.AhtcmlWw : AhtcmlW {IaØn¬ kzcßsf

v
v
31kwKoX]cmKw
vv
{]tbmKn°p∂ coXn ˛˛ k,,[,],a,K,cn,k.
3.Umep : Hcp Xmgv∂ kzcØn¬ XpSßn Db¿∂ kzcsØ
[z∏n°p∂ coXn˛˛ kamk˛˛]kmk
4.kv]pcnXw : {ZpXKXnbn¬ kzcßsf Cc´n®p ]mSp∂Xv.
kk, cncn, KK, aa, ]].
5.Iw]nXw : Htc kzcsØ Xs∂ XpS¿®bmbn Nen∏n°p∂
coXn˛˛ [m[m[m, Xo.
6.BlXw : AtcmlW {IaØn¬ kzcßtfmtcm∂ntpw
AXn\SpØ kzcw IqSn [z°Ø°hn[w {]tbmKn°p∂
coXn˛˛ k cocn, Kaa]][[
7.{]XymlXw : BlXw t]mse Xs∂sb¶nepw Ahtcm
lW{IaØn¬ kzcßsf[z∏n°p∂ coXn.
k [[]] a.
8.{Xn`n∂w : Htcm kzchpw, aq∂mbn [z°Ø°hn[w
{]tbmKn°p∂ coXn ˛˛˛KKK aaa [[[.
9.BtµmfnXw : kzcßsf Du™memSp∂ coXnbn¬ tN¿Øp
[z∏n°p∂ coXn. kcnk]m] [cnk[m[.
10.aq¿®\: BtcmlWhtcmlW {IaØn¬ cmKßfpsS
kzcq]sØ {]ISn∏n°p∂ coXn.
kcnKa][\ommm
cnKa][kmmm
Ka][kcnmmm
Ch IqSmsX ]©Zi KaIßfn¬ Dƒs∏Sp∂ KaIßƒ
IqSnbp≠v
Xncp]w : Hcp kzckaqlØn¬ Hcp {]tXyI kzcØn\p
am{Xw Du∂¬ sImSpØv ]mSp∂ coXn. kcnk kKcn, cna]m
hoW hmbn¬ CXns s\m°v F∂p ]dbp∂p.
eo\w : Hcp kzcØn¬ ∂v as‰mcp kzcØnte° v
arZphmbn Kan°p∂ coXn. ]mm a ammmKcn L≠mcw
cmKk©mcØn¬ C u {]tbmKw IqSqXembn ImWpw.
hen : Hcp kzcØn¬ ∂psIm≠p c≠pw, aq∂pw
kzcßsf [z∏n°p∂p. hoWbn¬ CXv IqSpX¬ {]ISamWv.
kcn F∂ kzcßƒ H‰ ao´n¬ tIƒ∏n°p∂p.
{Xn]p›w : CXv hoWbn¬ D]tbmKn°p∂ KaIamWv.
Htc kabØv a{µw, ]©aw, kmcWn F∂n X{¥nIƒ Hcpan®v
ao´nbpff i_vZ{]IS\w, Htc kabØv Hcp kzcktΩf\w
D≠mIp∂p.
Ipcpfw : Hcp kzcØn¬ IqSn, ASpØ kzcw tIƒ∏n
°p∂ coXn. DZm: ]©aw F∂ X{¥n iIew hen®v ip≤cnj`w
tIƒ∏n°p∂tXmsSm∏w A¥cKm‘mcØnepw ip≤a[yaw
tIƒ∏n°p∂p. ([oam\vamcm¬˛˛_p≤nam∑mcm¬ Km\w sNø
s∏Sp∂Xv ss[hXw BdmatØXn¬ [cn°s∏Sp∂XmIbm¬
ss[hXw F∂pw A¿∞w ]d™pImWp∂p.)
D√mknXw : Hcp kzcØn¬ ∂pw AIsebp≈ thsdm
cp kzcØnte°p t]mIptºmƒ Ahbv°nSbnep≈ kzcßsf
IqSn tIƒ∏n°p∂p.
DZm : ]k °p ]Icw ][k. k] °p ]Icw k[]
F∂v [z∏n°p∂p.
ap{ZnXw : hmbS®psIm≠p aqfn]mSp∂ coXn.
t\ctØ ]d™ Zihn[ KaIßfpw C u Ggv (k]vX
KaIßƒ) KaIßfpw I¿ÆmSI kwKoXØn¬ kpe`ambn
{]tbmKn®p ImWp∂p. F∂m¬ tkm]m kwKoXØn¬ hfsc
kv]jvSambn Xs∂ Xncp∏w, eo\w, Umep, D√mknXw, Iw]nXw,
hen F∂o KaIßƒ IqSpXembn {]tbmKn®n´ps≠∂v
a\ nemIp∂p.
]mSn F∂ cmKk©mcw, tkm]m\kwKoX coXnbn¬

v
v
32kwKoX]cmKw
vv
]mSnt°´m¬ eo\w, Umep, Iw]nXw F∂nh hfscb[nIw
{]tbmKØn¬ ImWp∂p. CXpt]mse Hmtcm tIcfob
cmKßsf FSpØv ]cntim[n®v, ]mSn t\m°nbm¬ Ahbn¬
hcp∂p KaI{]tbmKßƒ GsX√mamsW∂v \ap°v
a\ nem°m≥ km[n°pw. am{Xa√ I¿ÆmSI kwKoXØnse
coXnbpw tkm]m kwKoXØn¬ {]tbmKn°p∂ coXnbpw
c≠pw `n∂hpamWv. Cu hyXymkw \√t]mse \ap°dnbW
sa¶n¬ c≠nepw D]tbmKn°p∂ cmKßsf sXcs™SpØv
]mSn tI´v Xs∂ \mw a\ nemt°≠nbncn°p∂p.
l
{io tijø¶m¿
kwKoXtemIØnse
am¿KZ¿in
kwKoX temIsØ°pdn®v icn°pw a\ nem°W
sa¶n¬ A∂amNmcy¿, ]pcµcZmk¿, \mcmbWXo¿∞≥,
`{ZmNew cmaZmk¿, am¿KZ¿in tijø¶m¿, t£{X⁄¿,
hcZøm, BZn Aø∏m, cmakzman Zo£nX¿, XymKcmPkzman,
apØpkzman Zo£nX¿, iymaimkv{Xn, kzmXnXncp\mƒ XpSßnb
hcpsS Io¿Ø\ßƒ icn°pw KthjWw sNbvXv ]Tn°pI
Xs∂ thWw.`mh]pjvSn, A¿YKuchw, i_vZme¶mcw, `‡n
{]Npcna, irwKmcw F∂nhsb√mw ta¬]d™ alZvhy‡n
IfpsS Io¿Ø\ßfn¬ Aen™p tN¿∂hbmWv. kwKoX
Iebn¬ ta¬]d™ \mbI∑mcpsS cbn¬ H´pw sNdpX
√mØ ]¶p hln®n´p≈ Hcp D÷ze{]`mh\mWv {io tijø
¶m¿.
17˛mw \q‰m≠ns‚ ]q¿hm¿[Øn¬ Pohn®ncp∂ Hcp
sshjvWh {_m“W\mbncp∂ {io tijø¶m¿ {iocwKØv
P®p. kwKoXw, imkv{Xw F∂nhbv°p ]pdsa kwkvIrX
`mjbnepw At±lw AXn ]pW\mbncp∂p. DØc`mcX
Ønse tImkew F∂ {]tZiØns‚ Xeÿm\amb Atbm[y
bn¬ At±lw Xmakn°pIbp≠mbn. {iocwKw t£{XØn¬

v
v
33kwKoX]cmKw
vv
]≈n sIm≠ncn°p∂ CjvStZh\mb {iocwK\mYs Ipdn®v
hnjvWp kvXpXn]cßfmbn Io¿Ø\ßƒ [mcmfw cNn°pIbpw
sNbvXn ´p≠v. Dt±iw 300-˛¬]cw Io¿Ø\ßƒ
cNn®n´ps≠¶nepw, 70˛¬ ]cw Io¿Ø\ßƒ am{Xta
kwKoXtemIØn¬ e`n®n´p≈q.
Atbm[ybn¬ Xmakns®¶nepw, Atbm[ysb°pdn®v
Hcp Io¿Ø\hpw cNn®Xmbn ImWp∂n√. ]t£ tImkew F∂
ÿe \maamWv ap{Zbmbn At±lw kzoIcn®ncn°p∂Xv.
Io¿Ø\ßfn¬ F√mw tImke]pcw, tImke\Kcw, tImke
hmk Cßsp≈ hm°pIfmWv ap{Zbmbn {]tbmKn®p
ImWp∂Xv. sshjvWh IpeØn¬ P®v 4000 Znhy{]_‘w
cNn® 12 Bƒhm¿amcn¬ "sXm≠cmZns∏mSn Bƒhm¿' F∂dnb
s∏Sp∂ "hn{]\mcmbW's\°pdn®pw Ct±lw Io¿Ø\w
cNn®n´p≠v.
DZm: \mYhm \kvan≥ hn{]\mcmbtW
cwK\mYsse¶mcycN\]mcmbtW.......
F∂p XpSßp∂ tXmSn cmKØnse Io¿Ø\w
tijø¶mcpsS Io¿Ø\ßfnse {]tXyIXsb Ipdn®m
sW¶n¬ "{]mkm£cßƒ' Hcp Ae¶mcambnØs∂ {]tim`n
°p∂p F∂XmWv. ZznXobm£c{]mkhpw A¥y{]mkhpw
A\p{]mkhpw an°hmdpw Io¿Ø\ßfn¬ {]tbmKn°m\p≈
{]hWX ]n≥Xeapdbv°v Ct±lØns‚ cN\Ifn¬ IqSn
e`n®XpsIm≠mWv tijb¶msc kwKoXtemIw "am¿KZ¿in'
F∂ _lpaXnbm¬ BZcn®Xv. am{Xa√, kwKoXcq]ßƒ
F∂dnb s∏Sp∂ PXnkzcw, kzcPXn, KoXw, h¿Ww, IrXn,
Io¿Ø\w, ]Zw, cmKamenI, Xn√m F∂nhbn¬ h®v Io¿Ø\
Øn\v ]√hn, A\p]√hn, NcWw F∂o AwKßƒ tN¿Øv
]pXnb Hcp cq]w \¬InbXpw tijø¶mcmbncp∂p. AXp
sIm≠pw Ct±lw "am¿KZ¿in' F∂dnbs∏´p. {io kp∫cmb
Zo£nX¿ At±lØns‚ kwKoX k{ºZmb {]Z¿inbn¬ (1904
F.Un.) am¿KZ¿in tijø¶m¿ F∂p tijø¶msc Ipdn®v
hnhcWw \¬Inbn´p≠v. tKmhnµkmaø F∂ hmt§bImc≥
Xm\h¿Æw cNn°p∂Xnepw (1680˛1710 F.Un.) hoc`{Zø F∂
hmt§øImc≥ Xn√m cNn°p∂Xnepw (18-˛mw \q‰m≠v)
am¿KZ¿in F∂ _lpaXn°v A¿lcmbhcmWv.
Ct±lØns‚ Io¿Ø\ßƒ F√mw kwkvIrX `mjbn
emWv cNn°s∏´n´p≈Xv. AXpt]mse {iocwKw t£{XØnse
"GIm¥tkh' kabØv tijø¶mcpsS Io¿Ø\ßƒ
am{XamWv Ct∏mgpw Be]n°mdp≈Xv. Xncph\¥]pcØnse
{io ]ﬂ\m`kzman t£{XØnepw, {io kzmXnXncp\mƒ alm
cmPmhv Iev]n®p≠m°nbn´p≈ Io¿Ø\ßƒ am{Xta `mKhX
∑m¿ Be]n°mdp≈q. AØcsamcp ]mcºcyw c≠p hmt§b
I∑mcpsSbpw t]cn¬ C∂pw e∂phcp∂p.
tijø¶mcpsS ]n≥Xeapd°mcmb XymKcmP kzmanIƒ,
apØpkzmanZo£nX¿, kzmXnXncp\mƒ almcmPmhv, CcbnΩ≥
Xºn apXembh¿, XßfpsS kwKoXcN\Iƒ°v am¿KZ¿in
bmbn Ct±lsØ A\pIcn®n´p≠v. {io kzmXnXncp\mƒ almcm
Pmhv At±lØns‚ Hcp {KŸØn¬ "apl\{]km¥y
{]mkhyhÿbn¬' am¿KZ¿inbpsS Io¿Ø\ßsf A\p
Icn®n´p≈ Imcyw {]tXyIw {]kvXmhyamWv. cmK`mhhpw
kmlnXy`wKnbpw tIm¿ØnW°nb am¿KZ¿inbpsS cN\Ifn¬
an°Xpw \mbI\mbnI`mhw {]ISam°p∂hbmWv. C uizcs\
\mbI\mbn´pw Xs∂ \mbInbmbn´pw k¶ev]n®v cNn®ncn°p∂
hbn¬ `‡n°mWv {]m[m\yw I¬]n®n´p≈Xv. irwKmcckhpw
`‡nckhpw tN¿∂v ImWs∏SpIbpw sNøp∂p. Imwt_mPo,
IeymWn, kmthcn, ss`chn, taml\w, B\µss`chn,
tIZmcKuf apXebmhbv°p ]pdta, A]q¿hcmKßfmb L≠,
PqPmh¥n, Kufn]¥p, _rµmh\kmcwK, I¿WmSI kmcwK

v
v
34kwKoX]cmKw
vv
XpSßnbhbpw Io¿Ø ßfn¬ {]tbmKn®p ImWp∂p≠v.
XmfßfmsW¶n¬ BZn, cq]Iw, {Xn]pS, Nm∏p apXembhbmWv.
{iocwKØn¬ A\¥imbnbmbn ]≈nsIm≈p∂
{iocwK\mYs Ipdn®v, At±lØns‚ {]kn≤amb IrXnbmWv
"{iocwKimbn\w kIeip`Zmbn\w' F∂p XpSßp∂ [\ymkn
cmKIrXn. CXns‚ a´nemWv [\ymkncmKØn¬Øs∂ "t`mKo{µ
imbn\w ]pcp IpieXmbn\w' F∂ {io]ﬂ\m`kvXpXn apºv
]mSn tIƒ°mdp≈Xv. F∂m¬ AXns‚ cmKw am‰n "Ipµfhcmfn'
cmKØnemWv Ct∏mƒ ]mSmdp≈Xv. Cu Io¿Ø\w CcbnΩ≥
XºnbptSXmsW∂pw kzmXnXncp\mƒ almcmPmhnt‚ XmsW
∂pw c≠v A`n{]mbap≠v. c≠pt]cpsSbpw Io¿Ø ]´nIbn¬
CXv Dƒs∏SpØn ImWp∂p. am{Xa√, CcbnΩ≥ XºnbpsS
Io¿Ø ßƒ ASßnb ssIsbgpØp {]Xnbnepw C u Io¿
Ø\w ImWs∏Sp∂p≠v.
kzmXnXncp\mfns‚bpw tijø¶mcpsSbpw Io¿Ø\ß
fn¬ ImWp∂ Nne {]mkm£c{]tbmKßsf Xmsg sImSp
Øncn°p∂p.
""kck {io ]mZ aqew ]obqjhmWn
kck KpWme hmew
Nmcp apIc It]mew kwIzWnX thWp\mZw
KuccpNnc tNew, if[rX h\amew
Z¥PnX IpµPmew hnZyp√XmwKn Zm¥ P\Xm\pIqew
im¥ \h kab]mew ianXmJnecn]pPmew
Imt¥{µ\oew Imfnµn tIfntemew.''
("IfIWvTn' F∂ \oemw_cn cmKIo¿Ø\Øns‚ NcWw
˛ kzmXnXncp\mƒ almcmPm)
""`qcn]£ip` KpWPmew
Pw_q\mYtb Znhy tNew
L\kmcIoe IoTSew
tImke \Kcnhc ]mew
au at\mcn Pm]lmc Pm]Zw
hµmX P]m]cnPmXkmew.''
("htµtKmhnµcmPw' F∂ i¶mc`cW cmKIrXnbpsS ˛
NcWw tijø¶m¿)
""IpRvPhntemN ImfnbmZa\
IpRvPc Ka tImaf hZ\
AWvUNhml B{inX ]me\
]mWvUhcRvP ]uWvUI`RvP\
tZhIo \µ ssZXyjywZ\
]mh NcW ]menX `ph\''
(]civ cmKØnep≈ "]∂Kib\' F∂ IrXnbpsS NcWw
˛ kzmXnXncp\mƒ)
""IpRvPZf `mjkpP c£c\pP in£ {]hoW
[\RvPbm¿Ønlc aRvPp`mjW
cRvP\mKWnX cp]aeoe
Z¥ncmPhcZ cm{XoimcZhmKznimcZ
{]P{ioIm¥tbmKn hcNn¥\ob
thZm¥th[y tImke]pcneb.' '
("]mlntKm]thj' F∂ IeymWncmK IrXnbpsS NcWw
˛ tijb¶m¿)
CcphcptSbpw Nne Io¿Ø\ßƒ Hcpt]mse Bcw`n
°p∂p. Ahbn¬ NneXv Xmsg tN¿°p∂p.

v
v
35kwKoX]cmKw
vv
       tijø¶m¿ kzmXnXncp\mƒ
Io¿Ø\w cmKw     Io¿Ø\w cmKw
1. ]mln{iocLp.......tXmSn ]mln{io]tX lwk[z
2. Iesb XmhI......kmthcnIesb XmhI aelcn
3. ]ac]pcpj L≠ ]ca]pcpj hk¥
4. \cknwl`mh.....
a[yamhXn \cknwlamah Bc`n
5. Iebman ZicY ipcp´nIebman I∂S
6. tKm]me]mln [\ymknIebman cLp....t_KU
tKm]me]mln `q]mfw
7. BRvPt..... taml\wBRvPt kmthcn
]Z_lpeX Nne Io¿Ø\ßfn¬ ImWp∂p.
DZm :""]mlntKm]thjhnZfnX `‡k¿htZmj KXaZ
tamltem` tcmjIukvXp` apJy`RvP`qj_tcamw.
(i¶mc`cW cmKIrXnbpsS ]√hn ˛ tijø¶m¿)
""tZh tZh PKZoizc Pb`pPKmi hml apclc
Znhy lmcaWnIpWvUe[c `Kh≥.''
(]q¿hIeymWn cmKIrXnbpsS ]√hn ˛ kzmXnXncp\mƒ)
AXpt]mse jmPn almcmPmhns‚bpw tijø¶mcp
sSbpw cN\Ifn¬ ImWp∂ {]mkm£c kmayXIfn¬ NneXv
NphsS tN¿°p∂p.
""Cµp hZt Achnµ t \h
Ipµ cZt ipNn aµlkt\cn]p
hrµ lctW kp_rµictW `‡
hrµ Poht Ipcphnµm `ctW'' (jmPn almcmPmhv)
""hrµmcI lnX hrµm hnZmc
hrµmh hmk
\µtKm] kZm\µtKm
hnµ \XapNp Ipµ
\µImbp[ ]pcµc \µ\
hµnX ]mZmchnµ apIpµ''(tijø¶m¿)
tijø¶mcptSbpw apØpkzman Zo£nXcptSbpw XymK
cmP kzmanIfptSbpw Io¿Ø\ßfn¬ NneXv Hcpt]mse
XpSßp∂p.
DZm :
tijø¶m¿ apØpkzmanZo£nX¿
Io¿Ø\w cmKw    Io¿Ø\w   cmKw
1. kmckZf \.... ipcp´n kmckZf \... Iamkv
2. aahcLphoc.......
Akmthcn amahcLphoc amlpcn
       tijø¶m¿       XymKcmPkzman
Io¿Ø\w    cmKw       Io¿Ø\w cmKw
1
. ]mln{io camcaW ATmW ]mln{iocmacaW. hcmfn
2. tcam\k....... IeymWn tc am\k...... tXmSn
3. {iocLpIpe...... kmthcn {io cLpIpe..... lwk[z
{iotijø¶mcpsS Io¿Ø\ßƒ ]eXpw C∂v{]NmcØnen√.
A\p{KloX\pw Km\cNbnXmhpambncp∂ At±lØns‚
Io¿Ø\ßsf {]kn≤s∏SpØpIbpw {]NmcØn¬ sIm≠phcp
Ibpw sNbvXv At±lØns‚ kwKoXNmXpcysØ kwKoX
temIØn\v a\ nem°n sImSpt°≠Xv kwKoXKthjIcpsS
I¿ØhyamWv.
l

v
v
36kwKoX]cmKw
vv
{io kzmXnXncp\mƒ
almcmPmhns‚ D’h {]_‘w
K¿`{ioam≥ F∂dnbs∏Sp∂ {io kzmXnXncp\mƒ
almcmPmhv cmPm°≥amcn¬ sh®v t{ijvT\mb Hcp KmbI\pw
KmbI∑mcn¬ sh®v Hcp cmPmhpambncp∂p. XncphnXmwIq¿
am{Xa√. `mcXw apgph\pap≈ kwKoXt{]anIƒ At±lsØ
Fs∂∂pw kvacn°Ø°coXnbn¬ D≈ kw`mh\IfmWv
At±lw kwKoXtemIØn\v \¬Inbncn°p∂Xv.
Z£ntW¥ybnse kwKoX {Xnaq¿ØnIƒ F∂dnbs∏
Sp∂ {io XymKcmPkzmanIƒ, apØpkzmanZo£nX¿, iyma
imkv{XnIƒ F∂nhcpsS kaImeo\mbncp∂ {io kzmXn
Xncp\mƒ almcmPmhv Ahcn¬ ∂pw hyXykvXambn F√m
kwKoXcq]ßfpw, AXmbXv KoXw, PXnkzcw, kzcPXn, h¿Æw,
Io¿Ø\w, ]Zw, cmKamenI, Pmhen, Xn√m apXembh ]e
`mjIfnembn cNn®n´p≠v. At±lØns‚ IrXnIfn¬
A[nIhpw Xs‚ Bcm[\m aq¿Ønbmb {io ]ﬂ\m`s\
kvXpXn®psIm≠p≈XmWv. IqSmsX KW]Xn, kp{_“Wy≥,
inh≥, IrjvW≥, {iocma≥, Aø∏≥, kckzXn, e£van
XpSßnb tZhotZh∑msc kvXpXn°p∂ Io¿Ø\ßfpap≠v.
Io¿Ø\ßfnse kmlnXyw hfsc t{ijvThpw `‡nck
{][m\hpw cmK`mhßƒ Xpfpºn¬°p∂hbpamWv. {io ]ﬂ
\m`Zmk\mWv Xm≥ F∂v {]kvXmhn®psIm≠v At±lw Xs‚
IrXnIfn¬ {io ]ﬂ\m`s‚ ]cymb]Zßsf ap{Zbmbn Xs∂
kzoIcn®ncn°p∂p.
`cWk_‘amb `mcn® DØchmZnXzßƒ D≠mbn
cp∂n´pw At±lw kwKoX˛ ˛ØymZn IeIsf t{]m’m
ln∏n°phm\mbn kwKoXw, Øw, kmlnXymZn imkv{X
]WvUnX∑msc Ab¬ kwÿm\ßfn¬ ∂pt]mepw
£Wn®phcpØn, _lpam°p Ibpw AhcpsS IgnhpIƒ
{]ISn∏n°phm≥ Ahkcw \¬IpIbpw ]mcntXmjnIßƒ
\¬IpIbpw sNbvXncp∂p.
At±lw A\h[n Io¿Ø\ßƒ°v ]pdsa kaql IrXn
Iƒ AYhm kapZmbIrXnIfpw cNn®n´p≠v. AXmbXv Nne
Io¿Ø\ßƒ Hcp kaqlØn¬ As√¶n¬ Hcp Iq´Øn¬
Dƒs∏´h bmbncn°pw. GsX¶nepw Hcp t£{XØnse
aq¿Ønsb {]Io¿Øn®p≈Xmbncn°pw Ahbnse kmlnXyw.
s]mXpsh, Cu kaqlw F∂Xv At©m, Gtgm H≥]tXm
Bbncn°pw. kzmXn almcmPmhns‚ D’h {]_‘w, \hcm{Xn
Io¿Ø\ßƒ \hhn[ `‡nIo¿Ø\ßƒ XpSßnbh Chbn¬
s]Sp∂p. B≠p tXmdpw Xncph\¥]pcsØ {io ]ﬂ\m`kzman
t£{XØn¬ c≠p XhWbmbn sIm≠mSnhcp∂ ]Øp Znhkw
\o≠p ¬°p∂ D’hØns D’h {]_‘Øn¬ IqSn
h¿Æn®ncn°p∂p. Cu {]_‘Øn¬ cmK˛ ˛XmftØmSpIqSnb
12 Io¿Ø\ßfpw 42 t«mIßfpw ASßnbncn°p∂p.
cmPkZ nse tIcfob KmbI∑mcn¬ {][mbmbncp∂ {io
]me°m´p ]ctaizc `mKhXcmWv 1014 ˛mam≠n¬ D’h
{]_‘sØ BZyambn kZ n¬ AhXcn∏n®Xv. aWn{]hmf
Ønep≈ Cu {]_‘Øns‚ Bcw`Øn¬ AhXmcnIbmbn
t«mIßfpw XpS¿∂v taml cmKØnse Io¿Ø\hpw Bcw`n

v
v
37kwKoX]cmKw
vv
°p∂p. ]n∂oSv 5 t«mIßfpw D≠v. AXn\ptijw Hmtcm D’h
Io¿Ø\hpw XpSßpw aptº Hmtcm t«mIhpw D≠v Ahkm\w
]Ømw D’hsØ h¿Æn°p∂ t«mIØn\pw Io¿Ø\Øn\pw
tijw Hcp t«mIhpw kucmjv{S cmKØnep≈ Hcp Io¿Ø\hpw
D≠v. AXn\ptijw c≠p t«mIßƒ IqSn Ign™v D’h
{]_‘w Ahkm°p∂p.
H∂mw D’hZnhkw {io ]ﬂ\m`kzman knwlmk\
hml\Øn¬ Fgps∂≈p∂ ImgvNsb " "]©kmbIP\I≥ {io
]ﬂ\m`≥'' F∂ \oemw_cn cmKIrXnbn¬IqSn h¿Æn°p∂p.
c≠mwZnhkw DXvIrjvTßfmb B`cWßfWn™v, {io
]ﬂ\m`≥ A\¥hml\Øn¬ Fgps∂≈nhcp∂Xns\
""]¶Pm£\mw ctai≥ F∂ tXmSn cmKIrXnbn¬ {]Xn]mZn®n
cn°p∂p. aq∂mw Znhkw `Khm≥ Iaehml\Øn¬ Fgps∂≈n
\∂mbnhnfßn, temIØp≈ P\ßƒs°√mw B\µw
\¬IoSp∂p F∂v ""I\IabambnSpw Iaehml\aXn≥ta¬' '
F∂ lptk cmKIrXnbn¬ almcmPmhv h¿Æn°p∂p. \memw
Znhkw BtµmfnImhml\Øn¬ Ae¶cn®ncn°p∂
{io ]ﬂ\m`s\∏‰n ""Btµmfn Imhmlt\'' F∂ B\µss`chn
cmKIrXnbn¬°qSn h¿Æn°p∂p. A©mwZnhkw KcpU
hml\Øn¬ Fgp∂≈nhcp∂ `Khms‚ cq]Im¥nsb
""kym\µptci≥ hnlwKbm\w'' F∂ Ipdn©n cmKØnep≈
Io¿Ø\Øn¬ IqSn hnhcn®ncn°p∂p. Bdmw Znhkw
{io ]ﬂ\m`≥ hfsc t{ijvTamb C{µhml\Øn¬
({io kzmXnXncp\mƒ Xncpa\ v Xs∂ cq]s∏SpØnb hml\w)
hcp∂ ImgvNsb ""Cµncm]Xn hnfßpan{µhml\Øn¬'' F∂
\htcmPv cmKIrXnbn¬ hy‡am°nbncn°p∂p. Fgmw Znhkw
e£vaoh√`\mb {io ]ﬂ\m`≥ ]√°p hml\Øn¬
`wKnbmbn hnfßp∂p. F∂v ""in_nIbn¬ Fgp∂cpfoSp∂p.''
F∂p XpSßp∂ awKf ssIinIn cmKIo¿Ø\ØneqsS
hniZoIcn°p∂p. F´mw Znhkw DXvIrjvS\mb camIm¥≥
{io ]ﬂ\m`≥ ]£oizc\mb KcpUhml\Øn¬ Xnfßp∂
ImgvNsb Fßs h¿Æn°m\msW∂v " "\oe∏pcnIpgemtf''
F∂ bZpIpeImw t_mPn cmKIrXnbneqsS h¿Æn°p∂p.
icXvIme N{µ\p kaambn {]tim`n°p∂ apJtØmSp IqSnb
cmah√`≥, {io]ﬂ\m`≥, `wKntbdnb KcpUhml\Øn¬
Xs∂ H≥]Xmw Znhkhpw Fgps∂≈nhcp∂p F∂v " "icZnµp
kaapJ\mIpw camhc≥'' F∂ Imwt_mPn cmKIrXnbn¬
h¿Æn°p∂p. F√m Znhkpw {io ]ﬂ\m`s‚ IqsS \cknwl
aq¿Ønbpw {io IrjvW kzmanbpw AXmXv hml\ßfn¬ Xs∂
Fgps∂≈mdp≠v. Aßs aq∂v hml\ßƒ Hcpan®mWv
t£{X{]mImc Øn\p≈n¬ {]Z£nWw hbv°mdp≈Xv. Aßs\
]Ømw Znhkw {io ]ﬂ\m`≥ KcpU hml\Øn¬ {io \c
knwlaq¿ØntbmSpw {io IrjvWt\mSpw IqSn Fgps∂≈n
]ﬂ\m` kzman t£{XØns‚ ]Sn™msd \Sbn¬ IqSn
kap{ZØn¬ (iwJpwapJw) BdmSphm≥ ]pds∏Sp∂Xns\
""\mKib\mw {io ]ﬂ\m` D’hm¥yZnt\' ' F∂p XpSßp∂
]¥phcmfn Io¿Ø\Øn¬ IqSn hniZam°p∂p. kam]\ambn
""kckn P\m`≥NcWtkhbm¬' ' F∂ kucmjv{ScmK
IrXnbn¬ ]dbp∂p, A√tbm {io ]ﬂ\m`m, {iohmkptZhm,
`‡h’em, AhnSsØ Xr∏mZtkhbm¬ C u P∑w
[\yXcambn `hn®p. Aßs D’h {]_‘w thsd c≠p
t«mIßtfmsS Ahkm°p∂p.
]Øp Znhkhpw c≠p t\camWv D’hw sIm≠m
Smdp≈Xv˛˛sshIpt∂chpw cm{Xnbpw. D’hØn\v sImSntbdn
Ign™m¬, ]Ømw Znhkw kap{ZØn¬ BdmSnbtijw {io
]ﬂ\m`≥ ]Sn™mtd \Sbn¬ IqSn Xs‚ BebØn\IØv
h∂Xn\ptijw aq∂p {]Z£nWw sNbvXv sImSn Cd°p∂Xp
hsc Hmtcm ZnhkØn\pw I¬∏n®p≠m°nbn´p≈ Io¿Ø\

v
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38kwKoX]cmKw
vv
ßfpw h¿Æßfpsa√mw {io ]ﬂ\m`kzman t£{XØn\p≈n¬,
\mKkzcØn¬ IqSn \ap°p tIƒ°m≥ km[n°p∂p. Bdm´n\p
t]mIptºmgpw F√m]cnhmcßtfmSpw IqSn almcmPmhpw
]pdsI hml\ßfpw t]mIptºmgpw \mKkzcØn¬ IqSn
kzmXnalm cmPmhns‚ Io¿Ø\ßƒ tIƒ°m≥ Ignbp∂p. {io
]ﬂ\m`kzman t£{Xw, kzmXnXncp\mfns‚ PnhnXØn¬
hfsctbsd {]m[m\yap≈ H∂mIp∂p. C u amlmt£{X
an√mbncps∂¶n¬ Ncn{X]pcpjs‚ PohnXw Hcp ]t£ C{X
D÷zeambn Øocpambncpt∂m F∂v kwibnt°≠Xmbp≠v.
kzmXnXncp \mfns‚ Io¿Ø\ßfn¬ Gdnb]¶pw {io ]ﬂ\m`
kvacW IfmIp∂p. PbtZh\pw, XymKcmPkzmanIfpw, XßfpsS
IrXnI fn¬ kz¥w t]cpIfm¬ ap{Z]Xn∏n°ptºmƒ kzmXn
Xncp\mfmIs´, {io ]ﬂ\m`s‚ \masØbmWv Xs‚ Io¿Ø\
ßfn¬ F√mw ap{Zbmbn kzoIcn®n´p≈Xv. \izcamb Xs‚
\masØ am‰n¿Øn, Xyamb C uizc\maw tN¿Øv k¿∆
⁄\pw k¿∆i‡\pw, k¿t∆izc\pamb ]¶P\m`s‚ Xncp
apºn¬, {io ]ﬂ\m`Zmk\mb Hcp sIm®p a\pjy≥ F∂
alXzamb hn `‡n`mhamWv At±lØns‚ IrXnIfn¬ \mw
Z¿in°p∂Xv.
A\p{KloX\mb kmlnXyImc≥, BZcWob\mb
Iem{]Wbn, F∂o eIfn¬ kzmXnXncp\mƒ B¿÷n®n´p≈
bi v imizXhpw k¿∆ hnZnXhpamIp∂p. Xncpa\ nse
Io¿Øn Z£nW ]YØn¬ am{Xa√, `mcXØnseßpw Xs∂
hym]n®n´p≠v. ]WvUnX N{Ih¿Ønbmb K¿`{ioam≥ kzmXn
Xncp\mƒ almcmPm Xncpa\kpsIm≠v I¬∏n®p≠m°nb
AarXa[pcßfmb kwKoXIrXnIƒ kwKoX temIØn¬
Fs∂∂pw e¬°pw.
D’h {]_‘Ønse Io¿Ø\ßƒ
Io¿Ø\ßƒ cmKw Xmfw
]¶P\mt`m’hw taml\w Nm∏v
]©kmbI P\I≥ \oemw_cn BZn
]¶Pm£\mw tXmUn cq]Iw
I\IabamboSpw lpssk cq]Iw
BtµmfnImhlt\ B\µss`chn Nm∏v
kym\µqtci≥ Ipdn©n BZn
Cµncm]Xnhnfßpw \htdmPv cq]Iw
in_nIbn¬ Fgp∂cpfoSp∂ awKfssIinIn cq]Iw
\oe∏pcnIpgemtf bZpIpeImwt_mPnNm∏v
icZnµpkaapJ\mIpw Imwt_mPn cq]Iw
\mKib\mw ]¥phcmfn BZn
kcknP\m`≥ kucmjv{Sw Nm∏v
l

v
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39kwKoX]cmKw
vv
cmPIpSpw_Ønse
Hcp kwKoX∕
AXn{]mNo\Imew apX¬Xs∂ kmlnXyhnN£W≥
amcpw ]WvUnX≥amcpw almIhnIfpamb ]e cmPm°≥amcpw
tIcfsØ Ae¶cn®ncp∂p. Ah¿ tIcfØnse \mKcnKIX
bpsSbpw, kwkvImcØns‚bpw am¿KZ¿inIfmbncp∂p F∂pw,
AhcpsS B{inX hm’eyØns‚ XWen¬ sskzcyambn
hkn®psIm≠v ]WvUnX≥amcpw almIhnIfpw kmlnXy
kº¿°w aqew XßfpsS amXr`mjsb t]mjn∏n®ncp∂p
F∂pw, Cu almcmPm°≥am¿ cmPyØns‚sb∂t]mse
kmlnXy km{amPy Øns‚bpw sNt¶m¬ [cn®ncp∂p F∂pap≈
]cam¿YsØ A`nam ØmSpIqSn kvacnt°≠nbncn°p∂p.
Im¿ØnIXncp\mƒ almcmPmhns‚ "_mecma`mcXw' F∂
{KŸhpw, kzmXnXncp\mƒ almcmPmhns‚ FÆa‰ kwKoX
IrXnIfpw kmlnXymZn {KŸßfpw, IYIfnbn¬ {]K¤\mbn
cp∂ AizXn Xncp\mƒ almcmPmhpw CXn\v DZmlcWßfmWv.
kwKoX kmlnXykwcw`ßfn¬, kv{XoIƒ°p≈ Ah
Imiw ]≠p apX¬t° ÿm]nXambncp∂p. {]kvXpX hnjb
Øn¬ ]pcpj≥amsc At]£n®v kv{XoIfpsS {]tXyI kzØm
bn k¶ev]n®ncp∂p F∂p≈Xn\v " "kwKoXa]n kmlnXyw
kckzXymx kvX\Zzbw'' F∂ IhnhmIyw Xs∂ AXns\mcp
DZmlcWamWv. hntijn®v kv{XoIƒ°pw kwKoX kmlnXy
]YØn¬ IqSpXemb B`napJyw {]Z¿in∏n®ncp∂Xv tIcf
ØnemsW∂p≈ hkvXpXbpw \aps°{Xtbm A`nam\IcamWv.
at\mca Xºpcm´n, cp‹nWn `mbn Xºpcm´n, Ip´nIp™p X¶®n,
C°p AΩ Xºpcm´n, Sn.kn. IeymWn AΩ, tXm´bv°mSv
C°mhΩ, IeymWn°p´n AΩ®n, ISØ\m´p am[hn AΩ,
efnXmw_nI A¥¿P\w, _memaWn AΩ, AºmSn
Im¿Øymbn AΩ, eoemhXn, efnXmw_nI, am[hn°p´n,
kpKXIpamcn ˛˛ F∂nßs kv{XoIfpsS ]´nI, DZmlcWambn
\ΩpsS ap≥]nep≠v.
XncphnXmwIq¿ cmPhwiØnse dmWnamcn¬ h®v
kwKoX temIØn\p [mcmfw kw`mh \¬Inbn´p≈Xn¬
kp{][mbmWv {ioaXn cp‹nWn`mbn Xºpcm´n. Ch¿ kzmXn
Xncp\mƒ almcmPmhns‚ aqØktlmZcnbmbncp∂p. {ioaXn
Xºpcm´n sIm√h¿jw 984 Ipw`amkw 19˛mw XobXn hnZzm≥
tImbn Xºpcms‚bpw, dmWn e£van`mbn Xºpcm´nbpsSbpw
aqØ ]p{Xnbmbn XncphnXmwIqdn¬ P®p. sNdp∏w apX¬t°
kwKoXØnepw, kmlnXyØnepw AXohX¬]cbmbncp∂
Xºpcm´nbv°p hfsc sNdp∏Øn¬ Xs∂ (7˛mw hbkn¬) Hcp
Ihb{Xnbmbn hfcm≥ km[n°pIbpw, h¿jßƒ ]n∂n´t∏mƒ
Ah¿ [mcmfw kwKoX IrXnIfpsS DSabmhpIbpw sNbvXp.
XncphnXmwIqdnse cmPm°≥am¿ {]tXyIn®pw {io]Zva\m`
Zmk≥ amcmbXpsIm≠v, ]Zva\m`kvXpXnIfmWv [mcmfw cNn®n
´p≈Xmbn ImWp∂Xv, AXpt]mse Xºpcm´nbpw, {io ]Zva\m`
s kvXpXn®p sIm≠p≈ Io¿Ø\ßfpw cNn®n´p≠v.
{ioaXn Xºpcm´n, [mcmfw kwKoX Io¿Ø\ßƒ
cNn®n´p s≠¶nepw, FÆs∏´ Nne Io¿Ø\ßƒ am{Xta
\ap°p e`n®n´p≈q. Ah Xs∂ {]NmcØnens√∂pw ]dtb≠n
bncn°p∂p. kwKoXØnepw kmlnXyØnepw cmK˛˛XmfØnepw
Xºpcm´n°v D≠mbncp∂ ]cn⁄m\w AhcpsSXmb cN\Iƒ

v
v
40kwKoX]cmKw
vv
]ctim[n®m¬ a\ nem°m≥ km[n°pw. {]tXyIXbp≈
Xºpcm´nbpsS aq∂p IrXnIfmWv ChnsS Fs‚ {]Xn]mZy
hnjbw.
H∂v : XncphnXmwIqdnse taP¿ tZhkzßfn¬s∏´
{ioIWvtTizcw t£{XØnse {]XnjvTmaq¿Ønbmb inhs\
Ipdn®v "{ioIWvtTizc ]mln' F∂p XpSßp∂ Hcp Io¿Ø\w
apJmcn cmKØnepw BZnXmfØnepambn Xºpcm´n cNn®n´p≠v.
Cu IrXnbv°v, ]√hnbpw, A\p]√hnbpw, A©pNcWßfp
amWp≈Xv. Cu Io¿Ø\Øns‚ NcW`mKßfn¬IqSn Xºpcm´n
{ioIWvtT izct\mSp c≠p ktlmZc≥amsc \¬InbXn\p \µn
{]Imin∏n °p∂tXmsSm∏w, `‡n]q¿hw Hc`y¿Ypw \SØn
bncn°p∂Xmbn ImWmw. kpµcnbmb Hcp ktlmZcnsb°qSn
X°p \¬IWw F∂ B{KlamWv B {]m¿Y\. `‡nckhpw
k¶Shpw {]ISn∏n°m≥ A\ptbmPyamb apJmcn cmKamWv
CXnte°v Ah¿ sXcs™SpØncn°p∂Xv. CXn¬ Dt±in®n
cn°p∂ ktlmZc≥am¿ kzmXn Xncp\mƒ almcmPhpw, D{Xw
Xncp\mƒ almcmPmhpamWv. Xºpcm´nbv°v shdpw Gtgm, Ft´m
hb p≈t∏mfmbncn°Ww C u IrXn cNn®Xv. Fs¥∂m¬
Xºpcm´nbpsS Cfb ktlmZc\mb D{Xw Xncp\mƒ almcmPm
hn\p c≠p amkw am{Xw {]mbap≈t∏mgmWv amXmhmb dmWn
e£van`mbn Xºpcm´n \mSp\oßnbXv (sIm√h¿jw 990˛¬)
c≠v : "kcknP\' F∂p XpSßp∂ "]pdd' cmKØn
ep≈ IrXnbpw {it≤bamWv. C u IrXn "k]vXkzc
k¶o¿Ø\w' F∂mWv Adnbs∏Sp∂Xv. CXnse kmlnXyw
F√mw k]vXkzcßfnemWv Bcw`n°p∂Xv. am{Xa√ CXn¬
kzcØns‚bpw A£cØns‚bpw kwtbmKw hcp∂XpsIm≠v
Ae¶mc AwKßfnsem∂mb "kzcm£c {]tbmKw' sIm≠v
CXp tim`n°p∂p. a[yÿmbn jUvPw apX¬ Xmcÿmbn
jUvPw hsc apdbv°v Hmtcm kzcØnepambn´v, BZyhcnIƒ
XpSßp∂p. Aßs "kcnKa][k' F∂ apdbnepw C u IrXn
Hcp kwKoX AjvSIØn\p th≠p∂ \s√mcp DZmlcWamWv.
CXn¬ ]√hnbpw GgpNcWßfpamWp≈Xv. `KhXnsb
Ipdn®p≈ Cu IrXnbv°v "]pdd' F∂ hfsc ]g°w sN∂Xpw
IYIfnbn¬ kpe`ambn {]tbmKn°p∂Xpamb cmKamWv
D]tbmKn®ncn°p∂Xv F∂Xpw {]tXyIw {it≤bamWv. CXnse
kmlnXyØn¬ ]pcmWIYIsf Dƒs∏SpØpIbpw, Ahkm\
`mKØn¬ Cu AjvSIw Xyw sNm√p∂hsc, Fs∂∂pw
ImØp c£n°W sa∂p `KhXntbmSp {]m¿Yn°pIbpw
sNøp∂p. B Io¿Ø\w NphsS tN¿°p∂p.
]√hn :
k k km k.......
k c kn P ..........
NcWw:
H∂v :co K a ]m......
coXnIƒ......
c≠v :K a ]m [ \o [......
K f X X e......
aq∂v:a ] [ ]......
a Nq Sp......
\mev:] a K cn.......
] cn Nn ¬....
A©v:[m [ ]....
[m{Xnbn¬
Bdv: co km [.......
Sn te hn e.......
Ggv:km cn a K cn........
km c a Xmsbmcp

v
v
41kwKoX]cmKw
vv
CXpt]msemcp Io¿Ø\AjvSIw cNn°m≥ cmK˛Xmf
˛kmlnXyØn¬ AXoh ⁄m\ap≈h¿°p am{Xta km[n°q.
GItZiw CXpt]msemcp "kzcPXn' F∂ kwKoXcq]w ss`chn
cmKØn¬ kwKoX {Xnaq¿ØnIfnsemcmfmb iymaimkv{XnIƒ
cNn®n´p≠v. CXn¬ ]√hnbpw, F´pNcWßfpw "k' apX¬ cn,
K, a, ], [, , k hsc XpS¿®bmbn {]tbmKn®p ImWp∂p.
CXn\v Xºpcm´nbpsS Io¿Ø\hpambn kmayXImWp∂p
s≠¶nepw, kzcPXnbnse kzc`mKßfn¬ F√m kmlnXy
`mKhpw kzcm£cßfmbn ImWp∂n√. Ahbn¬ \mseÆw
am{Xta kzcm£cßfmbn´p≈q.
DZm: (H∂v, c≠v, aq∂v, Bdv ˛˛ Chbn¬ kzcm£cw C√.)
\mev : am ] [.......
am h Xn........
A©v : ]m [ ] a K......
]m X I ap \.....
Bdv: cn k cn.......
\o ] h \.......
F´v: km K cn k cn......
iym a IrjvW k......
Cu kzcPXn sXep¶p`mjbnemWv imkv{XnIƒ cNn®ncn
°p∂Xv. Xºpcm´nbmsW¶n¬ Io¿Ø\w aWn{]hmfØn¬
cNn®ncn°p∂p. CØcw {]tXyIX P∏n°p∂ IrXnIƒ
kwKoX temIØn¬ hfsc hncfambnt´ ImWs∏Sp∂p≈q.
"kmbn`P\mhen'bnepw ˛ kmkm, cncn, KmKm, amam,
]m]m, [m[m, \o\o ˛ F∂v k]vXkzcßsf Bkv]Zam°n
kckzXn tZhnsb kvXpXn°p∂ Hcp IrXnbp≠v. AXns\, \m´,
ilm\, taml\w, lntµmfw, aebamcpXw, kmthcn, ipcp´o
F∂nßs k]vXP\ycmKßfnepw, an{iNm∏pXmfØnepambn
Hcp cmKamenIbmbn Nn´s∏SpØn {KŸI¿Ømhv kz¥w
kwKoX It®cnbn¬ AhXcn∏n®n´p≠v.
aq∂v : "{iohmkptZh' F∂p XpSßp∂ _nelcn cmK
Ønep≈ IrXnbn¬ thsdmcpXcw {]tXyIXbmWv ImWp∂Xv.
{ioIrjvW `Khms kvXpXn°p∂ C u IrXnbn¬ ]√hnbpw,
16 NcWßfpw, NcW`mKßƒ Hmtcm∂pw "aebmf A£came
{IaØnepamWv XpSßnbncn°p∂Xv.
AXmbXv:˛˛
]√hn
{io hmkptZh apIpµm apcm¥I
{io h’emRvP ssIsXmgpt∂≥ IrjvW
NcWßƒ :
H∂v: A¥I `oXntbmgn.......
c≠v: B{ioX≥am¿sßmcm{ib.....
aq∂v: Cµncm \mbI ∂psS......
\mev: CutcgpsemIaf∂.......
A©v : DØa ]pcpjs‚....
Bdv: Dulßƒ F∂nsb......
Ggv: F∂psS \mhm¬........
F´v: GsXmcp t\chpw........
H≥]Xv : Atøm `Khm≥ IrjvW...
]Øv: Hs´mgnbmXp≈........
]Xns\m∂v:Hmtcmtcm P∑ßƒ........
]{¥≠v : Huhm·n Xpeyambv......
]Xnaq∂v :Aw_pPtemN\........

v
v
42kwKoX]cmKw
vv
]Xn\mev :B\µ hmcnt[.......
]Xn\©v : ]n©mIenX..........
]Xn\mdv :ky\µqcmeb........
CØcØnep≈ Io¿Ø\w kwKoX temIØn\pXs∂
Hcp ]pXpabmWv. AXpsIm≠v ChnsSbpw Xºpcm´nbpsS
ÿm\w AZznXobambpw AXpeyambpw e¬°p∂p. ]t£
CXpt]mse A£came {IaØn¬ "AZv`pX hn{Kl' F∂p
XpSßp∂ Hcp kwkvIrX t«mIw BZn i¶cmNmcy¿ cNn®p´p
≈Xv ChnsS kvacnt°≠XmWv.
{ioaXn Xºpcm´nbpsS ]≈ns°´v sIm.h. 994 CShw
7˛\v Xncph\¥]pcØv tXhmcØp tImbn°¬ sIm´mcØn¬
h®p \S°pIbp≠mbn. AhcpsS `¿Ømhv Xncph√ ]pW¿Xw
Xncp\mƒ cmah¿a tImbnØºpcm\mbncp∂p. Ah¿°v A©p
B¨k¥m ßfpw, Hcp s]¨k¥Xnbpw D≠mbncp∂p. C u
henb IpSpw_`mcØnSbnepw Ah¿ kwKoXØn\pw, a‰p
IeIƒ°pw th≠n kabw Is≠ØnbXpXs∂ AXnibØn\v
ImcWamIp∂p. hoWhmbnepw Ah¿ AXoh Xev]c
bmbncp∂p. shdpw 28 h¿jØn\p≈n¬ Xºpcm´n CXc IeIfn
ep≈ {]mhoWyw {]ISn∏n°pIbpw cmP]cºcbnse kv{XocXv\
ßfn¬ ap≥]¥nbn¬ FØpIbpw sNbvXp. sIm.h. 1012¬
I¿°nSIw aq∂n\v Ah¿ Cu temItØmSp bm{X ]d™p.
CØcw {]iwk\obamb Io¿Ø\ßsf B[pI
It®cnIfn¬ F¥psImt≠m Dƒs∏SpØn ImWp∂n√.
Xºpcm´nbpsS kwKoX IrXnIsf AYhm shfn®w ImWmØ
IrXnIsf Is≠ØpIbpw Ahbv°p {]m[m\yw \¬tI≠Xpw
KthjIcpsSbpw kwKoX t{]anIfpsSbpw ISabmWv. Aßs\
sNbvXns√¶n¬ CXpt]mep≈ kwKoXcN\Iƒ \ap°v F∂
t∂bv°pambn \jvSs∏Sm\mWv IqSpX¬ km[yX.
l
BZyambn Un.en‰v F∂
_ncpZw e`n® hmt§bImc≥
kwKoX {Xnaq¿ØnIfmb XymKcmPkzman, iyma
imkv{Xn, apØpkzman Zo£nX¿ F∂nhcpsS ImeL´sØ
ASnÿm\am°n kwKoXIme L´w \mevXcØn¬ Xcw
Xncn®ncn°p∂p.AXmbXv .....
1.XymKcmPkzmanIƒ°v ap≥]v......
2.XymKcmPkzmanIfpsS Imew (kaImenI≥am¿)
3.XymKcmPkzmanIƒ°v tijw.....
4.B[pI ImeØnep≈ hmt§bImc∑m¿
{io lcntIi\√q¿ apØø`mKhX¿ \hw_¿ 15˛\v
1877˛¬ cma\mY]pcw Pn√bnse ]q\¬then F∂ {KmaØn¬
P®p. At±lØns‚ sNdp∏Øn¬ Xs∂ amXm]nXm°ƒ
hn´p]ncn™ Xn\m¬ lcntIi\√q¿ {Kmaw hntS≠nh∂p.
AhnsS ∂pw Xncp hømdn¬ t]mhpIbpw thZhpw imkv{Xhpw
kwKoXhpw A`ykn°pIbpw kwkvIrXw, Xangv F∂o `mjI
fn¬ ]mWvUnXyw t\SpIbpw sNbvXp. thZimkv{XØnepw
kmlnXyØnepw Hcpt]mse A`ncpNnbpw ss\]pWyhpw
D≠mbncp∂Xn\m¬ ]pcmW CXnlmkßfnse kw`hßsf
Bkv]Zam°n At±lw sNdnb IYIƒ°v cq]w \¬In. IYm
Imet£]w AhXcn∏n°m≥ XpSßn. At±lØns‚ BZysØ
IYmImet£]w "h≈n]pcmWw' Bbncp∂p.

v
v
43kwKoX]cmKw
vv
X©mhqcn¬ Xmakn®v kmw_inh AøcpsS Iogn¬
kwKoXw A`ykn®p sIm≠ncns°, X©mhq¿ F{_lmw
]WvUnX≥ F∂ {]K¤\mb kwKoXimkv{X⁄s ]cnNb
s∏Sm≥ km[n®XneqsS At±lØn\v kwKoXØn¬ IqSpX¬
hn⁄m\w t\Sm≥ km[n®p. AXn\ptijw kwKoXØnepw
imkv{XØnepw Hcpt]mse apØø`mKhX¿ {]ikvXn t\Sm≥
XpSßn. 1927˛¬ almcmPmhv apØø `mKhXsc sIm´mcØn
te°v Bn®v NmapWvUntZhnsb Ipdn®v "AjvtSmØcn'
cNn°m≥ ¿t±in®p. AXp{]ImcamWv "NmapWvtUizcn
AjvtSmØcn' cNn®Xv. IqSmsX {io]ctaizcs Ipdn®v "inh
AjvtSmØcnbpw' cNn®p. AXn\ptijamWv kwKoX IrXnIƒ
IqSpX¬ cNn°m≥ CSbmbXv. `mKhXcpsS kwKoXØnep≈
]mWvUnXyw a\ nem°nb almcmPmhv At±lsØ ssakq¿
sIm´mcØnse "Bÿm\hnZzm\mbn' ban°pIbpw "KmbnI
inJmaWn' F∂ _ncpZw \¬In BZcn°pIbpw sNbvXp.
CXnSbnembncp∂p a{Zmkv kwKoX A°mZan XpSßnbXv.
1928˛¬ `mKhXsc AhntSbv°v £Wn°pIbpw AhnsS \S∂
"kwKoX ktΩf\' Øn¬ `mKhX¿ {]ikvXn t\SpIbpw
sNbvXXn\v a{Zmkv ayqkn°v A°mZan apØøm `mKhXsc
"kwKoXIem[n' F∂ _lpaXn \¬In BZcn®p. C{Xbpw
{]ikvXnbpw ]Zhnbpw t\Snb Hcp DØa hmt§bImc≥
ssakqcn¬ Ds≠∂v tI´dn™v XncphnXmwIq¿ sIm´mcØnse
almdmWn tkXp]m¿hXn`mbn At±lsØ Xncph\¥]pc
tØ°v £Wn®p. kzmXnXncp\mƒ almcmPmhns‚ IrXnIsf
{]Ncn∏n°phm≥ th≠ t{]m’ml\w \¬In At±lsØ
Bÿm\hnZzm≥ B°pIbpw sNbvXp. kzmXnIrXnIfpsS
{]NmcØn\pth≠n XncphnXmwIq¿ Kh¨sa‚ v "kzmXn
Xncp\mƒ kwKoX A°mZan' ÿm]n°pIbpw AXns‚ {]Ya
{]n≥kn∏mƒ Bbn `mKhXsc ban°pIbpw sNbvXp. c≠v
hmeyßfmbn kzmXnIrXnIƒ apØø `mKhXcpsS
kwc£WØn¬ A®Sn®v {]kn≤s∏SpØnbn´p≠v. apØøm
`mKhX¿ "kwKoX I¬]{Zpaw' F∂ imkv{Xe£W{KŸw
cNn°pIbpw, AXn\v _lpaXnbmbn 1943˛¬ XncphnXmwIq¿
bqWnthgvkn‰n At±lØn\v "BZyambn Un˛en‰v' F∂
_lpaXn \¬In BZcn°pIbpw sNbvXp.
At±lØns‚ kwKoX kw`mh\Iƒ
hnhn[ kwKoXcq]ßfmb Xm\h¿Ww, ]Zh¿Ww,
Zcph¿Ww, cmKamenI, IrXn, Io¿Ø\w, Xn√m F∂nh
sXep¶v, Xangv, kwkvIrXw, I∂U F∂o `mjIfnembn
cNn®n´p≠v. Chbnse√mw cmKØns‚ `mhw \√Xpt]mse
{]Xn^en°p∂p≠v. kmlnXyw {]mkm£c `wKnbpw A¿Y
`wKnbpw sIm≠v kºpjvShpamWv.
At±lØns‚ Nne IrXnIfpsS {]tXyIX Fs¥∂m¬
AXn¬ hntema, Nn´kzcw ImWp∂p. DZmlcWambn "ka¬
{]tZ' F∂ I∂U`mjbnep≈ IeymWn cmKØnse Nn´kzcw:˛
||a][[ |k[]aKcnk[ |
]aKcn |k[]Kcnk[]aK |
Ka][kcnK|][kcn |
Ka][k |cnKa][k | [[]a ||
[mcmfw Xm\h¿Wßfpw, ]Zh¿Whpw, Zcph¿Wßfpw,
Xn√m\Ifpw, cmKamenIIfpw IqSmsX KW]Xn, apcpI≥, tZhn,
{iocma≥ XpSßn At\Iw tZhntZh∑msc Ipdn®v cNn®
IrXnIfpw At±lØns‚ cN\IfmWv.
XymKcmPkzmanIsf°pdn®v "XymKcmP' F∂p XpSßp∂
lntµmfcmKØn¬ IrXn cNn®n´p≠v. "]ip]Xn {]nb kXn' F∂
]ip]Xn{]nb cmKØnep≈ "cmKap{Z' hy‡am°p∂ IrXnbpw
At±lw cNn®n´p≠v.
]mSptºmƒ A[cßƒ XΩn¬ tNcmØhn[w "tcmjvT'

v
v
44kwKoX]cmKw
vv
F∂v At±lw I≠p]nSn® cmKØn¬ "cmPcmPcm[ntX' F∂p
XpSßp∂ Hcp IrXnbpw,
||Km Km [k[Kcn |Kcnk[m
ecnKcn, |Km[km cnKcnKcnk|
Kcnk[m Kcnkkcn |
F∂ Nn´kzchpw CXn¬ Dƒs∏SpØnbn´p≠v.
apØø `mKhXcpsS kaImeo\¿ tImSoizc Aø¿,
cma\mSv {iohmk Aø¿, Xncph´nbq¿ XymKø¿, AÆmasse
sdÕnbm¿ F∂nhcmWv.
`mKhX¿ D]tbmKn®ncp∂ ap{ZIƒ lcntIi Pmtb,
lcntIidmWn, lcntIi`man F∂nhbmbncp∂p.
apØø`mKhXcpsS {]kn≤nbm¿÷n® IrXnIƒ
hnPbmw_ntI ˛ hnPb\Kcn
lnaKncnX b ˛ ip≤[\ymkn
kn≤nhn\mbIw ˛ taml\IeymWn
`pht\izcnbmƒ ˛ taml\IeymWn
Kncn{]nbw KwKm[cw ˛ IZ\IpXqlew
ewt_mZc almKtWi ˛ \hckI∂U
Zp¿§mtZhnZpcnX ˛ \hckI∂U
\oXpalnas]mIS ˛ lwkm\µn
Pmeµckp]oT ˛ heNn
kp[mabnw kp[m[nw ˛ AarXh¿jnWn
C{Xbpw kwKoX imkv{Xkw`mh\Iƒ \¬Inb apØø
`mKhX¿ B[pI ImeL´Øn¬ Pohn®ncp∂ Hcp DØa
hmt§b Imc\mWv. 1945 Pq¨ 30˛\v At±lw Cu temItØmSv
bm{X ]d™p.
l
ssIcfnbpsS Ihbn{Xn
ssIcfnsb Ae¶cn°m≥ c¥c]cn{iaw sNbvX kv{Xo
cXv\ßfn¬ {]Ya hXbmbncp∂p {ioaXn Ip´nIp™p X¶®n.
{]kn≤ Ihnbpw, B´°YIƒ cNn®, Bÿm\hnZzm\pambncp∂
chnh¿Ω≥ XºnbpsS ]mWvUnXyhpw cknIXzhpw aIƒ°pw
e`n®n´p≈Xmbn ImWmw. sIm√h¿jw 995˛mw B≠v Ipw`
amkØn¬(1820 A.D) Agw \mfn¬ ]q¿hKrlamb ]pfnbdØe
ho´nemWv {]kn≤ Ihbn{Xnbmb Ip´nIp™p X¶®n P®Xv.
Xncph\¥]pcØv tIm´bv°IØp≈ Ingt°aTØnemWv X¶®n
_meyImew apX¬°p Xs∂ AΩbpsamØv Xmakn®Xv. AXpsIm≠v
Ingt°aTØn¬ Ip´nIp™p X¶®n F∂mWv Adnb s∏Sp∂Xv.
e£van]n≈ F∂mbncp∂p, X¶®nbpsS bYm¿∞amb t]cv, Ip´n
Ip™p' F∂ Hma ∏cv amXm]nXm°ƒ X¶®n°v \¬Inbncp∂p.
B t]cnemWv ]n∂oSv tIcfw Ahsc Adnbm≥ CSbmbXv.
sNdp∏Imew apX¬s° aebmfw, Xangv, kwkvIrXw F∂nh
bn¬ \√ A`n⁄Xbpw, X¿°w, hymIcWw apXembhbn¬ AXc
km[mcWamb ]mWvUnXyhpw C u alXn kºmZn®ncp∂p. A—s‚
cN\Ifn¬ ]eXpw ]I¿Øn FgpXpI F∂ tPmen, _meyImeØv
in£m{IaØn¬ X¶®n A\pjvTn® Xn\m¬ \√ Iø£cØn\pw AXv
hI \¬In. A—s ∏mse B´°YIfpw, IqSmsX Imem\pkrXambn
\mSIhpw X¶®n FgpXnbn´p≠v. ]m¿hXo kzbwhcw IYIfn, Xncph\
¥]pcw ÿe]pcmWw Infn∏m´v, koXmkzbwhcw XncphmXnc∏m´v,

v
v
45kwKoX]cmKw
vv
IncmXw IpdØn∏m´v, Xp≈¬°Y, kzmlmkp[mIcw, Du™m¬∏m´v,
]eXcw H‰t«mIßƒ, KtP{µtam£w k¶o¿Ø\w, A⁄mX
hmkw \mSIw F∂nhbpw Xmcm´v, IpΩn, hmXn¬ Xpd∏m´pIƒ,
kwKoXIrXnIƒ apXembhbpw B Ihbn{Xn ssIcfn°p \¬Inb
Aaqeykw`mh\IfmWv. Ahbvs°√mw kvXpXy¿lamb kΩm\
ßfpw Ah¿°v e`n®n´p≠v. am[pcyw Xpfpºp∂ ssien, t¢iteiw
IqSmsX {]kcn°p∂ hmKvhnemkw F∂nh X¶®nbpsS cN\Ifn¬
ImWp∂ KpWhntijßfmWv.
""]ham\an{Xhcan{Xiim¶t\{Xw
`ham\am¿ØnNbIm\hoXntKm{Xw
]h\mi\mae hn`qjW`qjnXmwKw
`h\mi\w ]pclcw ]cam{itblw''
F∂ ]Zyw t]mse {]km£c`wKn Ie¿∂ i_vZ`wKn°v
DZmlcWambn [mcmfw ]Zyßƒ cNn®n´p≠v. PohnXmhkm\w hsc
amXr`mjmt]mjWØn¬ Bekyteiw IqSmsXbmWv X¶®n
{]h¿Øn®ncp∂Xv.
H≥]XmasØ hb n¬ aXmNmc{]Imcw X¶®nbpsS
sI´pIeymWw \S∂p. 14˛masØ hb n¬ tN¿Øe \Sphnte
tImhneIØv Ip™≥ Xºm≥ Ahsc ]cn{Kln®p. X¶®nsb henb
sIm´mcØn¬ hcpØn kzmXnXncp\mƒ Xncpa\ pXs∂ ]´pw
]cnh´hpw FSpØv Xºms‚ Iøn¬ sImSp∏n®v X¶®nbpsS
ZmºZytbmKw \SØnbXmbn tcJIƒ ]dbp∂p. Bdp k¥m\ß
fpsS P\Øn\ptijw 1026 ¬ Ip™≥ Xºm≥ cymX\mbn.
Cuizc`P\w, Krl`caw, {KŸ]mcmbWw, kmlnXy˛kwKoX cN\
Chbpambn Ign™pIqSnb C u Ihbn{Xn kIecpsSbpw
Bcm[v°p ]m{Xambn Pohn®p. dmWn Kucn ]m¿∆Xn`mbv apX¬
°p≈ Xºpcm´namcpsSbpw kzmXn, D{Xw, Bbneyw, hnimJw, {ioaqew
F∂o almcmPm°∑mcpsSbpw _lpam\ßƒ°v ]m{XamhpIbpw, ]e
s{]m’ml kΩm\ßƒ°v A¿lbmhpIbpw sNbvXn´p≠v. C u
Ihbn{Xn°v kzmXnXncp\mƒ Xncpa\ p sIm≠v BZyambn \¬Inb
t{]m’ml\kΩm\amb Hcp "hm¬°ÆmSn' C∂pw Ingt°aTw
IpSpw_Øn¬ kq£n®n´p≠v.
X¶®nbpsS kwKoX kw`mh\Iƒ:
X¶®nbpsS Nne ]Zßfpw Io¿Ø\ßfpw Xn√mpw am{Xta
{]NmcØnep≈q. Ch IqSmsX Io¿Ø\ßfpw ]Zßfpw B´°Ybpw
a‰pw cNn®n´p≠v. cmK`mhßƒ d™p¬°p∂ Hmtcm IrXnIfnepw
A\ptbmPyamb cmKßfmWv Ah¿ Xncs™SpØncn°p∂Xv. Nne
cN\Iƒ ]cntim[n®m¬ CcbnΩ≥ XºnbpsS IrXnIfnse kmZriyw
ImWm≥ km[n°p∂p. ]Zßfn¬ IqSpXembn irwKmc`mhw ImWp∂n
s√∂p ]dbmw. am{Xa√, km[cW {]Xn]mZn°p∂ hnjba√msX,
hyXykvXcoXnbn¬ as‰mcp ]Zhpw cNn®n´p≠v. "_mentI t]mIcpXv'
F∂v XpSßp∂ i¶cm`cWcmKØnep≈ C u ]ZØn¬ Hcp
Ip´ntbmSp≈ D]tZiamWv {]ISam°nbn´p≈Xv.
Io¿Ø\ßƒ F√mw hyXykvX t£{Xßfnse aq¿Øn Isf
{]Io¿Øn®psIm≠p≈hbmWv. Chsb X¶®nbpsS "t£{XIrXnIƒ'
F∂v FSpØv ]dbmhp∂XmWv.
`‡nck{][m\amb Io¿Ø\ßfn¬, kwKXn, a≤ya
ImekmlnXyw, kzcm£cw F∂nh Dƒs∏´n´p≠v. AhcpsS Nne
Io¿Ø\ßƒ NphsS ]dbp∂p.
Io¿Ø\w cmKw Xmfw
1. B\µcq]mltc ]¥phcmfn Nm∏v
2. Im¿Øymb Imwt_mPn BZn
3. ImcpWysat∂mSvkucmjv{Sw Nm∏v
4. ]mlntaml\ Iamkv BZn
5. kmaPltc IeymWn BZn
6. kqcytImSn{]` \m´ Nm∏v
7. {io]h\]ptci kpcp´n BZn

v
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46kwKoX]cmKw
vv
ta¬ D≤cn® Io¿Ø\ßfnse√mw NcW`mKßfn¬
ÿeap{Ztbm aq¿Ønap{Ztbm tN¿ØpImWp∂p. CjvStZh\mb
{ioIrjvWs\°pdn®mWv IqSpXepw cNn®ncn°p∂Xv. "B\µcq]
ltc' F∂ Io¿Ø\w aebn≥Iogv t£{XØnse almhnjvWp hns\
Ipdn®mWv. ]√hnbpw A\p]√hnbpw aq∂v NcWßfpw C u
Io¿Ø\Øn\p≠v. A\p]√hnbn¬ "aebn≥Iog[nhkn°pw' F∂
ÿe\maap{Z hcp∂p. ]m¬°pfßc t£{XØnse tZhnsb Ipdn
®p≈ Io¿Ø\w "Im¿Øymb\oamw' F∂v Imwt_mPn cmKØnemWv
Nn´s∏SpØnbncn°p∂Xv. ]√hnbpw, A\p]√hnbpw aq∂v NcWßfpw
D≠v. ]t£ Ahkm\sØ NcWØn¬ " "£ocXSmIXSmebhmtk''
F∂v ÿe\map{Z ChnsSbpw D≠v. aebn≥Iognse almhnjvWphns\
Ipdn®p≈ thsdmcp IrXn ""ImcpWysat∂mSv ....'' F∂v XpSßp∂p
kucmjv{S cmKØnepw, Nm∏pXmfØnepw IqSn Nn´s∏SpØnb C u
IrXnbn¬ ]√hnbpw, A\p]√hnbpw \mep NcWßfpamWp≈Xv.
Ahkm hcnbn¬ °qSn ""aebn≥IogmcqVamZw'' F∂v ÿe\map{Z
tN¿Øn´p≠v. s\øm‰n≥Ic t£{XØnse {ioIrjvWs kvXpXn®n
´p≈ "]mlntaml\' F∂p XpSßp∂ Iamkv cmKØnse IrXn
BZnXmfØnemWv Nn´s∏SpØnbn´p≈Xv. CXnepw ]√hn, A\p]√hn
aq∂v NcWßƒ F∂nhbp≠v. aq∂masØ NcWØn¬ "LrX\Zo
Xocebw' F∂o ÿe\maap{Zbp≠v. " "kmaPltc XmhI'' F∂
IeymWn cmKØnse IrXn Xncph´m¿ t£{XØnse BZntIih
s]mcpƒ kzmansb kvXpXn°p∂XmWv. C u IrXnbn¬ ]√hnbpw
A\p]√hnbpw c≠p NcWßfpw D≠v. c≠masØ NcWØnse
c≠masØ hcnbn¬....... ""Xo¿tØmcmZn tIih{]t`m.....'' F∂
aq¿Ønap{ZbmWp≈Xv. aqImw_nI tZhnsb°pdn®p≈ Hcp IrXnbmWv.
""kqcytImSnka{]`'' F∂p XpSßp∂ \m´ cmKØnse IrXn
]√hnbpw, A\p]√hnbpw Ign™v \memasØ NcWØn¬,
""kpXmw_ntI, PKKZw_ntI, aqImw _ntI.....'' F∂v tZhnbpsS
\maamb, aq¿Ønap{Z shfns∏SpØnbn´p≠v. Kpcphmbq¿ t£{XØnse
{ioIrjvWs Ipdn®p≈XmWv ipcp´ncmKmIrXn. " "{io]h\
]ptcim.....'' F∂v ÿe\maap{ZtbmsSbmWv IrXn Bcw`n°p∂Xv.
ipcp´n cmKØnep≈ Cu IrXn°v Hcp {]tXyIXbp≠v. Ihbn{XnbpsS
hnjmZlrZbØn‚ {]Xn[z C u IrXnbn¬ ImWw. am{Xa√,
""Zo\h’e\mb {ioIrjvW≥ F¥psIm≠v Zb ImWn°p∂n√
F∂pw, Aßv F∂n¬ IcpWImWn°q' ' F∂p tIgpIbpw sNøp∂p
X¶®n. X¶®nbpsS ""{io]h\]ptci'' F∂ IrXnbnse kmcmwiw
hcp∂ thsdbpw cN\Ifp≠v. DZmlcWØn\v, CcbnΩ≥XºnbpsS
""IcpW sNbvhm≥ F¥p Xmakw IrjvW'' F∂ IrXnbpw ""]mlnamw
{io]ﬂ\m`'' F∂ B\µss`chn cmKØnse sI.kn tIih
]n≈bpsS IrXnbpw ""IcpW sNbvhm≥ F¥m Cbpw Xmakw,
A√tbm {ioIrjvWm! F∂n¬ IcpW F¥v \o ImWn°mØXv' '
F∂v sI.kn.tIih]n≈bpw {ioIrjvWt\mSv tIgp∂p. Cßs\
k¥m]tØmSpw `‡ntbmSpw IqSn c≠v IhnIfpw Hcp Ihbn{Xnbpw
Hcpt]mse AhchcpsS a\ nse hnjmZßsf cmKßfn¬°qSn
Io¿Ø\cq]Øn¬ shfns∏SpØnbncn°p∂Xv {it≤bamWv.
X¶®nbpsS kmlnXycN\Ifnse√mw CcbnΩ≥XºnbptS
sX∂t]mse {]mk`wKnbpw, ImhyKpWßfpw, cmK`mhhpw, HØnW
ßnbn´p≈Xmbn ImWmw. NneXn¬ Ah¿ kz]nXmhpw, Kpcphpamb
Xºnsb `‡ntbmSpw _lpam ØmSpw IqSn kvacn®n´p≠v.
DZm:˛
""AXymZtcW hnZpjmaaemibm\m˛
amt{KktcW KpcpWm chnh¿Ω \mav\m
AZymla{X`hnXpw ka\plrloXw
Xkymw{LoamipIetb aaP∑ tltXmx''
(""{ioaXn kzbwhcw'' B´°Ybnse \memasØ hµ\
t«mIw)
[oam≥ hnZz÷\mtVym Kpcpc]n
chnh¿Ωm`ot[m a¬]nXmb
…oamXoXm\pIºm {]`phXp P\o
`mhpIm]vssXy kZm ta''

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47kwKoX]cmKw
vv
(""]m¿∆Xo kzbwhcw'' B´°Ybn¬ c≠masØ hµ\
t«mIw)
Ccp]Xn¬ ]cw t«mIßƒ X¶®nbptSXmbn´v I≠pIn´n
bn´p≠v. AXn¬ NneXv tZho tZh∑msc°pdn®pw, NneXv cmPIpamc
∑msc°pdn®pap≈XmWv.
IhmXn¬ Xpd∏m´v
1.ZbntX Xnd° hmXn¬ tXmSn sNºS
2.Ahsf Xh caWn ]¥phcmfn Nm∏v
3.GWt\¿angn ImtamZcn BZn
4.h√`m hmXn¬ a[yamhXn GI
5._mtehcnI bap\mIeymWn cq]Iw
6.ImatImaf cmKamenI GI
7.]qt¥epw samgn ]¥phcmfn Nm∏v
8.IeymWiote i¶cm`cWw Nm∏v
9.XcpWosbt∂mase Fcn°eImtamZcn BZn
10.bmlnbmlntaml\ a[yamhXn BZn
IIB´°YIƒ
1.{ioaXn kzbwhcw
2.]m¿∆Xnkzbwhcw
3.an{Xkltam£w
IIIInfn∏m´pIƒ
1.Xncph\¥]pcw ÿe]pcmWw
2.hbv°w ÿe]pcmWw
3.kz¿§hmXn¬ GImZin amlmﬂyw
IVHm´≥Xp≈¬
Bbneyw Xncp\mƒ almcmPmhns‚ Iminbm{Xsb°pdn®p≈ KwKm
kv\m\w Xp≈¬.
V IpdØn∏m´pIƒ
1.IncmXw
2.NcnXw
VI\mSIw
VIIA∕mXhmkw
VIIIDu™m¬]m´v
kzmlmkp[mIcw
IXKtP{μtam£w
X {]lvfmZNcnXw
XIIeymWmtLmjw
Ch aWn{]hmfØnemWv. hnimJw Xncp\mƒ almcmPm hns‚
aq∂v s]¨a°fpsS sI´v IeymWamWv CXnse hnjbw. IqSmsX
IpΩn, Xmcm´v F∂nhsb√mw X¶®nbptSXmb kmwkvImcn Ihpw,
hn⁄m\{]Zhpamb kw`mh\IfmWv.
tIcfØnse kv{XocXv\ßfn¬ {]Ya Ihb{Xnbmb
Ip´nIp™pX¶®n, 84˛mw hb n¬ sIm√h¿jw 1079 Ipw` amkØnse
P∑\mfmb Agw \£{XØn¬Øs∂, C u temItØmSv bm{X
]d™p.
""cqVambnXc\mcnamcne\pcmKam¿°pacpXn∂tlm
aqVcmb P\sams°bn°paXn IoNIs‚ KXntbm¿Øew
]mTambpcp°gn®nSmsXbXnbmb a{¥amXmcneo˛
t]Sam≥ angnIfn¬ {`an°nehkm\aßhhÆamw' '
F∂p≈ ]Zyw sIm≠v {]IrXnbpsS alnasb B hnZpjn
cXv\w Fßs Adn™ncn°p∂p F∂pw \ap°v a\ nem°m≥
km[n°p∂p.
l

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48kwKoX]cmKw
vv
tIcfØnse Hcp
DØahmt§bImc≥
kwKoXtemIØn¬ kwKoXkw_‘ambn Hcp
Imebfhv ]dbp∂Xv km[mcW kwKoX{Xnaq¿ØnIfpsS
L´sØ ASnÿm\am°nbn´mWv. AXmbXv {Xnaq¿ØnIƒ°p
ap≥]v, {Xnaq¿ØnIfpsS Imew, {Xnaq¿ØnIƒ°p tijap≈
Imew, B[pIImew F∂v \membn XcwXncn®ncn°p∂p. C u
Imeß fnse√mw, F{Xsb{Xtbm alm≥amcmb
hmt§bImc∑m¿ Pohn®n cn∂n´p≠v. GXm≠v Ggv, F´v iXIw
apXemWv sNdnb sNdnb kwKoXcq]ßƒ DSseSp°phm≥
XpSßnbXv. tXhmcw, Znhy {]_‘w, Xncp∏pIgv, Xncp∏mssh
F∂nßs Xangn¬ At\Iw cN\Iƒ D≠mbn. A∏¿, kpµc¿,
⁄m\kw_‘¿ B≠mƒ, AcpWKncn\mY¿, amWnIy
hmNI¿, PbtZhIhn, ]pcµcZmkv, \mcmbWXo¿Y¿,
t£{X⁄¿, A∂amNmcy¿, kZminh{_t“{µ¿, `{ZmNew
cmaZmkv, DuØv°mSv sh¶Skp∫ø¿ XpSßn [mcmfw hmt§b
Imc∑m¿ {Xnaq¿ØnIƒ°p ap≥]v kwKoXcN\Iƒ \SØnb
hcn¬ Dƒs∏Sp∂p.
kwKoXØns‚ kph¿WL´w F∂p ]dbp∂Xv
{Xnaq¿ØnIfpsS Imeambncp∂pht√m! kzmXnXncp\mƒ
almcmPmhv, CcbnΩ≥ Xºn, jmPn almcmPmhv, X©mhq¿
ktlmZc∑m¿, tKm]meIrjvW`mcXn, Ip´n°p™pX¶®n
apXembh¿ {Xnaq¿ØnIfmb XymKcmPkzman, apØpkzman
Zo£nX¿, iymaimkv{Xn F∂nhcpsS kaImenIcmbncp∂p.
F∂m¬ \oeIWvTinh≥, ]m]\miw, inh≥,
Sn.e£vaW≥ ]n≈, sI.kn.tIih]n≈, sI.F≥.tKm]me]n≈,
FÆ∏mSw sh¶Scma`mKhX¿ apXembh¿ B[pI
ImeØnse Nne DØahmt§bImc∑mcmWv. Chcn¬ FÆ
∏mSw sh¶Scma `mKhX¿ kwKoX⁄\pw lcnIYmIem
Imc\pambncp∂p.
At±lw 1880˛¬ s^{_phcn amkw 21˛mw XobXn
FÆ∏mSw F∂ ÿeØv P®p. At±lØns‚ amXm]nXm
°ƒ koXme£vanbpw ]ﬂ\m`øcpambncp∂p. IpSpw_Øn¬
]mcºcyambn kwKoXw D≠mbncp∂XpsIm≠v Ct±lØn\v
Ip´n°mew apX¬ kwKoXw tI´p hfcm≥ km[n®p. am{Xa√,
kwKoXØnepw kmlnXyØnepw hmk\mkn≤nbpw Xm¬∏
cyhpw h¿[n®p. A—\pw apØ—\pw kwKoXhnZzm∑mcpw "K´n'
hmZyw hmbn¬ {]K¬`cpambncp∂p. kwKoX⁄\mbncp∂
kz¥w tPyjvT≥ cXv\Kncoi `mKhXtcmsSm∏w sh¶Scma
`mKhX¿ [mcmfw It®cnIƒ \SØpIbpw sNbvXn´p≠v. 35
h¿jtØmfw It®cnIƒ \SØnbncp∂ sh¶Scma `mKhX¿,
]n∂oSv, B Imebfhn¬ IqSpX¬ {]m[m\yw e`n®ncp∂
lcnIYmImet£]Ønte°v {i≤ Xncn®p. Aßs lcnIYm
Imet£]w sNøphm\pw XpSßn. am{Xa√, AXn¬ \√t]cv
kºmZn°pIbpw sNbvXp. sIm®n, ssakq¿, t_mws_, U¬ln,
I¬°´ F∂o ÿeßfn¬ cmambWw Bkv]Zam°n ]e
thZnIfnepw lcnIYIƒ AhXcn∏n®v cmPm°∑mcpsS kΩm\
ßƒ t\SpIbpw sNbvXn´p≠v. ]n∂oSmWv kwKoXIrXnIƒ
cNn°phm≥ XpSßnbXv.
At±lØn\v 51˛mw hb n¬ Ieiemb AkpJw
_m[n®psh∂pw, IpessZhamb ]ctZhXbpsS t]cn¬

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49kwKoX]cmKw
vv
Io¿Ø ßƒ cNn®p]mSn Bcm[n®t∏mgmWv AkpJw amdnbXv
F∂pw ]dbs∏Sp∂p. AXn\ptijw At±lw kwKoXIrXn
Iƒ°p ]pdsa, ""{ioIrjvW AjvtSmØciX\mamhen'' cNn®p.
Cuizcs kwKoXwsIm≠v Io¿Ø\cqt]W Bcm[n®m¬
XocmAcnjvSßƒ t]mepw amdn°n´psa∂v `mKhXcpsS PohnX
Øn¬ ∂v a\ nem°m≥ km[n°p∂p.
`mKhXcpsS kwKoXIrXnIƒ ]cntim[n®m¬ hfsc
{]kn≤nbm¿Pn®, ]gatbdnb cmKßfnepw, A]q¿h
cmKßfnepw, cN\Iƒ \SØnbn´ps≠∂p a\ nem°mw.
an°hmdpw kwkvIrX`mjbnemWv cNn®n´p≈sX¶nepw
Xangnepw IrXnIƒ D≠v. ambmamfhKuf, taml\w, tXmSn,
kmthcn, IeymWn, ilm\, \m´°pdn©n, ss`chn, i¶cm`cWw,
lwk[z, B\µss`chn XpSßnb cmKßƒ D]tbmKn®v F√m
tZhotZh∑mscbpw Ipdn®v kvXpXn®n´p≠v. "kmthcn' cmK
Ønepw, A]q¿hcmKamb "kpapJn' F∂ cmKØnepambn c≠v
KW]Xn IrXnIƒ cNn®n´p≠v. "Kplam{ibman' F∂v kp{_
“Wys kvXpXn°p∂ IrXn "{]Imin' F∂ cmKØnemWv
Nn´s∏SpØnbncn°p∂Xv. {iocmas kvXpXn®psIm≠v Xangn¬
""C∂pw, ]cmapJtat\m'' ˛ F∂v A]q¿hcmKamb "{io[cn'
cmKØn¬ cNn®n´p≠v. IqSmsX "apcfo\mZw', "{]nbZ¿in',
"cmk`ufn', "cmkhcmfn', "hrµmh IpXqlew', "BtµmfnI'
XpSßn thsdbpw A]q¿hcmKßfn¬, {ioIrjvWspw
almhnjvWphnspw kvXpXn®n´p≠v. ""taml apcfo[c''
F∂p cmKap{ZtbmsS XpSßp∂ taml\cmKØnepw Hcp
IrXnbp≠v. lntµmfcmKØn¬ {]IrXnbpsS`wKnsb h¿Wn
°p∂ ""kp{]`mXw kpat\mlc`mcX `mKyZ.....'' F∂ Hcp IrXn
hfsc at\mlcamb H∂mWv. At±lØns‚ IrXnIfn¬
kzcm£c`wKnbpw a[yaIme kmlnXyhpw A\p{]mkw,
A¥y{]mkw, BZn{]mkw XpSßnb {]mkm£c`wKnbpw
d™p¬°p∂p. kz¥w IrXnIfn¬ sh¶ScaW,
sh¶ScaWw, sh¶ScaWhn\pXw.... F∂o hm°pIƒ
kz\masØ {]ISam°n ap{Zbmbn {]tbmKn®n´p≠v.
tIcfØnse Hcp DØahmt§bImc\mb Ct±lØns‚
IrXnIƒ A[nIw {]NmcØn¬ h∂n´n√. F∂m¬ "sh¶S
caWobw' F∂ t]cn¬ Hcp ]pkvXIØn¬ Ct±lØns‚
kwKoXcN\Iƒ Dƒs∏SpØn A®Sn®p {]kn≤oIcn®n´p≠v.
l

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50kwKoX]cmKw
vv
Km\cNbnXmhmb
{io sI.F≥.tKm]me]n≈
""kckKmbI IhnaWn'' Bbncp∂ {io sI.kn.tIih
]n≈bptSbpw, {ioaXn sI.\mWn°p´nbΩbptSbpw aI\mbn
1902˛¬ P®p. Ip´n°meØp Xs∂ imkv{Xob kwKoXw tI´v
hfcm≥ A\p{KloX\mbncp∂ At±lw kwKoXhpw, kmln
Xyhpw \√t]mse A`ykn®v lrZnÿam°nbncp∂p. 1924˛¬
_n.F. _ncpZhpw, 1936˛¬ Fw.F._ncpZhpw Icÿam°n.
AXn\ptijw a[pc Atacn°≥ tImtfPnepw, Nß\mt»cn
F≥.Fkv.Fkv. tImtfPnepw s{]m^kdmbn At±lw tPmen
t\m°nbncp∂p. ]´Ww kp{_“WyøcpsS injy\mb cma\mSv
{iohmk Aø¶mcpsS injy]cºcbn¬s∏´ e£vao
\mcmbW `mKhXcn¬ ∂mWv kwKoXw A`ykn®Xv.
kwKoXw, kmlnXyw, sshZy imkv{Xw apXembhbn¬ XpS¿∂v
{]h¿Øn°pIbpw At\Iw {KŸßƒ cNn°pIbpw sNbvXn
´p≠v. IYIfn, _mekmlnXyw, \mSIw, sNdpIY, hymIcWw,
Xp≈¬, t\mh¬, cq]Wßƒ, sI.kn.bpsS PohNcn{Xw
XpSßnbh At±lØns‚ IrXnIfn¬ Dƒs∏´XmWv.
kwKoX kmlnXyssh`hßfpsS kΩn{iamb ^eamWv
At±lØns‚ ""kwKoXIrXnIƒ'' F∂ cNn¬IqSn \ap°v
a\ nem°m≥ km[n°p∂Xv. [mcmfw kmlnXycN\Iƒ
sNbvX Iq´Øn¬ kwKoX IrXnIfpw cNn®n´p≠v. kwKoX
IrXnIƒ F∂v ]dbptºmƒ AXn¬ ]ehn[Ønep≈ ]ecq]
ßfpw, \mtSmSn∏m´pIfpw, IpΩnbpw a‰pw Dƒs∏Sp∂p. I¿ÆmSI
kwKoXØn\v DXIp∂ "71' IrXnIfpw "2' IpΩnIfpw "9' Pmh
enIfpw, "4' Xncp∏pIgvIfpw, "2' tXhmcßfpw Hcp XncphmXnc
∏m´pw Hcp ]≈nbpW¿Øp]m´pw, Hcp AImcmZn kvtXm{X
KoXhpw, Hcp \axinhmb Io¿Ø\hpw Hcp XangvIrXnbpw
C{XbpamWv "kwKoX IrXnIƒ' F∂ {KŸØnep≈Xv.
"71' kwKoX IrXnIƒ°pth≠n GItZiw "40'
cmKßfmWv D]tbmKn®ncn°p∂Xv. BZn, cq]Iw, Nm∏v XpSßnb
Xmfßfpw D]tbmKs∏SpØnbn´p≠v. XncphmXnc∏m´v, _nelcn
cmKØnep≈ "cmcmthWptKm]_me' F∂ kzcPXnt]mse
bmWv Nn´s∏SpØnbncn°p∂Xv. AXnse kmlnXyw
Bdm´vIShn¬ hmgp∂ atlizcs kvXpXn°p∂hbmWv.
CXn¬ kzcßƒs°√mw tbmPn®v kmlnXyw hcØ°hn[Øn
emWv AXv cNn®ncn°p∂Xv. AXpsIm≠v ]mSntIƒ°ptºmƒ
hfsc `wKnbmbncn°p∂p.
FSpØp]dbØ°Xmb thsdmcp Imcyw Fs¥∂m¬
"lpssk' cmKØnep≈ "Hm¶mckzcq]nWn' F∂v XpSßp∂
IrXnbmWv. CXn¬ \mev Bh¿Ø\Ønep≈ \s√mcp
Nn´kzchpw IqSnbp≠v. Nn´kzcØn¬ lpssk cmKØns‚
`mhw apgph\pw d™v ¬°p∂p≠v. KW]Xn, apcpI≥,
Aø∏≥, ]cainh≥, ]m¿∆Xn, cma≥, a[pcao\m£n,
{ioIrjvW≥, ]ﬂ\m`≥, tNm‰m°ctZhn, XpfkntZhn,
IÆaØptZhn XpSßn At\Iw tZhn tZh∑msc°pdn®p≈
IrXnIfpsS DSabmWv At±lw. B\µss`chn cmKØnep≈
Hcp IrXnbn¬ "kmathZIo¿Øn bmbv' F∂v XpSßnbn´v.
almcmjv{S, Imivao¿, ]©m_v, Kp¿÷cn, _wKmƒ, Bkmw,
I¿ÆmSI, Im©n˛I\ymIpamcn F∂o tZißfn¬ hmgp∂
tZhXIsfbmWv kvXpXn®n´p≈Xv. A¿∞`wKnbpw, cmK`mhhpw

v
v
51kwKoX]cmKw
vv
d™ Hcp IrXnbmWv. At±lØns‚ IrXnIfn se√mw
tKm]me\pX, tKm]mek∂pX, tKm]mehn\pX F∂nßs\
bp≈ hm°pIƒsIm≠v kz\ma ap{ZImc\msW∂v sXfn
bn®n´p≠v.
cmKap{Zhcp∂ IrXnIfpw D≠v. DZm: \oemw_cn
cmKØnep≈ "lmkyhnemkn' F∂p XpSßp∂ IrXnbpsS
Ahkm\w \oemw_cotZhn F∂v tN¿Øncn°p∂Xv. IYIfn
bnse "kmcn' a´n¬ cq]w sImSpØncn°p∂ H∂mWv. "sNm√nb
eps∂mcp' F∂p XpSßp∂ FcnInIeImtamZcn cmKØnep≈
cN\. \√ c≠v IpΩnIfpw cNn®n´p≠v. HscÆw tZiob
IpΩnbmWv. CXn¬ 16 kwÿm\ßfpsS t]cv kmlnXy
`wKnbn¬ Xs∂ tIm¿ØnW°nbn´p≠v.
km[mcW sXep¶v `mjbnemWv PmhenIƒ [mcmfw
D≈Xv. aebmf`mjbn¬ Hcp ]t£ BZyambn´mbncn°Ww
Ct±lw PmhenIƒ cNn®n´p≈Xv. -Ccp]Xv PmhenIƒ
cNn®n´p≠v. kzbw\mbnIbmbn´v k¶¬]n®v \mbI≥ hcmØ
Xns‚ ZpxJw {]ISn∏n°pIbpw, kJntbmSpw, tXmgntbmSpw sN∂v
\mbIs Bn®v sIm≠phcm≥ At]£n°p∂XpamWv
kmlnXyØns‚ A¿∞w, B\µss`chn, \oemw_cn, kpcp´n,
ATmW, lntµmfw, bZpIpe Imwt_mPn apXemb cmKßfmWv
PmhenIƒ°v D]tbmKn®n´p≈Xv.
"t]mI t]mI \o a¬kJo' F∂ Pmhenbn¬ NcW
`mKØn¬ "i¶cm`cWamsa¶n¬ Ihm¿∂h≥' F∂v \mYs\
i¶cm`cW cmKap{ZtbmsSbmWv I≠ncn°p∂Xv. Ch IqSmsX
4 Xncp∏pIgpw 2 tXhmcßfpw cNn®n´p≠v.
CXn¬ s∂√mw At±lØn\p≠mbncp∂ cmK˛Xmf˛
kmlnXy sshZKvZyhpw ]pWXbpsa√mw a\ nem°m≥
km[n°p∂p.
Chbvs°√mw ]pdsa, Xncp Bdm´v Imhn¬ hmgp∂ `Khm
s DW¿Øm\mbn `q]mfcmKØn¬ "IWnI≠oSphm≥
DW¿∂mepw kzman≥ Xncphmdms´gpw `Khms\ ' F∂
]≈nbpW¿Øp]m´pw cNn®n´p≠v. sN©pcp´n cmKØnep≈
"AImcmZn kvtXm{Xhpw' kvXpXy¿lamWv. \ax»nhmb
Io¿Ø\w, \,a,in,hm,b F∂ {IaØn¬ cNn®n´p≠v. CXv A©v
JWvUnIIfmbv, F´v hcnIƒ hoXa≈hmbmWv. PmXnaXw
IqSmsX P\ßƒ H∂n°Ww F∂pw `mcXØnse P\ßsf
ImØpkq£n°p∂Xv P\ßfpsS ISabmsW∂v A¿∞w
hcp∂ "GssgIƒhmgpw' F∂p XpSßp∂ Xangv]m´pw
cNn®n´p≠v.
{io tKm]me]n≈bpsS kwKoXcN\Iƒ F√mw Xs∂
cmK`mhßfpw, kmlnXy `wKnbpw Hcp t]mse d™p¬
°p∂hbmWv. am{Xa√, {]mkm£cßƒ sIm≠pw tim`n°p∂p.
A—s ∏mse Xs∂ kwKoXtemIØn\pth≠n [mcmfw
IrXnIƒ cNn®v kw`mh\¬Inb At±lsØ F∂pw \mw
kvXpXn°pIbms√sX as‰¥v sNøpw?

v
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52kwKoX]cmKw
vv
Fw.Fkv.kp∫e£van :
A\izckwKoX cXv\w
kwKoXw kt¥mjØn\pw kam[m\Øn\pw th≠n
bp≈XmWv. `‡nkwKoXØn\v, AXmbXv `‡n d™
kwKoXØn\mIs´ IqSpX¬ im¥n \¬Im≥ Ignbpw. Aßs\
bp≈ `‡nbn¬ apgpIn kwKoXsØ Xmtemen® kwKoX
⁄cn¬ G‰hpw ap∂n¬ ∂ncp∂ Hcp almhy‡nbmWv
Fw.Fkv. kp∫e£van.
Fw.Fkv. sNdp∏Øn¬Øs∂ kwKoXØn\v A[o\
bmbn Ign™ncp∂p. kwKoXsØ hfsc Nn´tbmSpw {i≤tbmSpw
`‡ntbmSpw IqSn Dƒs°m≠XpsIm≠p am{XamWv, Ah¿°v
kwKoXtemIØn¬ ambmØ hy‡nap{Z ]Xn∏n°m≥ km[n®Xv.
A¿∏Wat\m`mhtØmSpIqSn, A{im¥ ]cn{iaØns‚ ^e
ambpw Fw.F ns‚ imcocnI kuIpamcyØns‚ ^eambpw
Ah¿ A\h[n P\lrZbßfn¬ Hcp D∂X ÿm\w Icÿ
am°nbncp∂p. [mcmfw IrXnIƒ lrZyÿam°nb Ah¿ It®cn
Ifn¬°qSn Ahsb P\ßfpsS a\ n¬ kw{Ian∏n®n´p≠v.
]mac∑mcpw, ]WvUnX∑mcpw Hcpt]mse BkzZn®ncp∂
kwKoXambncp∂p AhcptSXv. H´\h[n IrXnIƒ Be]n®v
kwKoXtemIØn¬ Ahsb {]Ncn∏n®Xp IqSmsX Npcp°w
Nne knaIfn¬ A`nn®v ]mSpIbpw sNbvXp. "`‡aoc',
"iIp¥f' XpSßnbh I≠n´p ≈h¿°v Fw.F nspw B
Km\ßtfbpw ad°phm≥ km[n°n√.
`mcXØnepS\ofw, hntZicmPyßfnepambn ch[n
kwKoXcNbnXm°fpsS k¶o¿Ø\ßƒ Be]n®n´p≠v. ]e
`mjIfnse cN\Ifmepw A¿∞w Adn™v, `‡nbn¬ ebn®v
{]k∂hZmbn a‰p≈hscbpw `‡nbn¬ ebn∏n®v B\µ
¿hrXnbn¬ FØn°p∂ Hcp Bem]\ssienbmbncp∂p,
AhcptSXv. C≥]am¿∂ ip≤\mZhpw, jv°f¶amb AhcpsS
apJhpw P\{]oXn°v apJyLSßfmbncp∂p. Ah¿ It®cnbn¬
°qSn AhXcn∏n® cmKßsf√mw Xs∂ P\ßfpsS CjvScmK
ßfmbncp∂p. cmKßƒ am{Xa√, IrXnIƒ, `P≥, cmKamenIIƒ
XpSßn At\Iw kwKoXcq]ßƒ Ahcn¬ IqsSbmWv
{]NmcØnseØnbXv. Hcn°¬ "IeymWn' cmKw Be]n®t∏mƒ
AXv ]mSnt°ƒ°m≥ CSbmb DZb]q¿ almdmW, At±lw
Xs‚ cmPywt]mepw Xcmw F∂v k∂≤X Im´nb Imcyhpw
\Ωƒ Hm¿t°≠Xp≠v. almﬂmKm‘n, Phl¿em¬ s\lvdp,
sskKmƒ F∂o alm∑m¿ Fw.F ns‚ Bcm[Icm bncp∂p.
"lcnXpwltcm' F∂ `P≥ Km‘nPn°v Gsd {]nbap≈Xm
bncp∂XpsIm≠v, Ah¿ AXns Km‘nPnbpsS P∑\mfn¬
]mSnbncp∂p. am{Xa√ Km‘nPnbpsS acWhm¿Ø Adn™
bpSs BImihmWn "lcnXpw ltcm' F∂ `P≥ Xs∂
{]t£]Ww sNbvXp.
sh¶tSizc kp{]`mXw, i¶cmNmcykzmanIfpsS
`PtKmhnμw, hnjvWpkl{k\maw, A∂]q¿W AjvSIw
XpSßnb `‡n¿`camb IrXnIƒ FhnsS tI´mepw \Ωƒ
Fw.Fkns kvacn°pw. IqSmsX Ah¿ aptJ {]NmcØn¬
h∂n´p≈ At\Iw IrXnIfp≠v. Ahbn¬ NneXv.

v
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53kwKoX]cmKw
vv
1.PwImc{ipXn ˛ ip≤m\¥`mcXn
2.XpwKXcwtK ˛ kZminh{_t“{µ¿
3.]cmXv]c ˛ ]m]\miw inh≥
4.G\mSnt\map ˛ XymKcmP
5.Nvk√tc ˛ XymKcmP
6.A∂]q¿tW ˛ apØpkzmanZo£nX¿
7.apcpImapcpIm ˛ s]cnbkzmanXpc≥
8.PKZoi]© ˛ kzmXnXncp\mƒ
9.AJnemWvtUizcn ˛ apØpkzmanZo£nX¿
10.`mhbman tKm]me ˛ A∂ΩmNmcy¿
11.\m\msS {_ZpIp ˛ A∂ΩmNmcy¿
12.bmtcmChcmtcm ˛ AcpWmNeIhn
13.\mt\sI_Shm\p ˛ ]pcµcZmkv
14.`mhbman cLpcmaw ˛ kzmXnXncp\mƒ
15.F≥{S°v inhIrss] ˛ \oeIWvTinh≥
16.im¥nehthWw ˛ kp{_“Wy`mcXn
17.PKP\oipI]mWn ˛ L\w IrjvWø¿
18.72 tafcmKamenI ˛ almsshZy\mYø¿
Fw.Fkv.kp∫e£vanbpsS ln‰p]m´pIfn¬ NneXv
1.X¥bvXmbv Ccp¥m¬
2.h≠mSpw tNmsse
3.h≠n\w apcPw
4.amsse s]mgpXnte
5.I≠Xpt≠m IÆ≥t]m¬
6.Hfn]ssSØIÆn\mbv
7.hm\Øn¬aoXv
XpSßn At\Iw At\Iw .......
Hcn°¬ Atacn°bn¬ t]mtI≠n h∂t∏mƒ Ah¿
Im©n]camNmcysc sN∂pImWpIbpw A\p{Klw hmßpIbpw
sNbvXp. XZhkcØn¬ ]camNmcy¿ Fw.F ns A\p{K
ln°pIbpw "CXv sIm≠pt]mbn F√mh¿°pw \¬Iq' F∂v
]d™v Hcp t«mIw \¬In. Cu t«mIØn\v Fw.F v. Xs∂
CuWw \¬In Nn´s∏SpØn. bap\mIeymWn cmKØn¬ Atacn
°bn¬ Be]n®p. Cu t«mIw P\{]oXn kºmZn®p. hfsc
A¿∞hØmb t«mIw CXmbncp∂p.
""ssa{Xow `PXmw AJneIrXvssP{Xw
Bﬂht\h]cm∂]n]iyX
bp≤w XyPXkv]¿≤mw XyPX
XyPX ]tcjzm{Iaam{IaWw
P\ow ]rYzow ImaZpxJmkvtX
P ImtZhx kIeZbmfpw
ZmayIZØ Zb[zw P\Xm
t{itbm `qtbm kIe P\m\mw.''
`mcXØnepS\ofhpw, ]e hntZicmPyßfnepambn
H´\h[n kwKoX]cn]mSnIƒ \SØnb AhsctØSn [mcmfw
_lpaXnIƒ FØnbn´p≠v. `¿Ømhv kZminhw kZm
t{]m’ml\w \¬InbXpsIm≠pw Ah¿°v C u temIØnse
H´\h[n P\lrZbßfn¬ Xßn ¬°m≥ km[n®p. ]e
_lpaXnIfnepw h®v ]ctam∂Xamb "`mcXcXv\w' F∂
tZiob ]pckvImcw e`n® Fw.Fkv. kwKoX temIØnse
cXv\ambn Xnfßn¬°p∂p. P\lrZbßfn¬ ∂pw
Hcn°epw B cXv\Øns‚ Xnf°w aßpIbn√. emfnXyhpw
Adnhpw kuµcyhpw hnhpw Kpcp`‡nbpw CuizcISm£hpw
Hcpan®v e`n°m≥ CSbmb Hcp kwKoX⁄ C P°ptam
F∂v kwibamWv. l

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54kwKoX]cmKw
vv
kph¿ÆbpKØnse
]q¿ÆXmcI
Z£ntW¥ybn¬ kwKoXØns‚ kph¿Æ\Zn HgpInb
Hcp ImeL´ap≠mbncp∂p. F.Un. 1750 apX¬ 1850 hscbp≈
Cu Imew kwKoXØns‚ am{¥nIebßfn¬ {Xkn®p
∂ncp∂p.
kwKoX N{Ih¿Ønbmbncp∂ XymKcmP kzmanIƒ,
apØpkzman Zo£nX¿, iymaimkv{XnIƒ F∂nhcpw kzmXn
Xncp\mƒ, Ccbn∑≥ Xºn, hnZzm≥ tImbnØºpcm≥, jvSIme
tKmhnµamcm¿, ]me°mSv ]ctaizc `mKhX¿ F∂nhcpw Cu
ImeL´Øns‚ klbm{XnIcmbncp∂p. ChcpsSsbms°
kwKoX k]cybpw A¿∏W at\m`mhhpw k¿t∆m]cn A`ua
{]Xn`bp sa√mw kwKoXØns‚ Hcp kph¿ÆImeØns‚
Hm¿ΩIƒ sIm≠phcp∂p.
kzmXnbpsS kwKoX kZ nse KmbI cXv\ßfn¬
{]apJ\mbncp∂p ]me°mSv ]ctaizc `mKhX¿. XncphnXmwIq¿
kztZinb√mØ Bÿm hnZzm≥ F∂ ]Zhn Ae¶cn®
BZysØ tIcfob\pw ]ctaizc `mKhXcmbncp∂p.
I¿ÆmSI kwKoXØns‚ C u‰n√sa∂dnbs∏Sp∂
]me°ms´ \qdWn {KmaØn¬ F.Un. 1815˛emWv ]ctaizc
`mKhX¿ P®Xv.
_meyØn¬ Xs∂ A—\Ωam¿ acn®p. XpS¿∂v
tPyjvT≥ \mcmbW\pw, ]ctaizc\psamØv AΩmhs‚ IqsS
Kpcphmbqcn¬ Xmakn®phf¿∂p.
kwKoXw, imkv{Xw, aebmfw, kwkvIrXw, Xangv
F∂nhbn¬ ]Xn\mdp hb n\p≈n¬ Xs∂ At±lw
AhKmlw t\Sn. ]ctaizcs‚ Ignhn¬ AΩmh\v aXn∏p
tXm∂n. acpaI\pambn kym\µqc]pctØ°v ]pds∏Sm≥
Xocpam®p. kwKoX kmlnXymZn IeIfpsS c£I\mb
kzmXnXncp\mfns‚ ssIbb®p≈ t{]m’ml\ambncn°Ww
Ccphscbpw Cu bm{Xbv°v Hcp]t£ t{]cn∏n®Xv.
]Xns\´masØ hb n¬ kym\µµqc]pcØv hcpIbpw
hfsc sNdp∏Øn¬Øs∂ kzmXnbpsS kwKoXkZ n¬
Bÿm hnZzm\mbn At±lw Ahtcm[n°s∏SpIbpw sNbvXp.
Adnb s∏Sp∂ Km\cNbnXmhp IqSnbmb ]ctaizc `mKhX¿,
]e h¿Æßfpw Io¿Ø\ßfpw cNn®Xmbn ImWp∂p≠v.
"Xm\w' ]mSp∂Xn¬ A°meØv ]ctaizc `mKhXsc sh√m≥
Bcpw D≠mbncp∂n√ F∂v ]dbs∏Sp∂p. "\m´' cmKØnep≈
"kckn P\m`' F∂p XpSßp∂ h¿Æw hfsc {]kn≤amWv.
IqSmsX Kuf, hcmfn, {iocmKw, tXmSn, _nlmKv, Bc`n, Iamkv,
_nelcn F∂o cmKßfnepw At±lw h¿Æßƒ cNn®n´p≠v.
kzmXnXncp\mƒ IrXnIƒ°v {]Npc{]Nmcw \evIn. I¿ÆmSI
kwKoXØn\v alØmb tkh\w hnPbIcambn At∂
¿hln® HcmfmWv `mKhX¿. hoW, hben¬, kzc_Øv F∂o
hmZyßƒ hmbn°p∂Xnepw lcnIYmImet£]w sNøp∂
Xnepw At±lw ka¿∞\mbncp∂p. "tacpkzman' kzmXnbpsS
IptNe D]mJym\w Actß‰w \SØnb amXncn, "D’h
{]_‘w' BZyambn ]ctaizc`mKhXcmWv 1014˛mw am≠n¬
Actß‰w \SØnbXv.

v
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55kwKoX]cmKw
vv
Iev]n®p≠m°nb "]ﬂ\m` {]_‘w' Xncpapºn¬
]mSnb ]ctaizc `mKhX¿°v kΩm\w hIbv°v c≠mbncØn
Hcp\qdp ]Whpw Ikhn´, ]´p°c tkma≥ DØcobhpw At∂
Znhkw ]mcntXmjnIw \evInbXmbn AtX°pdn®v tcJIƒ
ImWp∂p. Bÿm kwKoX hnZzm≥ F∂ ]Zhn°¿l\mb
as‰mcp kwKoX⁄≥ A°meØp≠mbncp∂n√ F∂pthWw
IcpXm≥. kzmXn°ptijhpw At±lØn\v cmPkZ n¬ ∂pw
In´nbn´p≈ _lpam\ßƒ°v Ipdhp kw`hn®n´n√.
F.Un. 1892˛¬ 72˛masØ hb n¬ At±lw CltemIw
shSn™p. At\Iw Km\ameyßfm¬ ssIcfnsb Ae¶cn®
Cu hmt§bImcs\°pdn®v IqSpX¬ KthjWw \StØ≠p∂
Imew AXn{Ian®ncn°p∂p. Cu kwKoX {]Xn`bpsS kw`mh\
Isf AhKWn°p∂Xv kwKoXtemIØv A⁄X ]pe¿Øp
∂Xn\v Xpeyambncn°pw.
tZhcmP≥ amÃdpsS
kwKoXimkv{X {KŸw
tZhcmP≥ kmdpambn \s√mcp kulrZ_‘w
Rßƒ°p ≠mbncp∂p. Ft∏mƒ sN∂mepw RßtfmSv
(Ft∂mSpw, Fs‚ `¿Ømhnt\mSpw) kwKoX kw_‘amb
Imcyßƒ°p ap≥Xq°w sImSpØmbncp∂p, kwkmcn®ncp∂Xv.
kwKoX imkv{XsØ Bkv]Zam°n Hcp {KŸw Xømdm°n
s°m≠ncn°p∂ Imcyhpw km¿ ]d™ncp∂p. F¥mbmepw
At±lØns‚ "kwKoXimkv{X \hkp[' F∂ ]pkvXIw,
kwKoXhnZym¿∞nIƒ°pw, kwKoX imkv{Xw Adnbm≥ Xmev]
cyap≈h¿°pw \s√mcp hgnIm´nbmWv, kwKoXtemIØn\v Hcp
apX¬Iq´pw.
amÃdns‚ ]pkvXIØn¬ BZyw sXm´p≈ A≤ymbß
fn¬ IqSn IS∂p sN∂m¬ ˛ {ipXn, kzcw, cmKw, KaIw, Xmfw,
kwKoX{KŸw, hmt§bImc∑m¿ F∂nßs Hmtcmtcm
Imcyßsf °pdn®v Kl\amb ]T\w \SØnbn´mWv Cu ]pkvX
IØn\v cq]w \¬InbXv F∂v a\ nem°mw. kwKoXkw_
‘amb tPmenIƒ sNøptºmsg√mw AXns‚ imkv{Xob
hißfpw \√ t]mse Nn¥n®v HØnW°ns°m≠p t]mbncp∂p
F∂XmWv kmdns‚ Hcp {]tXyIX.
kwKoXØns‚ DXv]Øn, thZImeßfnse kzcßfpsS
kz`mhw, imkv{Xobamb coXnbn¬ kwKoXØns‚ hf¿®

v
v
56kwKoX]cmKw
vv
F∂nhsb∏‰n hy‡am°p∂tXmsSm∏w, k]vXkzcßsf
°pdn®pw, ZzmZi kzcÿm\ßsf°pdn®pw, 22 {ipXnIsf°p
dn®pw, 32 tafI¿ØmcmKßsf°pdn®psa√mw {]tXyIw
hniZoIcn®n´p≠v. ]e ImeL´ßfnepw FgpXs∏´ kwKoX
{KŸßfnse ImXemb `mKßsfbpw hnhn[Xcw cmKßfpsS
hyXykvX {]tbmK coXnIsfbpw hnhcn®n´p≠v. {ipXnt`Zw F∂
{][m\s∏´ hnjbsØ \√t]mse hniIe\w sNbvXp
DZmlcWklnXw shfns∏SpØnbn´p≠v. {ipXnt`Zw sNbvXv
In´p∂ ]pXnb cmKßfpw, {ipXnt`Zw sNbvXm¬ X\Xmb
hy‡nXzw C√mØ cmKßfpw In´psa∂Xv ]´nI cq]Øn¬
BZyambn´mWv Hcp aebmf {KŸØn¬ ]cma¿in®ncn°p∂Xv.
thtZm®mcWØn¬ ∂mWv kwKoXØnse kzcÿm\ßƒ
cq]s∏´sX∂ ]gbIme hnizmksØ At±lw hna¿i\]c
ambn hnebncpØnbncn°p∂p. CXn¬ B A`n{]mbsØ
ckn°pIb√. F∂m¬ thtZm®mcW coXnbn¬ B kvacW
A\p`hn®dnbm≥ km[n°p∂n√ F∂v sXfnbn°m\pw AXn
eqsS kz¥w A`n{]mbw {]ISam°m\pamWv {ian®ncn°p∂Xv.
kwKoXØns‚ hyXykvX imJIfpsS ssienIfn
se√mw At±lw AKm[amb ]mWvUnXyw kºmZn®ncp∂p
sh∂Xn\v lnµpÿm kwKoXw, ]m›mXy kwKoXw, Xangv
kwKoXw, \mtSmSn kwKoXw ˛ F∂nhsb kw_‘n°p∂
A≤ymbßƒ hmbn®m¬ aXnbmIpw. IqSmsX Xncp∏pIgn¬
AcpWKncn\mY¿ D]tbmKn®n´p≈ {]tXyIXcw Xmfßƒ,
hnhn[ ImeL´ßfn¬ Pohn®ncp∂ hmt§bImc∑mcpsS
hnhcWßƒ, AKkvXyapbpsS ImeL´w, ]m›mXy
kwKoXØn¬ D]tbmKn°p∂ kzcs∏SpØ¬ k{ºZmbw
F∂nßs GItZiw kwKoXw F∂ hnjbØn¬ Dƒs∏Sp∂
GXm≠v F√m LSIßsfbpw 46 A≤ymbßfnembn
tIm¿ØnW°n Hcp IpS°ogn¬ sIms≠Øn® Hcp Aaqey
{KŸamWv CXv.
hfsc efnXamb `mjbn¬ Gh¿°pw a\ nemIp∂
coXnbnemWv hnjbhnhcßƒ th¿Xncns®gpXnbncn°p∂Xv.
kwKoXhnZym¿∞nIƒ°pw, kwKoX BkzmZI¿°pw, Hcp
t]mse th≠pthmfw Adnhv Cu {KŸØn¬ ∂pw e`n°pw
F∂Xv kp›nXw. Cu ASpØImeßfnseßpw, Cßs Hcp
kwKoXimkv{X{KŸw aebmf`mjbn¬ Bcpw Xs∂ FgpXn
I≠n´n√. At±lw kwKoXØn\p \¬Inb Hcp Aaqey kw`m
hmWv Cu {KŸw.

v
v
57kwKoX]cmKw
vv
a[pcna Hm¿Ω°pdn∏v
G‰hpw CjvSap≈ Km\ßfmWv ì ‘Bbncw ]mZkc
ßƒ’í, ‘a™ebn¬ apßntØm¿Øn ’, ‘kpawKen \o Hm¿Ωn
°ptam’, ‘Aºe]dºn¬ ’, ‘\mZ{_“Øn¬’ XpSßnbh. GXv
hcnIƒ In´nbmepw AXns‚ D≈¿∞w Adn™v Ahsb
kwKoXØn¬ IqSn \SØn®v \s√mcp Km\am°n Xo¿°phm\p≈
A]mc Ignhv tZhcmP≥ amÃdpsS {]tXyIXbmbncp∂p.
At±lØns‚ Km\ßƒ ]cntim[n®m¬ Htc cmKw
Xs∂ ]e ]e `mhßƒ Dfhm°p∂ coXnbn¬ hnhn[
Km\ßƒ°pth-≠n D]tbmKn®n´p≈Xmbn ImWmw. At±lw
kwKoXw \¬Inbn´p≈ GXv Km\Ønepw Hcp saeUnbp-≠mIpw.
tIƒ°p tºmƒ Bcmbmepw BkzZn®pt]mIpw. F{X F{X taf
I¿Øm cmKßƒ! F{X F{X P\y cmKßfnemWv At±lw
hcnIsf tIm¿ØnW°nbn´p≈Xv. At±lØns‚ Km\ßƒ
FSpØv AhtemI\w sNbvXm¬ At±lØns‚ CjvSap≈ taf
I¿ØmcmKw taNIeymWnbmsW∂pw, P\ycmKw taml\am
sW∂pw a\ nem°mw. F¥mbmepw kwKoXØn¬ AKm[
]mWvUnXyap- ≠mbncp∂ Hcp alm{]Xn`sb, Hcp kwKoX
kwhn[mbIs t\cn¬ ImWm≥ km[n°psa∂v Rm≥ H´pw
{]Xo£n®X√. ]s£ AXv km[n®p.
amÃ¿ cq]w \¬Inbn´p≈ìi‡nKmY Izbdn\p th ≠-n
\√ td©n¬ ]mSp∂ hnZym¿∞nIsf ]mSn°phm≥ th ≠-n
Ft∂mSv Hcn°¬ amÃdns‚ Hcp injy≥ t^mWn¬°qSn
Bhiys∏SpIbpw, At∏mƒ Xs∂ amÃdpw Ft∂mSv
kwkmcn°pIbpw sNbvXp. ]n∂oSmWv Hcp Znhkw amÃdns‚
ho´n¬ t]mhpIbpw Gsd t\cw kwKoXsØ°pdn®v ]e
Imcyßƒ N¿® sNøpIbpw sNbvXXv. a[pcnabpsS hm¿jnIm
tLmjthfbnepw thZnbn¬h®v amÃdnt\mSv Gsd t\cw
sNehgn°m≥ km[n®p. AsXmcp ë `mKyambn´mWv Rm≥
IcpXp∂Xv. Ie¿t∏m, Im]Sytam C√msX Xpd∂ A `n{]mbw
]dbp∂ Hcp kz`mhw At±lØns‚ Hcp {]tXyIXbmbncp∂p.
Hcp kwKoXimkv{X {KŸw Xømdm°p∂ Imcyhpw ìjUv°me
]√hnícNn°p∂ hnhchpw At±lw Ft∂mSv A∂v kwkmcn
®ncp∂p. F¥mbmepw amÃtdmSv Ipd®v t\cw sNehgn°m≥
km[n®m¬ Ipsd Imcyw kwKoXakw_‘ambn Adnbm≥
km[n°pw F∂Xv ›bamWv.
kulrZa\ ns‚ DSabpw, kwKoX kmlnXyIeIsf
kvt\ln®p t{]m’mln∏n® Hcp I¿ΩtbmKnbpamb almt\,
alXv hy‡nsb, tZhcmP≥ amÃsd Rm≥ _lpam ØmSpw,
kvt\ltØmSpw IqSn kvacn°p∂p.
l

v
v
58kwKoX]cmKw
vv
"kwKoXm¿∞ap' km[yXbpw
{]k‡nbpw
I¿ÆmSI kwKoXsØ A[nIcn®v aebmfØn¬
D≠mbn´p≈ {KŸßfn¬ Hcp hgnØncnhmWv tUm.a[phmkp
tZhs‚ "kwKoXm¿∞ap' F∂ ka{K ]T\w. Ccp]Ønbmdv
A≤ymbß fp≈ C u ]pkvXIØn¬ kwKoXimkv{X]≤Xn
{]Imcap≈ kmt¶XnIXzw BZy¥w edpØnbncn°p∂p.
\mZw, cmKw, Xm\w, KoXw F∂nßs teJ\ßsf hnjb
{]m[m\ya\pkcn®v hnhn[ hIp∏pIfnembn Xncn®n´p≠v.
"siΩ¶pSn FhnsS'? F∂ XehmNItØmsS Bcw`n°p∂ C u
teJ\]cºcbpsS BZy]IpXnbnemWv It®cn k{ºZmb
Ønepw A°mZan ]T\ßfnepambn hn\ykn°s∏´n´p≈
I¿ÆmSI kwKoX Ncn{XsØ kmt¶XnIambn AhtemI\w
sNøp∂Xv. hn⁄m]Iw, ¿t±imﬂIw, hnhcWmﬂIw
F∂nßs ]eXcw hn`mKßfn¬ Dƒs∏SpØmhp∂
AdnhpIƒ Cu ]pkvXIØn¬ Dƒs°m≈n®n´p≠v. AXy¥w
kzX{¥amb kwKoXssiensb°pdn®v khnkvXcw {]Xn]mZn
°ptºmgpw "kwKoXcXv\Ic'Ønse km{ºZmbnI cmK]≤Xn
ItfmSv Iqdp]pe¿Øns°m≠p≈ ssieot`Zßsf°pdn®mWv
a[phmkptZh≥ FgpXp∂Xv. AXmbXv "¢mkn°¬ kwKoXw'
F∂ ]ZØns‚ A¿∞sshiZyßsfbpw sI´pd∏pIsfbpw
kwKoXkwkvImcsØbpw am®psIm≠p≈ ]pkvXIamWv
"kwKoXm¿∞ap'.
kwKoXimkv{X{]Imcap≈ Hcp A°mZan {KŸw F∂
ebn¬ Cu IrXn ]cnKWn°s∏Sptºmƒ [mcmfw kq£va
kmt¶XnIXIƒ CXn¬ ]men®n´p≈Xmbn ImWmw.
AXnsem∂v teJ\ßƒ°p \¬Inbncn°p∂ Xes°´pIfmWv.
I¿ÆmSI kwKoXØnse cmKßtfmSpw IrXnItfmSpw
]pe¿Øp∂ Pm{KØmb at\m`mhw {it≤bamWv. FXmhp\dm,
`mhbman cLpcmaw, ]Zva\m`m]mln, alna sXenb Xcam, tZhn
PK÷, IrjvWm \o t_Kt _mtcm, Zp¿am¿KNcm[
ape\p sZmc \o h\Pmedm, hcpKemtam Atøm!
F∂nßsp≈ XehmNIßƒ IrXnIfpsS
A¿∞km£mXvImcßfpw hmt§bImc∑mcpsS
Zo¿Lho£Wßƒ°p apºnep≈ ]pXpXe apdbpsS
A¿∏WßfpamWv. "kwKoXm¿∞ap' F∂ IrXnsb A°mZan
]cnt{]£yØn¬ hnebncpØptºmƒ {i≤n°s∏Sp∂
]T\ßƒ "IrjvWm \o t_Kt _mtcm' Zp¿am¿K Ncm[ape\p
sZmc \o h\Pmedm' F∂nhbmbncn°pw. ]p√m¶pg¬,
D]]°hmZyßƒ F∂nhbpsS Ncn{Xw AhbpsS {]mtbmKnI
kµ¿`ßfpambpw hy‡nKXssieot`Zßfpambpw _‘n∏n®p
sIm≠mWv FgpXnbn´p≈Xv. B ebn¬ Ch ka{K
]T\ßfpamWv. hfsc Aekambn ]d™p t]mImhp∂ Hmtcm
ImcysØbpw KthjW_p≤ntbmsS AhXcn∏n®ncn°p∂p
sh∂XmWv Cu teJ\ßfpsS {]tXyIX. Sn.B¿.almenwK
Øns‚ hmZ\ssiensb hnkvXcn°p∂nSØv Cßs FgpXp∂p:
""\mK¿tImhnen¬ ∂mWv almenwKw Ipg¬ ¿Ωn®p hmßn
bncp∂Xv. AhnSp≈ apf¥≠pIƒ°v sdskm≥kv XmcXtay\
IqSpXemWv. Ipg¬ ]nSn°p∂Xnepw almenwKØn\p {]tXyIX
bp≠mbncp∂p. Dt±iyw 100˛110
0
NcnhnemWv At±lw Ipg¬
]nSn®ncp∂Xv.

v
v
59kwKoX]cmKw
vv
kwKoXcq]WØn¬ imkv{XobX FßsmWp
]pe¿tØ≠sX∂p C u hnhcWw hy‡am°p∂p. KthjW
hnZym¿∞nIƒ°v amXrIm]camb coXnbmWnXv. K©nd, LSw,
apJ¿ iwJv F∂nh kwKoXIt®cnIfn¬ A{][m\ambn
Øocp∂Xns\°pdn®pw I¿ÆmSI kwKoXw Ncn{Xw
hmZykwKoXØns‚ IqSn Ncn{XamsW∂ bmYm¿∞ysØ
°pdn®pw Cu teJ\ßfn¬ {]kvXmhn°p∂p≠v. ]me°mS≥
kwKoX]mcºcyØns‚ s]mXpkhntijXIfmbn kmXznI
`mh{]m[m\yw, hnfw_nX ssien, ta¬ÿmbnh¿Pyw,
saeUnkv]¿iw F∂nßs A°an´p cØphm≥ ]mIØn¬
kwKoXssienIsf hkvXpXm]cambn t\cnSp∂p.
{]tXyI cmKØn¬ Nn´s∏SpØnbn´p≈ aqeIrXnIƒ°v
]n∂oSv It®cn hg°ßfn¬ h∂p tN¿∂ am‰sØ°pdn®v
kwKoXhnZym¿∞nIƒ Adn™ncnt°≠XmWv. "`mhbman
cmKamenI'sb°pdn®p≈ kpZo¿L N¿® CXn\pZmlcWamWv.
kzmXn Xncp\mfns‚ kwKoXkw`mh\Isf hnebncpØp∂
"`mhbman cLpcmaw' F∂ teJ\ØnemWv C u N¿® Dƒs∏
SpØnbn´p≈Xv. kzmXnXncp\mƒ "kmthcn' cmKØnemWv
"`mhbman' F∂ IrXn ¿Ωn®n´p≈Xv. ]n∂oSv siΩ¶pSn Cu
IrXnsb cmKamenIbm°n am‰p∂p. kzmXnXncp\mƒ Dt±in®n
´p≈ km{ºZmbnIcmK ]≤XnIsf Cu coXnbn¬ ]cnjvIcn°p
∂Xv ¢mkn°¬ kwKoXØns‚ ]mcºcyØn\p DNnXamtWm
F∂ tNmZyw teJI≥ D∂bn°p∂p≠v. cmKkzcq] N¿®sb∂
ebn¬ Cu hmZw ]p\¿Nn¥\Øn\p hgnsbmcp°p∂p.
I¿ÆmSIkwKoX Ncn{XØn\p kam¥cambn lnµp
ÿm kwKoXk{ºZmbsØbpw CXn¬ hniIe\w sNøp
∂p≠v. Aao¿Jms‚ kwKoXssiensb Bkv]Zam°nbp≈
"emhn¬ Hcp tIZmcw' F∂ kpZo¿LteJ\w {]tXyI {i≤
A¿ln°p∂p. I¿ÆmSI kwKoXØn\p A\ysa∂p [cn®ncp∂
Imev]IX, B[pIX F∂nßsp≈ kmt¶XnIamb
"s{S≥Up'Isf ka\znbn∏n®psIm≠p≈ FgpØmWv
"kwKoXm¿∞ap' F∂ IrXnbnep≈Xv. am{Xa√ ]cºcm
KXambn tI´pioen®ncp∂ ]eImcyßfpw AhbpsS
]mcºcytØmSv \oXn ]pe¿Ønbn√ F∂p Xncn®dnbpIbpw
Ahsb XncpØpIbpw sNøp∂Xn¬ a[phmkptZh≥ ]pe¿
Øp∂ Pm{KX amXrIm]camWv. "apØpkzmanZo£nX¿' F∂p
am{Xw tI´p ioen® aebmfnIfpsS ]Zt_m[Øn¬ "ap±pkzman
Zo£nX¿' F∂ X\Xv D®mcWw sIm≠phcm\p≈ ss[cyw,
siΩm¶pSnsb AXn_rlØmb kwKoXkvIqfns‚ {]Xn[n
bmbn k¶ev]n®ncn°p∂Xnse kmwKXyw F∂nh "kwKoXm¿
∞ap' F∂ IrXnbnse A°mZanI Xmev]cyßfmWv. Chbn¬
tbmPn°m\pw hntbmPn°m\pw Ignbp∂ Xeßfp≠v.
Cu ]pkvXIØnse Hcp lrZbkv]¿inbmb teJ\
amWv Fs‚ Kpcp\mY\mb s{]m^k¿ s\øm‰n≥Ic taml\
N{µs\∏‰nbp≈ "taml\cmam' ˛ tIcfkwKoXØn¬
taml\N{µ≥ kmdn\p≈ ÿm\sØ hkvXpjvTambpw
sshImcnIambpw hnebncpØp∂ teJ\Øns‚ io¿jIw
XnI®pw A\z¿∞amWv. cmambWØnse {iocmas Hm¿Ωn
∏n°p∂ BZ¿ihy‡nXzw At±lsØ ASpØp I≠h¿
s°√mw Adnbmw. Cßs\sbmcp ]T\{KŸw C≥Uy≥ kwKoX
sØ Bkv]Zam°nbp≈ KthjWßƒ°v Hcp amXrIbpw
t{]cWbpamWv.
l

v
v
60kwKoX]cmKw
vv
kwKoXhpw BtcmKyhpw
kIehm°pIƒ°pw As√¶n¬ hmIvabØn\v,
B[mcamb kwKoXw Hcp \mZ`mjbmWv. {]]©w apgph\pw
\mZmﬂIamWv. \mtZm]mk F∂Xv tam£{]m]vXn°p≈
D]m[nbmWv F∂ kXyw a\ nem°nb ]e kwKoX ⁄m
Ifpw AhchcpsS Io¿Ø\ßfn¬°qSn ]camﬂmhns\
\mZcq]nbmbn A\pk‘m\w sNøp∂ Imcyw ]cma¿in®n´p≠v.
kwKoXsØ°pdn®v thZßfnepw D]jØp°fnepw a‰pw
hnhcn®n´ps≠¶nepw {]mtbmKnIXeØn¬ a\pjys‚ kmwkv
ImcnI PohnXhpambn _‘s∏´mWv, kwKoXØns‚ ]cnWmaw
As√¶n¬ hnIk\w D≠mbn´p≈Xv. hnhn[ IeIƒ F√mw
Xs∂ a\pjykwkvImcsØ sI´n∏Sp°m≥ klmbn°p∂
D]m[nIfmWv. Ahbn¬ G‰hpw t{ijvThpw, Znhyhpw, kuJyhp
ambXv kwKoXamWv.
kzckaqlßfpsS klmbtØmsS Bib{]IS\w
\SØp∂ Cu \mZ`mjbv°v Hcp hy‡nbpsS ]e hnImcß
tfbpw ˛ `‡n, tIm]w, irwKmcw, kt¥mjw, im¥X, k¶Sw
XpSßnbh {]ISam°phm\pw Ignbpw. Hcp hy‡nbpsS a\ n
s‚ GIm{KX bv°v A\pKpWambn tN¿∂v hnhn[ `mhßƒ°v
cq]w \¬Iphm\pw km[n°p∂p. kwKoXØns‚ ÿmbnbmb
cq]w i_vZamWv. i_vZØns‚ \m\mXzØn¬ DcpØncnbp∂
XmWv kwKoXw. {]IrXnbnse Hmtcm Ne\Ønepw kwKoXw
D≠v. `qan Nen°p∂p, Im‰p hoip∂p, CeIƒ Nen°p∂p,
Cßs FhnsS t\m°nbmepw Hcp XmfØneqsSbmWv
\oßp∂Xv. a\pjyicocØnse \mUnIƒ XpSn°p∂Xv, lrZbw
XpSn°p∂Xv Cßs F√mw ]co£n®m¬ Hcp AfhneqsSbmWv.
Afhv sX‰ptºmgmWv {]bmkw D≠mIp∂Xv. GXn\pw Afhv,
Xn´w, Hcp Nn´ thWw.
tbmKimkv{X{]Imcw a\pjys‚ icocØn¬ hnhn[
N{Ißƒ D≠v. Ahsb DW¿Øphm≥ \mtZm]mkn¬ IqSn
A\mbmtk km[yamWv. Fßsmbmepw i_vZßtfmfw
]g°ap≈ k]vXkzcßfmWv kwKoXØn\v B[mcw. Chsb
{IaoIcWw sNbvXv ip≤hpw \√ abhpw tN¿∂v kwKoXØn\v
DXIp∂ BtcmKyhpw kuJyhpap≈ \mZambn cq]s∏SpØn
bm¬ kwKoXw \√Xpt]mse ]mSn {]ISn∏n°m≥ Ignbp∂p;
D]mkneqsS.
imcocnIhpw am\knIhpamb BtcmKyØn\pth≠n
BZnXy `Khms D]mkn°p∂Xp t]mse PohnXØnse
t¢ihpw {]bmkhpw amdm≥ \mtZm]mkv°v As√¶n¬
kwKoX Bcm[v°v km[n°pw. Bﬂmhns Adnbm\pw
B\µw A\p`hn°m\pw km[n°pw.
Hcp hy‡n Ahep≈ ]e hn[Ønep≈ hnjb
Nn¥Isf√mw ad°pItbm, am‰n hbv°pItbm sNbvXm¬
am{Xta [\y\mhpItbm e£yØnseØpItbm sNøm≥
km[n°q (kwKoXØn¬°qSn km[n°pw).
icocØn\v hymbmaw Bhiysa∂Xp t]mse Xs∂
a\ n\pw AXv BhiyamWv. kwKoXw tI´psImt≠m, ]‰psa
¶n¬ ]mSns°mt≠m, aqfns°mt≠m tPmenbn¬ hym]rXcmbm¬
apjnhp tXm∂msX Imcyßƒ s]s´∂v \oßpw. \mtSmSn Km\
ßƒ ]eXpw Aßs cq]s∏´XmWv. hnØpIƒ hnXbv°p
tºmƒ, h≠n henbv°ptºmƒ, Rmdv \Sptºmƒ ˛ Cßs ]e

v
v
61kwKoX]cmKw
vv
tPmenIƒ °nSbnepw Ah¿ AdnbmsX ]mSnbncp∂p. Nnet∏mƒ
Znhk tPmen°nSbntem tPmenIƒ Xo¿Ø tijtam P\ßƒ
kwLw tN¿∂v ]mSn kt¥mjn°pambncp∂p ]≠v. Aßs\
AhcpsS Zn\Ncybn¬ kwKoXw IqSn Dƒs∏SpØn Pohn°p∂
h¿°v Hcp ]cn[nhsc kv{S v C√msX BtcmKyhpw
e¿Øphm≥ km[n°pambncp∂p.
sNSnIfpw acßfpw t]mepw kwKoXw tI´m¬ \√
Imbv^e ßƒ Xcp∂p F∂Xpw Hcp kXyamWv. AXpt]mse
]£narKmZnIfpw k¿∏hpsa√mw kwKoXckw˛Km\ck
Øn\[o\cmWv F∂p≈Xv hfsc ]gatbdnb t«mIw
sXfnbn°p∂p.
iniq¿ thØn ]ip¿ thØn
thØn Km\ckw ^Wnx
kwKoXØn\v Huj[KpWaps≠∂dn™ hntZinIsf
√mw AhchcpsS cmPyßfnse Bip]{XnIfnepw a‰p ÿm]\
ßfnepw kwKoXw Hcp D]m[nbmbn {]tbmKn®p XpSßnbn´v
F{Xsb{Xtbm Imeambn. ]t£ AXns‚ aqeImcWw \ΩpsS
`mcXØnse thZßfnepw a‰pw ]≠p ]t≠ ]cma¿in®n´p
s≠¶nepw AXns‚ BtcmKyhiw Nn¥n°m≥ hfsc ]Xps°
bmWv \ΩpsS BfpIƒ XpSßnbncn°p∂Xv F∂Xv Hcp
ZpxJkXyamWv.
a\pjyicocØnep≈ \mUnIƒ, RcºpIƒ, c‡[a
Iƒ, lrZbanSn∏pIƒ apXembhsb√mw Hcp t]mse b{¥n°p
hm≥ kwKoX BkzmZ\w G‰hpw \√XmWv.
a\ am[m\amWt√m Gh¿°pw Bhiyamb Hcp
LSIw. AXv kwKoXØn¬ IqSn e`n°pw F∂Xv Xo¿®bmWv.
a\ ns‚ BtcmKyØn\pth≠n a\w sNøp∂Xv DØaamWv.
AtXmsSm∏w AXn¬ Aev]w kwKoXw IqSnbmbm¬ Xo¿®
bmbpw a\w sNøp∂ hy‡n°v kt¥mjhpw kam[m\hpw
Ah\dnbmsX e`n°pw. F∂pw Ipd®p kabw A\ph¿Øn®m¬
Dt∑jtØmsS DtØP ØmsS Pohn°m≥ km[n°pw. X∑qew
\√Xv Nn¥n°phm\pw, {]h¿Øn°phm\pw tXm∂pw.
[ym\w sNbvXv a\ ns b{¥n°m≥ ]mIs∏SpØm≥
{ian°p∂Xpt]mse kwKoXw sIm≠v Ffp∏Øn¬, thKØn¬
a\ ns ]nSn®v ¿Øm≥ km[n°p∂tXmsSm∏w, BtcmKyw
kwc£n°phm\pw ]‰pw. NnIn’m k{ºZmbØnse√mw, {]tXy
In®v am\knItcmKßƒ°v, Hcp D]m[nbmbn kwKoXw D]tbmKn
°s∏Sp∂p. XßfpsS ZpxJsØ ad°p∂p.
Ct∏mgsØ Xnc°n´ PohnXNcybn¬ Xo¿®bmbpw
kwKoXw BhiyamWv. AhcpsS C—bv°\pkcn®v Km\ßƒ
{ihn°pItbm, Be]n°pItbm sNbvXm¬ a\ n\p kpJhpw
im¥nbpw e`n°p∂Xp aqew icocØn\v KpWhpw kuJyhpap
≠mIpw. BtcmKy kºØn\pw \∂v. Aßs kwKoXw, Bkz
Zn°phm≥ DXIp∂ Hcp hnjbhpw, BtcmKykwc£W Øn\v
Hcp Huj[hpamWv.
hnjbNn¥Iƒ°XoXamb `KhXv Nn¥bneqsS am{Xw
BﬂkpJhpw kt¥mjhpw t\Sm≥ Ffp∏amb am¿§w kwKoX
D]mkmsW∂pw P\ßƒ AXv a\ nem°n {]mh¿ØnI
am°Wsa∂pw At\Iw aphcy∑mcpw, kwKoX{KŸImc∑mcpw
kwKoX⁄mIfpw a‰pw A`n{]mbs∏´n´p≈Xn¬ bmsXmcp
A¤pXhpan√. \√ kwKoXw D≈ ÿeØv kv{S n\v CSan√.
Aßs KpWhpw kuJyhpw BtcmKyhpap≈ icochpw
imcochpw D≈h¿°v kt¥mjtØmSpw BtcmKytØmSpw IqSn
Pohn°m≥ km[n°pw F∂Xn¬ bmsXmcp kwibhpw C√.
kwKoXw D≈ ÿeØv BtcmKyhpw D≠mIpw.
l

v
v
62kwKoX]cmKw
vv
tIcf kwKoXw 60 h¿j−ßƒ
]n∂n−Sp−tºmƒ...
Hcp cmPysØ P\-k-aq-l-Øns‚ t{]m’m-l-\-Øn-\pw, A`n-
hr-≤n°pw th≠-n {]tbm-P-\-s∏-Sp∂ hnj-b-amWv kwKo-Xw.
kt¥m-jw, km¥z-\w, kam-[m-\w, ]Iz-X, _p≤n-hn-Imkw F∂n-
h-bn¬IqSn GsXmcp hy‡n-bpsSbpw Xy-Po-hn-X-Øn¬ kp{]-
[m-\-amb ]¶p-h-ln-°p∂ Hcp hnj-b-amWv kwKo-Xw. Hcp
{]tXyI `mj-bp-sS-tbm, kap-Zm-b-Øn-s‚tbm ]cn-[n-°p-≈n¬
HXp-ßn-°q-Sp-∂-X√ kwKo-Xw. AXv AXy¥w BI¿j-I-amb
Hcp A£-b-`-ﬁm-Im-c-am-Wv. kn≤m-¥-]-c-ambn kwKo-X-Øns‚
hnh-cWw Ds--≠¶n-epw, {]mtbm-Kn-I-X-e-Øn¬ a\p-jys‚ kmw-
kvIm-cnI Pohn-X-hp-ambn _‘s∏-´mWv kwKo-X-Øns‚ hnImkw
D-≠m-b-Xv. a\- ns‚ GIm-{K-X-bv°-\p-KpW-ambn {]h¿Øn-°p∂
kwKoXw Hmtcm hy‡n-bp-sSbpw `mh-ßƒ°-\pkr-X-ambn
sshhn≤yw {]m]n®v ]n¬°m-eØv cmK-˛-Xm-f-˛-`m-h-tØmsS kzcq]-
hn-ti-j-ßƒ D≠-m-Im--S-h-∂p. Cßs cq]w {]m]n® kwKo-X-
Øns‚ D≈S-°-hpw, LS-pw {ItaW am‰-ßƒ°v hnt[-b-
ambnØo¿∂tXmsS ]ehn[Ønep≈ kwKoXcq]ßƒ
D≠-mbn.
AXn{]mNo\Imew apX¬Xs∂ kmlnXyImc≥amcpw
]ﬁnX ∑mcpw almIhnIfpw tIcf\mKcnIXbpsSbpw
kwkvImc Øns‚bpw XWen¬ sskzcambn hkn®psIm≠-v
XßfpsS amXr`mjsb∂t]mse kmlnXy km{amPyØns‚bpw
sNt¶m¬ [cn®ncp∂p. Hcp hy‡n kwKoXsØ kvt\ltØm
sSbpw BZcthmsSbpw ssIImcyw sNbvXm¬ kt¥mjhpw
kar≤nbpw km¥z \hpw a\ am[\hpw e`n°pw F∂Xn¬
X¿°an√.
kwKoXsØ ]ehn[ØnemWv hn`Pn®ncn°p∂Xv.
I¿ÆmSI kwKoXw, lnµpÿm kwKoXw, \mtSmSn kwKoXw,
efnX kwKoXw, `‡nkwKoXw F∂nßs\. F¥mbmepw
`‡nbpw kwKoXhpw ]ckv]c]qcIßfmWv.
Hmtcm kwÿm\ßfnepw AXXv ÿesØ kmlNcy
ßƒ°\pkcn®mWv kwKoXw hf¿∂ncn°p∂Xv. kwKoX
cN\Iƒ t\m°pIbmsW¶n¬ hnhn[ `mjIfn¬ ]e
alm∑mcpw cN\Iƒ \SØnbn´p≠-v. I¿ÆmSI kwKoX
imJbn¬Øs∂ [mcmfw kwKoXcq]ßƒ D≠-mbn´p-≠v. ]≠p
apX¬t° DSseSpØn´p≈ kwKoXcq]ßƒ Dƒs∏sS KoXw,
PXnkzcw, kzcPXn, Xm\h¿Æw, Zcph¿Æw, ]Zh¿Æw, IrXn,
Io¿Ø\w, ]Zw, Pmhen, Xn√m\, cmKamenI, awKfw
F∂nßsmWv t]mbncn°p∂Xv. Chsb√mw Xs∂ `‡n
{]ÿm\w DSseSpØtijw kwKoXØn¬ kmlnXyØn\pw
{]m[m\yap≠-mbt∏mƒ apX¬ Hcpt]mse cNn°s∏Sm≥ XpSßn.
ta¬∏d™ kwKoXcq]ßfn¬ an°Xpw tIcfØnse
kwKoX hmt§bImc∑mcm¬ cNn°s∏´n´p≠-v. Hcp IrXn
kz¥ambn cNn°p∂ hy‡nbmWv cNbnXmhv; F∂m¬
kmlnXyw cNn®v AXn\v kwKoXhpw \¬In AhXncn∏n°p∂
hy‡nbmWv hmt§bImc≥.
tIcfØnse hmt§bImc∑mcn¬ BZyw Hm¿t°≠- t]cv,
kzmXnXncp\mƒ almcmPhnt‚Xp Xs∂bmWv. F∂m¬
almcmPm hns‚ aqØ ktlmZcnbpw hoWmhnZpjnbpambncp∂

v
v
63kwKoX]cmKw
vv
cpIvanWn _mbn X¶®nbpw kwKoXcq]ßƒ ]e `mjIfnembn
cNn®n´p≠v. At±lØns‚ kwKoXIrXnIƒ, D]mJym\ßƒ,
kmlnXycN Iƒ, \hcm{Xn IrXnIƒ, \hhn[ `‡nIrXnIƒ,
aWn{]hmf ]Zßƒ, D’h{]_‘w, `P≥, Xn√m F√mw
hfsc {]ikvXn bm¿Pn®hbmWv. Xncph\¥]pcw {io]Zva\m`
kzman t£{XØn t\mSv tN¿∂ncn°p∂ \hcm{Xn aﬁ]Øn¬
D’hkabØv kzmXnXncp\mƒIrXnIƒ am{XamWv C∂pw
Be]n°mdp≈Xv.
kwKoXtØbpw kmlnXytØbpw Hcpt]mse Xmtemen
®ncp∂ [¿ΩcmPmsh∂dnbs∏´ncp∂ {ioIm¿ØnIXncp\mƒ
almcmPmhns‚ _mecma`mcXw F∂ kwkvIrX {KŸØn¬
kwKoXw, imkv{Xw, \mSyw, hmZyw F∂nhsb°pdn®v hnhcn®n´p-
≠v. ^enX IhnXmkm{am´mb Ip©≥\ºymcpw A∂v ehnen
cp∂ cmKßtfbpw Xmfßtfbpw hmZyßtfbpw Xs‚ cN\I
fn¬°qSn shfns∏SpØnbn´p-≠v.
DZm:
cmKt«mIw:
tXmSnIeymWn, apJmcnImtamZcn
]mSnhcmfnbpw ]¥phcmfnbpw
B\µss`chn, i¶cm`cWw,
Blncn \oemw_cn ss`chn....
Xmft«mIw:
GIXmfw ]nSn®n¥ni ]mSo´ßp¿hin
\mSIw \¿hln®oSWw
cq]IXmfw ]nSn®ºnfn aelcn
]mSpI Iman cwt` atlizcn....
hmZyt«mIw:
a±fw HØm≥ hncpXs\mcpØ≥
aZ\{`m¥v ]nSns®mcp t`mj≥
Xpºpcp Xpey≥ Xmt Hcph≥
Xºpcp ssIbn¬ FSpØp ]Xpt°....
kwKoXimkv{X {KŸßƒ, B´°YIƒ, kwKoXIrXnIƒ
F∂nhbpsS Bhn¿`mhwsIm-≠pw, almcmPm°∑mcpsS IeIƒ
°mbpap≈ t{]m’ml\w sIm-≠pw, IYIfn∏Zßfpw a‰p
kwKoXcq]ßfpw cNn°mSbmbn. kzmXnXncp\mƒ almcmPm
hns‚ tPyjvTktlmZcnbmb Bbneyw Xncp\mƒ cpIvanWn
_mbn Xºpcm´nbpsS FÆs∏´ Nne Io¿Ø\ßƒ am{Xta
{]NmcØn¬ h∂n´p≈p. {ioIWvtTizcw t£{XØnse
{]XnjvTmaq¿Ønbmb ]cainhs\°ndn®v "{ioIWvtTim ]mln'
F∂ apJmcncmKØnep≈ IrXn {]kn≤nbm¿÷n®hbn¬
H∂mWv. kv]XkzcßfpsS apdbn¬ XpSßp∂ "kcknPt\'
F∂ Hcp k]vXkzc k¶o¿Ø\hpw, aebmf A£camem
{IaØns‚ ]Xn\mdp NcWßfp≈ "{iohmkptZhm' F∂
_nelco cmKØnep≈ IrXnbpw {]tXyIX A¿ln°p∂p.
kzmXnXncp\mƒ almcmPmhns‚ cmPkZ n¬ A{KKWy
\mbncp∂ CcbnΩ≥ Xºnbpw kwKoXcN\Ifpw B´°YIfpw
cNn®n´p-≠v. "Hma\Øn¶ƒ°nSmthm' F∂ Xmcm´v hfsc
{]kn≤n bm¿÷n® H∂mWv. CcbnΩ≥XºnbpsS a°fn¬
Hcmfmb Ip´n°p™v X¶®n tIcfØnse BZysØ Ihbn{Xn
bmbncp∂p. am{Xa√, Ahcpw kwKoXIrXnIfpw ]Zßfpw
B´°YIfpw "IpΩn'bpw "hmXn¬Ønd∏m´pw', XncphmXnc∏m´pw'
cNn®v cmPmhns‚ kZ n¬ kwKoXcN\mssh`hw ImgvN
h®Xn\v [mcmfw t{]m’ml kΩm\ßƒ kzmXnalmcmPhn¬
∂pXs∂ t\Snbn´p≠-v.
kzmXnXncp\mƒ almcmPmhn\ptijw D{Xw Xncp\mƒ,

v
v
64kwKoX]cmKw
vv
Bbeyw Xncp\mƒ, hnimJw Xncp\mƒ, aqew Xncp\mƒ F∂o
almcmPm°∑m¿ tIcf kwKoXØn\pw a‰p IeIƒ°pw th-
≠pthmfw t{]m’ml\w \¬Inbn´p≠-v.
B[pIImeL´Øn¬ kwKoXkw`mh sNbvXhcn¬
apØøm `mKhX¿, \oeIWvTinh≥, ]m]\miw inh≥, Sn.
e£vaW≥ ]n≈, almIhn Ip´aØv, sI.kn. tIih]n≈,
sI.F≥. tKm]me]n≈, FÆ∏mSw sh¶´cma`mKhX¿,
s{]m^k¿, {iohmk≥, efnXmZk¿, e£vanIrjvWm,
Xpfkoh\w tUm.hn.B¿. {]t_m[N{µ≥ \mb¿ F∂nh¿
Dƒs∏Sp∂p.
tIcfØn¬Xs∂bmWv BZysØ kwKoXimkv{X{KŸw
DSseSpØn´p≈Xv. Cft¶mhSnIfpsS "Nne∏XnImcw', apØøm
`mKhXcpsS "kwKoXIev]{Zpaw' B‰q¿ IrjvW∏njmcSnbpsS
"kwKoXN{µnI' F∂nh kwKoXimkv{X hnjbßsf°pdn®v
Adnhv ]Icp∂ tIcfØnse kwKoX{KŸßfmWv.
t\csØ kqNn∏n® kwKoXcNbnXm°fn¬ efnXmZmk¿,
sI.F≥. tKm]me]n≈, e£vanIrjvW, B¿. {iohmk≥
F∂nhcpsS Io¿Ø\ßƒ A[nIw {]NmcØn¬ C√mØh
bmWv. efnXmZmk¿ F∂dnbs∏Sp∂ ëIrjvWø¿í {ioIrjvW
`‡\mbXpsIm-≠v IrjvWIrXnIfmWv [mcmfw sNbvXncn°p
∂Xv. ]mh\Kpcp]hc]pc F∂p XpSßp∂ IrXn hfsc
{]ikvXn t\Snb H∂mWv. Cu IrXn sNssº sshZy\mY
`mKhX¿ ]ethZnIfnepw Be]n®n´pap≠-v. efnX F∂
hm°mWv ap{Zbmbn kzoIcn®n´p≈Xv. {ioaXn e£van
IrjvWbmsW¶n¬ Xangnepw kwkvIrXØnepambn´v At\Iw
tZhotZh∑msc kvXpXn®n´p≠-v. Kpcphmbq¿ {ioIrjvW≥,
{io]ﬂ\m`≥, almhnjvWp, BZni¶cmNmcy¿, thZhymk≥
F∂nhscbpw kvXpXn®n´p≠-v, AhcpsS IrXnIƒ°v "e£van'
F∂mWv ap{Z \¬Inbncn°p∂Xv. "Km\IpkpamRvPen' F∂
Hcp kwKoX ]pkvXIhpw {]kn≤oIcn®n´p≠-v.
sI.-F≥. tKm]m-e-]n≈, kwKo-X-c-N-\-Iƒ IqSm-sX, ae-bm-
f-Øn¬ tXhm-cw, Xncp-∏p-I-gv, tZi-`-‡n-Km-\-ßƒ F∂nh ]e
cmK-ß-fn-embn cNn-®n-´p≠--v. "tKm]me' F∂ hm°v ap{Z-bmbn
kzoI-cn-®n-´p≠--v. CXc tZhotZh∑msc°pdn®v FgpXnbn´pap≠-v.
Ct±lØns‚ IrXnIƒ {]NmcØn¬ h∂n´n√. F∂m¬
A—\mb sI.kn. tIih]n≈bpsS Ipds®¶nepw IrXnIƒ
{]NmcØnep≠v. Ch¿ c≠-pt]cpw kwkvIrXØnepw aebmf
ØnepamWv cNn®n´p≈Xv.
FÆ∏mSw sh¶ScaW `mKhX¿ kwKoX⁄\pw cNbn
Xmhpw IYmImet£]w \SØnbncp∂ `mKhXcpambncp∂p.
kwKoX It®cnIƒ AhXcn∏n®Xn\v XncphnXmwIq¿, sIm®n,
sIm√t¶mSv, ssakq¿, _tdmU F∂nhnSßfnse cmPm°∑m¿
Ct±lØns {]iwkn®v kΩm\ßƒ \¬Inbn´p≠-v. {]NmcØn
ep≈Xpw A]q¿∆cmKßfpamb {io[cn, kpapJn, {]Imin,
{]nbZ¿in F∂nhbn¬ IrXnIƒ cNn®v ]mSnbn´p-≠v. \pXn,
{]oXn, tZhcRvP\w, F∂o ]pXnb cmKßƒ°v cq]w \¬In
bn´pap≠-v. "sh¶ScaWobw'F∂HcpkwKoX ]pkvXIw
{]kn≤oIcn®n´p≠-v. Ct±lØns‚ IrXnIfpw A[nIw {]Nmc
Ønen√.
kwKoXcNbnXm°sft∏mse Xs∂ alØcamb kwKoX
IrXnIƒ cNn®n´p≈ Hcp {]ikvX\mb KWnXimkv{X s{]m^
kdmWv {io. B¿. {iohmk≥. At±lw F.sF.B¿.se
UbdIvSdmbpw {]h¿Øn®n´p≠-v. A]q¿∆cmKßfnepw
{]NmcØnep≈ cmKßfnepw kwKoXIrXnIƒ cNn®v
XqenImam\maamb "IemZmkIrXnIƒ' F∂dnbs∏SpIbpw
sNøp∂p. {]NmcØn¬ Ct±lØns‚ IrXnIƒ C√. Ch¿
s°√mw ]pdsa Ct∏mgsØ Xeapdbn¬s∏´ Hcp cNbnXmhmWv
{io. B¿. cmaN{µ≥\mb¿ "Xpfkoh\w' F∂ XqenIm\maØn
emWv Ct±lØns‚ IrXnIƒ Adnbs∏Sp∂Xv. "XpfkoamenI'
F∂ kwKoX]pkvXIhpw {]kn≤oIcn®n´p≠-v. as‰mcp

v
v
65kwKoX]cmKw
vv
cNbnXmhmWv tUm.hn.B¿. {]t_m[N{µ≥ \mb¿. tIcf
k¿∆Iemimenbnse enwKznÃnIvkv hn`mKØn¬ ∂pw
t{]m^kdmbpwhIp∏v ta[mhnbmbpw {]h¿Øn®v hncan®
tijw [mcmfw kwKoXNcN\Iƒ sNbvXn´p≠v. ]ghßmSn
KW]Xn, B‰pIm¬tZhn, iwJpwapJw tZhn, ]q¿Æ{Xboizc≥,
{io ]ﬂ\m`≥, {ioIWvtTizc≥ F∂o tZhXIsf°pdn®v
At\Iw IrXnIƒ {]mkm£c`wKntbmsS cNn®n´pap≠-v.
"{]t_m[kwKoXw' F∂ Hcp kwKoX]pkv XIhpw {]kn≤o
Icn®n´p≠-v. "{]t_m[' F∂ ]ZamWv ap{Zbmbn kzoIcn®ncn°p
∂Xv. Xncph\¥]pcØv tIcf kwKoX It®cn F∂ \maØn¬
aebmfw IrXnIƒ am{Xw Dƒs°m≈n®v GsX¶nepw Hcp
k`bnse t£{XØn¬ amkwtXmdpw At±lØns‚ ta¬
t\m´Øn¬ ]cn]mSn \SØnhcp∂p.
cmPsIm´mcØnse hXm cNbnXm°fmbncp∂ Aw_m
enI Xºpcm´n. Aw_nImtZhn Xºpcm´n, DamtZhn Xºpcm´n,
dmWn e£van`mbn Xºpcm´n F∂nh¿ hoWmhnZpjnIfpw
Io¿Ø\ßƒ, ]Zßƒ, \mtSmSnKm\ßƒ F∂nh cNn®hcp
ambncp∂p. IeymWn°p´n AΩ®n, sIm®n henb C°phΩ
F∂nhcpw IrXnIƒ cNn®n´p≠v. Chbv°p ]pdta tIcfØn\p
X\Xmb cmKßfpw Xmfßfpw hmZyßfpw D ≠-v. Cµni, ]mSn,
L-mcw, kma¥aelcn, \htcmPv, {ioIWvTn, tZim£n, Blncn
F∂o cmKßfpw. sNºS, AS¥, apdbS¥, ]©mcn F∂o
Xmfßfpw ]©hmZyw, angmhv, \µp, ]p≈ph≥IpSw F∂o
hmZyßfpw D’hImeßfn¬ tIcfØnse ]e t£{X
]cn]mSnIfnepw D]tbmKn°mdp≠-v.
a‰p kwÿmßfn¬ ∂pw hyXyÿambn tIcfØns‚
kwKoXw \Kcßfnepw {]m¥{]tZißfnepw Hcpt]mse
hncmPn°p∂ kwKoXØn\v ]e imJIfpap ≠-v.. tkm]m\
kwKoXw, tIcfkwKoXw, IYIfn]Zßƒ, \mtSmSn∏m´pIƒ,
h©n∏m´pIƒ, Xmcm´p]m´pIƒ, XncphmXnc∏m´pIƒ, DW¿Øv
]m´pIƒ, efnXKm\ßƒ ZriyIeIƒ F∂nßs\. Chsb√mw
AhXcn∏n°p∂ IemImc∑mcpw tIcfØns‚ CXc`mKßfnep
ap≠-v. tIcfØnse Pn√Ifn¬ ]ehn[Ønep≈ kwKoX
cq]ßfpw D-≠mbn´p≠-v. Chsb√mw AXXv ÿeßfn¬
t£t{Xm’h kabtØm a‰p {]tXyI Ahkcßfntem
AhXcn∏n°mdpap≠-v. kwKoXw A`ykn°phm\pw s]mXp
thZIfn¬ AhXcn∏n°phm\pw ]≠ --tØ°mƒ Ct∏mƒ [mcmfw
Ahkcßƒ D ≠ --mbn´p≠-v. AXpsIm≠-v kwKoXw F∂
]hn{Xamb IetbmSv-- P\ßƒ°v IqSpX¬ Xmev]cyw
P°pIbpw kwKoX]cn]mSnIƒ, kwKoX ]pkvXIßƒ,
kwKoX KthjW {]_‘ßƒ, kwKoXtkmtZmlmcW
{]`mjW ßƒ apXembhbneqsS kwKoXw F{Xtbm ap∂n¬
FØpIbpw sNbvXn´p≠-v.
\ΩpsS sIm®ptIcfØn¬ kwKoXw F∂ hcZm\Øn\v
]pjvSns∏Sm≥ klmbIamb kmlNcyßƒ tIcfw F∂
kwÿm\w cq]oIrXamIp∂Xn\pw F{Xtbm apºpXs∂ D u´n
bpdbv°s∏´XmWv. F¶nepw 60 h¿jßfn¬°qSn tIcf
kwKoXw GsX√mw imJIfn¬°qSn HgpIn apt∂m´pt]mbn
F∂p≈Xv Cu Xncn™pt\m´Øn¬∂pw {Kln°m≥ km[n°p
sa∂v {]Xo£n°p∂p. C{Xbpw ]g°ap≈ kwKoX]mcºcy
Øns hcpwXeapdbv°p th≠-n kwc£nt°-≠Xv \Ωƒ Hmtcm
tIcfobs‚bpw ISa IqSnbmWv. Cßs tIcfkwKoX ]mcº
cyw ]≠p apX¬ C∂phsc ]S¿∂p ]¥en®v e∂p
t]mcp∂p. am{Xa√ tIcfØnse aÆn\pt]mepw kwKoXØns‚
aWhpw KpWhpw Ds≠-∂Xn¬ bmsXmcp X¿°hpan√. Cbpw
F{Xtbm Imew hsc tIcfØns‚ kwKoX]mcºcyw XpScpI
Xs∂ sNøpw.
l

v
v
66kwKoX]cmKw
vv
{]Xn`Ifnse sshhn[yßƒ:
kwKoXk]cybneqsS BNmcyÿm Ø°v h∂
alXnbmWv ]pjv]. ]qemhv ]cØn cm{Xnsb ]Iem°p∂
hr›nI amk {]Xn`mkw hnfßnev°p∂ thfbnemWv ]pjv]
F∂ s]¨Ip´n ]nd∂phoWXv. ]ﬂ\m`øcpsSbpw `mKye£van
bpsSbpw aIfmbn. ]nd∂ hoSns‚ t]cn\pap≠mbncp∂p
{]tXyIX. ]u¿Æan. BhWnamkØns‚ ]pjv]^eßfpw
]pcmW ]mcmbWØns‚ kmXznIKpWßfpw ktΩfn®mWv
]pjv]bn¬ kwKoXw d™Xv.
Ip´n°mew apX¬ AΩ `mKye£van aIsf \s√mcp
KmbnIbm°Wsa∂ A`nemjtØmsS in£Ww \evInbn
cp∂p. A∂sØ {]kn≤ kwKoX⁄bmbncp∂ ]md»me
s]m∂Ωbpw, s\øm‰n≥Ic taml\N{µ\pw ]pjv]bpsS
kwKoXhmkv°v A`ymk_ew \¬In. Xncph\¥]pcw
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Malainadu Paadalkal
The repertoire of classical music reveals a number of songs
blossomed out of the divine minds of various Vaggeyakaras, and
wandering monks on deities of various temples or places giving vivid
details of deity, the topography etc. In some cases, it is also a miracle
to know that many of the places they extolled through their songs
were never visited by them but seen through their divine sight.
Azhvars who lived before 8
th
century were staunch
Vaishnavites and wandering monks who composed 4000 pasurams
on various Vishnu temples. They are collectively called Nalayiram
Divyaprabhandham. The twelve eminent Azhvars of the Vaishnava
cult incarnated in Tamil nadu composed songs enriching devotional
literature in Tamil known as Pasurams. Among the pasuram, some of
them are in praise of the deities of the 12 Vishnu temples of Kerala
which are known as Malainadu Paadalkal. They gives a vivid picture
of deity, the town and a host of details.
Namazhavar is said to be the supreme among the Azhvars.
The devotional song composed by him is known as “Thiruvai Mozhi”
(the divine voice). Namazhavar has composed and sung on the deities
of the twelve famous Vishnu temples in Kerala with utmost devotion.
These are included in the Nalayiram Divya Prabandham composed
by the Azhvars about the temples associated with 108 holy places. It
is very easy to identify the 2 Vishnu temples referred his pasurams.
They are.
Namazhavar is said to be the supreme among the Azhvars.
The devotional song composed by him is known as “Thiruvai Mozhi”
(the divine voice). Namazhavar has composed and sung on the deities
of the twelve famous Vishnu temples in Kerala with utmost devotion.
These are included in the Nalayiram Divya Prabandham composed
by the Azhvars about the temples associated with 108 holy places. It
is very easy to identify the 2 Vishnu temples referred his pasurams.
They are.
1.Thiruvallavaal
2.Thiruvanvandoor
3.Thiruaranvilai
4.Thiruvanparicharam
5.Thiruchemmkunnur
6.Thirukandithanam
7.Threpuliyur
8.Threkatkarai
9.Thirumoozhikkalam
10.Thirunavaai
11.Thiruananthapuram
12.Thiruvattar
Among these 12 temples, Namazhvar has praised Sri
Padmanabha Swamy of Thiruvananthapuram through 11 beautiful
pasurams. They are
1.Kodumidar Aayavellaam kesava enna naalum
Koduvinai seyyum kootrin thamarkalum kungakillaar

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Vidamudai Iravil palli virumpinaal Karumpalattrum
Thandamudai vayal Anandapura nagar pukuthumindre
All the miseries vanish by the mere chanting of the name
”Kesava” just once messengers of Yama will never dare come near
the devotees chanting the name of Lord Sri Padmanabha. Anantha
reigns supreme on a snake-mattress in Thiruvananthapuram which is
replete with fields and streams.
2.Indru poyipukkuthirakil ezhummayum etham saara
Kunruner maadamaade kurundu cher cheruthi punnai
Mandravar pozhil Anandapura nagar mmayan naamam
Ondrum oraayiramaay Ullavarkkum aroore
The Buildings seen in Thiruvananthapuram look like a long
range of mountains. One can see here multifarious trees and estates.
No sorrows will trouble the inhabitants of this town and the devotees
of Sri Padmanabha for fourteen years. The divine name “Sri
Padmanabha” can be said to be equivalent to thousands and thousands
of holy names. Those who chant God’s name at least once obtain
benefits equal to those obtainable by chanting one thousand times.
3.Oorum putkodiyum athe ulakmellam undu umizhndaan
Cherum thannananthapuram chikkena pukuthiraakil
Theerum noi vinaikalellam thinna naam ariya chonnom
Perum oraayirathul ondru neer pesumine
He chose Garuda as his vehicle. He had Garuda on his flat.
He bestows the result of our previous lives. During the deluge, he
conquers his entire world into himself. He is also the creator after the
great destruction. Those who reach this city by Divine Grace will
find their difficulties dispelled. To tell you the truth, he who chants
the Lord’s divine name a number of times can earn His grace.
4.Pesumin koosumindri periya neervelai chuzhundu
Vaasame kamazhum chola vayal ani Ananthapuram
Nesam saithu uraikindranai nerimaiyaal malarkal thoovi
Poosanai saikindrarkal punniyum saitha vare
God loves Thiruvananthapuram surrounded by the sea and
full of sweet-smelling fragrant foliage. One can earn divine grade
here by changing the Vedas and performing rituals of workshop.
5.Puniiyam saithu nalla punalodu malarkal thoovi
Ennumi endai namam ippira parakkum appal
Thinnam naam ariya chonnom cheri pozhil Ananthapuratthu
Annalaar kamalapaatham anukuvaar amararavaar
Chant the divine name of God offering full-blossomed flowers
and performing the ceremonial bath (Abhisheka) with pure water.
There is no doubt that fear of death and rebirth will vanish thereby.
Be at the tender lotus feet of Lord Padmanabha.
6.Amararaayi theerkindrar kalukku kooda aathiser Ananthapurathu
Amararkon archikindra angu akappani cheyvaar vinnor
Namarkale! Cholla kenmin naamam poy nanukavendum
Kumara naar thaathi thunbam thundaitha kovindanaare
It was Lord Govinda who dispelled the hardships of Lord Siva,
father of Arumukha. From the very beginning, all the beings of the
earth bow to God who is worshipped by Lord Indra and the host of
Devas. Salutations of the host of devas who bow to the holy feet of
Lord!
7.Thudaitha kovindanaare ulakuyir thevum mattrum
Padaitha vem para moorthi paambanai pallikondaan
Madaithalai vaalai paayum vayal ani Ananthapuram
Kadaithalai cheekka pettraal kaduvinai kalayalaame

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It is Lord Govinda who creates the being of this world and
causes its destruction. Govinda lies in the snake-mattress in yoganidra.
Even on the eve of taking the first step into the temple of
Thiruvananthapuram comprising of canals and fields of fishing fish
will one’s miseries and worries get alleviated.
8.Kaduvinai kalaiyalaakum kaamanai payansa kaalai
Edavakai kondathu enpar ezhil ani Ananthapuram
Padamudaya iravil palli payindravan paadam kaana
Nadamino namarkal uller naamum atharkariya chonnom
Sri Padmanabha reigns in this beautiful Thiruvananthapuram
City towering aloft like a gigantic banyan tree. Come, come quickly
to enjoy the beauty of the Lord lying in the Serpent-Conch and pray
at the Divine feet where from emanates the fragrant smell of flowers
offered therein.
9.Naamum kariya chonna naalkalumnanniya vaana semanan
Kudaithu kandeer cheri pozhil Ananthapuram
Thooma nal viraimalarkal thuvalara aayinthukondu
Vamana adikkandretha mayindarum vinaikal thaame
Postponement to’tomorrow, tomorrow means, waiting for the
day of Yama’s arrival. Go soon with fragrant and many coloured
flowers and other sweet-smelling offerings. To pray at the divine feet
of God who incarnated as Vamana, go with sweet-smelling flowers.
10.Maayindarumvinaikal tame mathavaa enna naalum
Eytha pon mathil anandapura nagar enthaikendru
Saanda modu vilakkam thoopam thaamarai malarkal nalla
Aayanthu kondettha vallar anbil pugazhimaare
Unbearable grief’s totally disappear the moment the name
‘Madhava’ is chanted. Come quickly to offer worship to LordAnantha
padmanabha with sandal, incense, Lotus flowers etc. If you do so,
your good name and fame will become known for and wide in this
world.
11.Andamil pukazhananthapura nagar aadi thanai
Konthalar pozhil Gurukoor maran chollaayirathul
Iyindinodu iyum vallar anaivarppol amarulakin
Payinthodi madanthyaar tham veymarutholinaiyye
Namazhavar popularly eulogized as ‘Gurukoor
Maran’composed one thousand poems in praise of Lord Vishnu. Those
who learn the above first ten songs attain Vaikunta after their death.
The Devakanyas receive and serve them there.
The above pasurams show the glory of the presiding deity of
Thiruvananthapuram since bygone days. It is worth doing further
research to find out pasurams on the total Vishnu temples of Kerala
since this is not widely known to music students, scholars and music
lovers.
References:
1.Bhakti Ilakkiya Urai Vilakkam
2.Bhakti Ilakkiyathil Saiva Vayanavarkal
3.Tamil Ilakkiya Varalaru – M Varadarajan
4.Tamil ilakkiya Varalaru – C Balasubramanyan
5.Tamil Ilakkiya Varalaru – M Arunachalam
6.Tamizhaka Varalaru – Kazhakaveliyeedu
7.Nalayira Divya Prabandam
8.Nammazhavar - Divakar
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value in their works. Tarangam consists of Kirtanans, verses, gadyas
and a number of darus which stands in equal to Gita Govindam of
Jayadeva.
An overview of his Krishna Leela Tarangini will establish
his sound knowledge in Music and Natya sastra. He has used more
than 40 ragas and talas like Triputa , Adi, Rupaka, Chapu, Jampa,
Matya,Vilamba, Eka and Ata. The Tarangams are so structured that
it is completely devoid of complex usage and the easy expressions
clearly suits for nritya and natya to bring out the bhava. Krishna
Leela Tarangini which comprises of 12 Tarangams, contains slokas
and gitams having different types of Prasakshara and Chandas like
Anushtup, Arya, Indravajra, etc. The theme of the Tarangam is
Madhura Bhakti, wherein Advaita Vedanta is clothed by music.
Radhakrishna Samavadam is described through the 9
th
gitam
of 8
th
Taranga in the Raga Madhyamavati beginning with
“Kalabhagatisobha”. The fifth gitam which begins with Nandanana
in Sourashtra raga is now a days heard as a Ragamalika. Most of
Theertha’s gitams have Pallavi and a number of Charanas. But there
are gitams having the angas Pallavi, Anupallavi and Charanams like
“Nadha Nadha Ma Kalaya’ in Kamboji raga, “Bhavaye Sahi” in Ahiri
Raga,” “Svaminam Vanamalinam”in Saveri Raga, “Vijaya Gopala”in
Suruti Raga, “Re manasa” in Saveri Raga etc.
There are a number of gitams which include Solkattu as
“Pasyata Pasyata Bhagavanantham” set in Bhairavi Raga (6
th
Gitams
in 3
rd
Tarangam).
In the Nineth Gitam of second Tarangam Solkattu is found in
the sixth charana. The fourth gitam in Ahiri Raga depicts the Solkattu
“Tadhi mi Dhimi ti” in fourth charana. In the “Balagopala” in Mohana
raga,(14
th
gitam in 3
rd
Taranga), there are 11 Charanas wherein all the
charanas contain frequent usage of Solkattu.
Krishna Leela Tarangini
From time immemorial to this day, our country has been
blessed with birth of a number of great Acharyas and Siddas who
gave to the humanity a number of works such as gadya, prabandas,
slokas, music etc and shown us the way to release us from the shackles
of samsara. The repertoire of music, especially classical music, has a
large collection of works extolling the various avataras of God.
The Bhajana Sampradaya Paddathi which has a long history
in this country drew the masses to relish the nectar of the Bhajans of
Meera Bai, Tiruppavai of Andal, Gita Govindam of Jayadeva and
Krishna Leela Tarangini of Narayana Theertha. The Tarangams of
Narayana Theertha always find a prominent place in Kuchipudi dance,
a dance form of Andhra Pradesh.
Narayana Theertha who belonged to late 16
th
century, penned
the longest opera in Sanskrit “Krishna leela Tarangini”. Narayana
Theertha is a Telugu Brahmin born at Kaza, Guntur District in Andhra
Pradesh in 1675 A.D as the son of Nilakanta Sastri and Parvati Amma.
He belonged to Tallavajhula family and his birth name was Govinda
Sastrulu. He belonged to Pre-Tyagaraja period and was born 75 years
later than Kshetranjna. At his childhood itself, he mastered
Bhagavatha Purana, Music and other Sanskrit works.
It is also believed that Narayana Theertha is the incarnation
of Jayadeva since there is commoness in the spiritual and musical

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More than 31 types of Mudras like Narayana Dhira, Muni
Narayana Theertha, Siva Narayana Theertha, Vara Narayana Theertha,
Yati Narayana Theertha, Siddha Narayana Theertha, Hari Bhakta Siva
Narayana Theertha, Bhakta Narayana Theertha, Guru Bhakta
Narayana Theertha etc. are used.
The ragas used are Ananda Bhairavi, Ahiri, Arabhi, Bhairavi,
Bhupala, Desakshi, Dhanyasi, Dvijavanti, Gauri, Ghanta, Huseni,
Kalyani, Kambhoji, Kapi, Kedaragoula, Kuranji, Khamas, Mangala
Kapi ,Madhyamavati, Mohanam, Mukhari, Nadanamakriya, Natta,
Navaroj, Nilambari, Pantuvarali, Punnagavarali, Purvikalyani,
Revagupti, Syama, Sankarabharanam, Saranga, Saveri, Saurashtra,
Sriragam, Suruti, Todi, Yadukula Kamboji etc.
Some interesting incidents in the life of Narayana Theertha
is that while he partly composed the famous Tarangam “Balagopala”
and could not proceed and left it to be attend later. The next morning
to his amazement the remaining portion has been completed. He
realized that it is none other than Lord Krishna who completed it and
proceeded to complete the rest.
Narayana Theertha used to go to seven houses for biksha. In
his room he used to sing in praise of Krishna and Lord danced and
sang with him. The word went round that the Theertha as surrounded
by women and they stopped giving him biksha. The villagers watched
Narayana Theertha in deep trance while singing and the absence of
any body in his chamber only then they realized their folly.
Once while he was walking along the Northern bank of Kaveri,
he saw a dark serpent blocking his path. He inferred that it is the
divine will that he should turn towards south and he arrived at
Nadukkaveri.
The Krishna Leela Tarangini is the story dealing from birth
of Lord Krishna, His childhood pranks to the marriage to Rukmini. It
is based on 10
th
skandam of Srimad Bhagavatam of Veda Vyasa.
Some of the popular compositions are “Jaya jaya swami”,
Saranam Bhava, Jaya jaya durga, Pasyata pasyata, Neela sareera, Pathi
pathi jagan, Parama purusha, Puraya mama kama, Re re manasa, Jaya
mangalam etc.
Narayana Theertha extensively travelled on pilgrimage and
visited many holy shrines. If one analyse the Krishna Leela Tarangini,
one may come across the stamp of places he visited. Hence it can be
allured that the Krishna Leela Tarangini is composed over a period of
time. The Tarangas were taught by Narayana Theertha himself to a
sizeable number of families in Addanki, Andhra Pradesh where the
alap of the Tarangams still goes on.
Reference to the guru are incorporated by Theertha in the
first Tarangam and in the Eight Tarangam. In the first Tarangam
“Sivaramananda Theertha pada Sevaka” and in the Eight Tarangam
“Devam Kveti tam” he says “Sivarama Theertha Padambuja
bhramarena considers himself as a bee at the feet of his guru Sivarama
Theertha.
Shri Sonti Venkatasubbiah who is father of Sonti
Venkataramanayya (guru of Saint Tyagaraja) belongs to the shishya
parambara of Narayana Theertha.
Sri Narayana Theertha attained the lotus feet of God in 1745
in a village called Tirupoonthuruthi, a village 3 kms west of Kandiyar
of Tirukkandiyur on the road to Tirukkattupalli.
Annual Aradhana by singing the Tarangams of Narayana
Theertha is still being continued in the Samadhi of Tiruppunthuruthi.
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The Five Gems of
Saint Tyagaraja
The Ghanaraga pancharatnam, the famous five kirtanas
of Saint Tyagaraja, set to the traditional five Ghanaragas are the
widely known masterpieces among his group kirtanas. The
Pancharatnam is composed particularly in these five ragas, Natta,
Goula, Arabhi, Varali and Sri because the melodic individuality
of these ragas can be easily revealed through the tana style of
exposition. Wherever the Annual Festival of Tyagaraja aradhana
is conducted, it has become a custom to sing this Ghanaraga
Pacharatnam by the devotees to pay homage to saint Tyagaraja.
On an analysis of the Pancharatnam one can come across
the following salient features :-
The Pancharatna Kirtanas as well all know are set to
Adi tala and all of them have the divisions, pallavi, anupallavi
and a number of charanas. The charanas are set in different datus
and matus and they are sung as ‘Svara-Sahityas’. After each
Svara-Sahitya part is sung the pallavi line is again repeated.
While the Natta raga Pancharatnam is composed in the language
Sanskrit, the other four are in Telugu. All the five compositions
brim with both ragabhava and sahityabhava. One notable feature
found in these Pancharatnams is the frequent occurrences of
svara-akshara prayogas. All the five are full of prasa beauties.
The first one, Natta raga Pancharatnam ‘Jagadanandaka’
contains pallavi, anupallavi and ten charanas. The Natta raga
was chosen for the first pancharatnam, as this raga is having
sharp svaras both in the arohana and avarohana and thus enriches
the raga’s individuality. The pallavi of the Pancharatnam
commences with the fifth note ‘Panchama’ and anupallavi with
Tara stayi ‘Shadja’. Out of the ten charanas, the first, fifth, sixth
and seventh charanas start with ‘Madhyastayi Shadja’. The third,
fourth, eighth, nineth and tenth charanas start with Panchama.
So the shadja-Panchama bhava can be clearly noticed in this
Kirtana. Other notable features are the occurrence of Jhantasvara
prayogas and the srotovaha yati pattern of svaras in the charana.
The srotovahayati pattern is given below:—
p m m r s
n p m and p m r s
s n p m n p m r s
s n p m r s
Usually this type of tala is seen only in simple kritis of
Tyagaraja. The tana style of singing is splendidly revealed through
this Pancharatnam. The mudra comes in the 8th, 9th and 10th
charanas. This Pancharatnam start with Samagraha and is sung
in the medium tempo.

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The second one Goula raga Pancharatnam ‘Dudukugala’,
has pallavi, anupallavi and nine charanas. One should remember
here that Tyagaraja has composed only very few Kirtanas in Goula
raga. ‘Dudukugala’ is one among them. After each charana part
is sung, the pallavi line is repeated. After the last charana, there
is an ‘anubandham’ beginning with ‘Satulakaikonna’. The
anubandham’ part was present in the Varnas of earlier days. But
now this anga has become obsolete. Only the sahitya of the
anubandham is sung after the last charana and lastly the pallavi
line is repeated. The mudra comes only once in the ‘anubandham’
as ‘Tyagaraja’. Whereas the pallavi starts with Madhya stayi
Rishabha, the anupallavi starts with Tara stayi Rishabha. Out of
the nine charanas, the first, second, third and sixth charana, start
with madyastayi shadja, the fourth and eighth one start with
Panchama, but the fifth one alone starts with Nishada. The
frequent occurrences of jhanta-svara prayogas add beauty to this
raga.
The Arabhi raga Pancharatnam begins with
‘Sadhimachane’. One special feature found here is the presence
of an upa-pallavi otherwise known as chittapallavi which is
usually found in the form Varna. This part is absent in the other
four. The chitta pallavi ‘Samayaniki’ is sung after each and every
charana part. Apart from the seven charanas this has an
‘anubandham’ also. Whereas the pallavi and upa pallavi start
with panchama, the anupallavi starts with Dhaivata-Out of the
Seven charanas, the first, second and seventh one start with
Panchama svara. The third one starts with Dhaivata, the fifth
one with Rishabha and sixth one with madhya stayi shadja. The
mudra ‘Tyagaraja’ comes in the 7th charana and in Anubandham
part. Another found in the sixth charana is the ‘Samvadi svara
prayoga’ - sp”m”pm. Occuring of both jhanta svara prayogas
and dhattu svara prayogas add beauty of this raga and the
individuality of Arabhi raga through medium tempo is also very
welrevealed in this pancharatnam.
The Varali raga pancharatna is the fourth one which
begins with ‘Kanakana ruchi’. Whereas the four are set in Adi
tala of one kala each, the ‘Kanakana ruchi’ is set in 2 kala chouka
Adi tala. The Varali raga has been aptly chosen by the Saint, as it
clearly establishes the individuality of the raga through chouka
kala prayogas. Unlike the Pancharatnas in Natta, Goula and
Arabhi ragas, this one starts with anagata graha. Apart from
pallavi, Anupallavi and 7 charanas, this also has an
‘Anubandham’. Pallavi starts, with panchama and anupallavi
starts with tara stayi shadja. Among the Seven charanas, first
and third start with ‘panchama’, second, fifth and seventh one
start with gandhara and the fourth and sixth one start with
Madhyastayi shadja. On the whole the commencing svaras are
s, g and p and the ‘Samvaditvam’ is clearly brought out. Another
noticeable feature is the frequent occurrences of more deerga
svara prayogas than hrasva svara prayogas. The mudra
‘Tyagaraja’ occurs only once in the anubandham part.
The last one Sri raga pancharatnam begins with ‘Endaro
mahanubavalu’. Here it is set to a Desadi type of tala. Besides,
Pallavi, anupallavi and nine charanas, here is also the
anubandham which starts with ‘Premamuppiri.’ The pallavi starts
with shadja and anupallavi with panchama in samvadi svaras.
The first and fourth Charana start with Madhyastayi shadja.
Second, seventh and nineth one start with Rishabha svara. The

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A Woman Composer of
Royal House of Travancore
Princess Rukmini Bai
The contribution of women to the various fields of activity
is unique in this world, whether it is science or art, they have left an
indelible foot print in the sands of time. In the field of music their
contribution is on a par with any others. Mira Bai’s compositions on
Krishna bhakt and Andals outpouring of divine love are immortal
works. The modern age has also produced some immortal composers
like Manorama Tampuratti, Kutti Kunju Thankachi besides the
Travancore Royal composer Princess Rukmini Bai Thampuratti.
The patrons of the Royal House of Travancore which was the
repertoire of Music and Dance not only encouraged artists from in
and around Travancore to flock to the Court to get the patronage but
also invited luminaries from far and wide to their court. It may also
be seen that they are not only patrons but also themselves composers
of eminence. Karthika Tirunal Balaramavarma’s immortal work on
dance and music “Balaramabharitam”, Swati Tirunal’s works which
needs no mention, Aswathi Tirunal who was famous for Kathakali,
Moolam Tirunal’s composition on “Vettakorumakan”( the diety of
the Vettakorumakan koil at Trivandrum near Padmanabha Swamy
Temple) – are some of the works which bear eloquent to the testimony
third, fifth, sixth and eighth one start with Panchama. The
commencing svaras are S, R and P. Jhanta svara prayogas occur
frequently in this Kirtana. The mudra ‘Tyagaraja’ is seen in the
last charana and Anubandham part. Sriraga’s individuality is
clearly brought out through this Pancharatnam.
Tyagaraja’s Ghanaraga pancharatnam which has become
very popular throughout the country, establishes the poetic
excellence and spiritual elevation of Sri. Tyagaraja. When one
sings these kirtanas, one can attain mental solace and peace of
mind.
By singing and practising these Kirtanas one can improve
their svarajnana and talajnana. The best was for the devotees
and other music lovers, to pay homage to the Great saint singer,
composer and Sangita Acharya is to strive sincerely to sing
‘Pancharatnas’ with the same degree of sublime devotion which
Tyagaraja had when he composed these gems - In short a true
singer should himself identify with the divine when he sings.
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to this fact. In the Royal House of Travancore the contribution of
women to the cause of music is no small. Rukmini Bai Tampuratti,
elder sister of Swati Tirunal, was foremost among them.
Rukmini Bai Tampuratti was born in the year 1810 A.D. (19
th
Kumbham 984ME). From childhood itself she showed precious talent
in studies and dance and music. This gift was handed down to her
only orally without any specific training. She displayed such a genius
in poetry, she started composing at her tender age of 5. As the Royal
patrons were highly devoted to Lord Padmanabha , their principal
diety, most of their compositions are in praise of Lord Padmanabha.
Naturally his inherent taste and ability blossomed into many songs
praise of Lord Padmanabha.
Though it is known that Tampuratti has to her credit more
than 100 musical gems, unfortunately, only a handful is available to
the present generation. Most of the compositions are not much in
vogue at present.
Her musical gems in praise of Lord Padmanabha present a
splendid feast to one’s mind. On an analysis of her compositions, it
will be established beyond doubt her mastry over the language as
well as her deep knowledge about ragas and talas. The following will
demonstrate the uniqueness of her compositions from others:
The song “Sreekantesa Pahi” in Mukhari raga in praise of
Lord Sreekantesa is a fine example of her anxious request to Lord.
There is Pallavi, Anupallavi and Five Charanas in the composition.
In the charana part Tampuratti earnestly thanks Lord Sreekantesa for
bestowing her with two brothers and ferverently begs of the Lord to
bestow her with one sister also for whom she awaits eternally. The
princess has aptly chosen pensive raga Mukhari for depicting the
Bhakti rasa for this kriti. The sahitya is beautifully blended with the
bhakti rasa. This song underlines the fact that the two brothers she
yearned for, were Swati Tirunal Maharaja and Uttram Tirunal
Maharaja and she begs for a sister as there was no younger sister for
her. It may also be mentioned here that she might have composed this
kriti at the age of 7 or 8 since her mother Princess Gowri Lekshmi
Bai passed away in the year 1815 A.D. when Uttram Tirunal was 2
months old.
Tampuratti has also composed a song named “Sarasijanayana
Parimala Gatri” in the raga “Puranira” which may be called a
Saptasvara Sankirtanam because the Sahitya of each part begins with
the Sapta Svaras. S – r - g – m – p – d – n – respectively
Sarasija……..
Ritika………
Galatala……..
Manasuda…….
Parichin…..
Dhatrayil……..
Nidile…….
The song has Pallavi and 7 Charanas. The Sahitya also begins
with letters “sa, ri, ga, ma, pa, da, ni. Here the Swarakshara beauty,
one of the decorative angas, is blended to become a perfect octave.
In music parlance it covers a full octave, ie, it begins with lower “s”
and ends with upper “s” making it an Ashtakam. This kriti is in praise
of Goddess Bhagavathy and is set to a very old raga “Puranira” which
is common in Kathakali Music. The sahitya is of a very unique nature
in this composition as the puranic story referred is presented in a
vivid way and in a capsule form to bring out the essence of the story.
The song also brings out the princess’s prayer to the Universal Goddess
to protect all devotees who sing this kirtana Ashtakam every day.
In this connection it may not be out of place to mention here
that Sri Syama Sastry, one of the Trinity has written three scholarly

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svarajatis. Among them there is one in Bhairavi raga which has got
pallavi and 7 charanas. In the charana part, each line starts with lower
octave “s”, r, g, m, p, d, n and ends with upper octave “S”. This very
well compares with that of princess composition. The Svarajati’s
charana is also a Ashtakam. The difference is that the sahitya of all
the parts does not correspond with the svaras except in one or two
cases (M.P.N and S). Syama Sastry has written this beautiful swarajati
by using Sanskrit and Telugu but Tampuratti has written in Sanskrit
and Malayalam languages.
Another song “Sri Vasudeva Mukunda” in Bilahari raga also
deserves special mention. This is in praise of Lord Krishna. This
composition has pallavi and 16 charanas. In the charana part each
line proceeds in ascending sequence of Malayalam Alphabetical letters
(A, aa, E, Eee, etc). Such a type of presentation seems to have not
been adopted by any music composers so far. Hence the uniqueness
of the compostions.
1.Andaka bhiti...... 8.Yethoru.....
2.Asrithanmark.... 9.Iyyo Bhagavan.....
3.Endita nayaka..... 10.Ottozhi yathulla.....
4.Erezhu loka........ 11.Ororo....
5.Uttama Purusha..... 12.Ou vagni......
6.Uhangal...... 13.Ambuja lo.....
7.Yennude...... and so on.
Adi Sankara has written a scholarly and beautiful slokas
beginning with the line “Albhutha Vigraha” with proceeds in
Malayalam Alphabetical order Aa, E, Ee, etc.
She was noble and kind hearted. Her “Pallikettu’ took place
on 7
th
Edavam 994 ME. Inspite of a pretty large family to look after
– her husband. Tiruvalla, Punartham Thirunal Ramavarma
Koyithampuran and five sons and one daughter, she found time to
apply her heart and soul to music. Tampuratti lived only for a brief
spell of 28 years, she having entered God’s abode in Karkadakam
1012 ME.
Her contribution to the music is singularly praise worthy.
She was also an excellent Veena Player. It is unfortunate that such
beautiful compositions do not find any place in Kacheris of today,
and being side-tracked by musicians. The available ones are not given
their proper place they deserve. Hence a duty is cast on research
students, and musicians to popularise her available compositions and
dig out the ones which have not seen the light of the day. Failure in
this behalf will deprive us of a superb collection of devotional
masterpieces.
Books Referred:-
1.‘‘Sangita Rangam” By S Ranganatha Iyer III part P.86-92
2.“Sahitya Charitram” By Ulloor S Prameswara Iyer IV Volume
P.21
3.“Charithrathinte Edukal” By Kizhakkematom Govindan nair &
Dr. B Pushpa P.296
4.Syamasastry’s Compositions By Vidya Sankar.
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Maharaja SriSwati Tirunal-
A Versatile Genius
Maharaja Sri. Swati Tirunal was a great musical and literary
artist, who had bequeathed to posterity, a rich and variegated fare of
charming specimen of both music and poetry. By their wide variety,
uniformity, high quality and eloquent appeal to bhakthi, his
compositions have a claim for an honoured place, along with those of
Sri. Tyagaraja, Muthuswami Dikshitar and Syamasastry. Sri Swati
Tirunal’s span of life was quite short. He was born on 16
th
April 1813
and passed away at the comparatively young age of 34. It is astonishing
that he was able to compose more than five hundred memorable pieces
of music, within the time available after performing his duties as a
strong Ruler. He was a patron of all fine arts. The patronage given
by the Maharaja to music and the encouragement given to the
musicians and artists deserve the highest praise.
His genius is apparent in his mastery of the different languages
and in his composing all types of compositions, that we have in South
India. Many of his compositions are sung all over South India, and
are regarded as masterpieces. An examination of his compositions
reveals that he had a profound knowledge of the science of music. He
possessed in addition, an absorbing devotion to Lord Sri. Padmanabha,
which was as inseparable from his work as the love of Sri. Rama in
Sri Tyagaraja. His Highness, the Maharaja has adopted “Padmanabha”
or its synonyms as his mudra in his compositions after his supreme
Lord and Master. Though Sri.Padmanabha was his Ishta Devata he
was too religious and philosophical to be bigoted and indeed he had
sung in praise of all the deities, The Navaratri Kirtanas are in praise
of the Devi and so are many other kirtanas mastery of the technicalities
of music and skill as an expert songster and poet are evident from his
compositions. The peculiar charm of his compositions is that not
only he has clothed his thoughts in the aptest words and expressions,
but chose for them the most suitable ragas. The triple aspect of bhava,
raga and tala are clearly brought out through his compositions.
The’Swarakshara’ is a ‘sabda-alankara’, which Sri Syama sastry
adopted as an embellishment in his kritis, This alankara, we find in
plenty in the compositions of Maharaja Swati Tirunal.
A close look at the compositions will show the versatile
standing of the uniqueness of Maharaja Sri Swati Thirunal. The first
aspect of language. He has created his musical pieces in Sanskrit,
Malayalam, Tamil, Telugu, Kannada, Hindi, Marathi and so on, His
Highness has composed varnas, jatiswaras, swarajatis, padas, kirtanas,
ragamalikas, tillanas, bhajans etc. He has to his credit , two operas
Kuchela Upakhyanam and Ajamila Upakhyanam. His other works
are Bhakthimanjari, Padmanabha satakam, Utsavaprabandham
Syanandurapura varnas prabandham and so on. All his compositions
are characterised by Uttama Bhakthi. His Highness the Maharaja
was the first in Kerala to try his hand at all the major forms of South
Indian Music. He was the first in South India to handle Hindustani
forms, like Drupad, khayal, Tappa and so on.
The compositions of Sri Swati Tirunal Maharaja includes
many varieties of kirtanas. They are Ghanaraga kirtanas, Siva kirtanas,
Subramanya kirtanas, Madhyamakala kirtanas, Vishnu kirtanas,
Ganapathy kirtanas, Narasimha kirtanas, Sri Krishna kirtanas, Sri

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Rama kirtanas, Devi kirtanas, Hindustani kirtanas, Bhagavata sara
kirtanas, Ramayana sara kirtanas, Kesadi pada kirtanas and so on.
These kirtanas are thus grouped separately according to their themes.
Besides these pieces, there are nine kirtanas, which come under
Navaratri kirtanas, and again 9 kirtanas, which come under the
Navaratna malika kirtanas, which depicts the nine forms of bhakthi –
sravanam, kirtanam, smaranam, padasevanam, archanam, vandanam,
dasyam, sakhyam and atmanivedanam. These compositions can again
be classified under many heads as language wise, compositions wise,
Raga wise, Tala wise and so on.
His Highness the Maharaja has composed a large number of
tana varnas and pada varnas and in a variety of ragas and talas. Varnas
are a species of compositions, which require mastery over both ragas
and swara manipulations. Only persons with profound lakshana jnana
and practical knowledge can excel in this class of compositions. It is
relatively easy to compose kritis but not so varnas. This accounts for
the paucity of composers of varnas. In a varna the normal and the
routine phrase admissible in the raga in all their bright colours, and
the visesha prayogas allowed in the raga have to be well portrayed.
These are present in the varnas of the Maharaja.
It is neworthy that while the other composers have adopted
Telugu the medium of expression in varnas, the Maharaja has used
other languages also. Most of his varnas are in Sanskrit. He was first
to compose varnas in Sanskrit. He has also composed Telugu varnas
like ‘Chalamela,Samininne, Yendanavedi etc and ‘Indumukhi’ in
Manipravalam. Another feature of his varnas is that, in most of them,
the svara passages have corresponding sahitya also. This practice
was in vogue two centuries ago, but gradually fell into disuse. The
svara groupings of the varnas show skill and originality. The
padavarnas of the Maharaja are specially worthy of mention for the
richness of their bhava. The padavarna’Sumasayaka’ in kapi raga is
an excellent piece. It shines more when used in dance recitals.
This ‘Sumasayaka’ varna has its own peculiarities. The sahitya
is in Sanskrit. Rarely are found varnas in kapi raga,especially in
Suddha Kapi raga and Rupaka Tala. It is the janya of the 22
nd
mela
Kharaharapriya. Its arohana is sampurna and its avarohana is vakra
sampurna (srgmdn-sndnpmgrs). The arohana is sung as srmpns also.
Both jantaswara prayogas and dhatuswara prayogas are found in this
varna, its pallavi, have five avartas, anupallavi eight avartas, and
charana three avartas. This type of avartas in odd numbers is also
much rare, we find in kirtanas and varnas. Another peculiarity is that
the pallavi and anupallavi have more than three sangatis each. The
chittaswara has twelve avatar. The chittaswara is sung in slow tempo
for the first eight avatars and then in the next degree of speed for the
rest four avatars. In its form it looks like a kirtana. After singing the
pallavi, the first line of the pallavi is again sung and then only the
anupallavi is sung. In its charana, in the second charana swara, the
swaras which are concordant to the madhyama swara, are used. This
is also one of the peculiarities. Another peculiarity is that in its last
charanas swaras, is added swaras in the ragas Kalyani, Khamas.
Vasantha and Mohana of each avarta and then the last Mohana swara
ends with Kapi raga swara again and thus making this varna into
Ragamalika varna. This varna has no sahithya for its muktayi swara
and charana swaras. This is also a noteworthy feature because most
of his pada varnas have sahithya for their chittaswara and charana
swaras. This varna is given in notation in the book Sangita kritis of
Maharaja Sri Swati Tirunal of Dr. L Muthayya Bhagavathar (Part I).
Thus if a close examination is done on the forms or types of
compositions in detail, this search will bring to light so many
illuminating facts about the contributions of the Maharaja. By creating
compositions in many ragas, both popular and rare, he has left behind

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for us a great store house of musical knowledge. It is noteworthy that
Sri Swati Tirunal lived and died in Travancore, as a Ruling Prince.
His life busy and yet sheltered was not conducive to the creation of a
sishya parampara. But a galaxy of court musicians, who adorned his
court, popularised the Maharaja’s compositions. Thus in fact the
glorious and golden reign of Sri Swati Tirunal was the Augustan era
of Music in Travancore, surrounded by a distinguished galaxy of
musicians and artists. Among the great royal composers, Maharaja
Sri Swati Tirunal deservedly occupies in formost place. No doubt,
the Maharaja has been rightly hailed “A Prince among musicians and
A Musician among Princess”.
Kritis on Grahas
According to Astrology, a man’s journey from birth to death
is directly related to the sanchara of grahas that rule different spells
of time through which he goes. For every auspicious function whether
it is for finding a suitable match for marriage, purchasing of property,
launching of a business etc, the position of grahas are ascertained
before embarking for any action. Also when one is afflicted by disease
or untold suffering, it is usually presumed that it is the effect of graha
that rule at the pointed time of his life span. All grahas have Ucha,
Mulatrikna, Swakshetram and Nicha stages. Infact, a thorough study
is required to analyse the detailed aspects of each Graha with reference
to the kirtis,(Table 1 – refer page 12)
Navagrahas with their spouses
Soorya- Usha &
Prathyusha
Chandra -Rohini
Kuja - Sakthi
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Many temples in India have cluster of Navagraha Pratishtas.
In some temples the pratishtas have spouse also along with the
respective grahas. The Kumbakonam of Tamilnadu and Gauhati of
Assam stand out for temples dedicated to Navagrahas.
Though there are a number of stotras for propitiating grahas,
the contribution of classical music on grahas is significant. The kritis
on grahas composed by nine Vaggeyakaras are dealt in this article.
Perhaps one of the earliest reference of Navagrahas in musical
form is seen in the Tevaram where Thirujnana Sambandar, mentions
that
“Veyuru tholi pangan
Vidamunda kandan
Yen ulame pugundadanal
Nyayiru,thingal,chevvai,budhan
Vyazhan,velli,sani pambu irandudane
Asaru nalla nalla avai nalla nalla
Adiyar avarku migave
Among the Nine Vaggeyakaras Purandaradasa, Tyagaraja,
Mysore Vasudevacharya and Papanasam Sivan have composed one
kriti each in Janya ragas where all grahas are collectively mentioned.
Even though the kriti of Purandaradasa begins with “Sakalagraha
Bhala”, the names of the 9 grahas are seen only in the first charana of
the kriti. Likewise in the kriti “Bhajare-Remanasa” of Mysore
Vasudevacharya, the specific name of the grahas are seen in the
commencing part of the Madhymakala Sahitya of its charana.
Papanasam Sivan also has given the names of the 9 grahas in the
charana part of his kriti which begins with “Grahabhala millamal” in
Bhairavi. But in Tyagaraja kriti “Grahabhala memi”in Revagupti, no
name of the graha is seen. A common theme observed in the above
kritis is that if one has unstinched devotion and one who meditates
upon the efflugent form of the God, no graham can do any harm.
Guru -Thaara Sukra-SukirthiBudha-Jnanam
Rahu -Simhi Ketu-ChitralekhaSani -Neela

(Table 2)
Detailed Aspectsof Nava Grahas
Name ofGothramSpouce VahanaColourGrainsFlower ofDirectionBeeja Devata Rasi Color of Stone Nivedya
Graha of the the GrahaKshara Cloth
Graha Graha
SuryaKasyapaUsha & 24wheeledRed WheatRed CentralHrim Agni Simha Red Manikkam wheat
Prathy-Chariot (Ruby)
usha drawn by
7 horses
ChandraAthreyaRohini White HorseWhiteRiceWhite LillySouth-EastKlim Apu KadagaWhite Muthu Curd
(Pearl)
ChevvaiBharad-Sakthi MeshamRed ThuvaraShenbagamSouth Hreem Bhoomi Mesha &Red Pavizham Pongal
waja Vrichika (Coral)
BudaAthreyaJnanam Horse LightGreenWhite araliNorth-EastIym Vishnu Mithunam &Green Mragadam Rice with
Kanni (Emrald) Moongdal
GuruAngirasaThaara ElephantYellowChennaJasmineNorth Sreem Brahma Meena &Yellow PushparagamRice with
Dhanu (Topaz) Bengal
gram
SukraBhargavaSukrithiCrocodileWhiteMochaWhite East Sram Indra Rishabha &White Vairam Rice with
Lotus Thula (Diamond)Mocha
SaniKashyapaNeela Crow BlackGingillyKoovalaWest Sraam Yama Makaram &Black Neelam Rice with
Kumbam (Saffire) Gingelly
powder
RahuPaidinasaSimhi Lion BlackUridMandaraiSouth-WestKleem Durga - Black GomedakamRice with
Sardonyx Urid Dal
KetuJaiminiChithralekhaEagle GreyMuthiraRed AraliNorth-westHrem Chitraguptan -Multi colorVaidooryamRice with
(Catseye)Muthira
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Table 3
Muthayya Bhagavatar E Sankara Narayana Iyer Venkatesa Dikshitar
GrahaBeginning LinesRaga Tala Beginning LinesRaga Tala Beginning LinesRaga Tala
SuryaAdithyam Maya MalavagoulaAdi Prathyaksha DevamSankarabaranamAdi Bhaskaraya Bouli Rupakam
ChandraChnadram BhajePoornachandrikaMisra chappuSomam Komala Atana Adi VandehamTvam Dhanyasi Kandarupakam
Ruchim
Ankaraka Ankaraka Ritigoula Rupakam Umakumaram Kanada Adi Ankaraka pahi ShanmukhapriyaKhanda triputa
BudhaRohineyam Suruti Khanda ChapuAvatara Todi MisraChapuVnadeeham ChandraBegada Misrachapu
tararmaja
Guru VachaspatimSahana Rupakam Adiguna Subha Arabi Adi Arabi Adi
SukranSriBhargavamSreeRagam Adi Sri Bhargavam Sree Ragam Adi Vandekavim Ranjini Adi
Brehunandan
Sani Chayadevi Begada Adi Sathapatra MitraSourashtram MisraChapuSankuru Sree Sahana Khandachapu
Rahu - - - Jnanayoga BhogatamYamunaKalyani RupakamRahu Deva PahiSaveri Rupakam
Ketu - - - Bhajami Jnana Punnagavarali RupakamKetum NattakurunjiRupakam
Bhajamyakam
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Table 1
Sl.NoBeginning Line Raga TalaLanguage Composer
01SakalaGrahaBhalaAtana AdiKannada Purandara Dasa
02Graha Bhala MemiRevagupti AdiTelugu Tyagaraja
03Bhajare RemanasaAbheriAdiSanskrit Mysore
Vasudevacharya
04
GrahaBhalamirundal BhairaviAdiTamil PapanasamSivan
The other four Vaggeyakaras have composed kritis on all
grahas. The Navagraha kritis of Muthuswamy Dikshitar stand unique
compared to that of other composer. The selection of tala and raga
aptly corresponds to the nature of the grahas. This shows his in-depth
knowledge of Mantra Sastra, Tantra Sastra and Astrology. The first
seven kritis are set in the order of Suladi Sapta talas and the last two
are in Rupaka tala. The combination of Dathu-Mathu beauty of the
kritis is so patterned that it does not affect the sahitya of the kriti. The
speciality of Dikshitar’s kritis is that most of the kritis are decorated
with Beejaksharas which has the quality of dissolving the ill effects
generated by the grahas. He has used janya ragas of Sudha Madhyama
group for the main Sapta grahas and Prati Madhyama melas
Shanmukhapriya and Rama Priya for the Chaya Grahas, Rahu and
Ketu.
Muthayya Bhagavatar has composed kritis on all Grahas
except Rahu and Ketu. He has used Mayamalavagoula for the Graha
Surya and Janya ragas of Sudha Madhyama group for the other 6
main Grahas. Dr. V V Svarna Venkatesa Dikshitar and Kallidaikurichi
E Sankara Narayana Iyer have also composed kritis on all grahas.
Whereas Venketesa Dikshitar has used Shanmukhapriya mela for the
Ankaraka, Sankara Narayana Iyer has used the melas Sankarabaranam
and Todi for the Surya and Budha respectively. For all the remaining
grahas, they have used Janya ragas. The common ragas used by the
above three composers are Shanmukhapriya,Begada,Sahana and
Ritigoula.(Table 3-referpage 13)
All the Nava Vaggeyakaras believed in the Bhakti Marga and
have attained moksha by singing the glories of their Ishta devatas.
Even though they belonged to the different periods of musical history
it is observed that all of them have expressed their views and the
power of Nava grahas through their beautiful and valuable
compositions
Books Referred
1.Mantra pushpam – Swami Devaroopanand
2.Nityakarma poojaprakas – P Lal Bihari Misra
3.Spiritual Heritage of Tyagaraja – C Ramanuchari
4.A Study of the compositions of Purandaradasa & Tyagaraja
– Dr. T Seetharama Lekshmy
5.Papanasam Sivan Kritikal. Vol. IV – Dr Rukmini Ramani
6.Muthayya Bhagavatar Kritikal – M Vaidyalingam
7.Kritimanimalai – Rangaramanuja Iyengar
8.Sugandha Svarna Pushpamala, Vol.I – Dr V V Svarna
Venketesa Dikshitar
9.Kallidai Kurinchi E Sankaranarayana Iyer Keerthananigal
Vol.II
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Contributions of
Muthayya Bhagavatar
to Music World
Music is eternal. Its flow is undaunted by the ravages of
times, development of technology or even attitude of people. Its sole
aim is to lead man to the path of righteousness to make him better to
the society and to improve himself. In this realm, the contributions
of Modern composers are significant. Among them Muthayya
Bhagavatar stands as a guiding star.
Sri Muthayya Bhagavatar was born on 15
th
November,
1887 as the son of Lingam Ayyar and Anandam. Muthayya
Bhagavatar’s original name was Muthu Subramanyan. He had an
elder sister named Kanthimathi and a younger brother Hariharan. In
his tender age of 6, his father passed away and he grew up under the
care of his maternal uncle Sri M Lakshmana Suri settled in
Harikesanallur. He had his formal education in “Veda Adhyayanam”
under the guidance Muthu Ganapathikal at Madras. Here he learnt
Music and Violin as a Sishya of Vidwan Sambasiva Iyer. After his
studies he returned to Harikesanallur. Here he married his own cousin,
Sivakami Ammal in 1896. He had only one daughter who met her
premature death in the year 1928 in Mysore.
As an Uttama Vaggeyakara he churned out of his
fertile mind brilliant Kirtanas, Varnas, Daruvarnams, Group Kritis,
Ragamalikas, Darus, Tillanas, Slokas, Ashtottara sata kirtanas on
Goddess Chamundeswari, Ashtottara satakirtanas on Lord Siva and
Nirupanams for Kadha Kalakshepam. His mastry over languages
Tamil, Telugu, Kannada and Sanskrit enriched the music world with
compositions on the above languages.
As a fitting honor, Sri MoolamTirunal Maharaja of
Travancore(1885-1924 A.D) made him Samsthana Vidwan and a front-
rank musician of his court. Seeing the genius in him, the Maharaja of
Ramanad, Ettayapuram and the Zamindar of Aandipatti showered
honours and valuable presents on him.
Sri Muthayya Bhagavatar travelled inside and outside India
and given concerts in Ceylon and Burma.
His travels inside India especially the Northern India stirred
his taste for Hindustani Music. Once while he was at Banaras, he
happened to hear a brilliant rendering of the raga “Sohini”. He was
so enchanted that his imagination took wings to create another raga
devoid of Panchama of Sohini raga. Then came out of his fertile
mind a beautiful kirtana beginning with the line “Neethu mahina” in
Telugu language and he named the new raga as Hamsanandi. Though
a number of kirtanas were composed afterwards on the raga, only
through this kirtana this raga became very popular in South India.
Like his contemporaries, Sri Muthayya Bhagavatar is also a
versatile genius in the performance of Kadha Kalakshepam. His first
performance of Kadha Kalakshepam was “Valliparinayam” on his
ishta devata Lord Subramanya. This has full of kirtanas punctuated
here and there by light piece like Kavidi Chindu. This permanently
earned him as best Kadha Kalakshepam performer of his time.

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Tyagaraja’s kirtanas also became his pet theme for
kadhakalakshepam. His rich voice and knowledge of sahitya carved
a permanent seat for him in the dominion of kadha Kalakshepam. He
was adept in introducing new themes in Kadha Kalaskhepam. This is
well established through the following incident. Once he met
Maharashtra Musician named Bhattjee from Puna who taught him
Maratta musical forms like Saki, Ovi, Dindi etc used in the Kadha
Kalakshepam. He also taught him a puranic stroy “Sulochana Sati”
in Ananda Ramayana. Sri Muthayya Bhagavatar introduced the above
story in his own style and popularised it in South India for the first
time.
In connection with the celebration of his Highness the
Maharaja Chithira Tirunal’s, accendancy to the thrown, Maharani
Sethu Parvathy Bai, Mother of His Highness Chitra Tirunal invited
Sri Muthayya Bhagavatar to perform Kadha kalakshepam. When Sri
Muthayya Bhagavatar asked Maharani on what subject he could do
Kadha kalakshepam, Maharani replied him “Let it be Chithrodayam’
– The Birth of Maharaja, his childhood, cultural, political, social and
administrative reforms. The kadha kalakshepam started with the song
“Manuvai” in Purva Kamboji raga. The Royal entourage were thrilled
when Muthayya Bhagavatar presented the Chithrodayam in his
brilliant style. Sri Muthayya Bhagavatar has composed a varna, a kriti,
a padam and a Tillana in praise of Sri Chitra Tirunal Maharaja and
has beautifully blended them in his kadha kalkshepam
“Chithordayam’. The details are as follows:
1.Manuvai Purva Kamboji Padam
2.Vin mari pazhinditaMand Kriti
3.Manji Pahi tira Hindolam Varnam
4.S s n d m Vasantha Tillana
Sri Muthayya Bhagavatar has contributed to the Music world
more than 400 music compositions. He has touched more or less all
the musical forms. He has invented many ragas and composed kirtanas
in them. The following list shows the new ragas invented by him.
Name of Raga Beginning Line of the song
1.Valachi Jalandhara
2.Goudamalhar Sarasamukhi
3.Budha Manohari Samayamithena
4.Pasupati Priya Pasupatipriya
5.Vijaya Saraswathi Saranam Jaya
6.Hamsa Gamani Sri Mahisha sura
7.Karna Ranjani Vanjathonu
8.Niroshta Raja rajadhite
9.Guha ranjani Ihanegalajala
10.Suman priya Sri saravana
11.Hamsa deepakam Sikhi vahana
12.Kohila bhashini Itivela thane
13.Maya pradeepam Tappamannisou
14.Harinarayani Devi Sri Maha Lekshmi
15.Chakra pradeepam Chakresi devi
16.Urmika Kala ratri swaroopini
17.Gurupriya Sri sambasiva
18.Bhuvana gandhari Lalitambe
Apart from the above, he has also composed Group Kirtanas like
Saptagraha kirtanam, Ashtottara sata kirtanas on Lord Siva and
Ashtotara kirtana on Goddess Chamundeswari of Mysore.

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Once while he was singing a composition in Chamundeswari
Temple of Mysore in praise of the Goddess in the raga Sahana
beginning with the lines “Manamukavala” at Mysore, the Maharaja
Krishna Raja Udayar who happened to be there, was moved so much,
and was pleased that he appointed Sri Muthayya Bhagavatar as
Ashtana Vidwan of Mysore in the year 1927 A.D. The Maharaja also
suggested him to compose kirtanas for the Ashtottarasathas archanas
in praise of Chamundeswari. Sri Muthayya Bhagavatar completed
with the suggestions of Maharaja in record time. He has also composed
Ashtottara satha Kirtanam on Lord Siva also.
In 1920 Madras Music Academic requested Sri Muthayya
Bhagavatar to preside over the Annual Conference of Experts. He
was also the Principal of the Teacher’s College of Music, Music
Academy, Madras from 1932-34. He has also brought out a scholarly
work on Music named “Sangita Kalpadrumam” in Telugu, for which
Madras music academy honoured him with the title Sangita Kalanidhi.
In order to popularise the music composition of Swati Tirunal,
the Travancore Royal House invited Sri Muthayya Bhagavatar and
made him the first Principal of Swathi Tirunal Music Academy which
was founded in 1939. He was also assigned the responsibility of
compiling Swati Tirunal’s musical compositions, the majority of which
were available only in palm leaf of manuscripts in his time.
The Travancore University honoured him with D.Litt in the
year 1943 for his musical work “Sangita Kalpadrumam”.
His younger brother Hariharan who was well trained by him
in music used to accompany him in concerts. Sri Muthayya
Bhagavatar’s sishyas include Madurai Mani Iyer, Gottuvadyam
Narayana Iyer, Vidwan Srinivasan, Narayanan, Vaidhyalingam, Nellai
T.V Krishnamurthy and so on.
After his retirement from Travancore Service in 1943 Sri
Muthayya Bhagavatar returned to Mysore , there he left his mortal
coil on 30.06.1945.
List of available compositions
1.Tana Varnam 10
2.Pada Varnam 1
3.Daru Varnam 4
4.Ragamalika 3
5.Tillana 11
6.Ganapati Kirtana 9
7.Subramanya Kirtana 15
8.Siva kirtanam 4
9.Gurunathar Kirtana 2
10.Tyagaraja Kirtana 1
11.Devi Kirtana 29
12.Vishnu Kirtana 11
13.Rama Kirtana 13
14.Kirtana on Mysore Maharaja 1
15.Chamundeswari Ashtotara Sata Kirtana108
16.Siva Ashtotarasata Kirtana 108
Books Referred:-
1.Dakshinendyan sangitam by Vidwan AK Ravindranath.
P. 56-59, 1963

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2.Sangita Sastra Pravesika by Dr. S Venketa Subramanya Iyer, 1974
P. 274-75
3.Musical Compositions of Muthayya Bhagavatar , by N V
Narayana Bhagavatar and K V Srinivasan, 1955.
4.Nadavidya by Sangita Vidwan M S Sivaraman, P.95, 1982
5.Karnataka Sangita Charitram by K T Ravindranath, 1984,
P. 329-334
6.Harikesanallore Muthayya Bhagavatar Sahityangal by Vidwan
M Vaidyalingam, 1971
7.Sri Swati Tirunal Sangita Sabha Souvenir, 1988
8.Muthayya Bhagavatar Kirtanas by M Vaidyalingam 1968, P.144
9.Mysore as a Seat of Music,by Dr.(Mrs)M B Vedavalli, 1992,
P.95
Irayimman Thampi
A Musical Genius of Kerala
Ravivarman Thampi popularly known as Irayimman Thampi
lived during the Golden Era in the history of music in Travancore. He
was born in 1783. His father was Kerala Varma Thampuran who
belonged to Varanattu Naduvile Kovilakam of Shertalai and his mother
was Parvathi Pillai Thankachi, the daughter of Ravivarma, the
maternal uncle of Karthika Thirunal Balaramavarma Maharaja.
Thampi was brought up at a house called Kizhake Madom, which
was a part of Puthumana Amma Veedu.
Irayimman Thampi married Kali Pillai Thankachi and they
were blessed with seven children. Among them Kutty Kunju
Thankachi continued her father’s artistic and poetic legacy and made
and imprint of her own among the Composer’s of Kerala.
At the tender age of 14, Thampi wrote a sloka in Sanskrit and
presented it before His Highness Karthika Thirunal who affectionately
addressed him as “Sastri Thampaan”. He was initiated by Moothattu
Sankaran Ilayathu for learning grammar, Sanskrit, music and literature.
Irayimman Thampi occupies high rank among the writers of
Attakadhas. He has three major Attakadhas, Dakshayagam, Keechaka
Vadham and Utharaswayamvaram. Irayimman Thampi was inspired
by the famous musical laureates like Musical Trinity, Kshetrajna and
many others. Like His Highness Swathi Thirunal, his repertoire
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comprised of various musical forms like varna, padavarnas, padas,
keertanas, murajapappana, thiruvathira paattu, kummi paattu,
Navaratri prabandha, mukthakas,slokas, verses and attakadhas.
The Literary and musical excellence of his kritis earned him
a prominent place among the galaxy of karnatic composers. His
famous lullaby “Omana Thingal Kidaavo” which lingers on the lips
of all Keralites, is world famous and reveals the simplicity of his
style and diction and scholarship in both music and literature. In this
lullaby, he describes His Highness Swathi Thirunal as the luckiest
child in the world, and that he is the blessing of Lord Padmanabha.
The western musicologist, A H Fox Strangways, in his book “The
Music of Hindoostan” has given the lullaby in staff notation.
In ‘Travancore Music & Musicians’ by Lakshmana Pillai, he
states that Thampi is a well known poet laureate who composed nearly
500 kritis of rare musical quality and literary eminence. The beauty
of the Sahithya and Sangeetha of his known kritis, makes one wonder
how exquisite the unknown ones might have been. Compositions of
Irayimman Thampi depict the human emotions and day-to-day
incidents that he was most familiar with. His language was pure
Malayalam with a co-ordination and blending of different emotions,
aesthetic senses and rhetorical beauties. The predominant emotions
underlying the compositions are sringara and madhura bhakthi. Many
of his compositions, especially padavarnas and padas, are apt of
presenting in Mohiniyattom since they possessed scope for abhinaya.
Some of his famous varnas are
1.Amba Gauri – Arabhi-Adantha
2.Saayamkim me – Neelambari – Chempata
3.Haasa Loke- Punnagavarali – Chempata
4.Manasi me – Sankarabharanam – Chempata
5.Tava Saabhi matha – Bhairavi – Rupaka
Of the varnas of Thampi, all except one are pada varnas,
suitable for dance. The Malayalam varnam ‘Amba Gauri in Arabhi
set to Adantha consist of swaraksharas, chittasvaras, rhetorical
beauties and prasa prayogas.
Thampi is credited with the authorship of more than 30 kritis
in Malayalam and 28 in Sanskrit which are the out pouring of his
heart. The kritis like ‘paradevathe’ in Todi, ‘Karuna cheyyvaan’ in
Sriraga, ‘Kartyaayani’ in Sankarabharanam are excellent pieces
revealing the lakshya lakshana jnaana of Irayimman Thampi. Some
of his kritis are in praise of Kings and Queens of Travancore and his
own experiences in different situations. Thampi has to credit one
kriti in Tamil ‘kanchamizhiyaala koncham un mele’ in Devagaandhari
raga set to chempata tala
Thampi has also contributed to the music world a number of
padas in Malayalam which stand unique for its raga bhava, sahithya
bhava and Sringara rasa. In most of these Padas, the hero is His
Highness Swati Thirunal.
Some of the famous padas of Irayimman Thampi are
1.Pahi Maam - Saveri – Chempata
2.Prananathan – Kamboji – Adi
3.Mullasaayaka – Kamodari – Chempata
4.Kamaakrithe – Erikkilakamodari – Adantha
5.Enthu Cheyyendu – Nelambari – Chempata
6.Kanavanodente – Anandabhairavi – Chempata
7.Kamaladikalam – Kamodari – Chempata
His padas are still presented in Mohiniyattam and in
Kaikottikali. His padas are marked by the easy flow of language,
sweet diction, meaningful dialogues, musical excellences and variety
of ideas. Irayimman Thampi was the prominent member among the

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Asthanavidwans (scholars of the royal court) in the court of four kings
form the period of Karthika Thirunal to Ayilyam Thirunal Maharajas.
Comparative study of his compositions with that of His
Highness Swati Thirunal, reveal many similarities.
ØHe adopted the mudra ‘Padmanabha’ and its synonyms
as kartha mudra (signature of the composer) like Swathi
Thirunal Maharaja.
ØKritis are adorned with multiple charanas. The lyrics of kritis
are highly imaginative and thought provoking.
ØFusion of rhetoric and literary vowel combinations is a significant
factor in his pieces.
ØRagabhavasammelanam - the synthesis of tune and mood is an
attractive factor.
ØUsage of praasa rhyme can be found in plenty in his
compositions.
ØHe has also penned a number of kritis in praise of Lord Krishna
and a few in praise of Devi as Bhagavathi.
Irayimman Thampi has also written a major work namely
‘Navaraathri Prabandham’ in four cantos describing the Navaratri
festival and associated processions. The description of the procession
of Saraswathi Devi from Padmanabhapuram to Navaratri Mandapam
at East Fort in Thiruvananthapuram forms the theme of the
prabandham.
Each canto starts with a poem followed by songs in
Panthuvarali, Yadukulakambhoji, Nadanamakriya and Punnagavarali
ragas respectively. He has written another literary work namely
Murajapappaana describing the Murajapam conducted in
Padmanabhaswami temple in Trivandrum.
Thampi has proved himself an expert in dealing with ragas
and talas for his compositions. He has also made use of rakthi ragas
like Todi, Sankarabharanam, Saveri, Reethigaula, Dhanyasi,
Mohanam, Surutti, Bhairavi, Kalyani, Madhyamavathi, Mukhari,
Bilahari, Begada etc. And also ragas native to Kerala like Jingala,
Kukubha, Indisa, Asaveri, etc.
Like Swathi Thirunal Maharaja and many other
vaggeyakaaras, Thampi has also composed a few kshetra kritis.
1.Paradevatha – Todi –Chempata
2.Kartyayani – Sankarabharanam – Chempata
3.Sarasijadala nayana – Surutti –Adi
4.Syanandooresa – Kalyani – Adi
5.Adi malarina – Mukhari – Adi
6.Karuna cheyyvaan – Sriraga – Adi
7.En Thozhi – Anandabhairavi – Chempata
Irayimman Thampi passed away in the year 1862. He has
enriched the rich treasure house of Karnatic music with his eminent
compositions. He occupies an eminent place in the Musical map of
Kerala.
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Ajamila Upakhyanam
Though many vaggeyakaras have composed a good number
of kirtanas having musical value and gifted them to the music world,
only a few among them have written upakhyanas, based on Puranic
themes. Among these composers, Tygaraja’s three Geyanatakas,
Prahlada bhakta Vijayam, Nowkacharithram & Sitarama Vijayam
written in Telugu and Sri swati Tirunal Maharaja’s two Upakhyanas,
(Ajamila Upakhyana and Kuchela Upakhyana) written in Sanskrit,
are the scholarly gems contributed to the repertoire of South Indian
Music.
Swati Tirunal Maharaja’s ‘Ajamila Upakhyana’ and ‘Kuchela
Upakhyana’ are best suited for Katha kalakshepam. These two
Upakhyanas were presented in the Royal court of Swati Tirunal by
the maestro and genius Ananda Padmanabha Goswamy popularly
known as Meruswamy in 1838 A.D.
Ajamila Upakhyanam deals with the life- story of a Brahmin
by name Ajamila belonging to a place ‘Kanyakubja’. While leading
a religious life with his family, Ajamila happens to meet a courtesan
and lured by her charms, falls into her company. He neglects his own
family and duties and lives with her wasting all his wealth in gambling
and other evil practices. In the family of ten children, that he had by
his first wife, the last one was named Narayana, for whom he develops
a particular attachment. When he was 88, Yamadharma Raja sends
his messengers to fetch his soul to hell as he was all along leading an
unrighteous life. Frightened by their hideous appearance he calls
aloud his pet son’s name, ‘Narayana’. At the very mention of the
name ‘Narayana’ which is a synonym of Lord Vishnu sends His
messengers also. The two parties get into a quarrel and the God’s
messengers win. Deeply regretting his folly of having led a wicked
life and wonder-struck at the potency of the very name ‘Narayana’,
he atones for his misdeeds and he leads a virtuous of his sins, the
Vishnu’s messengers came again and carries his soul to Vaikunta in
divine vehicle. The Yamadharmaraja, on his part instructs his
attendants never to meddle with the Vishnu bhakthas. Thus the
voluptuous Brahmin, Ajamila, miraculously obtained salvation by the
mere utterance of the name of God.
The story extols the importance of the utterance of the name
of God. In this Upakhyanas There are beautiful kirtanas and twenty
three slokas. Here some phrases echo the sublime sentiments
embedded in the lines of Srimat Bhagavatam. For example:- The
meaning of the kirtana “Namasudhamayi” (Hindi word) of the
Upakhyana and that of the lines of ‘Sakrenmanha’(Hindi word) of
the Bhagavatam and similarly the meaning of the sloka ‘Swairinya
parirabdo’(Hindi word) and that of the lines ‘Dreshtva tam’(Hindi
word) of the Bhagavatam are in full agreement. Yamadharmaraja’s
injuction, never to meddle with Vishnu bhaktas, is described in the
sloka ‘Srutvayamodha’(Hindi word). Its meaning tally with the lines
beginning with ‘Svapurushamabhi’(Hindi word) of Vishnu purana
and with the lines ‘Te devasidhe’(Hindi word) of the Bhagavatam.
One simile also enhances the beauty of the sloka
‘Bhujagasayino’(Hindi word). Here the names of God are compared
to fire and the sins are compared to big trees and forests. So even a
single spark is enough to destroy all and just like that, the utterance

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of God’s name is enough to destroy the sins also. Swati Tirunal
Maharaja has beautifully given the smile in the context.
Popular ragas like Atana, Kamboji, Bhairavi and North Indian
ragas like Jinjoti, Behag, Dindi, Bhimblas, Yamunakalyani etc. figure
in this Upakhyana. The Kirtanas.
‘Namasudhamayi’
‘Vipinamasow’
‘Kutilamasati’
‘Varayamasura’
‘Mudhaivayatam’ and
‘Iti samupagat’ have pallavi and three charanas. The songs
‘Samalokyasow’(Hindi word) ‘Dharmamargapala’(Hindi word) and
‘Nanamakhilesa’ (Hindi Word) have pallavi and two charanas. The
talas used are Adi, Ata, Bilandi and Dhrupad tal. The Kirtanas figuring
in this Upakhyana are:-
Composition Raga Tala
1. Namasudhamayi Kamboji Adi
2. Vipinamasow Yamuna kalyani Bilandi
3. Kutilamasatin Jinjoti Bilandi
4. Samalokyasow Dindi Adi
5. Varayamasurani Ahiri Adi
6. Dharmamargapala Atana Dhrupad
7. Nanamakhilesa Behag Adi
8. Mudhaiva yatani Bhairavi Bilandi
9. Iti samupagat Bhimplas Ata
The outstanding Harikatha performer, Meruswamy might
have been the inspiration for the Maharaja to write such Upakhyanas
based on puranic themes. These stories are no doubt convenient to
handle for purposes of Katha kalakshepams. The upakhyanas
themselves very well establish the fact that the Maharaja was well-
versed and thorough in puranas. Unfortunately this type of musical-
discourse is now a fading art, since the music lovers are not keen
and enthusiastic about it. It is high time that all encouragements are
given to rejuvenate this art and elevate it to the heights of glory and
popularity which it once enjoyed.
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A Musical Gem of Kerala
The study of the lives of great composers has its own majestic
charm, which acts as the source of inspiration to know the works and
the musical experiences that the great composers have gone through.
The circumstances that occasioned some of their best compositions
provide fascinating reading. By exploring newer and newer channels
of musical expressions, they not only impart vitality to the country’s
music but also give fresh food for thought on the part of the performers.
There are many composers who have contributed to the music
world. The Vaggeykaras Annammacharya, Purandaradasa, Jayadeva,
Narayanatheertha and others who lived during the pre Tyagaraja
period paved way to the development of subtle beauties of the Nadatma
forms of ragas to the musicians of the later period.
During the modern period vast changes have come and many
composers with their musical forms in different languages have made
the music field fertile. Among them, the composers who lived during
the modern period were Muthayya Bhagavatar , G.N.
Balasubramaniam, Neelakanta Sivan, Papanasam Sivan, T Lakshmana
Pillai, K.C. Kesava Pillai, K.N. Gopala Pillai, Mahakavi Kuttamath
and many others.
Among them Shri. K.N. Gopala Pillai belongs to the genre of
Kerala composers. He was born in 1902 as the son of Sarasa Gayaka
Kavimani Shri K.C. KesavaPillai and Kalyanikuttiamma. From his
childhood he began to study classical music.He took his BA degree
and MA degrees and worked as professor in Madhura American
College and Changanaseri NSS college respectively. He imbibed
classical music from Sri Lakshmi Narayana Bhagavatar who comes
in the tradition Ramanand Srinivasa Iyengar who himself was a
disciple of Pattanam Subramanya Iyer. He was adept in not only
music but also literature and medicine. He has authored many works
covering Musical Compositions, Attakadha, Drama, Thullal,
Balasahithyam, K.C. Kesava Pillai’s Life History, K.C. Kesava Pillai’s
Dairy and also many books on medicine.
His kritis are beautiful and blended with music and sahitya.
Out of his Fertile pen blossomed a magnificent spectrum of music-
Kritis Javali, Tirupugazh,Tevaram,Thiruvathira, Akarathi Slokam,
Kummiadi etc. He has employed more than 40 ragas in Adi, Rupakam
and Chapu Talas for his musical compositions. It deserves mention
that he has set up one Thiruvathira Pattu in the raga Bilahari on the
lines “Sree eezhum Araattu”like the famous Svarajathi “Raravenugopa
bala”. It is in praise of Lord Maheswara of Araattu kavu situated near
Kollam. All these songs have a rare appeal because of the Sahithya is
in tune with the svaras.
Another remarkable kriti “Omkara svarupini”in Huzeni raga
has got a superb Chittasvara in four padas. His kritis eulogise Gods
and Goddesses like Ganapathy, Muruga, Ayyappa,Sri Rama, Parvathi,
Kannamath Devi and so on. One of his kritis in the Anandabhairavi
raga begins with the word “Sama Veda Keerthi” but in course of the
song it praises the particular presiding deities of Goddesses in
Maharashtra, Kashmir, Punjab, Gujari, Bengal, Assam, Karnataka,
Kanchi and Kanyakumari. This is very rare composition and is full
of raga bhava and Sahithya bhava. Imaginative raga exposition is
seen in variably in all his kritis. His identity is revealed through the

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expressions like Gopala sannutha, Gopalanutha, Gopalavinutha and
so on. There are also many raga mudra krithis. The Raga name
Neelambari is found towards the end of the kriti “Halasya Vasini in
Neelambari”. In the kriti “Ennu nin kripa” in the raga Todi, in praise
of Lord Siva, he has used Kesavasutha nutha as his mudra (son of K
C Kesava Pillai) instead of Gopalasannutha. The composition
“Cholliialunnoru” in the raga Erikala Kamodari which is in praise of
Pozhikara Devi is framed in the Sari type found in Kadhakali music.
Desiya Kummi or National Kummi is another form wherein
all the names of the then 16 states having beautifully linked with
literary beauty. It begins with “Kummi adikkuka Bharatha mengum”.
Usually Javalis are found in plenty in Telugu language, perhaps it is
he who composed Javali in Malayalam language as a pioneer. There
are nine Javalis of his own which begin with “Endu Thamasam” in
Adana,”Ayi Sakhi” in Ananda Bhairavi, “Mathi Mukhi” in Surutti
etc. The meaning of the Javalis bring into focus how the author in the
role of a lady expresses her yearning in the absence of her and requests
her friend to go and bring her Nayaka. It may be specially noted that
in the Charana part of his Javali “Poka Pokani” the lover has been
addressed as Sankarabharanam and Kanivarnnavan thereby using also
the raga name Sankarabharanam as raga mudra. All these reveal K.N.
Gopala Pillai’s expertise in the raga, tala and sahitya. He also has
praised Tulasi Devi in the kriti beginning with the lines “Amba Thulasi
Devi”in the raga Kamboji.
Besides he has composed a composition “Kani Kandeeduvan”
in Bhoopala raga to wake up the presiding deity in Tiruvarattu Kavu
praise worthy is his Akaradi Stotram in Chenchurutti and the
Namasivaya compositions beginning with the letters Na, Ma, Si, Va,
Ya respectively. “Ezhaikal Vazhum” in Tamil is a form in Chenchurutti
which has got 3 stanzas with 4 lines each. Its remarkable theme is
that the people of India should integrate irrespective of caste and
colour.
Thus undoubtedly all the musical compositions of K.N.
Gopala Pilllai are full of raga bhava and sahitya bhava. They radiant
with prosodical beauty also. Like his eminent father, he has also
contributed a number of excellent kritis and other musical forms. Both
of them were Uttama Vaggeyakaras and were well versed in the science
of music and handled many ragas common and rare for their different
musical forms.
What else can we do but to praise him spontaneously and
wholeheartedly and popularize his compositions?
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Arat Mahotsavam at
Sri Padmanabha Swamy Temple
of Thiruvananthapuram
In Sri Padmanabha Swamy Temple, ten-day Utsavas are
conducted twice a year in the month of “Alpasi (Oct-Nov) and Panguni
(march-Apr)” with all pomp and ceremony at the Sri Padmanabha
Swamy Temple, in the city of Thiruvananthapuram. This
Thiruvananthapuram was known formerly as Syanandurapuram in
Kretayugam, Anandapuram in Tretayugam, Aanandapuram in
Dwaparayugam and in the present Kaliyuga as “Padmanabhapuram”.
During the ten days of the Utsavam, the residents of the place
flock to the temple, partake of the “Anna Danam” offered there every
day, decorating their houses and premises around with flowers, flags
and festoons and enjoy the festival. During the spare hours of the ten
days of the Utsavam, entertainments are provided in the temple in the
form of Tullal, Natyam, Velakali and other activites at “Natakasala
Mukhappu”.
For the procession, during the ten days idols of Lord
Padmanabha, Sri Krishna and Sri Narasimha Murti are taken out in
separate Vahanams of gold and silver. On the 1st day of the festival,
the idols are taken out in Simhasana Vahanam. The idols are decorated
profusely with ornaments and flowers and several devotees gather to
witness this magnificent procession and offer worship. Amidst the
music of Nadasvaram and other instruments starting from the Eastern
nada of the Seevelippura, the procession completes three rounds. The
Vahanam for the 2
nd
day is Adi Sesha. It is impossible to describe the
beauty and grandeur of the Lords proceeding in procession in Kamala
vahanam. On the 3
rd
day, the splendor of which is beyond imagination.
The devotees are joyfully baffled as to the identity of the particular
form of the Lord therein, discounting all the possibilities of the Lord’s
form in the matter of comparison with Indra, Chandra, Siva, Soorya,
Kubera in succession. Andolika or Pallak vahanam is used for the
procession on the 4
th
day. For the Utsava in the 5
th
, 8
th
, 9
th
, and 10
th
day the deities are taken out in Garuda vahanam, the Lord being seated
on his divine Garuda, possibily this vahanam has an unique charm.
As each day of the Utsavam proceeds, people gather in more
and more numbers at the belief that Sri Padmanabha prefers this
vahanam to all the rest and that the blessings and bliss can be had
through darsana from those four days. The devotees describe the Lord
as in the epithets – like Deenabandava, Sarasaksha, and Sarvabhouma.
For the 6
th
and 7
th
day processions the Vahanams used are respectively
Indra vahanam and Andolika vahanam. Indra vahanam was introduced
by Swati Thirunal Maharaja for the first time, and systematic
arrangement of the vahanams came into being only with the advent
of the Maharaja Swati Thirunal. On the 8
th
day of the Utsava, offerings
are made in the form of “Kanikkai”. Before the procession starts from
the Eastern nada, a sanyasi is believed to be of the family of
Vilvamangalathu Swamiyar takes the lead in this offering. This is
followed by the Maharaja’s offering his Kanikkai and other Royal
members.
On the 9
th
day, deities are taken out after the first round of the
procession, to a neighbouring spot, outside the temple along the main

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road for which is termed as “Tiruvetta”. After a short ceremony at
which the Maharaja officiates on behalf of Sri Padmanabha in the
“Pallivetta”, the procession enters the temple and the Utsavam for
that day is concluded there with. The Pallivetta consists briefly in His
Highness aiming an arrow at a coconut, kept in the place symbolic of
an animal. The Maharaja accompanies the procession in all
Paraphernalia, with a sword in his hand. After this brief function, the
procession, which has hitherto been mute, now resounds to the blowing
of conch and trumpets and the playing of the Nadasvarams. On the
10
th
day of the Utsavam, after the usual ceremonies the procession
starts from Sankhumukham beach for Arat (holy dip). The Maharaja
accompanying the deities seated on Garuda vahanam, from the temple
barefoot and walking through a distance of 4 miles along the main
road. The Maharaja is accompanied in the procession by the members
of his Royal family and the temple and state officials, all walking
barefoot, huge crowds of people throng on either side of the main
road covering the entire distance, in joy and merriment to witness
this procession. On reaching Mandapam on the beach in an atmosphere
brimming with devotion, the Priest dislodges the idols, from the
vahanams and after a brief pooja, baths them in the sea, when His
Highness also takes his holy dip in the Sagara. The idols are again
decorated in the vahanams and the vahanams are taken back to the
temple after 3 or 4 hours, escorted by the Maharaja. The ‘Kodiyett’
which began on the previous day of the utsavam through the hoisting
of a sacred red flag in which the emblem of Garuda is incorporated
on the top of the golden dwajastamba in front of the Sanctum -
sanctorum of Sri Padmanabha Swamy Temple, is lowered after the
procession reaches the temple in the night concluding the whole
Utsavam therewith.
The list of the Musical Compositions played during the ten day
Ulsavam in the Padmanabha Temple
1st Day Evening Procession
Beginning line Name of Raga Name of Vahana
Varna “Sarasa Sundara”NeelambariSimhasana Vahanam
Kirtana “Pankajanabhotsavam”Mohanam
Night Procession
Varna “Sarasamredu” Kamboji
Kirtana “Panjasayaka”Neelambari
2nd Day Evening Procession
Varna “Vanajaksha” Saveri Sesha Vahanam
Kirtana “Kalyani” Kannada
Night Procession
Varna “Chalamela” Sankarabharana
Kirtana “Pankajakshanam”Todi
3rd Day Evening Procession
Varna “Sarasijanabha”Atana Kamala Vahanam
Kirtana “Paripalayamam”Ritigoula
Night Procession
Varna “Sarasijanabha”Kamboji
Kirtana “Kanakamayam”Huzeni
4th Day Evening Procession
Varna “Sarasijanabha”MayamalavagoulaAndholika Vahanam
Kirtana “Panjabana tanu”Purvikalyani

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Night Procession
Varna “Yentanavidana” Navaroj
Kirtana “Andolika Vahane”Anandabhairavi
5th Day Evening Procession
Varna “Saverihatanuja”Saveri Garuda Vahanam
Kirtana “Tavakanamani”Kedaragoula
Night Procession
Padavarna “Viditam te”Surutti
Kirtana “Syanandooresan”Kurunji
6th Day Evening Procession
Varna “Savamarusha” Khamas Indra Vahanam
Kirtana “Krishnakaruna”Anandabhairavi
Night Procession
Varna “Saparamavivasa”Ghanta
Kirtana “Indirapathy”Navaroj
7th Day Evening Procession
Varna “Paramakula” SourashtramPallak vahanam
Kirtana “Indirapathy” Navaroj
Night Procession
Varna “Sami nine” Yedukulakamboji
Kirtana “Sibikayil” Mangalakaisiki
8th Day Evening Procession
Varna “Ha Hanta Vanchi”Dhanyasi Garuda Vahanam
Kirtana “Rasavilasa” Kamboji
Night Procession
Varna “Chalamela” Sankarabharanam
Kirtana “Neelappuri”Yedukulakamboji
9th Day Evening Procession
Varna ‘Saturakamini’ Kalyani Garuda Vahanam
Kirtana “Jalajanabha”Kedaragoula
Night Procession
Varna “Bhavayami” Sri Ragam
Kirtana “Saradindu” Kamboji
10th Day Evening Procession
Varna “Chapalasampada”Bhairavi Garuda Vahanam
Kirtana “Nagasayananana”Pantuvarali
Kiratana “Sarasijanabha”Saurashtram
* Evening procession starts at 16.15 hours
* Night procession starts at 20.15 hours even today
Compositions played for Arat
The procession then moves out of the temple at sharp 5 pm
through the Western entrance (Nada) for the famous and religious
Arat. When the procession reaches the outskirts of the temple Kalyani
Varnam ‘Satura Kamini’ is played first. On proceeding to the Beach
which is 4 miles away from the temple, Kirtanas in the ragas Bhairavi,
Kamboji, Sankarabharanam, Begada, Sahana, Surutti are played.
When they reach the ‘Sankuchakra tirtha’ very near the beach, ‘Ha
Hanta Vanchitaham’ in Dhanyasi raga, ‘Jalajanabha’ in Kedaragoula
raga and ‘Sarasijanabhanin’ in Sourashtram are played. During the
Holy Arat ‘Nagasayananam’ in Pantuvarali raga and ‘Rajevaksha baro’
in Sankarabharanam raga are played.

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When they return a Kalyani note beginning with ‘g,gg,’ is
played first and then the ‘Saradindu’ Kirtana in Kamboji raga is played
and six or seven Kirtanas and padams are also played till they enter
the temple through the Western Nada on their return. Finally when
the idols Sri Padmanabha, Sri Narasimha and Sri Krishna are taken
inside the temple, then the famous Mangalam ‘Bhujagasayino’ in
Yedukulakamboji raga is played and with this the festival comes to
an end by lowering the auspicious flag which was hoisted ten days
ago.
Sri Swati Tirunal has described beautifully this ten day
Utsavam through 42 Sanskrit slokas and 12 Malayalam kritis in his
Ulsava Prabandam.. They are:-
Beginning line Raga Tala
PankajanabhotsavamMohanam Chappu
Panjasayaka Neelambari Adi
Pankajakshanam Todi Roopaka
Kanakamayam Huzeni Roopaka
Andolikavahane Anandabhairavi Chappu
Syananduresan Kurinji Adi
Indira pathi Navaroj Roopaka
Sibikayil Mangalakaisiki Roopaka
Neelappuri Yedukulakamboji Roopaka
Saradindu sama Kamboji Chappu
Naga sayananam Panthuvarali Adi
Sarasijanabha Sourashtram Chappu
Of these ‘Panjasayaka’ and ‘Sarasijanabhanin’ have the
sections Pallavi, Anupallavi and three Charanas, but ‘Pankajanabha’
has Pallavi and 4 Charanas. Other nine have Pallavi and a number of
Charanas but no Anupallavi, that this was the normal form in the
olden days, as could be seen from Gita Govindam and Dasar Padams.
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This form has survived in modern times in the Divyanama Kirtanas
of Tyagaraja also. It was Sri Palghat Parameswara Bhagavatar, one
among the Court Musicians of Sri Swati Tirunal who popularized for
the first time this Utsavaprabandha in the year 1839 AD.
The Utsavaprabhandham has been composed by Sri Swati
Tirunal to give a graphic account of the Utsavam in his ecstasy and
Bhakti in Lord Sri Padmanabha. It is believed by one and all that by
witnessing the daily procession in the Utsavam, they get relief from
all their miseries and woes, through the grace of Lord Padmanabha
endowing them with long life and bliss.
(“Oral information collected from the temple tradition in
Padmanabha Swami Temple from Late Padmanabha Kamber,
Nagasvara Vidwan, Padmanabha Swami Temple, Trivandrum in the
year 1979)

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Musical Icons of Shimoga
The Kings of South India are renowned for their patronage
and contributions towards music dance. Some of these Kings
themselves were eminent composers. The innumerable musical icons
found in temples at various places, reveal the cultural activities
prevalent from the 13
th
and 14
th
Cys. The temples of India, especially
those in South India, have played an immense role in the preservation
and development of music and other fine arts. The iconography,
architecture and sculpture found in the temple precincts, give an insight
into the music, musical instruments, the manner in which they were
held and played, the posture of the performers etc. of those times.
Shimoga, a district in Karnataka, considered the hub of art
and culture, during the reign of the Chalukya and Hoysala kings, has
much to offer to a researcher who is interested in the musical history
of the district. This can be very well seen from the numerous sculptures
and icons adorning the temples of Shimoga. ‘Shimoga’ means ‘face
of Shiva’ and most of the temples here are dedicated to Lord Shiva.
The sagar taluk of Shimoga boast of three temples viz. Aghoreswara
temple of Ikkeri, Rameswara temple and Parvathy temple of Keladi
wherein a number of icons are sculptured into the temple walls.
In the Keladi Rameswara temple, one can find “Tala
prasthara” inscribed inside the temple prakaram. Wood carvings of
musicians playing different musical instruments and dancers in various
poses are carved on the pillars. This establishes that musical
instruments were widely used in those days
The Parvathy temple of Keladi is believed to have been built
before the 16
th
century. Though it is generally believed that violin
was adopted in South India during the 17
th
century, a carving in this
temple, of a lady playing a violin establishes that the instrument was
known even before this period.
The Keladi museum houses a large collection copper
inscriptions, coins and palm leaf manuscripts dating back to a very
early period. Among them, there are rare palm leaf manuscripts of
Mahabharatham, Bhagavatham and so on, which are very lengthy.
The kritis of Purandaradasa, and a number of works on Sangita Sastra
are also available in these manuscripts. In fact, it is sad to note that
no conscious effort has been made to delve deep into the research of
these priceless documents.
Some of the other important temples famous for rare icons
are the Lekshmi Narasimha temple near to Bhadravathi river. Here
Narasimha is tri-netra and Amrithavalli. His consort is seated along
with Him. The outer rim of this idol is carved with Dasavatara.
Another two sub-deities of this temple are Radhakrishna and
Mahaganapathy. Generally “Butter Muzhukappu” is related to
Hanuman and Krishna. But the main offering to Ganapathy is Butter
Muzhukappu (coating the idol with butter). This is not generally
seen anywhere.
Humcha and Nadakalsi were important seats of dance in
Shimoga. With the decline of Humacha, attention was focused on
Nadakalsi. There is a Shiva temple in Nadakalsi, where various forms
of dance poses in classical style are exquisitely carved on the pillars.
The various temples scattered in and around Shimoga are now silent
reminders of a glorious past. l

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A Study of the Padams of
Swati Thirunal
Carnatic music has gone through a long period of
development. Now it has many types of musical forms like Varnas ,
Kritis, Padas, Javalis, Thillanas, Ragamalikas etc. Among them Padam
is the one and only form which amply brings out the excellence of
sahithya and sangitha. In padam, a musician has to create the real
feel or mood or rasa of the sahithya as intended by the composer. It
also gives equal importance to dhatu and matu, thereby evoking
bhakthi rasa and elevating the audience to higher level.
Maharaja Swathi Thirunl had clearly conceived the scope of
Padas for expressing both devotion and abhinaya. Realising this, he
has composed 67 Padams in different languages like Sanskrit, Telugu,
Malayalam, Kannada and Manipravalam. He has composed 50 in
Malayalam, 11 in Sanskrit, 5 in Telugu and in 1 in kannada and they
are in 33 different ragas. Common ragas like Kamboji, Neelambari,
Surutti, Anandabhairavi, Atana, Saurashtra etc and rare ragas like
Malavasri, Saindhavi, Ghanta, Dwijavanti and Navarasam were used
by him. He perfected many Padams with the help of Vadivelu, the
eldest of the Tanjore Quartette. The perfection of nayaka nayaki bhava
is clearly seen in his padams. Most of his padas involoving sringara
rasa afford lot of scope for abhinaya. The flow of music becomes
slow and gentle and is best suited for dance.
Swathi Thirunal’s padam in Anandabhairavi raga “Poonthen
nermozhi” is remarkable for its expression of emotion and musical
perfection with muhana and prasa. “Hemambhe surange” is a different
type of padam. It has only pallavi and charana. Almost all the padams
have pallavi, anupallavi and charana except 4 which have only
pallavi and 3 to 4 charanas. They are
a)Alamankha vilambena in Ritigaula raga, Jhampa Tala
b)Ilamarimen in Behag raga, Chempada tala
c)Hemabhasuranga inYadukulakambhoji raga, Jhampa tala
d)Somopama in Yadukulakambhoji raga, Rupaka tala
“Panngendra sayana” his ragamalika is actually a padam set
in 8 ragas which begins with Sankarabharanam and ends in Bhupalam.
Some of his Manipravala padams are
a)Sakhi he in Sankarabharana raga, Chapu tala
b)Panimati mukhibale in Ahiri raga, Chapu tala
c)Alarsara paritapam in Surutti raga, Chapu tala
d)Kantanodu in Neelambari raga, Rupaka Tala
His padams, according to their character, are classified under
5 categories.
1)Nayika addressing Sakhi *
2)Nayika addressing the Lord *
3)Sakhi addressing the Lord *
4)Sakhi addressing nayika *
5)A lover addressing his sweet heart *

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He has given many varieties in each of these categories. 31
padams come under the first category, which are of two types
1)The padams in which Nayika simply expresses her feeling to
her Sakhi.
2)Padams in which she narrates her sufferings to her sakhi and
entreats her to bring Lord Padmanabha to assuage her suffering.
In most of his padams, the nayika is khanditha and virahot
khandita.
The uddipana bhavas which increase nayika’s passions and
feelings are skillfully preferred by him. The time is mostly the early
part of the night. The rising moon, the evening breeze, the voice of
the cuckoo and the hum of the bees, all act as inspiring bhavas. The
love-lom nayika’s feelings and thoughts have immensely portrayed
in his padams.
In the padam “Rajani jata”in Surutti raga, Rupaka tala, Nayika
says that the bed of flowers gives her pain, the cool sandal paste
seems like poison and the moonlight night makes her feel sad. She
asks sakhi to join her with Padmanabha.
In the soul stirring padam in raga Saurashtram in Misra chapu
tala “Sudati Cholka”, the nayika laments that in the absence of
Padmanabha, every moment is like eternity.
In the pada “Aliveni enthu cheyyvu” in Kurunji raga, Misra
chapu tala, there is a touch of pathos when she observes that she is
not lucky enough even to look at the path along which he comes, as
her eyes are bedewed with tears.
In “Kintucheyyvu” in Kalyani raga, Rupaka tala, Nayika tells
her sakhi that she fell asleep, immersed in the thoughts of Padmanabha.
The Manipravala padam, “Kanta Tava” in Atana raga, Misra
chapu tala, is remarkable in that, nayika bewails that even the moon
scorches her like fire. The same feeling is expressed in the padam
“Indamodiyalara” in Kambhoji raga, Atanta tala and
“Athililyannidunnu” in Sahana raga Misra chapu tala.
Another padam in which the nayika addresses her sakhi is
“Jalajabandhumiha” in Suruti raga. In some padams we can see the
nayika describing her joyful moments which she spent with
Padmanabha. In”Ayyayy Kintu” in Nadanamakriya raga Atanta tala,
she asks her sakhi whether he has forgotten those pleasant nights that
they shared.
In “Sarada vidhu vandanam” in Sankarabharanam raga, Misra
chapu tala, which is a very long padam with 6 charanas, the nayika
narrates the happy moments she spent with her Lord. In the padam
“Ramyanayoru purushan”in raga Kedaram, there is a description of
the amorous game indulged by the nayaka and nayika. The padam
“Kalakanti” in Neelambari raga, Chempata tala, which is in praise of
Krishna, the nayika observes and relates to her friend the form of
Lord Sri Krishna which is so very enchanting. The last charana of
this song is full of prasa beauties.
In his Sanskrit padams, the nayika is mainly khandita and
virakhandita . But he portrays in a padam in Manipravalam in raga
Purva Kamodari, a rare type of nayika called Duti Sambhoga Vanchita.
In the second category, there are 21 padams in which the
nayika directly asks padmanabha to gratify her. The ragamalika
“Pannagendra Sayana” comes uder this category. Another group of
padams represents the nayika in a mood of grievance. In the
Manipravala padam “Teliviyalum mukham” in raga Punnagavarali in
Misra chapu tala, she finds him averse to her complaints and asks
him, if his attitude is to test her.
There is another group of 2 padams, in which the nayika
addresses her absent Lord. In the padams “Chentharsayaka” in
Yadukulakamboji raga, “Tellupolum kripa” in Kurunji raga , she is

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put to great suffering at the sweet recollection of his charming
personality and so she prays that he comes to her for a blissful union.
In the last category there are 3 padams. They are “Manini
vamata” in Anandabhairavi raga, Jhampa tala, “Manasi madana tapam”
in Surutti raga, adi tala, and “Sumukhi Sukhamode” in the raga
Saurashtra, adi tala. In all these padams the lover entreats his lover to
forgive all his offences and to enjoy with him.
Swathi Thirunal’s Telugu padams “Valapu tala”and “Samini
pondu” have a true literary flavour and the meaning is purely
devotional.
There also several other padams like “Kanatha soka”,
Manasapi pata”, “Kinnathe poondetra” etc which have ample scope
for abhinaya and are also suitable for dance performances.
Swathi Thirunal has also composed several other scholarly
padams in which several rasas are expressed and concludes each
padam, with his wish and request to be united with Sri Padmanabha.
Dedication to art and devotion to Sri Padmanabha, became
closely related in Swathi Thirunal’s life. By composing padams, he
could fulfill both these aims, which pleases the listener with good
music and arouses in him the sentiment of bhakthi.
The sahityas of the present and the past gratefully
acknowledge his contributions in uplifting the padams to the status
of an appropriate musical form. He could unveil the spiritual and
mystical truths through his compositions and prove that he was an
outstanding composer of devotional music and dance music
compositions.
Role of Swarasahithya in Kritis
Angas in one form or other were present in musical forms
since very early times. The musical form with distinctive angas:
pallavi, anupallavi and charana emerged during the period of
Talapakkam composers and Margadarsi Sesha Iyengar. Later on, in
due course, musical compositions with other angas like Swarakshara,
Solkattu, Sangathi, Madhyamakala sahithya, Swara sahithya,
Chittaswara prosodical beauties like Prasa, Anuprasa, Antyaprasa,
Dwitiyaksharprasa, Yati patterns etc came in to being.
Since these angas beautiful and enriched the compositions
both in its dhathu-mathu value, they came to be known as Decorative
angas. Among them solkattu or jati was in vogue from very early
times and they are seen in folk musical forms also.
Among these decorative angas, the Swara sahithya is a
decorative anga in a kriti having two, three, four or more avartas of
swara passage wherein beautiful lyrical part or sahithya part also will
be there for the same swara passage. Usually the swara part of the
swara sahithya alone is sung after the anupallavi part and the sahithya
part is sung after the charana part. Suppose, if the sahithya part is
sung after the anupallavi, it will give the impression as if there is a
Madhyamakala sahithya passage, which does not suit with the tempo
of the anupallavi part. That is why the traditional singing of swara
part in the anupallavi and sahithya part in the charana exists. The
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swara sahithya is one of the structural adornment and one of the
Samyuktha alankaras. Only composers of high intellectual powers
and musical knowledge can create this type of decorative anga. Some
of the famous kritis having swara –sahithya are given below:
Ramaswamy Dikshitar who belonged to the Pre-Trinity period
is said to have introduced this type of decorative anga “svaras –
sahithya” in the kritis. His kriti ‘Inga Daya’ in the raga Vegavahini
set to Adi tala depicts beautiful swara sahithya which begins with
Sudha Swarakshara pharase is:
|| p, d d, n d p m,p g,m g r ||
pa das a eva la ra ma dha ra sat tu lu
|| s,n,d,p d n l s m g m p,,, ||
sa ma ga na mu na ko lu va ka pa
|| m,g,m m g r s, r g m,p d n |
van am ghri sa ra si ja ma mu pro vu sa ra
|| s,,s,,n d lp,, p, mg m ||
sa ra kr pa pan ga mu la
Syma sastri, one of the Musical Trinity, has used Swara
sahithya frequently in his kritis. The kriti ‘Mayamma’in Nattakurunji
raga set in Adi tala is a rare one which has a swara sahithya beginning
with swarakshara phrase:
|| m,m m g s n d n s r gm, mm |
ma dha va di vi nu ta sa ra si ja kshi ka nchi
|| g m n d m, m m l , n d n d, r g ||
ka ma kshi ta ma sa mu se ya ka
|| m,m g m r s,n s s ,n d m m |
ra m ma,ma ra ka ta ngi ma ha tri pu ra
|| , g s n, d n s,| d n p d n s r g ||
sun da ri ni nne hrdya mu pa ttu ko ni
Like Syma sastri, his son Subbaraya Sastri was also a
prominent composer of kritis. He has also composed a number of
kritis with swara sahithyas. Among his compositions ‘Ninnu
sevinchina’ in the raga Yadukulakamboji set to chappu tala has a swara
sahithya part:
|| s,,,,r,ll , m, p, n ll d,,,,p, ||
ra ra ni nnu sad a ko
|| ,,,m g r g ll s ,,, r ll , m, p, n,||
Ri ti vi nu ra ra ni nnu sa
|| d,, p,n d ll p n d p m g r ll s, r s r m, ||
da ko ri ti ni ma navivi nu musa ra sa da la
|| p, m p d, p dll rs,,,mp ll d p,, m g r ||
sa ra na g a ta na va n a kr pa ni dhi vi
Sri Swati Tirunal Maharaja has composed many kritis in Todi
but the Sanskrit kriti ‘Samodam’ set to Adi tala which is in praise of
Sri Padmanabha has a very beautiful swara sahithya which begins
with swarakshara:
|| s, , r s n d n s,, g r s r n ||
sa tva ta nu ta sa ra sa va da na sa

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|| s, , m g m g r l s, , p d n s r ||
ma ja va ra das a ra gu na g a na
|| s, r s r g m g s, r g m g r s ||
sa d dhi ta sa ma sub ha sa dhu bhr ti sa ra sa
|| s, r g mp d p l s, r g m p d n ||
sa d hi ta su ra su kha sa ra sa sun a ya na
Krishna Swami Ayya’s kriti ‘Sarade Sadaraye’ in the
Sankarabharanam set to Rupaka tala, in Sanskrit, is composed in praise
of Devi. The swara sahithya of the kriti is given below:
|| s s d p m d dp m g r g ||
ma hi ta sub ha gu na vi dhr ta ma ni
|| m d p m p g m r g s r n ||
va la ya vi la sit a ka ra yu ga ni
|| s d n p d n s r g m s r ||
ra ti sa ya sa ka la vi ma la ma ti
|| s d p s d p m g m p d n ||
su kr ta nu ti sat a mu di ta mu kha
|| s r s m r s n r n s d n ||
ku ti la vi pu la ka na sa ma chi ku
|| s p d n s m g m p d n s ||
ra vi ka si ta su ra bhi la ku su ma
|| r m m g r s n r s s d p ||
ka ti vi ka ti t a ru chi ra ra san a
|| m g m d m g r g m p d n ||
ba h u ma ta ni dhi ma ti ja ya ja ya
The kriti ‘Ninai maname’ of Papanasam Sivan in the raga
Ananda Bhairavi which is set to Rupaka tala, is another brilliant
compositon with swara sahithya:
|| s,d p m, g r g, m p ||
inta la yya nta ru mai nta
|| m, n d p , m g r, g m ||
naia ru t a lai ppara mantnai
|| m, g r m g, r s, p n ||
ai nta ra ni nai nta var kku
|| s, n d n d p p, m g, r n ||
bhaya nta ru pa da ra vi nta nai
Mysore Sadasiva Rao’s kriti ‘Vanajaksha’ in the raga
Gambheera Natta set to Chaturasra Triputa tala contains the swara
sahithya part which begins with:
|| p, s n p, p m g,m g s, n p n ||
sri ra ghu veera daya kara sara sija
|| s, g m g,m pm, p n s n p m ||
lo chana lo ka vi ra ji tha su cha rita
Another composer of Modern period G N Balasubramanyam
has composed the kriti ‘Nagabhayavara’in Nattakurunji raga set to
Rupaka tala. This kriti contains a very long swara sahithya part of 12
avartas.

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|| s,,,s n d n,, d m g ||
pa ra ka ru nu mru ta ku
|| s,, s n d m g s n d p ||
nu ka ri ya nu chu ko ri ti
|| s,,,,, r g m g s n ||
ni cha ra nu ga ta ja na
|| d n s r g m n d n p d n ||
pa li ni na li na va da ni
|| s r s n, d s n d m, g ||
ak hi la de va bhu van a mo ha
|| n d n d n d m g s n d n ||
ka ra na ni ru pa ma cha ru ha si
|| s,,,,m g s g m g ||
te sa ka la su ra mu ni
|| s n d m g s r g m d n ||
hrt sa da na si va pa li ni
|| s, r g m g s r s nd ||
va ra na mu kha kar ti key a
|| r s n d m g r g m g r ||
ubha ya par sva sa ha sam stithe
|| s m g, m d n d,, d n m ||
pa ra me sva ri pa day u ga
|| g m p g r s m g n d n ||
mu lu ke tti ke pe tti ti ni
Cudallore M Subramanyam has also composed a
Pancharatnam in five ragas in Sanskrit which are in form Tyagaraja’s
Ghana raga Pancharatnam. The charana of these 5 compositions are
also composed as swara sahithyas. These five compositions begin
invariably with the word ‘Rajarajeswari’, which are composed in
praise of Goddess Rajarajeswari, in the ragas Hamsadwani, Ananda
Bhairavi, Mohana, Sahana and Madhyamavati respectively. Among
these, the third charana of the 4
th
Pancharatna kriti ‘Sri raja rajeswari’in
the raga Sahana set to Adi tala is as follows:
|| s p m, g m r g r s s, p m d d ||
cha thu ea sra ma va si te sa ra sa kr ta ni
|| n d p, p m g ml r,p m d n s, ||
la ye su bha cha ri te ha ray u va te
|| r n, d p m d, n s, s n s n r ||
sa da nan da pata li sa pri ya va ni
|| s, r g m p p, l p m, g m, r s ||
te bha va ja ni te sad a na ma ste
Thus during the course of the development of Music, various
types of Musical forms came into existence with their essential angas
as well as decorative angas. The anga Swarasahithya can be attempted
only by the Vaggeyakaras with knowledge of swara and sahithya. If
one learns the kritis having this decorative anga, it will improve the
knowledge of swara and sahithya and command over the development
of Ragalapana, Niraval and Kalpanaswara.
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Two Doyens of Music
Classical Music with its vast potentiality has overcome
the challenges of times and incorporated the finer sides of changes
from time to time. There are many Vaggeyakaras whose
contributions have set the stage for change. Among them, the
contributions of Marga Darshi Sesha Iyengar stands unique. The
introduction of prasa beauty, design of essential angas in a
compositions practically revolutionized the music world. Owing
to this he was known as Marga Darshi Sesha Iyengar.
Sesha Iyengar, a Vaishnava Brahmin who lived around
1700 A.D. at Srirangam was the contemporary of Girija Kavi
and Shahaji Maharaja and is known to the Music world as Marga
darshi. Not much information is available to the music world
about his life. From the available records, it is seen that he spent
some years at Ayodhya, the capital of Kosalam in North India.
He was well versed in Music and Sanskrit.
Among his total compositions running upto 300, only
very few have seen the light of day. His kirtanas are rarely sung
in music concerts. It was Sesha Iyengar who introduced the
usage of varieties of prasa beauties in his compositions. He was
the pioneer in using the path-finder or torch bearer for his
successors in composing kirtanas with prasa beauties. Though
kirtanas with angas were first noticed during Talapakam
composers, it was Sesha Iynegar who used the distinctive angas-
Pallavi, Anupallavi and Charana, in order as the essential angas
in composing kirtanas which, became the trend-setter for later
composers.
In Swati Tirunal Maharaja’s celebrated Music treatise
“Muhana prasantya prasa Vyavasta” which deals with the
principles of using Sabdaalankaras and other beauties, the
Maharaja observes that, he had the use of above beauties from
the Musical compositions of one Sesha Ramanujam or Sesha
Iyengar.
If the kirtanas of Swati Tirunal are analysed, one can come
across the profound influence, of Sesha Iyengar’s usage of prasa
beauties in the king’s kirtanas.
One particular aspect to be noted that in the Srirangam
temple only Iyengar’s compositions are sung during the ‘Ekanta
Seva’ function where as only Swati Tirunal’s kirtanas are sung
inside the Navaratri Mandapam and Padmanabha swamy temple
in Trivandrum. This tradition is even today followed in these
two temples.
There is a school of opinion that this confinement of
music to set limits is not desirable.
Similarities noticed among their kirtanas:-
1.Both of them have composed the bulk of their kirtanas in
praise of‘their Ishtadevatas, variant of Vishnu (Anantha
padmanabha)
2.The kirtanas of both have more than two or three charanas.
3.Their kirtanas are characterised by the Prosodical beauties
like prasa, yamaka etc

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4.They have handled apoorva ragas as well as popular ragas.
5.Further, one striking feature in their kirtanas is that they
have composed them with identical beginnings.
6.Profusion of words in the pallavi is yet another speciality
7.Above all both of them have used synonymous names for
their Ankitam or Mudra
8.Common ragas used by them are:-
1.Atana 13. Kedaragoula
2.Asaveri 14. Kamboji
3.Anandabhairavi 15. Mohanam
4.Begada 16. Mukhari
5.Bilahari 17. Madhyamavathi
6.Bhairavi 18. Purvi kalyani
7.Darbar 19. Punnagavarali
8.Dhanyasi 20. Pantuvarali
9.Ghanta 21. Saveri
10.Goulipantu 22. Surutti
11.Jujavanti 23. Todi
12.Kalyani
9.Profusion of words noticed in the pallavi of their kirtanas:-
“Pahi Gopa vesha vidalita
Bhakta sarva dosha gata mada
Moha lobha rosha koustubha
Mukhya manju bhusha hare mam”
(Sankarabharanam raga kirtana of Sesha Iynegar).
“Deva Deva Jagadisvara jaya bujagasana Vahana murahara
Divya hara manikuntala dhara bhagavan.”
(Purvikalyani kirtana of Maharaja Swati Tirunal)
10.Prasa beauties found in their kirtanas:-
Sarasa sri padamulam piyushavani
Sarasa gunala valam
Charu mukura kapolam samkvanita Venunadam
Goura ruchira chelam sala dretaanamalam
Dandya jita kunta jalamvidyulatangi dandajanatanukoolam
Santa nava samaya palam samitakhila ripujalam
Kandendra neela neelam kalindi keli lolam.
(Charana part of Maharaja’s kirtana ‘kalakanti’ in
Neelambari raga)
Brendavanalola Anandakara suseela
Vandita munijana pala nanda katara suguna jala
Mandara dhara kundara dhana sundara vadanaravinda
Vandita muni charanaravinda-guru vindara govinda
sadananda
(Charana part of Sesha Iyengar’s kirtana ‘Rengapate’ in
Darbar raga)
11. Identical beginning line of their kritis:-
Sesha Iyengar Swati Tirunal
1. Anjaneya....Mohanam Anjaneya....Saveri
2. Kalayetava....Saveri Kalayetavaka....Malahari
3. Kalyami....Surutti Kalyani.... Kannada

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4. Gopalakapahi....Dhanyasi Gopalakapahi....Revagupti
5. Paramapurusha...GhantaParamapurusha....Vasanta
6. Pahi sri raghu....Todi Pahi sripate....Hamsadwani
7. Narasimha....MadhyamavatiNarasimha....Arabhi
The above facts amply, illustrate the undoubted influence
of ‘Margadarsi’Sesha Iyengar’s kirtanas in Swati Tirunal’s
compositions.
Books Referred:
1.Musical Compositions of Maharaja of Travancore – K C
Chidambara Vadhyar
2.Sangita Rajarangam – S Renganatha Iyer
3.Balamretam – S Renganatha Iyer
4.Maharaja Swati Tirunal Kritikal Vol.I & II – Dr. Muthayya
Bhagavatar
5.Maharaja Swati Tirunal Krithikal – Vol I & II – Dr.
Semmangudi Srinivasa Iyer
6.Sesha Iynegar Kirthanangal – Sri Viswanathan, Tanjore.
The Musical Genius of
Harikesanallur
The Post-Tyagaraj period saw the emergence of a number of
maestros in the field of Carnatic Music. The Galaxy includes such
great stalwarts like Neelakanta Sivan, Papanasam Sivan, G.N.
Balasubramanyam, Muthayya Bhagavathar, T. Lakshmana Pillai, K.C.
Kesavapillai and so on. Likewise the traditional singing of Carnatic
music also saw the best performers like Ariyakudi Ramanuja Iyengar,
Pattanam Subramanya Iyer,Ramanad Srinivasa Iyengar, Alathur
brothers, Chittur Subramanya Pillai and so on. Among them,
Harikesanallur Muthayya Bhagavatar occupies a prominent place as
he was gifted with the knowledge of Sangitam, Sastram and
performance.
Muthayya Bhagavatar was born in Poonelveli on 15
th
November
1877 as the son of Lingem Iyer and Anandavalli Ammal. He lost his
parents at a very tender ages and came under the guardianship of his
maternal unlce in Harikesanallur. His sojourn in Thiruvayyar helped
him to become the disciple of Sambasiva Iyer and T S Sabesa Iyer
where he was exposed to the science of music and classical music.
After completing his studies, he returned to Harikesanallur in 1893.
His sonorous voice and brilliant performance made him one of the
recognised Concert vidwans. He was matchless in Tanam singing.
He was also a towering personality of Harikadha performance which
none could match at that period of time. His exposure to vedas and
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puranas kindled his imaginative brain to come up with songs for
Harikadha, which later on developed into full fledged Musical forms
like Varna, Daruvarna, Padavarna, Kriti, Kirtana, Ragamalika, Tillana,
Group Kritis, Nottu Svaram etc. His work’s sheer beauty made him
one of the rare composers of Post-Tyagaraja period.
Muthayya Bhagavatar name and fame reached the Royal kingdom
of both erstwhile Travancore and Mysore. As early 1897 Sri Moolam
Thirunal Maharaja of Travancore, who listened to his performance,
was so impressed that he was made the Asthana Vidwan of Travancore
and was presented with “Toda and Veerasringala”. In 1927 his
association with the Royal House of Mysore started with the invitation
from King Krishna Rajendra Wodeyar and he was made an Asthana
Vidwan. As per the wish of the Maharaja, Muthayya Bhagavatar
composed the Ashtothara kritis in praise of Chamundeswari Devi of
Mysore and the Siva Ashtothara kirtanas. The Royal House of Mysore
also conferred him with the title “Gayakasikhamani”.
In 1930 Muthayya Bhagavatar was appointed as the President
of the Annual Conference of the Music Academy. Recognising ability
and his skill in music, the Academy conferred on him the title “Sangita
Kalanidhi”. In 1936 the Maharani Sethu Parvathi Bai Of Travancore
invited Muthayya Bhagavtar to Travancore. Here the princess
assigned him the task of publishing and popularising Swathi Thirunal
Maharaja’s kritikal. In fact, it was he who infused life into the Kritis
of Swathi Thirunal. He was instrumental in starting a new Institution
named “Swathi Thirunal Music Academy” for popularising Maharaja’s
kritis and he was the first Principal of the Academy, the tradition
which he handed over to the Carnatic Music doyen Dr. Semangudi
Sreenivasa Iyer.
The contributions of Muthayya Bhagavatar to Carnatic Music is
far greater than any other composers of Post Tyagaraja Period. He
was well versed with the languages like Tamil, Sanskrit, Telugu,
Kannada etc. Even though his angitam is Harikesa, mudras like
Harikesarani, Harikesapriya, Harikesajaye, Harikesabhamini etc are
commonly seen in his compositions. Some of his popular kritis are
“Vijayamike” in Vijayanagari raga, “Himagirithanaye” in Sudha
Dhanyasi, “Giripriyam” in Kadhana Kuthuhalam, “Durga Devi” in
Navarasa Kannada, “Sudhamaye” in Amrita Varshini, “Lambodhara”
in Navarasa Kannada, “Bhuvaneswari” in Mohana Kalyani ,etc.
Some specialities of his compositions are:-
1.He has composed almost all the musical forms, from Varna to
Thillana & Mangalam which brim with Raga bhava and Sahithya
bhava.
2.The musical forms are in different tempos likes Vilambita,
Madhya and Druta.
3.Most of his compositions are decorated with the anga, Chittasvara,
for both popular and rare ragas. This establishes his knowledge
of lakshya and lakshana Jnanam of Music
4.Svarakshara prayogas are amply evident in most of his
compositions.
5.He has composed a kriti “Samalprade” in Kalyani raga, with a
very rare anga “Viloma Chittasvara”. The kriti is composed in
Kannada language. The peculiarity of this chittasvara is that it is
the same when sung from the beginning or the end. This type of
Viloma chittasvara is not found in other composers.
|| mpddnnsndpmgrsnd | pmgrsndpgrsndpmg ||
|| gmpdnsrgpdnsrgmp | dnsrgmpdnsnnddpm ||
(like the word Malayalam)
6.Niroshta ragam- This is one among the 23 ragas invented by the
Bhagavatar. The speciality of this raga is that when sung the lips
will not touch each other. The kriti begins with ‘Raja raja radhithe’
which has a very beautiful chittasvara.
7.His lakshana grandha in Music konwn as “Sangita Kalpadrumam”
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of this work on music, the Travancore University awarded the
degree D.Litt in Music in 1943. He is the first D.Litt holder in
Music.
8.His compositions are remarkable for their quality and well as
variety.
9.He has composed kritis in already existing ragas for which so far
no kritis were available.
10. The new ragas formulated by him are:
1.Alankari NavaratroulsavomRupakam
2.Budhamanohari Kameshabadha Adi
3.ChakrapradeepamChakresi Devi Adi
4.Guharanjini Ekanethala Adi
Navavarna Adi
5.Goudamalhar Sarasamukhi Rupakam
Jayadevi Triputa
6.Gurupriya Sreesambasiva Khantachapu
7.Hamsadeepika Sikhivahana Adi
8.Hamsagamani Sreemahishasura Rupaka
9.Hamsanandi Neetumahima Adi
Sachamaram Rupakam
Somasurya Misrachapu
10.Harinarayani Devi Sree Rupakam
11.Karnaranjini Vanchathonuna Adi
12.Kohila BhasiniSthanu bhajamyahamJhampa
13.Mayapradeepam Thappamannisu Adi
14.Mohana kalyaniSiddi Vinayakam Adi
Bhuvaneswari Adi
Sivam vrishabharudamadi
11.Captivated by the beauty of the Hindusthani Sohini, Bhagavatar
introduced a raga named “Hamsanandi”.
We are really indebted to Sri Harikesanallur Muthayya
Bhagavatar, since he was instrumental in bringing to light the
musical compositions of Swati Thirunal Maharaja. One the
one hand he has enriched the classical music through different
types of musical forms and on the other he widened the
repertoire by inventing new ragas. He was an uttama
vaggeyakara who contributed a rich legacy to Carnatic music.
Though this great luminary of Post –Tyagaraja period attained
the Lotus feet of God on 30
th
June 1945, the fragrance of his
music is still flourishing and spreading in music concerts even
today.
15.Manorama Sarva Jagat Rupakam
16.Naga bhushiniGanesha Skanda Eka
17.Niroshta Raja Raja RajiteAdi
18.PashupatipriyaSaravana bhava Adi
Apa Varga Adi
Uraga Raja Adi
19.Sumanapriya Sree Saravana Rupakam
20.Saranga MallarSreemahagiri Adi
21.Urmika Kalaratri Adi
22.Valachi Jalandhara Rupakam
23.Veenadhari Girija Adi
24.VijayanagariAnekatmane Adi
Vijayambike Adi
25.VijayasaraswatiSaranam Vijaya Adi
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Kadha Kalakshepam-
A Sublime but Fading Art
[The Kadhakalashepam, one of the branches of music course, aimed
at instilling Bhakthi through music was vogue since Vedic period.
Though the origin of the modern phase can be traced in Maharashtra.
It was Sri Tanjore Krishna Bhagavatar who revolutionised the system.
The credit for the growth of the art in Kerala goes to Maharaja Sri
Swathi Tirunal. This great patron invited great luminaries like
Meruswami, who introduced this art which later came to be known in
Travancore as Harikatha kalakshepam. This edifying art which was
once not only a vital source of pastime for the people but also a perfect
vehicle for carrying down from generation to generation the wealth
of our spiritual legacy, is now slowly fading and it is time that this
great art is rejuvenated before it is too late.]
In olden days time was hanging heavily on man’s hands. Our
ancients who understood the psyche of man and the harm it can inflict
on the society, If his spare time is not spent in creative activities,
evolved a system to wean him to the path of Bhakthi marga and to
shape him to become an absolute man to be of use to the society and
to the world at large. Kadha kalakshepam, in fact, attempts to achieve
this lofty aim.
Kalakshepam is a Sanskrit word which simply means
“pastime”. Kadha kalakshepam is an exposition of the subtle truth
through philosophical lecture with a blend of music. It is one of the
branches of music Concerts. It has one main performer who keeps a
chipla and is accompanied by two instrumentalists. The evolution of
Kalakshepam dates back to the Vedic period. However, it was during
the time of Lord Buddha, the modern phase of Kalakshepam started
developing. Later Buddha introduced a system of public preaching
which was later patronized by the Gupta Dynasty. But the evolution
of Kadha kalakshepam as is developed today, has its origin in Maratha
(Maharashtra) and in due course it slowly flowed to Tanjore.
Passages from the Ramayana, the Mahabharatha and the
Puranas and the like are taken for discourse. At a later stage Kirtanas
and songs which match with the theme was also introduced. A new
chapter in the growth of Kalakshepam was seen during the 12th century
with the introduction of Jayadeva’s Gita govindam. The love-lore of
the divine Radha and Krishna became a pet theme of Bhagavathars.
Shri Krishna Bhagavathar (1847-1903) of Tanjore who known
as Father of Modern Kadha kalakshepam, revolutionized the system.
He blended the Marathi and Tamil style and evolved a new style. He
also introduced songs of Tyagaraja Swamikal intermittently which
matched with the genius of the theme.
Modern day Kalakshepam saw also the introduction of three
varieties which upgraded the tenor and tone of kalakshepam. They
are Nirupanam, Upasamharam and Mangalam
Before the start of the story, the audience were enthralled
with a song set to crisp tune which attracted the attention of the
audience to the narration of the story which is known as Nirupanam.
The end of the discourse, which is known as Upasamharam is preceded
by brilliant witty and thrilling sub stories which left a lasting
impression in the minds of audience on the theme of the main story.
Nowadays the performer concludes the item on a note of profound
humility in ‘Mangalam’. The Kadha kalakshepam reached greater
heights during the period of Panchapakesa Sastri who was a towering
discourser during his time. The Bhagavathars who followed him were

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Melathur Venkita Ramana Sastri and Muvallur Sabhapati Iyyer. They
also composed a number of beautiful Nirupanams for many stories.
The songs have the sections pallavi, Anupallavi, and charanams. But
there is complete absence of decorative angas like chitta swaras,
sollkattu, swarasahithya.
GROWTH OF KALAKSHEPAM IN KERALA
Kalakshepam as a form of music concert was first introduced
in Kerala by Maharaja Swathi Tirunal. Various historical
circumstances compel any rational mind to arrive at this irresistible
inference. Under the patronage of the Royal House, the kadha
kalakshepam took deep roots. Ananathapadmanabha, was popularly
known as Meruswamy was invited by Maharaja Swati Tirunal to adorn
his court. Though he introduce north Indian Bhajans and Phrabhata
pheris in Kerala it was his soul stirring performance of Kadha
kalakshepam, which later came to be known as Harikadha
kalakshepam. Full credit goes to him for the growth and popularity of
this art in Travancore. Marvelled by its impact, Maharaja Swathi
Tirunal composed two works in Sanskrit namely Kuchelopakhyanam
and Ajamilopakhyanam for Harikadha kalakshepam.
This is amply recorded in the palace records where Meruswamy
was presented with a pair of gold bangles, a gold necklace and a pair of
shawls besides a sum of Rs 500/- for having done the Arrangettam of
Maharaja’s above compositions on 28th Maharam ME 1013.
Another musical giant who outshone his contemporaries was
Anantharama Bhagavathar (1836-1919). Though he spent most of his
time outside Kerala, he fascinated the audience of the Cochin Royal
House as well as the common people with the scintillating
performances.
Under the modern performers, it is Muthayya Bhagavathar
(1877-1835) who elevated to the tradition of lofty heights. His
discourses were captivated, witty and sparkling with matchless beauty
of music.
Three of the front rank discoursed who deserve mention are
Sri Elathus Narayana Sastrigal, Sri Anna Swamy and Sri Embar Vijaya
Raghavachariar. While the first two devotees inculcated the
quintessence of Bhakthi in the masses, Sri Embar Vijaya
Raghavachariar relatively modern for his period, liberally be sprinkled
his edifying dissertations with anecdotes sparkling with wit and
wisdom to suit modern audience.
The paramount aim of the whole exercise was to instil Bhakthi
flavoured with music in people drawn from all walks of life. But it is,
indeed a matter of regret that the very interest in this great art is
flagging. But let us hope that the few sparks seen here and there will
be fanned into its pristine magnificent glory by students of research.
The sooner, it is done the better.
BRIEF EXPLANATORY NOTES ON MUSICAL
TERMINOLOGY APPEARING IN THE ARTICLE
1.Pallavi is the opening section of a song.
2.Anupallavi is the next part which succeeds the pallavi
3.Charana is the following section of the Anupallavi
4.Nirupanam is a short song usually set in a crisp and attractive tune
5.Upasamharam is the conclusion
6.Bhagavathar is one who performs Kadha kalakshepam
References:
1.Ramaswamy Iyer, M.S. ‘Kalakshepam’ 1932, p 1-4
2.Musical compositions of H H The Maharaja of Tranvancore by
Chidambara Vadhiyar. 1916 p. XVIII (Book)
3.An article in Sri Swati Tirunal Maharaja 150th Birth Anniversary
celebration Souvenir 1963 p. 18
4.‘Gayaka Sikhamani Palghat Anaudarama Bhagavathar
Avarkalathu Jivitha Charitra churukkam by Palghat
Ramabhagavatar 1942 p 8 (Book)
5.Modern Travancore by A Padmanabha Iyer 1941 p 121 (Book)

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Rhapsodies of 6 Decades
The contribution of Kerala to the repertoire of music is
immense whether it is sacred, folk, film, or instrumental. The
importance of music can be seen in almost all functions associated
with Keralities. The very old and unique system of music, which
prevailed in Kerala, was Sopana Sangitam. From the very early period
onwards the Gita Govindam of Jayadeva was sung in Kerala temples
in Sopanam style. This became a guiding force for King Manava
Deva of 14
th
Cy. to compose Padas for Krishnattam, based on the
story of Lord Krishna and Ramanattam by Raja of Kottarakara.
Before the formation of Kerala, it was the Royal house which
patronized the music. The period of Swati Tirunal’s reign is called
the Golden Period of music. His Court was adorned with gifted artists,
composers and musicians from all parts of India.
The contributions of Karthika Tirunal Maharaja, Kunjan
Nambiar, Rukmini Bai Thampurati, Swati Tirunal Maharaja,
Iravivarman Thampi, Kutti Kunju Thankachi, Nagercoil Kalyanikutty
Amachi, Kochi Valialkku Amma, Rani Lakshmi Bai, Mahakavi
Kuttamath, and modern composers like Lekshmi Krishna, C.V Janaki
Ammal, K C Kesava Pilla, K N Gopala Pilla, Ennapadam Venkatarama
Bhagavatar, Prof. R. Srinivasan, Lalita Daser, Tulasivanam, Dr. V.R.
Prabodhachandran Nair and so on have enriched the treasure house
of music of Kerala.
When one looks back on the growth of music in Kerala for
the last six decades, it can be seen that it is evenly spread in urban
and rural areas alike. This phenomena cannot be seen anywhere in
India other than Kerala. The temples played a vital role in spreading
music. The Pulluvan pattu, Bhadrakali Pattu, Songs associated with
Attakadhas, Teyyem etc are a major milestones in spreading of music
to the younger generations
In Kerala, the classical music does not belong to any
community. Cinema field also has contributed immensely to the
growth of music in Kerala. The contributions of Lyrists like P.
Bhaskaran Master, Vayalar Rama Varma and ONV Kurup and music
directors like G. Devarajan Master, V.Dakshinamoorthy, Baburaj,
Raghavan Master are some of the geniuses who introduced innovations
in the field of music
The rise of a number of music institutions imparting vocal
music, instrumental music, folk music, ritualistic music etc provided
further impetus to the growth of all types of music. It also produced
best performers in their chosen fields. Kerala is the only state where
artists get maximum opportunities to expose their talents, whether
it is temples, churches, or in competitions conducted by Government
agencies and other organizations.
The tremendous growth in the various branches of Music
like Sopana Sangitam, Kerala Sangitam, Kathakali, Nadodipaatu,
Vanchipaatu, Tharattupaatu, Ritualistic music etc. seen in different
parts of Kerala have to be preserved and documented for the future
generation.
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Prominent Women Composers of
Kerala and Tamilnadu
India has a rich cultural heritage than any other country in
the world. The contribution of women to the various fields of activity
is unique whether it is science or art, they have left an indelible foot
print on the sands of time. In the field of music their contribution is
on par with any others.
The contributions of women composers of Kerala are unique
since their works spans over all branches of art – Carnatic, folk lore,
Attakadhas, Thullal and other forms. The patrons of the Royal house
of Travancore encouraged artists from in and outside Travancore. It
is also seen that they were not only patrons but were themselves
composers of eminence.
In the Royal House of Travancore, the contribution of women
to the cause of the music was not small. Some of the prominent
composers are:
Rani Rugmani Bai Thampuratti (1809-37) the eldest sister
of Swati Thirunal Maharaja was foremost among the women
composers of Travancore. She was born in 1808 AD. From childhood
she showed precarious talent in studies, dance and music. This gift
was handed down to her only orally without any specific training.
She displayed such a genius in poetry that she started composing at
the tender age of six. As the Royal patrons were highly devoted to
Lord Padmanabha, their family deity, most of the compositions are in
praise of Padmanabha. Though it is known that she has penned more
than a 100 compositions, unfortunately only a handful are available
to the present generation. On an analysis of her compositions it will
be seen beyond doubt the mastery over the language as well as her
deep knowledge of ragas and talas.
One of her famous Kshetra kriti is “Sreekantesa pahi” in
Mukhari raga. This kriti is in praise of Lord Siva of Sreekanteswaram
of Trivandrum. There is pallavi, Anupallavi and five charanas in the
compositions. She has penned another Manipravala kriti “Sarasija
nayane parimala gatri”. Which is also known as Sapta Svara
Sangirthanam. Each line begins with SA, RI, GA, MA, PA, DHA, NI
Sarasija nayane....
Reetikalellam....
Galabhuvilasta....
Madanachundu....
Parichil paadum....
Dhatriyil anpodu....
Nidile Vilasena....
Saramathayoru....
This song is a Manipravala kriti praising Goddess Bhagavathi
and it denotes a universal prayer to protect all devotees.
Each line of this kriti begins with the syllables of Sapta Svara. Not
only this kriti shows svarakshara beauty but also her command over
language. This reminds us the Svarajathi of Syama Sastri in Bhairavi
raga where in each charana part ascend in order of Sa Ri Ga Ma Pa
Dha Ni Sa. Such a type of presentation does not seem to have been
composed by any composers so far. Hence the uniqueness of this
compositions. Another kriti “Sreevasudeva” in Bilahari raga is in
praise of Sri Krishna in which each line of its charana part proceeds

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in the ascending order of Malayalam alphabets. A, Aa, E, Ee etc. For
example:-
Antaka bhiti
Asritanmarku
Enditanayaka
Eearezhauloka
Uttama purusha
Uuhangal
Yennude....and so on
She was not only good Veena player but also an expert in
playing Swarabat and Sarangi. She lived only for a brief spell of 28
years.
Nagercoil Kalyanikutty Ammachi was born in Kochi in
1839. She showed proficiency in music and literature at a very tender
age. She was an excellent Veena palyer. Her artistic attainments and
skill in music and literature earned her the title “Vidushi”. She has a
number of works to her credit including Kirtanas, Kaikotti kali
Pattukal, Ambarisha Charitham, Parvati Swayavaram, Sthava Malika
and also on. More than 30 kritis in praise of her favourite deities
presiding over various temples are published. It is to be pointed out
here that most of her kritis are all incidental in nature and extempore.
Some of the kritis are ‘Pankajaksha Pahi’ in Todi raga, ‘Anandapurna”
in Khamas, ‘Parama Purushan’ in shahana etc. She has composed a
Svarajathi in Kamboji raga and two Tana Varnas in Sankarabharanam
and Kalyani.
She has also composed a “Vanchiswari Parinayam” – a string of
compositions composed on the occasion of the Royal wedding of
Princess Sethu Lakshmi Bai in 1906.
Kochi Valiya Ikku Amma (1844-1921) was one of the
earliest known woman composers. Her original name was Subhadra
and was born in Cochin. She was highly proficient in drama, music
and literature. Her available works are ‘Subadrastavam’,
Bhagavathi kesadi pada varnam’, ‘Poornatrayeesha kesadi
pada varnam’ which are evidence of her literary genius. Her Thullal
songs , Kummi songs etc are very famous. Her popular composition
is Arabhi raga is “Narahari thande”.
Rani Lakshmi Bai (1848 - 1901) was born in the year 1848
as the daughter of Ravi Varma Thampuran and Maha Prabha
Thampuratti of Mavelikkara Palace. Records show that she was a
child with extra ordinary intellect and eminence in music and
literature. Her command over language like Sanskrit, Telugu, Tamil
and Malayalam established her as a remarkable linguist. She is also
a prolific composer numerous works including musical compositions
and literary forms like Kaikotti kali songs, Vathilthura pattu and many
Stotrams. She was an expert Veena player and an adept in wall painting
and embroidery.
Kutty Kunju Thankachi(1820 – 1904) is known as the first
poetess of Kerala. She was the daughter of the famous poet, musician
, Iravivarman Thampi. She has touched more or less all musical forms
and folklores. Swathi Thirunal admired her musical compositions
and in appreciation, gave valuable gifts.
Her musical compositions are known as Kshetra kritis
composed on particular deities of Kerala. Some of her popular
compositions are ‘Kartyayani Maam’ in Vasantha raga, ‘Samaja Hara
Hare’ in Kalyani raga, ‘Pahi Mohana krithe’ in Khamas raga, ‘Ananda
Roopahare” in Panthuvarali raga and so on.
Other famous kritis are ‘Sri pavana Purusha’ of Guruvayoor,
‘Karunayam Ennodu’, ‘Soorya kodi Samaprabhe’ etc. Her
compositions contain decorative angas and Prasakshara beauties.
Stala mudras are seen in her Kshetra kritis. Apart from these, she has
also composed Padas for Kadhakali.

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The line of Women composers in the Royal houses of Kerala
very long. Among them
Ambika Tampuratti
Amba Devi Thampuratti (1007- 1062 ME)
Umba Devi Tampuratti (1011....)
Rani Lakshmi Bai CI (1023 -1076)
Nagercoil Kalyanikutty (1014 – 1084)
Thottakkad Ikka Amma (1039-1091)
Srimati Tampuratti
Bhagirathi Tampurattiand
Manorama Varma Tampuratti
were gifted composers. Most of them were good Veena
Players also. They have composed Kirtanas, Literary works, Padas,
and Folk songs of different kinds. There were also many other women
composers who have composed songs on folklore and other related
Art forms.
Lekshmi Krishna is another outstanding modern composer
of Trivandrum. There is not much data on this remarkable women
composer hailing from Trivandrum. Her compositions are Sanskrit
and Tamil which are praise of different Gods and Goddesses. More
than 30 deities of various temples in India find place in her
compositions. Some of them are Sri Krishna of Guruvayoor temple,
Kanyakumari Devi, Satguru Tyagaraja, Tiruvaroor Tyagaraja Esan,
Kanchi Kamakshi, Kashi Visalakshi, Vaikon Natarajar,
Arunachalaeswarar, Tirupati Venkatachalapati, Pandaripura Nathan,
Veda Vyasar, Adi Sankarachariyar, Dekshanamoorthi, Parthasarathi,
Varalekshmi, Sri Padmanabha so on.
Her compositions abound in raga bhava and prasakshara
beauty. Her Ankitam’Lekshmi’ is seen in all her compositions.
C V Janaki Ammal:Another important modern composer
of Thiruvananthapuram was Late C.V. Janaki Ammal who has
composed kritis in praise of Devi and Dharma Sasta. Her compositions
are at par with any modern composers. They are gems of Carnatic
music which so far has not been brought to light by anyone.
Tamil Nadu has contributed to the music world a number of
women composers like Andal who lived around 7
th
century, the only
woman composer among the 12
th
Alwars. Her celebrated works are
Tiruppavai, Tiruvempavai and Nachiyar Tirumozhi.
Shenkottai Avadai Akkal: Another woman composer is
‘Shenkottai Avadai Akkal’ who lived during Pre-Trinity period. She
penned her kritis in Tamil at the tender age of seven. Her compositions
brim with musical beauty and philosophical content of high order.
Her works includes Sangita kritis, Jnana rasa kritis, Kummi, Talattu,
Kannikal, Vedananta Nondi Chindu etc along with Literary works
like Srimat Bhagavat Geeta Saram.
Ambujam Krishna, was a prominent figure amongst women
composers of Tamil Nadu, has to her credit Kritis, Ragamalikas, Pada
varnas etc in different languages like Tamil, Sanskrit, Telugu and Hindi.
Another important woman composer was Andavan Pichhai.
She composed many songs of high lyrical and musical value.
Dr. Rukmini Ramani, daughter of Papanasam Sivan, is not
only a musician herself but also gifted to the repertoire of classical
music a number of compositions.

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Mangalam Ganapathy is a living legend who has penned
thousands of compositions in praise of all deities in various languages
like Sanskrit,Telugu, Kannada, Tamil, Malayalam and Hindi. Though
she never learnt music or any other language, musical compositions
come to her as a divine outpouring in many Indian languages.
The contributions of the above women composers are brilliant
gems which rank on par with the contributions of any composers.
Many of them compositions have not seen the light of day due to
poor exposure and unavailability. If these are not collected and placed
before the music fraternity, it will be a tragic death of their works.
These works are scattered over a number of districts, private sources
and many kritis are available only in oral tradition. This calls for
earnest effort from Research Scholars/music lovers to find out the
details of life and time so the composers, indexing of their
compositions, notating and recording for the benefit of future
generations.
The Daaru Veena
Playing the Veena is considered as the highest form of yoga.
Veena is very much similar to our spinal cord. The spinal column of
the human being is the divine Veena created by God known as Gatra
Veena and the instrument veena created by human being known as
Daaru Veena. In Vedas, the spinal cord is described as Veena danda.
The Veena of the Vedic period had the parts: Siras (head or neck),
Udara (bowl), Ambhana (sounding board or the belly), Tantra (strings)
and Vandana (plectrum or bow used to play).
Each physical portion of the Veena is said to be the seats in
which subtle aspects of various Gods and Goddesses reside. The
instrument’s neck is Shiva; the strings constitute His consort, Parvathi,
the bridge is Lakshmi, the small gourd is Brahma, the head piece
Vishnu, the resonating body is Saraswathy and so on. Thus, the Veena
is the abode of divinity and the source of all happiness.
The modern South Indian Veena with its twenty four frets
has evolved in Tanjore, during the reign of Raghunath Naik. Prior to
this time, the number of frets on the Veena was less and the frets
were also movable. Since the delicate quarter tones, the subtle nuances
and the fine touches in Carnatic music can be played with accuracy
on this instrument, it highly occupies the place amongst the celebrated
Vadya Trayam: ‘Veena, Venu, Mridangam’.
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Veena, the oldest of all stringed instruments, has a divine
origin and its reference is found in the Rigveda. In Natyasastra there
is reference of Veena which is seen as an unfretted instrument of the
type of the harp and more precisely of the arched harp. It was played
with strings being kept parallel to the player and was played with
both hands plucking the strings, as shown on Samudragupta’s gold
coin.
Veena has 24 frets; which depicts the 24 different pitches of
sound of two octaves and which represents the Gayatri mantra with
twenty four letters- ‘Om tat savitur varenyam bhargo devasya
dheemahi deeyo yo na prachothayath’ strings depict the four Vedas.
Veena also has been compared to the human body. The spinal
cord in a body has 24 vertebras known as ‘Brahmarandra’ like the 24
frets of Veena. The space between frets commencing from Vyalimukha
are wider and becomes narrower towards the main kudam’s (guard)
kudam side and reaches to tarastayi by increasing the pitch towards
Brahmarandra.
The Veena finds a mention in the earlier sculptures as well as
in ancient literary works. The playing technique and traditions have
developed in playing the Veena through decades and centuries. Usually
in Veena one can easily play music upto 3-2 octaves. It is knowns as
Pavitravadyam on account of its association with Goddess Saraswathi.
Vainika Sampradaya was in vogue from very early times.
Since most of the musicians were Vainikas also, they were aware of
the subtle srutis, gamakas and nuances of the ragas.
Veena Vadana Tatwajna Srutir Jathi Visharada Talajnashcha
Aparayasena Mokshamargam Niyashchathi
Maharaja Sri Swati Tirunal and
Sesha Iyengar
Sri Sesha Iyengar, a vaishnava brahmin, lived during the 17th
century at Srirangam. He was the contemporary of Giriraja Kavi and
Shahaji Maharaja and he is known to the music world as ‘Margadarsi’.
There is another school of opinion that Iyengar lived before Giriraja
kavi and Shahaji Maharaja, as is borne out in the Sangita Sampradaya
Pradarsini of Subarama Dikshitar (1904). Hence it can be reasonably
inferred that he lived around 1700 A.D. Not much is known about his
life. He spent some years at Ayodhya, the capital of Kosalam, in
Northern India. After some years, he settled at Srirangam. Even
though he stayed at Ayodhya, for some years he has not composed
any kirtana about Ayodhya or the deity therein. But one interesting,
feature, to be noted is that, he had adopted ‘Kosala” as the mudra for
his compositions.
Among his total compositions running up to 300, about 70 of
them have seen the light of the day. A unique feature noticeable in
Sesha Iyengar’s kirtanas is the usage of varieties of Prasa beauties.
He was the pioneer in using the Adi prasa (Dwitiyakshara prasa) in
Musical Compositions. For this he was hailed as the path-finder or
torch bearer for his successors in composing kirtanas with prasa
beauties. Though kirtanas with angas were first noticed during
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Tallapakam composers, it was Sesha Iyengar who used the distinctive
angas, Pallavi, Anupallavi and Charana, in order as essential angas in
composing the kirtanas, which became the trend-setter for later
composers
Sri Sesha Iyengar was well-versed in Music and Sanskrit.
Only a few kirtanas are available to the music world. It is said truth
that his kirtanas are not at all sung in music concerts. One remarkable
thing is that Iyengar’s compositions alone are sung during the ‘Ekanta-
Seva’ functions, inside the temple at Srirangam. Likwise Swati Tirunal
Maharaja’s kirtanas alone are sung inside the Navaratri Mandapam
and Padmanabha Swamy Temple in Thiruvananthapuram. This
tradition is even today followed in these temples.
In Swati Tirunal Maharaja’s celebrated music treatise
‘Muhana prasantyaprasa vyavastra’ which deals with the principles
of using Sabdaalankaras and other beauties observes that, he had
gathered the use of above beauties, from the musical compositions of
one Sesha Ramanujam or Sesha Iyengar. On an analysis of Swati
Tirunal Maharaja’s kirtanas, one can find the profound influence of
Sesha Iyengar’s usage of Prasa beauties in the king’s kirtanas also.
Similarities noticed among their kirtanas:-
1.Both of them have composed the bulk of their kirtanas in praise
of their Ishtadevatas, variant of Vishnu (Anantapadmanabhan).
2.The kirtanas of both have more than two or three charanas.
3.Their kirtanas are characterised by the Prosodical beauties prasa,
yamaka etc:-
4.Again, they have handled apoorva ragas as well as popular ragas.
5.Further, one striking features in their kirtanas is that they
composed them with identical beginnings.
6.Profusion of words in the pallavi is yet another speciality.
7.Above all they have used various names for their ankitam or
Mudra.
8. Common ragas used by the two composers
1 Atana
2 Asaveri
3 Ananda bhairavi
4 Begada
5 Bilhari
6 Bhairavi
7 Darbar
8 Dhanyasi
9 Ghanta
10 Goulipantu
11 Jujavanti
12 Kalyani
9.Profusion of words noticed in the pallavi of their kirtanas:-
“Pahi Gopa vesha vidalita
Bhakta sarva dosha gata mada
Moha lobha rosha koustubha
Mukya manju bhusha haremam”
(Sankarabharanam raga kirtana of Seha Iyengar)
“Deva deva Jagadisvara Jaya bujagasana Vadhana murahara
Divya hara manikuntala dhara bhagavan”.
(Purvi kalyani kirtana of Maharaja Swati Tirunal)
10.Prasa beauties found in their kirtanas:-
Sarasa sri padamulam piyushavani
Sarasa gunala valam
Charu mukhura kapolam samkvanita Venunadam
13 Kedaragoula
14 Kamboji
15 Mohanam
16 Mukhari
17 Madhyamavathi
18 Purvi Kalyani
19 Punnaga varali
20 Pantuvarali
21 Saveri
22 Surutti
23 Todi

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Goura rachira chelam sala dreta vanamalam
Dandya jita kunta jalam vidyulatangi
Danda janatanukoolam
Santa nava samaya palam samitakhila ripujalam
Kandendra neela neelam kalindi keli lolam.
[Charana part of Maharaja’s kirtana “Kalakanti” inNeelambari raga]
Brenda vana lola
Ananda kara suseela
Vandita Munijana pala
Nanda katara suguna jala
Mandara dhara kundrara dhana
Sundara Vadanaravinda
Vandita Muni charanara inda-Guru
Vindara Govinda sadananda
[Charana part of Sesha Iyenga’s kirtana ‘Rengapate’ in Darbar raga]
11. Identical beginning lines in the Pallavi:-
Sesha Iyengar Swati Tirunal
1.Anjaneya ...Mohanam Anjaneya...Saveri
2.Kalayetava...Saveri Kalayetavaka... Malahari
3.Kalayami ... Surutti Kalayami... Kannada
Kalayami... Begada
4.Gopalakapahi...DhanyasiGopalakapahi... Bhupalam
5.Parama Purusha... Ghanta Paramapurusha... Vasanta
6.Pahi Sri raghu... Todi Pahi sri raghu... Hamsadwani
7.Narasimha ... Madhyamavati Narasimha... Arabhi
The above facts amply illustrate the undoubted influence of
Margadarsi Sesha Iyengar’s kirtanas in Swati Tirunal Maharaja’s
compositions. [In Music world there were two more Margadarsis.
They were, Tana Varna Margadarsi Govindasamayya (1680 – 1710)
and Tillana Margadarsi Virabhadrayya (18
th
century)]
It is held in some quarters that it is through Shadkala Govinda
Marar, who was the sishya of Sesha Iyengar, that Swati Tirunal
Maharaja, came to know in depth, about the kirtanas of Sesha Iyengar.
It is indeed a fantastic discovery that Govinda Marar was the sishya
of Sesha Iynegar, as historical facts point to the irresistible conclusion
that Govinda Marar lived between 1798-1843, where as Sesha Iyengar
lived in the fag end of 17
th
century, Sesha Iyengar pre-decesed Govinda
Marar 100 years before the birth of Govinda Marar! More over there
in no authentic record or documents to show that Govinda Marar
ever returned from his pilgrimage to Pandarpur. Common sense and
records draw anyone to the inference that the only possibility of Sesha
Iyengar’s kirtanas, reaching the Maharaja would be, through various
visiting luminaries from Srirangam and other places who flocked the
court of Swati Tirunal Maharaja.
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An Australian Instrument -
Ancient as well as Modern
Indian music with unique base structure and magnificence
can be traced back to the Vedic times. It is an integral part of Indian
spiritual ethos. It is rich in all branches of Sangita- raga system, tala
system etc. It is also rich in musical instruments of many varieties-
stringed, wind and percussion groups.
The very heart of Indian music being melody, it employs
keyless instruments which produce gamakas peculiar to Indian music.
In Western music the scale of equal temperament is followed and the
sthayi is divided into 12 equal intervals.
Gamakas make Indian music pulsate with life. Raga with
identical arohana and avarohana derived from the same Janaka raga
might yet differ from one another because of the characteristic gamakas
being present in one raga and absent in other. Thus there is a
fundamental and vast difference between the very edifice of Indian
music and Western music.
Indian musical instruments are inherently capable of
producing almost all kinds of notes, Indian as well as Western; whereas
Western musical instruments are not capable of producing all types
of Indian melodies. As keyboard instruments can give notes of fixed
pitch these types of instruments did not develop in India. Indian wind
instruments like Flute, Nagasvaram, Shehnai developed as no keys
are present. On the other hand, Western instruments like Clarinet and
Oboe are operated with keys. Harmonium which is key based has
never played any major role in genuine classical South Indian music,
it being unable to produce quarter tones and gamakas.
In this context it deserves mention that the only Western
instrument with such range can flourish Indian melody, is the Violin.
Clarinet another key based instrument of Western origin has also come
into operation in Indian system. It is worthwhile to remember that the
Clarinet is graduated from the European tempered scale to scale of
just intonation, by adjustment in blowing to produce the required
svaras or notes.
It is interesting to note that an instrument ‘Kadjyapi’ is used
in Philippines. It has some resemblance to the ‘Kachapi Vina’
mentioned in ancient Sanskrit literature. Its resonators shape reminds
one of the boat shaped counter part of ancient Indian Yazh. Similarly
the instrument ‘Santir’ of Persia is more or less similar to the Santur
of Kashmir. It has 100 strings (Satatandri) which are struck by a pair
of sticks to produce notes. This hammering process gave the idea of
the basics of Modern Piano.
In Australia, music festivals attracts talented artists, musicians
and instrument players from all over the world. The most outstanding
and attractive item is the peculiar playing of the instrument of
Aborigines of Australia. The unique virtuosity displayed by Aboriginal
players of the Didjerido (Wooden trumpet) requires special mention
here. Since they had no form of writing or notation, this music was
orally transmitted down to the corridors of time generation to
generation. This means of retaining and inculcating their lore and
music provided the essential mnemonic medium. As such it was
invested with the utmost power and value keeping intact its exclusive
preserve, which has stood the test of time.

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Their system has an amazing intricacy and suability. The
rhythm reaches its height in their instruments, which is known by
different names in various places of Australia. The Didjerido consists
of a straight conical tube made usually from a 4-6 foot branch taken
from a Eucalyptus or Gum tree. Its centre gets eaten by termites,
strangely enough and a hole is made which serves the purpose of
blowing wind through it to produce various undulations of sound. It
is interesting to note that the lips and tongue play an essential part to
produce the complex harmonies, resulting in a buzzing resounding
melody, rich and redolent of the modern electronic music studio.
Thus Didjerido is capable of producing an infinite variety of
sounds that approximately reflects the sound of birds and animals
along with human voice, which enrich dance performance also.
The basic ingenuity, imagination and manifestation of a
kaleidoscopic variety of sound call for excellent practice and
concentration. Therefore the music performed in this instrument has
few parallels in any other system. Historically too, this music gives
an un-erring insight into the believes, customs and identity of a most
ancient people. No doubt it enriches the world of music in general
because the very old instrument plays an important role in the modern
orchestral performances in Australia. So it is as much modern as is it
is ancient.
Brahmasree Papanasam Sivan
and his Compositions
The Post Tyagaraja period witnessed the emergence of a
number of Tamil composers like Gopalakrishna Bharathy, Ramaswami
Sivan, Mazhavi Chidambara Bharathy, Kavi Kunjara Bharathy,
Neelakanta Sivan, Achutha Dasar, Papanasam Sivan and others. They
enriched the musical world with their brilliant compositions. Like
the Trinity, they decorated their compositions with angas like
chittaswaras, swara sahithyas. Solkattu and madhyamakala sahityas.
In this, Shri Papanasam Sivan’s contribution requires special mention.
Shri Papanasam Sivan was born on 26
th
September 1890 in
Polakam Taluk of Tanjore District, as the second son of Shri
Ramamrita Iyer and Smt Yogambal. His original name was Ramayya.
After his father’s demise, he along with his mother, came and settled
in Trivandrum. He had his education in the Sanskrit school,
Trivandrum. He came into contact with the poet and musician Sri
Neelakanta Sivan whose acquaintance influenced him to compose
many kirtanas. He had his early lessons in music from Nemom Natesa
Bhagavatar and Noorni Mahadeva Bhagavatar. He visited most of
the temples in Tamilnadu and composed and sang in praise of the
deities of the temples.
His first two Tamil Kritis”Unnaithutikka” in Kuntalavarali
raga and ‘Maparinai thunai’ were composed on the spot when he was
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visualising and accompanying the “Ratholsava” ceremony at
Thiruvarur. This earned him the name ‘Tamil Tyagayya’ from Maha
Vidwan Chimizhi Sundaram Iyer. Since then he is also known as
Tamil Tyagayya. Shri Sivan was honoured with many other titles
like Sangita Sahithya Kala Sikhamani, Sivapunya Ganamani, Isai
Perarinjar, Padmabhooshan and Sangita Kalanidhi.
Shri Papanasam Sivan has composed nearly 2000
compositions out of which about 500 are available with swara and
sahithya. He was a devout bhaktha and a scholar of eminence which
is revealed through his compositions. Most of his compositions are
simple, melodious and give joy and aesthetic satisfaction to the singer
as well as to the listener. Realising that the common people would
not be able to understand the sahithya, if it was in a difficult and non-
spoken language like Sanskrit, he composed most of his compositions
in Tamil through which he was able to reach the hearts of the common
people. He has also composed some 50 kirtanas in Sanskrit. Most of
his compositions are very popular. He has adopted “Ramadasa” as
his Mudra for his compositions. He has composed in praise of all
deities like Rama, Sastha, Devi, Ganapathy, Krishna, Muruga and Siva.
Unlike the Trinity of Carnatic Music, Papanasam Sivan has handled
the various musical forms like Tanavarnam (2) Padavarnam (3)
Kirtanas (250), Ragamalikas (4), Bhajan, Kannikal (3), Mangalam
(2), Chindu (2) Tillana (5) etc. Like the great composer Sri Swati
Tirunal Maharaja, he has handled both the Janaka ragas and Janya
ragas for his compositions. He has handled the talas like Adi, Rupaka,
Chappu, Jampa, Triputa, Desadi etc.
As we all know, there are 72 Melakartha ragas. Out of the 72,
Shri Papanasam Sivan has composed in 17 Melakarthas.
Sl.NoName of MelakarthaNo.of
Melas NumberCompositions Language
Sanskrit Tamil
1 Todi 8 15 2 13
2 Mayamalavagoula 15 3 - 3
3 Chakravakom 16 3 1 2
4 Natabhairavi 20 2 1 1
5 Kiravani 21 2 - 2
6 Kharaharapriya 22 7 1 6
7 Gowrimanohari 23 1 - 1
8 Harikamboji 28 4 - 4
9 Sankarabharanam 29 8 1 7
10 Kamavardini 51 7 - 7
11 Ramapriya 52 1 - 1
12 Shanmukhapriya 56 5 1 4
13
Simhendra madhyamam 57 2 - 2
14 Hemavati 58 1 - 1
15 Latangi 63 2 - 2
16 Vachaspathi 64 1 - 1
17 Mechakalyani 65 9 1 8
The above statistics is out of the 250 compositions presently available.
Some of the important features found in the above
compositions are that in the kirtanas like”Isane Inda Ezhaikku” in
Chakravakom, beautiful and apt Madhyamakala sahitya is found in
Anupallavi and Charanam. There is only one composition each
available in the ragas Gowrimanohari, Ramapriya, Hemavati and

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Vachaspati. In the Gowri manohari Kirtana the beauty is that, the
name of the raga as “GOWRI MANOHARASIVASANKARA”. Like
wise the name of the raga Shanmughapriya is interwoven into the
charana of the kirtana “Saravanabhava yennum”.
There are some compositions which are not in praise of God
but which are directed towards the soul “Undentre Uruthi Kolvay
Maname” in Harikamboji. In some kirtanas like “Padmalaregatiyena”
(Mayamalavagoula) “Ihaparamenum”(Simhendra Madhyamam) the
change of “Nadai’ ie: from Chaturasra gati to trisra gati-is seen in the
Anupallavi part. He has also composed a kirtana “Padmanabham” in
Kalyani raga (Sanskrit) in praise of Lord Padmanabha of Trivandrum
which describes the aesthetic beauty of the temple also.
The literary aspects like Anuprasa, Antyaprasa, Dwitiyakshara
prasa are noticed in many of his compositions. In the Kirtana
‘Paramukham’ in Kharaharapriya the prasa beauty is excellently
depicted:
PallaviPara mukham yenayya adimayidam
AnupallaviAravanai thuyilum murari Panitiri
Purariye arul taramalinnum
CharanaDaraniyil pirava varamarulankaa viratpurashanatumula
Dharakshetramentre thiruvaroorane ramadasan pani harane
Likewise, in the following kirtana in Todi raga (Sanskrit)
which is in praise of Rama, all varieties of prasa akshara beauty is
found.
Pallavi
Patita pavana rama pasupati nutha rama
Paripurna satya kama param jyoti parandama
Anupallavi
Pankajopama charana bhakta bhishta vitarana
Sankada rasi harana samsara navottarana
Charana
Samajabhaya dayaksha guna nayaka rama
Saketanayaka ramadasa hrennayaka
Brilliant svara sahityam is added in the Sankarabharana
kirtana ‘Konjam dayai puriya’ in chappu tala. Some of the Melakarta
raga compositions which are famous and often sung are ‘Paratpara’
(Vachaspati), ‘Sri vallidevasenapate’(Natabhairavi), ‘Thamasam En’
(Todi), ‘Para mukham’ (Kharaharapriya), ‘Saravana bhavaneyum’
(Shanmukhapriya), ‘Amba manam Kanindu’(pantuvarali) and so on.
Apart from these Melakarta ragas, there are a number of
musical compositions in Janya ragas, which are decorated with special
angas like Chittasvaram. Svara sahithya, Madhyamakala Sahityam
and prasa beauties.
Sl.No Name of No. of Sl.NoName of No.of
Raga Compositions Raga
1Abheri 2
2Abhogi 2
3
Anandhabhairavi4
4Arabhi 3
5Atana 4
6Begada 8
7Balahamsa 1
8Behag 3
9.Bhupalam 1
10Bilahari 1
11Bhairavi 7
12Bowli 1
13Chenchuruthi2
14Darbar 2
15Dhanyasi 3
16Devamanohari3
17Goula 1
18Hamsanandi 1
19Hamsadwani 5
20Hameerkalyani1
21Hindolam 3
22Huzeni 1
23Jhonpuri 1
24Kamboji 7
25Kanada 4
26Kannada 2
27Kapi 5
28Kedaragoula2
29Khamas 7
30Kedaram 2
Composition

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31Kuntalavarali 3
32Madhyamavathi 4
33Mand 2
34Manirengu 4
35Mohanam 3
36Mukhari 6
37Nagasvarali 1
38Narayanagoula 1
39Nattakurunji 2
40Natta 2
41Navarasakannada1
42Paras 2
43Punnagavarali 2
44Purvikalayani 3
45Ritigoula 2
46Sahana 3
47Saranga 1
48Saraswati 2
49Saveri 9
50Sivaranjini 3
51Sreeranjini 3
52Sindhubhairavi1
53Sudha Saveri 1
54Sudhadhanyasi 1
55Suruthi 4
56Sri raga 2
57Syama 1
58Thilang 1
59Varali 2
60Vasanta 4
The above statistics is out of 250 compositions presently available
The compositions like ‘Dasaradhatmajam’ in Purvikalyani
raga, and ‘Ganaamrudam’ in Begada raga have beautiful chittaswaras.
The Madhyamakala sahitya is noticed in the compositions in
Anandhabhairavi raga (Sinkaravelene). ‘Karpakame’ so on.
The svara sahitya is found in compositions like
“Ninaimaname” in Anandhabhairavi raga.
There are compositions having separate dathu for the charans
like”Parasakti” in Hamsadwani raga. He has added beautiful solkatas
for some compositions like ‘Anandame Paramandame’, in Kamboji
raga which is given below. It is well suited for dance:
“Pati matiyum prabhakara vadivum
Pal niamum thavazh parvati makizh kri-
Panidhi ponnambalathadum-
Sabhapati madhurai velliambalam thannil
Dhim-dithalangu-taka-tanu-thom-takajanu
Ta ti mi – ta kita –janu-tanuku-thavam
Endra-jamkaramum-ruk-dum-dum-dum
Endre-undukayyil-omgaramum-tan-chinda
Kula makala-tandom-padavi yennum’-
There are compositions like the “Sivaganga nagara nivasini”
in Punnagavarali and “Sodanai shumai” in kapi raga which are similar
to the Divyanama kirtanas of Tyagaraja with the sections pallavi and
charanam only.
In some of his compositions, a beautiful blending of Tamil
and Sanskrit words are frequently seen as in ‘gajavadhanakaruna
sadana’ in Sriranjini raga. This can be taken as an excellent example
of a Manipravala kirtana.
There is a ‘Sabha varnana kirtana’ in Hamsadwani raga, rupaka
tala (Sanskrit). It has got the angas, pallavi,anupallavi and the
chittaswara with sahitya which acts as the charana of the composition.
This is a rare type of composition. There is a ‘bhajan’ in Kuntalavarali
raga.
Sri Papanasam Sivan has composed ‘mathu’ for the dathu of
other composers like Tyagaraja, Pattanam Subramanya Iyer and K.V.
Srinivasa Iyengar.
For the kirtana “Raghunayaka”, in Hamsadwani of Tyagaraja
the sahitya of Shri Papanasam Sivan is “Karunai Saivay”
(Hamsadwani). In the same way, “Ne nandu veda gudura hari” in the
rare raga “Karnataka behag” of Tyagaraja, the sahitya is “Innum dayai
vallaya harane” of Papanasam Sivan. For the kirtana of Patanam
Subramanya Iyer ‘pari tana michite (Bilahari) the sahitya of Papanasam
Sivan is ‘Nijamunnai Nambinen”.

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For the kirtana ‘Nidu charanmule’ in Simhendramadhyamam
of K.V. Srinivasa Iyengar-the Tamil sahitya of Papanasam Sivan is
‘Nin charanamalare’.
He has composed two mangalams. In the Suruti raga
mangalam, there is a beautiful chittaswara after anupallavi. There is
one tillana in Shanmukhapriya raga. A slight similarity is seen in the
charana sahitya of the kirtana ‘Ishane entha’ of Papnasam Sivan with
that of the charana sahitya of the kriti ‘Karanam vina’ of Swati Tirunal
the Maharaja.
Apart from these classical forms, Sri Papanasam Sivan has
composed a form named “CHANDAM” beginning with “Kairulokka”
in Kharaharapriya raga, which is to be sung like the ‘Thegal Vadithu’
Tiruppuhazh. Then he has composed the popular form of folk music
“CHINDU”. The varieties Nondi Chindu and Vazhinadai chindu
describing the Ramacharitam, which have only stanzas, are also
brought out by him.
There are also KANNIKAL – a literary form in Tamil
composed by him in raga Khamas (2) and one in Mukhari raga. It is
said that he has also written a dictionary in Sanskrit-Tamil. Above
all, he was a good film actor, has sung in cinemas and has also written
songs for the cinemas.
Thus a thorough analysis of Sri Papanasam Sivan’s
compositions will reveal that he has touched almost all the types of
musical aspects, that were handled by the great composers like the
Trinity of Carnatic music and Sri Swati Tirunal maharaja. No doubt,
Sri Papanasam Sivan, with his valuable contribution to the treasure
house of Music occupies a place of eminence in the galaxy of Tamil
composers and musicians.
A Comparative Study of Maharaja
Sri Swati Tirunal’s
Padas And Some Tamil Padas
As we know Music constitutes vocal music, instrumental
and dance, which are interpedently. Classical dance is of two kinds
— absolute dance and expressive dance. In the absolute type, the
sahitya is of a simple nature, and without much need for abhinaya,
but in the expressive type, the sahitya will help to move the sentiments
in a slow and steady manner and thus elaborating the auxiliaries in a
systematic way. The Padas pertain to the expressive dance.
The origin of padas dates back to 12th century A.D., when
Jayadeva composed Gitagovindam. It became a torch-bearer to many
composers of padas. The padas are supposed to be addressed, either
directly or through a Sakhi.
Even though, strictly a dance form, the pada is sung in music
concerts, due to its musical excellence. While kirtana seeks to reach
God through praise, the padas attain the same goal through love. As
we know, all padas of dignified nature, are, on the theme of ‘Madhura
Bhakti’. They imply dual meaning — The outward sringara meaning
and inner philosophical meaning. The padas with the divisions —
pallavi, anupallavi and charana are devoid of sangatis and terse
sancharas. Before singing a pada, one should visualize, the situation
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in which it is sung, by whom it is sung and to whom it is addressed.
The padas are sung by the Nayaka, Nayika and Sakhi.
Maharaja Sri Swati Tirunal, who lived in the first half of the
18th century, was a musician, composer and a patron of arts, especially
music and dance and was also a contemporary of Trinity. He has
composed different types of compositions in many languages. The
Maharaja has composed about 65 padas in varied languages like
Sanskrit, Malayalam and Telugu. They are set mostly in ragas like
Nilambari, Surutti, Anandhabhairavi, Atana, Kurinji, Kalyani, Huzeni
etc. All these, as well as most of the other ragas are, quite appropriately
chosen, as being most melodious and expressive of the feelings. They
are sung even now during the ‘Utsavas’ of Padmanabha Swamy Temple
of Thiruvananthapuram.
According to their nature, the padas can be classified under
few heads — the Nayika addressing her Sakhi, the Nayika addressing
the Nayaka, the Sakhi addressing the Nayika and so on.
There is a pada in ‘Kalyani’ raga set to Rupaka tala, beginning
with the words, ‘Kintucheyvu’, which belongs to the first group, i.e.
the Nayika addressing here ‘Sakhi’ : - The Nayika here asks her Sakhi,
“Oh! sakhi, what can I do today ? The Nayaka Lord Padmanabha has
not come till now, I am waiting for him giving up my sleep. I can’t
live without him. O! Sakhi, tell me, when will he come to me”.
“kintu chevu njan innaho kiravani
Bandhuranga nayidum Sri Padmanabhan
Vannillallo ........”
Here we can see how the Maharaja brings out beautifully, the
agony of separation of the Nayika. The same theme is depicted in the
pada ‘Ahirini’ in Kurinji raga. Then the one in ‘Ahiri’ raga and chappu
tala begins with the words ‘Manasi dussaham’. Here also the Nayika
is directly addressing her sakhi.
pani mati mukhi bale
Padmanabhan ennennil
kanivillayaykayal kaman
para meyyuuuu ..........
Manasi dussaham Ayyo — Madana kadanamendo
Madirakshi njan cheyyavu.
Here the peculiarity is that, the anupallavi ‘Pani mati’ is first
sung followed by the pallavi ‘manasi dussaham’. The anupallavi
followed by the pallavi gives a complete idea and the music of the
anupallavi may be relatively brighter than the pallavi. This procedure
is sometimes, adopted even while singing the Kritis like
‘Ela ni dayaradu’ in ‘Atana’ raga (Bala kanaka maya chela)
This particular way of singing is not found in Tamil Padas.
Here the Nayika asks the Sakhi, ‘O! Lady, He hasn’t come to me,
why? Has he forgotten those pleasant nights, which he enjoyed with
me? How can I forget the pleasures that he gave me? O! Sakhi, tell
me, when will my Nayaka be pleased to come!” The ‘Ahiri’ raga
which can evoke soka raga is aptly chosen for this theme. The theme
is alike in the padas ‘Kandanodu chennu melle’ in Nilambari raga.
‘Alarsara’ in surutti raga, and ‘Tharuni njan endu cheyvu’ in Dvijavanti
raga. In the ‘Alarsara’ also the anupallavi, is first sung. In all these
the sakhi is hearing all the sufferings of the Nayika.
But the same thing are found in the Tamil Padas of
Prof.R.Sreenivasan. There is a Tamil pada set to Adi tala, beginning
with the words —
‘Neraka Chendre ni
Nerthiyaka Urai - Anda
Balanidam’

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Here the Nayika directly addresses here sakhi and tells her
sufferings and asks her to go to the Nayaka and bring him home. Here
the Nayaka is Lord Krishna.
In the Padas of Swati Tirunal there are some padas which
belongs to the second type — i.e. Nayika addressing the Nayaka
directly. For example — ‘Kanda tava pizha’ in Atana raga, ‘Hanta
jeeva’ in Nilambari raga, etc. Here the Nayika asks him pathetically;
why have you not come? Have you forgotten me, what mistake I have
done to you, tell me, My dear, I can’t bear your separation. Please
come to me soon.
This theme is depicted beautifully through a Ragamalika also.
The words begin like ‘Pannagendra sayana’ in Rupaka tala. Here the
Nayika addresses the Nayaka directly. She is asking the Lord
Padmanabha to gratify her. She says that, he should give up his anger
towards her, if any, and enjoy with her and without delay come to her.
The sahitya is in Sanskrit. This is set in eight parts and represents the
feelings of the Nayika. This ragamalika pada stands out not only as
one of the most important and best of the Maharaja’s compositions
but also by the appropriateness of the ragas, and the excellences of
the bhavas as one of the best compositions in Carnatic Music. The
musical enchantment of this pada when sung is marvelous. Each
division has in its chittasvara, which from the second onwards, merges
into sankaran the last division is distributed among all the ragas, in
the pada in the reverse order, beginning with Bhupalam and ending in
Sankarabharanam.
Examples of padas in which the Nayika addresses the Nayaka.
One seen in the Tamil padas of Prof.R.Sreenivasan here the Nayaka
is Lord Muruka. The Nayika says, come to me please. I am waiting
here, please come and remove my sufferings. This theme is depicted
in the Padas, ‘Asai kontu vanden’ in Kedaragoula raga, ‘Mella vendu
endan’ in Bilahari raga and ‘Velavane mayil vahanane’ in Huzeni raga
chappu tala. All these Nayika, Nayaka bhava is clearly seen.
The Tamil padam, ‘Ethanai sonnalum’ in Saveri raga. Adi
tala, of Subharama Iyer the theme is like a mother addressing her
daughter. She tells, ‘O! my dear daughter how many times I have told
you, not to quarrel with Lord Muruga, why you are again doing it ?
Only those who have sincere affection towards us will get angry. So
please don’t take it serious. Lord Muruga is fond of you? So control
your angers and you should accept him. Don’t send me towards him.
This bhavas is beautifully brought out by Subharama Iyer. This type
of theme is seen in the Maharaja’s padas.
Thus in most of the Padas of Swati Tirunal, we find him
assuming only the role of the sad heroine and Sri Padmanabha, Ishta
devata is addressed to as her lover. She implores him from the depth
of her heart, to accept her and she is longing for re-union with him.
These are all fit for dancing since ‘Madhura Bhakti’ or devotional
love is the main theme.
Thus we can see that most of the Tamil Padas and Maharaja’s
Padas are set in chappu, Rupaka and Adi talas. There are a number of
Tamil padas and Swati Tirunal’s padas in which the sahitya bhava is
seen identical. Unlike in Tamil padas, the sakhi addressing the Nayika,
is rarely seen in the Maharaja’s padas. If we deeply examine more,
we can come across such resemblances in both the Tamil Padas and
Swati Tirunal’s Padas.
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Traditional Music of Kerala
Though every country has some system of music or other,
the evolution of Indian music dates back to the Vedic period. The
Vedic period consisted of rituals and yagas, wherein the mantras were
recited using three notes – Udattam(Rishabha), Anudattam (Nishada)
and Swaritham(Shadja). Panini Maharshi called these Adi Swaras.
With the development of cultural activities, which are more or less
centered on temples, recitation of the mantras with little bit of
elongation of swaras took place. These are based on clear duration of
time. That is, the words when sung should confine to particular
measurement of time. In other words, in music parlance, it is known
as Tala.
This period became the foundation for systematic
development of music. The unhindered growth of music saw evolution
of innumerable Ragas and Talas. Ragas are formed by combinations
of a set of swaras. These have the capacity to express the various
emotions like Bhakthi, Anger, Happiness, and Sringaram etc.
Development of Traditional Music of Kerala is on par with
its culture. Kerala has been endowed with different types of sacred
music, which are related to temples and their rituals. The very old
and unique system of music which prevailed in Kerala is known as
Sopana Sangitam. Sopanam means the steps leading to the Sanctum
–Sanctorum or Garbha-Graham of temples. The musicians stand near
the Sopanam and sing with the accompaniment of Edakka. The
Following are the notable differences between classical music and
Sopanam.
1)Niraval and Kalpana Swaras are not allowed in Sopana Sangitam.
2)The raga alapana of Sopanam is performed with Akaram only
and is also regulated by the beats of Edakka.
3)During raga alapana only few Gamakas are used, out of which
frequently occurring Gamakas are Leenam and Andolitam.
4)Bregas are not used in Sopana Sangitam.
5)It is sung in very slow tempo and in swinging motion.
6)Very few ragas are used in singing Sopana Sangitam like
Kamboji, Yadukula Kamboji, Kedaragoula, Neelambari,
Navarasam, Indisa, Kanakurunji, Samantha Malahari etc.
7)Prati Madhyama ragas are not found.
8)Talas used are Chempata, Adanta, Muriadanta, Rupakam etc.
9)Mode of rendering of the musical form is different.
It can be seen that Gita Govindam of Jayadeva was sung in
the Kerala temples in Sopanam style. This became a guiding force
for King Manava deva of 14
th
Cy, to write Krishnanattam, based on
the story of Lord Krishna. This period also saw another theme based
on Lord Rama, which was known as Ramanattam by Raja of
Kottarakkara.
For a pretty long time the verses of the above two were used
for singing Sopana Sangitam also. These periods saw distinctive
developments in Music, Dance and Attakadhas. One of the most
significant contributions was by Veera Kerala Varma, the Raja of
Kottarakkara, who invented Kathakali. Many Padas which were
composed for Kathakali or Attakadhas were also sung in the style of
Sopanam in the temples of Kerala.
“Chilapathikaram” is perhaps the first authoritative Lakshana
Grandha on music and other arts” by Elango Adikal(2
nd
Cy), who was

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born in Cochin, Kerala. There is another work known as “Unnuneeli
Sandesam” written by Aditya Varma where one comes across
references to Music, History and other subjects. Another famous
Lakshana Grandha is “Sangeetha Choodamani”which describes
Nadam, Sruti, Swara, Raga etc. More than 100 ragas have been
mentioned along with their lakshanas. Another notable feature of the
work is Tala Lakshana, Gamakas, Gayaka Gunas and Doshas are also
brought out in the above work. Another famous musician and
composer is Vadakan Kottayam Kerala Varma,who lived during the
reign of Umayamma Maharani. He composed a number of kritis and
ragamalikas. One of his Ragamalikas which begins with the line
“Kalaye gambodhi”is worth mentioning here.
“Kalaye gambodhi rasanalaye tvam
Ahari suratti namaskritha pade nisumbha
Mukahari nidanadi nipune nikila
Devagandhara nishadade geethe....
In ragamalikas,change of raga occurs section by section. But
here each line is in separate ragas. A modern composer Taranga Padi
Pancha Nada Iyer also has composed a similar ragamalika in Tamil
language-Arabhimanam. Many Kings of Travancore were themselves
musicians,composers and gave patronage for music and other arts.
The Karthika Tirunal Maharaja who is known as Dharma raja
has composed kritis and grandha in Sanskrit known as “Balarama
Bharatham” which deals with music, musicology, dance, instruments
and the like.
Another remarkable genius is Kunjan Nambiar, who is
originator of Tullal. It is also solo dance form based on songs written
in simple Malayalam, with wit and Humour. His songs comprised
name of ragas, talas, and instruments.
E.g:-
Ragam
“Todi Kalyani Mukhari Kamodari,
PadiVaradiyum Panthuvaradiyum
Anandabhairavi Sankarabharanam
Ahiri Neela Kamodari Bhairavi”.
Talam
“Ekatalampidichindisa padittangurvasi!
Nadakam nirvahicheedanam
Rupaka talam Pidichambil malahari
Paduka kamini rambhe!”
Instrument
“Maddalam Otthaan Viruthanoruthan
Madana brandhu pidichoru boshan...”
Tamburu thulyan tannenoruvan
Tamburu kayyileduthu padukke....”
The reign of Swathi Tirunal Maharaja (1813 – 1846) was
the golden period for music and other arts of Kerala. He was a king
among musicians and a musician among kings. He was a composer
who has composed all the musical forms in different languages. He
has handled both popular ragas and rare ragas. His works stand
unique for usage of Swrakshara beauty. Perhaps there is no other
king who has patronised so many artists throughout the length and
breadth of India.
Another notable jewel in the court of Swathi Tirunal was
Iravivarman Thampi who is known for the famous lullaby
“Omanathinkal Kidavo”. He was a musician as well as a composer.
His works include kritis, Attakadhas, Varnas and so on.
His daughter “Kuttikunju Thankachi” has also written in
praise of Gods and Goddesses, Sthala Puranas, Attakadhas and Folk
songs.

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Rukmini Bai Thampuratti, the elder sister of Swathi Tirunal
has also composed a number of krithis and she was a veena player.
The kings who followed Swathi Tirunal , Uttram Tirunal, Ayilyam
Tirunal, Visakham Tirunal and Moolam Tirunal were themselves
composers of Attakadhas and encouraged music. Perhaps there is
no other state in India where patronage to music is still continued as
by the Royal House of Travancore. The Navaratri festival which
invites artists from all over India is still being celebrated by the
Royal House of Travancore in pomp and splendour.
Coming to the modern age the contribution of Muthayya
Bhagavatar, Neelakanta Sivan, Papanasam Sivan, T.Lakshmanan
Pillai, Ennapadam Venkata Ramana Bhagavatar, K.C. Kesava Pillai
and K.N. Gopala Pillai and so on are immense and unique. Their
contributions greatly enriched the music world. One of the modern
composers is Shri R Ramachandran Nair (IAS)whose works is known
under the pen name “Thulasivanam”.
Thus the tradition of Kerala music got many ramifications.
There is not even a trace of doubt that the earth of Kerala has the
scent of music. This tradition will continue, getting all the more
sweetened, sublimated and sanctified from generation to generation.
Reference:-
Chilapathikaram – Narayanan nair
Sahitya Charithram – Ulloor S. Parameswara Iyer
Modern Travancore –A. Padmanabha Iyer
Kerala Sangitham – V. Madhavan Nair
Karnataka Sangeetha Charithram –K.T. Raveendranath
Abhinaya Sangitham – Dr. Leela Omchery
KuttiKunju Tankachi Kritikal – V. Bhaskaran Nair
Sangeetha Guna Adarsham –Appasami Pillai l
Neelakanta Sivan - A Musical
Sapphire
Thiruvananthapuram has been endowed with many
Vaggeyakaras and musicians who enriched the grandeur of musical
world through their invaluable contribution in many languages. Among
them Neelakanta Sivan, Papanasam Sivan and T. Lakshamana Pillai,
with their brilliant contributions in Tamil, excelled their
contemporaries in quality and quantity.
Though Tyagaraja period and post-Tyagaraja period saw
compositions mostly in Telugu and Sanskrit, there was practically a
lull in Tamil compositions. It was perhaps Shri Neelakanta Sivan who,
with compositions, set the stage for the rejuvenation and subsequent
fillip in the field.
Neelakanta Sivan was born in Padmanabhapuram in the
erstwhile Travancore in 1839 A.D. His parents were Subrahmanayam
and Alakuammal. They named him Subramanya. Though his childhood
is clouded in obscurity it is known that after his formal education he
entered into Government Service as a Magistrate in the judicial
Department. Before long he resigned his job and devoted the rest of
his life to singing praises of Lord Siva. Sri. Nanupillai, who was the
Diwan did not accept his resignation and when pressed for the reason,
he sent a letter in the form of a composition beginning with the line

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“Ennavidham Pizhaippom Nan”, “Eppadi Theruvom” which means
“What can be done if the fence itself destroys the crops.” He spent
his time in the temple premises by meditating on Lord Siva, totally
engrossed in bhajans. Noting his steadfast devotion to Lord Siva,
people called him Neelakanta Sivan.
Worried over his detachment with worldly ties, his parents
sent him to uncle’s house at Karamana, Trivandrum where he was
married to on of his relatives, Lakshmi. But this however could not
wean him away from his path of ‘Bhakthi’ and he got more involved
in meditating on Lord Siva and spent days, weeks, and months away
from home composing and singing in praise of Lord Siva.
Sahitya of his Compositions:
The theme of his compositions is simple but vibrant and stirs
the emotions. The philosophical import shows the modern approach
to practically. He embraces the true bhakthi and shows that it is the
only way to attain moksha. He has used effectively varieties of phrases
which established his stronghold in composing. This was amply
illustrated in his first composition “ Pandu enna poojai yam saitha
bhalan”, Which was composed while he was absorbed in meditation
in front of Lord Neelakanta of Padmanabhapuram temple.
His songs are eloquent about the simplest ways of staining
God. He says in the charana part of a Kirtana “Sivanai Ninaidu Stuti
padi kol maname” that “Alayamellam tedi odavendam, alai kadal
mudal tirtam adavendam, kaala darpanam homam kazhikkavum
vendam, kannai aditu dhyanam pannavendam. Sivannai ninanintu stuti
Padikol maname” (in Kamboji raga). This means- Oh! Soul! You need
not run after temples, need not take holy dip in rivers or seas, nor do
homa, or religious rites or meditation, but devote yourself in singing
in praise of Lord Siva.
In the song “Tirunilakandar Tondar Tiru”, he reveals to us
how he elevated his state of mind to the level of imbibing the entire
Siva Rasa. In the Kirtana “Para devi Tirupparkadal Vanda Dheerga
Lochani” the Goddess in 24 enchanting synonyms.
Very beautiful jatis or solkattus can be seen in the Kirtanas.
“Ananda Nadamaduvar” in Purvikalyani raga, and in “Darsaname
mukti tarum” in Todi raga. The charana part of the latter composition
describes “Tandavam” of Siva in full jatis without sahitya, which is
most suitable for dancing. The sahithya in the Anupallavi and in
charana part of the kirtana “ Aadum Chidambareswara” in Kedaragaula
raga, the names of 6 musical instruments- Maddalam, Damaru, Dakka,
Vallaki, Dundhubhi and Sanku, which are the favourite instrument of
Siva, are interspersed among the sahitya. The raga bhava and effect
are harmoniously blended in this composition. His devotional music
had its ramifications when he went on an extensive pilgrimage of
South India. He composed songs in praise of the principal deities and
sthalapuranas of various places he visited, quite oblivious of his
environment steeped in ‘Laukika’.
Sri Sivans Life was crowded with many remarkable incidents
that go to prove that he was more than an ordinary mortal. Shri Shivan
was taking his bath on a ‘Pradosam’ day in ‘Padamritha Kulam’ near
Sri Padmanabha Temple (Trivandrum) where some boys were also
taking their bath. The boys quarrelled over as to who is the supreme
God- Padmanabhaswami or Srikantesa. Some supported Padmanabha
and others Srikantesa. Seeing Sivan, they approached him to decide
the supremacy. Sri Sivan answered them in a song, composed then
and there ‘Srikantesane Padmanabhe’ in Kedaragaula raga that both
are equally divine.
In another incident when the festival procession of Lord
Nilakantha was moving in Padmanabhapuram, the holy lamp

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“Thivatti” which preceded the deity got extinguished due to want of
oil. Seeing the helplessness of the torch bearers over the non-
availability of oil, Sri. Sivan asked the attendants to bring water and
poured on the Tivatti and asked to light the same. Lo! The lamps
automatically began to burn more brightly.
There is another episode that when he was returning after
performing some bhajans, he heard about the death of one of his dearest
friends. He could not bear the pang of separation. He rushed to his
house and asked the people who were waiting there for the last rites,
to bring 100 pots of water which he poured on his friend’s head. After
this exercise the man woke up as if from the sound sleep. This incident
can be compared with the one incident in which Tyagaraja gave life
to a man when he sang the kriti “Na jeevadhara” in Bilahari raga.
Another story is current that he had also met Swami Vivekananda.
Like Tyagaraja and Dikshitar, Sri Sivan also predicted his
death and told his sons and relatives that he would shed his mortal
coil on a Monday in September, 1900 at 4.30 pm. This news spread
like wild fire in and around Thiruvananthapuram and people camped
even a week before the appointed date. On the crucial day and time,
Sri Sivan uttered “Mahadeva” three times and his soul mingled and
merged in the lotus feet of Lord Siva.
Sri Neelakanta Sivan has written more than 500 compostions.
They include kritis, ragamalikas, virutam, chindu, kanni, slokas,
mangalam, etc. His following Sanskrit compositions are noted for
richness of sahitya:
Sivannandam Brahmanandam in Ritigaula raga- Aditala
Rajarajeswari Girirajakumari in Madhyamavati raga- Rupaka tala
Some of his very popular Tamil kirtanas are:
1.Ananda Nadamaduvar – Purvikalyani
2.Sambho Mahadeva- Bhupalam
3.Ihaparam Tarum- Khamas
4.Navasidhi Petralum- Kharaharapriya
5.Sidhi Arul Siva Sakthi- Natta
Apart from his Siva compositions, he has composed versed
on other Gods and Goddess like Ganapati, Subrahmanya, Sri Krishna,
Saraswati, Parvati, Lakshmi and Sri Padmanabha. Just like Sri Swati
Tirunal who used the name of his Ista Devata, Padmanabha’s synonyms
as his mudra, Sri Sivan also used his Ista Devata’s name Neelakanta
as his mudra. Unlike other composers he has used both popular ragas
and rare ragas in his compositions.
Besides his musical compositions, there are other works like
‘Daksayagam, Lalita Puranam, Sivaratri Mahatmyam, Sundarar
Charitam, Bhadrayus Charitram etc.
Like Tyagaraja who was a Telugu Brahmin born in Tamil
Nadu composed extensively in Telugu and Sanskrit, Sri Sivan, a Tamil
Brahmin, born in Padmanabhapuram composed extensively in Tamil
and Sanskrit
In fact all Keralites, especially Trivandrum can take pride
that it is in Thiruvananthapuram, that the Tamil compositions got
rejuvenated. Even after the passing away of Maharaja Swathi Tirunal-
a unique star in the firemen of music, an epoch come to an end. But
the fountain of perennial music still continued its flow with
undiminished divine fervour through geniuses, like ‘Sri Neelakanta
Sivan’.
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The Group Kirtanas of Maharaja
Sri Swati Tirunal
His Highness Sri Swathi Thirunal Maharaja who lived from
1813 to 1847 A.D, had made his mark in the world of Carnatic Music,
not only as a first-rate composer, but also as a superb musician. Not
only Travancore, but the whole of Kerala is indebted to him for the
exceptional manner in which he enabled Kerala to keep intact the
Swadesi culture of this coast in art and letters.
His compositions are in Sanskrit, Malayalam, Telugu,
Marathi, Kannada, and Hindi. His works on the subject of music are
many and are found in such distant places as Poona, Agra, and Mysore
etc. He has attempted almost in all the musical forms like Gita,
Swarajathi, Padavarna, Tanavarna, Kirtanas, Padam, Javali,
Ragamalika, Tillana and Group kritis. They are considered valuable
both from the musical point of view and from literary standard. He
set a new style in compositions and in technique. Almost all his
compositions are addressed to his Ishta Devata, Lord Padmanabha.
Group Kritis are set of songs composed on a particular theme,
or particular deity. The compositions in the group kritis may be usually
five or nine. Sri Tyagaraja has to his credit, the groups like Pancharatna
kritis, Kovur Pancharatnam and so on; Muthuswami Dikshithar has
Navagraha Kritis, and Syamasastry has the famous Navaratna malika
Kritis in praise of the Goddess Meenakshi of Madurai. Maharaja Sri
Swathi Thirunal has composed the groups like Navarathri Kirtanas,
Nava vidha bhakthi Kirtanas and Utsavaprabandha Kirtanas.
The Navaratri Kirtana comprise a set of 9 songs, sung as the
principal song, sung one on each day on the nine day Navarathri
Festival in Thiruvananthapuram. These particular songs are sung by
great Vidwans, with raga alapana, tanam, niraval and swaram, along
with other Kirtanas in front of Goddess Saraswathy in the Navaratri
Mandapam. The sahithyas of these songs are poetic and charming.
The ideas are also very beautifully brought out in them, The songs
are composed in Sanskrit language. Out of these nine songs, while
the one in Sankarabharanam raga has a pallavi, Anupallavi, and 4
charanas and other eight kirtanas have a pallavi, Anupallavi and 3
charanas. While the six kirtanas are set to Adi tala, the three in Bhairavi
raga, Sudhasaveri raga and Nattakurinchi raga are composed in Chapu
tala or Tisra Triputa tala. The last kirtana ‘Pahi Parvatha’ in Arabhi
raga, is the very popular one among the nine kirtanas. The nine
Navarathri Kirtanas are:-
1) Devi Jagadjanani- Sankarabharanam- Adi
2) Pahimam Sri - Kalyani - Adi
3) Devi Pavane - Saveri - Adi
4) Bharati mamava - Todi - Adi
5) Janani mamava - Bhairavi - Chappu
6) Saroruhasanajaye- Pantuvarali - Adi
7) Janani pahi - Sudha Saveri - Chappu
8) Pahi janani - Nattakurinchi - Chappu
9) Pahiparvathe - Arabhi - Adi

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Of these nine kirtanas, the first three songs are in praise of
Goddess Saraswathy, the next three on Goddess Lakshmy and the
last three in praise of Parvathi. The ragas used for these songs are
Sankarabharanam, Kalyani, Saveri, Todi, Bhairavi, Pantuvarali,
Sudhasaveri, Nattakurinchi and Arabhi:- five janya ragas and four
Melakartha ragas. In all those ragas the raga bhava is clearly and
beautifully brought out.
Another set of nine kirtanas describe clearly the nine types of
Bhakti. The nine songs are collectively known as Nava Vidha Bhakti
Kirtanas or Navaratna malikas. The Maharaja possessed an absorbing
devotion to Sri Padmanabha, his Ishta Devata and all his compositions
are characterised by Uttama bhakti. The nine kinds of Bhakti namely,
Sravanam, Kirtanam, Smaranam, Padasevanam, Archanam,
Vandanam, Dasyam, Sakhyam and Atmanivedanam are described
beautifully through 9 kirtanas. These 9 kirtanas are also addressed to
Lord Padmanabha. The sahityas are in Sanskrit
language. The nine songs are:
1) Bhavatheeyakatha - Bhairavi- Adi - Sravanam
2) Thavakamani - Kedaragaula- Jhampa- Kirtanam
3) Satatam - Neelambari- Chapu- Smaranam
4) Pankajaksha tava - Todi - Rupaka- Padasevanam
5) Aradhayami - Bilahari- Chapu- Archanam
6) Vande deva deva - Begada- Rupaka- Vandanam
7) Paramapurusha - Ahiri - Chapu- Dasyam
8) Bhavati Viswaro - Mukhari- Chapu- Sakhyam
9) Devadeva kalpayami- Nadanamakriya- Rupaka- Atmanivedanam
Except the one kirtana, ‘Pankajaksha tava’ in Todi raga all
the other 8 songs are set in janya raga like Bhairavi, Kedaragaula,
Neelambari, Bilahari, Begada, Ahiri, Mukhari and Nadanamakriya.
Among these 9 songs four kirtanas are set to Chappu tala, three in
Rupaka tala, one in Jhampa tala and one in the Adi tala. All the nine
kirtanas are beautiful ones.
Another set of 12 kirtanas are composed in Malayalam
language and with Sanskrit slokas. This group is known as
Utsavaprabandha. The 12 songs describe the ten day festival in the
Sri Padmanabhaswamy Temple of Trivandrum.
Utsavas are conducted as ten day festivals twice a year in the
months of Alpasi (October-November) and Panguni (March-April)
with all pomp and gaiety in the city of Thiruvananthapuram. The Kritis
are:
1) Pankajanabhotsavam- Mohanam -Chapu
2) Panjasayaka - Neelambari-Adi
3) Pankajakshanam - Todi -Rupaka
4) Kanakamayam - Huzeni -Rupaka
5) Andolika Vahane - Anandabhairavi-Chapu
6) Syananduresan - Kurinji -Adi
7) Indirapathy - Navaroz -Rupaka
8) Sibikayil -Mangala kaisiki-Rupaka
9) Neelappuri -Yadukula kamboj-Rupaka
10) Saradindu sama -Kamboji -Chapu
11) Nagasayanana -Pantuvarali-Adi
12) Sarasijanabha -Sourashtram-Chapu
Among these kirtanas, except the two in Pantuvarali and Todi
ragas, all the other ten kritis are composed in janya ragas. Five kritis
are set to Rupaka tala, four are set to chappu tala, and three kritis are
set to Adi tala. This group is a Manipravala prabandham.

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Of these kritis, the ‘Panjasayaka’ and ‘Sarasijanabha’ have
the sections pallavi, Anupallavi, and three charanas, but the kriti
Pankajanabha has pallavi and four charanas. Other nine have pallavi
and a number of charanas but no Anupallavi. These Utsavaprabandha
kritis have been composed by Maharaja to give a graphic account of
the utsavam in his ecstasy and bhakti in Lord Padmanabha.
During the Utsavas, each day the above said procession takes
place inside the temple twice a day in the evening and in the night.
For these functions, only particular compositions are played through
the Nagasvaram. On the first day for the procession, the varnam ‘Sarasa
sundara’ in Neelambari raga is played with raga and swara in detail
and then a kirtana ‘Pankajanabhotsva’. On the second day, for the
evening procession ‘Kalayani’ kirtana in Kannada raga is played with
elaborate raga; for the night procession Sankarabharanam raga varna
‘Chalamela’ and the kirtana ‘Panjasayaka’ is played. For the third
day evening, Atana raga varna ‘Sarasijanabha’ and ‘Kanakamayam’
in Huzeni raga. For the night Kamboji Ata tala varna ‘Sarasijanabha’
and any one kirtana. For the fourth day evening ‘Panjabana thanu’.
For the night Chakravaga raga kirtana ‘Sarasijanabha’ and ‘Vande
deva deva’. For the fifth day evening Saveri raga varna ‘Saveriha
tanuja’ and ‘Andolika vahane’ for the night Surutti raga padam
‘Viditam te’ and ‘Tavaka namam’ in Kedaragaula raga. For the 6th
day a varna ‘Savamarusha’ and Syananduresan’ is played. For the
night a varna and ‘Krishnakaruna’ in Anandabhairavi raga. For the
7th day Bhairavi raga varna ‘Sarasanayana’ and ‘Indirapathy’ is played.
For the night ‘Samininne’varna in Yadukulakamboji and ‘Pari
pahimam’ in Kalyani raga. For the eight day evening Dhanyasi raga
varna ‘Ha hanta vanechitaham’ and ‘Sebikayil; in Mangala Kaisiki
raga. For the night ‘Chalamela’ varna and ‘Saradindu’ in Kamboji
raga. For the 9th day evening ‘Saturakamini’ varna and ‘Neelappuri;
in Yadukulakamboji raga. For the night ‘Jalajanabha’ in Pantuvarali
raga. For the 10th day evening ‘Nagasayana; and one Srinaga kirtanam
and with this the procession moves out of the temple through the
western nada for Arat. At the time the Kalyani varna ‘Satura’ is played
first. Then ghana raga varna Bhairavi, Kamboji, Sankarabharanam
are played and during the Arat time, ‘Nagasayanana’ in Pantuvarali
and ‘Rajeevaksha’ in Sankarabharanm is played. When they return a
Kalyani note is played first and then the ‘Saradindu’ and
‘Sarasijanabha’kirtanas and padas till they reach near the temple.
When they reach the ‘Sankuchakra mandapam; very near to the temple
‘Ha hanta’ and ‘Jalajanabha’ are played. Then ‘Sarasijanabhanin’ in
Sourashtram and ‘Bhujagasayine’ is played finally when the idols
Padmanabha, Narasimha and Sri Krishna are taken inside the temple.
With this the festival comes to an end.
Whenever the idols are taken out and placed in the Vahanam
for procession, then it is a rule that the note in Kalyani raga should be
played first always. The Kalyani note begins with ‘GG gs s r g ”’
Thus only particular kirtanas and varnas fixed for each day and for
each function are played during the Utsavams. Only Sri Swathy
Thirunal Maharaja’s compositions are used. Likewise, there are
particular kulam to be played during particular festivals like ‘Ponnu
Seeveli’, Lakshadeepam, and so on.
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Structure of Vocal Concert
A vocal concert generally consist of Varnam, Kriti, Raga
Alapana, Tanam, Niraval, Kalpana svaram, Padam, Javali, Bhajan,
Tillana and Mangalam which together constitute a structure for a vocal
concert. In Carnatic music compostions and improvisation have equal
importance. Composition means a musical form like Gitam, Jatisvara,
Svarajati, Varnam, Kriti, Kirtana, Ragamalika, Padam, Bhajan, Javali,
Tillana etc. already set in tune within a tala. Among the above musical
form gitam, jatiswara, svarajati, and varna are known as Abhyasa
gana forms, i e for practicing exercising purposes. The other musical
forms like varna, kirtanam, kriti, padam, ragamalika etc are called as
Sabha gana forms used in performance only and not for sadakam.
Apart from the musical forms, there are items like Raga alapana,
Niraval, Kalpana svara, Tanam etc, which come under improvisation.
In raga alapana, the singer or musician renders a series of svara
phrases, short and long in regular and zig zag manner using the words
‘ ta dha ri na’ in different tempos. This is the alapana of a raga which
is considered as the most important aspect of carnatic music. In this
term, rhythm has no place. The tanam is rendered by using svara
combination only but the words ‘Anandam Namta tom ta nam ta’ are
used some what like alapana. This is a measured type of music wherein
the rhythm has control over the Tana phrases and is sung in medium
speed or madhyama kala. Thus Tana is usually rendered as a predule
to a ‘Ragam Tanam Pallavi’ item only.
Niraval is the singing of a meaningful line of a kriti several
time by elaborating with different combinations of svara phrases of
that particular raga and within the tala. The lyrics will be same, music
part will be improvised. This needs a high command over raga and
tala since this is developed spontaneously and without any pre-
homework.
After the niraval, kalpana svara is sung for that niraval part.
The svara phrases of short avarta and the 1,2,4,6,8 avartas respectively
are framed and sung on the spot. When the svara phrases for a very
long avarta is sung by the singer, it is finished with a Korappu
(gradually descending order of svaras) where the accompanying artists
also join together and after that they reach the finishing point.
For singing raga alapana, niraval and kalpana svaras, the
musicians should have a good grip over svara, raga and tala knowledge
and creative ability to perform with perfection. In other words a
musician should have Lakshana jnana and Lakshya jnana.
A classical music concert includes both Kalpitam and Kalpana
sangitam. Usually one third of the available item will be set apart for
improvisation and manodharmam. Through a concert a musicians aim
to enhance the dignity of art and to invigorate the audience as well as
to attain self satisfaction.
Items for a Vocal Concert
1.Varnam
2.A kriti in praise of Ganapathi or Saraswathi with kalpana swaras
3.A brief alapana, a kriti with kalpana swara
4.A brisk kriti
5.A main item- ragam, kriti, niraval and svaram (This will be
followed with a Thaniyavartanam in mridangam
6.A padam or a Bhajan or Thiruppugzh or javali
7.Thillana
8.Mangalam l

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Sangeetha Paraagam | Aspects of Carnatic Music - Brehath Sangeetha Kendram

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Sangeetha Paraagam | Aspects of Carnatic Music - Brehath Sangeetha Kendram

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