Thai Literature

hai literature has had a long

history. Even before the establishment of the Sukhothai Kingdom
there existed oral and written works.
Generally, Thai literature is divided
into four different periods:
1. Sukhothai Period (circa 12381377)
2. Ayutthaya Period (1350-1767)
3. Thon Buri Period (1767-1782)
4. Rattanakosin Period (1782present)

1. Sukhothai Literature
(1238-1377)
The literary works in this period
were designed to reaffirm national
cultural identity, political stability and
spiritual values, with the monarchs
taking the lead in the promotion of arts,
religion and public administration.
Thus, the stone inscription of King
Ramkhamhaeng and those of others
relate stories about the way of life
of the people at that time in an
agricultural society governed by
some kind of kinship system.
Most literary works were written
in simple prose with certain alliteration
schemes. Major works include
King Ramkhamhaengs Stone

Inscription, Stone Inscription at

Wat Sichum, Stone Inscriptions at
Wat Pa Mamuang, Phra Ruangs
Proverbs and Traiphummikatha.
King Ramkhamhaengs Stone
Inscription is considered the first
Thai literary work in Thai script. It
gives an account of the life of King
Ramkhamhaeng the Great, the way
of life of Thai people in general,
laws, religion, economic and political
stability.
The Stone Inscription at Wat
Sichum is a narrative prose ascribed
to the Venerable Phra Maha Sisattha
Ratchachulamani, who preached
Ceylonese Buddhism in Sukhothai.
Written between 1347 and 1374
during the reign of King Lithai, it
gives an account of the origin of
the ruling Phra Ruang Dynasty,
the construction of the twin cities
of Sukhothai and Sisatchanalai, the
construction of the stupa containing
the Buddhas relics, and the planting
of sacred bo trees in homage to the
relics. Such planting is believed to
have started the practice of planting
bo trees in all monastery compounds.
The Stone Inscriptions at Wat
Pa Mamuang (tablets 4, 5, 6 and 7)

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are probably the earliest translated

literary works. The four tablets were
inscribed with the same message
in three different languages: Thai,
Khmer and Pali. They were written
around 1362. They describe the
creation of religious objects and
monuments and the construction of
a forest monastery for King Lithai,
a retreat for his religious practice and
study of the Tripitaka.
Phra Ruangs Proverbs is a
collection of traditional Thai sayings
believed to have originated during
the Phra Ruang dynasty. They reflect
the ideal way of life of the ancient
Thai society.
Traiphummikatha or commonly
known as Trai Phum Phra Ruang,
was written in 1345 by King
Lithai, the fifth king of Sukhothai.
It expounds Buddhist philosophy
based on a profound and extensive
study with reference to over 30
sacred texts. The work could be
considered the nations first piece
of research dissertation. It was
written in beautiful prose rich in
allusions and imagery. It is a treatise
on Buddhist cosmology, ethics,
biology and belief system.

2. Ayutthaya Literature
(1350-1767)
The literature of this period
started with the establishment of
Ayutthaya in 1350 by King U
Thong, the first king of Ayutthaya
Kingdom and ended in 1767 in the
reign of King Suriyat Amarin. A long
span of 417 years witnessed an
impressive array of literary works in
both substances and forms.
The period produced a variety
of forms on diverse subjects. New
poetic forms were created, with
different rhyme schemes and metres.
It is common to find a combination
of different poetic forms in one
poetic work, resulting in lilit (a combination of rai and khlong), kap ho
khlong, kap he ruea (a combination
of kap and khlong), klon konlabot
and phleng yao. Besides, the title
name of poetry could describe the
nature of its contents. For example,
a poem with a title name of kamsuan
is a lament over the parting from a
loved one. Thus, Khlong Kamsuan
Si Prat is a tragic story of a courtier
named Si Prat serving under King
Narai the Great, who was banished,
mistreated and executed. Similarly,
a poem with a title name of nirat
is a description in verse of a journey

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with a lament over the separation

between two lovers. Some examples
of nirat are Khlong Nirat Hariphunchai, Kap He Ruea and Kap
Ho Khlong on the Visit to Than
Thongdaeng by Prince Thammatthibet.
The Golden Age of Thai Literature
of Ayutthaya was manifest in three
reigns:
1. During the reign of King
Borommatrailokkanat (14481488) there were three major works.
Lilit Yuan Phai is a narrative poem
describing the war between King
Borommatrailokkanat of Ayutthaya
and Prince Tilokkarat of Chiang Mai.
Lilit Phra Lo, voted the best of
lilit by King Rama V Is Royal
Literary Club in 1916, had its origin
in a folktale in the north of Thailand.
It tells a story of love and passion
that ends with the deaths of the
young lovers, Prince Lo or Phra Lo
the ruler of the city of Suang, and
Phra (Princess) Phuan and Phra
Phaeng, daughters of the ruler of the
city of Song. The two principalities
were bitter enemies. The romantic
but ill-fated union of the three young
royalties culminated in the bloody
assaults by the palace security guards
in which the lovers all died fighting.

It is a story of love, bravery and

sacrifice, showing the power of love
and tragic ending.
Mahachat Kham Luang, written
in the style of Buddhist chant, was a
collection of works by a group of
scholars commissioned by King
Borommatrailokkanat. It tells the
story of Prince Wetsandon and the
virtue of giving.
2. The next prolific age of literature
is in the reign of King Narai the
Great (1656-1688) which saw a rise
in such didactic literature as Khlong
Phali Son Nong, Khlong Thotsarot
Son Phra Ram and Khlong
Ratchasawat. Khlong Phali Son
Nong is concerned with the principles
of entering into royal service while
Khlong Thotsarot Son Phra Ram
is mainly about how to govern and
Khlong Ratchasawat about how to
act as a good courtier. They were the
works of King Narai the Great.
Chinda Mani was the first
textbook of lessons on the Thai
language and literature compiled and
composed by Phra Horathibodi.
Another important literary work is
Phraratcha Phongsawadan Krung
Si Ayutthaya, commonly referred to
as Phongsawadan - Luang Prasoet
Aksonnits Version, chronicling

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royal and public ceremonies and

festivities in each month of the year.
Khlong Nirat Hariphunchai, the
first Thai khlong nirat, describes
a poets love and longing for his lady
while on a scenic journey to Lamphun
to pay respect to the Buddhist
relics in the ancient kingdom of
Haripunchai.
3. The third golden age of
Ayutthaya literature is in the reign
of King Borommakot (1732-1755).
One of the most beautiful literary
works is Kap He Ruea composed
by Prince Thammathibet comparing
the scenic beauty to that of his
beloved lady on a boat journey in
the nirat tradition. Traditionally, the
verse is sung during the colourful
royal barge procession. It has been
the model for subsequent poets
to emulate. The same prince also
composed the greatly admired Kap
Ho Khlong on the Visit to Than
Thongdaeng and Kap Ho Khlong
Nirat Phrabat. Another major work
is Punnowat Kham Chan by a
monk named Phra Maha Nak of Wat
Tha Sai. The poem describes a visit
to Phra Phutthabat or the Buddhas
Footprint Shrine in Saraburi province.
In addition, there is performing
or dramatic literature including

I-Nao, Dalang, Ramakian (a Thai

version of the Ramayana), Sang
Thong and Khawi. Some pieces are
designed for recitals or accompaniments to the mask dance, shadow play
and other dances such as Manora.

3. Thon Buri Literature

(1767-1782)

Despite its short period of 15 years,

Thon Buri produced Ramakian, a
verse drama to which King Thaksin
the Great contributed his poetic talent.
The revival of literature at this time is
remarkable since the country had not
quite recovered from the aftermath of
war. Some poets who later became a
major force in the early Rattanakosin
Period had already begun writing at
this time. Luang Sorachit, better
known as Chao Phraya Phra Khlang
(Hon), wrote Lilit Phetchamongkut,
a poem based on an old Brahmin tale
while his I-Nao Kham Chan was
drawn from the Javanese source. The
Thon Buri Period saw the emergence
of a new genre, an account in verse
of foreign travel. For instance, Nirat
Phraya Mahanuphap, sometimes
called Nirat Kwangtung, was
written by Phraya Mahanuphap
recording the activities of a Thai
delegation on a diplomatic mission
to China in 1781.

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4. Rattanakosin Literature
(1782-present)
After sporadic fighting at the
beginning of the period, the country
gradually returned to normal. It is
only natural that many of the early
Rattanakosin works should deal with
war and military strategy. Some
examples are Nirat Rop Phama Thi
Tha Din Daeng, Phleng Yao Rop
Phama Thi Nakhon Si Thammarat,
Sam Kok (a translation of the Chinese
chronicles that recount the war
between the three kingdoms) and
Rachathirat (a translation of a war
story from the Mon chronicles). When
peace finally came, order was restored.
Laws of the country were revised and
historical events were once again
systematically recorded. As a result,
there came into being a historic
legal document, Kotmai Tra Sam
Duang or the Laws of the Three
Seals and the PhongsawadanPhan Chanthanumats Version.
During this period there sprang
a great wealth of Buddhist literature.
Jataka tales include Nibat Chadok
and Hitopathet. Didactic literature
was also plentiful, e.g. Kritsana Son
Nong Khamchan, Suphasit Son
Ying, Lokkanit Kham Khlong,
Itsarayan Phasit, King Rama VIs

Thamma-Thamma Songkhram
and other royal speeches.
There were a great number of
emotive literary works in the early
Rattanakosin period, some modelled
on Ayutthaya and Thon Buri traditions, others being new creations. Some
examples of the former category are
nirat poems, phleng yao poems
(lyrics) and tales. Nirat London
was something of an innovation like
Nirat Kwangtung in the Thonburi
period. It was written by Mom
Rachothai, the first Thai-English
interpreter. One of the most emotive
works with a style of its own, exciting subject matter and international
outlook is Phra Aphai Mani, a long
narrative poem by Sunthon Phu.
Parody also made its first appearance
in Raden Landai, a play by Phra
Maha Montri (Sap), mocking the
classical I-Nao with a congenial
sense of homour and wit.
In the performing arts, perhaps
the most important dramatic
achievement is the complete work
of Ramakian by King Rama I. In
addition, there were dance dramas,
for example, Unarut, Dalang, and
I-Nao. There were also verse recitals
with musical accompaniment, such
as mahori telling the story of Kaki,

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sepha relating the story of Khun

Chang-Khun Phaen. Other recitals
include Si Thanonchai and Nitthra
Chakhrit. The latter work is based
on The Tales of One Thousand and
One Nights.
Literature has been closely
associated with Thai life. In the
earlier times, it was often recited at
ceremonies and on other traditional
occasions. For instance, when a
ceremony to calm royal elephants
was held, the assigned officials
would recite Kham Chan Dutsadi
Sangwoei Klom Chang or Kap
Khap Mai Klom Chang. On the eve
of the ordination ceremony, Rai
Tham Khwan Nak would be chanted.
At the annual celebration of Maha
Chat, one would hear the chanting
of Rai Yao Maha Chat.
With the printing of books and
issuance of journals and magazines,
new forms of writing appeared,
especially in prose. The first daily
newspaper in Thailand was called
the Bangkok Daily Advertiser, which
came out in 1868.
Another development was the
writing of prose essays designed to
spread knowledge and information
as well as to express opinions and
criticisms. Short stories and novels

also made their first appearances.

The first Thai essayist was King
Rama V who wrote Phra Ratchapithi
Sipsong Duean in 1888. Another
essayist of great merit was Prince
Damrongrachanuphap or Prince
Damrong (1862-1943) who was an
expert in history and archaeology.
The first Thai short story writer was
Prince Phichitprichakon who wrote
Sanukninuk in 1885. The forerunner
of novel writing was Phraya
Surinthracha or Nokyung Wisetkun
under the pseudonym of Mae Wan.
He translated Vandetta by Marie
Corelli into Thai, the Thai title
being Khwam Phayabat.
What is striking about the
literature of the Rattanokosin Period
is that all the kings have played
an important part in promoting
and creating literary works. Their
contributions and dedications to
the literary cause have led to the
proliferation of high-quality literary
outputs whether they were original
works or translations.
The Rattanakosin period was
experiencing an internal social
transformation and external influence
from the West. In the wake of the
setting up of the printing press in
1844, most works were written in the

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Western style, as can be seen in

magazine and newspaper articles,
short stories, novels and literary
translations.
After the establishment of constitutional monarchy in 1932, the
Thai literary scene has been geared
toward popular literature. The novel
has enjoyed immense popularity.
Novels come in many types and
tastes. Some are historical while
others represent political ideals.
Adventure stories are mostly inspired
by Chinese or Japanese works.
Mystery and spy stories as well as
light fictions are also popular.
Modern Thai poetry inherits
much from the earlier Rattanakosin
experimentation. For example, King
Rama VI introduced several forms
of verse characterized by new rhyme
schemes including Khlong Sinthumali,
Maha Sinthumali, Chitlada and Maha
Chitlada. Another innovator of poetic
forms was Prince Phitthayalongkon
(under the pseudonym of N.M.S.) who
invented Sayam Ratthana Chan. Such
creative force is also seen among
modern poets such as Khru Thep and
Mr. Angkan Kanlayanaphong.
In terms of the relationship
between poetry and the lives of the
Thai people, nothing comes anywhere
near songs. There is a vast array of

musical compositions and songs _

classical, modern, Thai-Western, and
country. There are also songs that
reflect Thai life in rural areas.
Generally speaking, Thai modern
drama is modelled in the most part
on its Western counterpart. Other
types of dramatic art that should
be mentioned here are radio and
television plays. Radio plays emerged
in 1937, characterized by wordplay
and humorous incidents. The first
Thai television play was a comedy
with incidents taken from Khun
Chang-Khun Phaen. Directed under
Khru Neo Duriyaphan, the play was
first televised in 1955 on Thai TV
Channel 4, the first television station
in Thailand. At present, many modern
television plays are adaptations of
popular novels.
With a long history of more
than 700 years, Thai literature has
become quite complex and varied.
Thanks to the literary tradition, it
still goes strongly with the tide.
Contemporary fictions, short stories,
poetry, plays and movies are now
concerned with social, economic and
psychological issues. They grapple
with new social and cultural values.
Whatever direction Thai literature
will take, one thing is certain. It will
always keep the Thai character.

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