Rev.

01 Dated 10/12/2022

NETHAJI MEMORIAL ARTS AND SCIENCE COLLEGE, NEMMARA

DEPARTMENT OF COMMERCE AND MANAGEMENT
STUDY MATERIAL

Class & Year of Admission Bcom /BBA , 2022

Course with Code ENG2A04, Readings on Kerala

Semester Second

Hours per week 5

Credits 4

Prepared By (Name of Anusha D, Shahana.H

faculty)

Syllabus
Module 1: Formation

1. “History” (Prose) excerpt from Malabar Manual – William Logan

2. “Tribal Tale of Kerala" (Prose) excerpt from Kerala Culture – Prof S Achutha Warrier
3. “Ghoshayatra” (Poem excerpt) – Kunchan Nambiar
Module 2: Evolution
1. Excerpt from Indulekha (Novel) -O. Chandu Menon
2. Excerpt from “Atmopadeshashathakam” (Poem) - Sree Narayana Guru
3. “Not an Alphabet in Sight” (Poem) –
Poykayil Appachan
4. “ Ayyankali: A Dalit Leader of Organic Protest” (Prose-excerpt) -
M. Nisar,Meena Kandasamy
5. “Vakkom Moulavi: My Grandfather, the Rebel” (Prose) - Sabin Iqbal
Module 3: Stimulation
1. “Daughter of Humanity” (Story) - Lalithambika Antharjanam
2. “Kuttippuram Paalam"(Poem) – Edasseri
3. “Christian Heritage” (Story) - Vaikom Muhammad Basheer
Module 4: Propagation
1. “Myth and Literature” (Speech) -M T Vasudhevan Nair
2. “Rain at Heart” (Poem) –Sugathakumari
3. “Fifty years of Malayalam Cinema” (Prose) - VC Harris
4. “Malayalam’s Ghazal” (Poem) – Jeet Thayil
5. “Agni” (Story) - Sithara A
6. "Pictures Drawn on Water"( poem) - K.Satchidanandan
MODULE : 1
FORMATION
 Chapter 1
History
EARLY HISTORY OF MALABAR
WILLIAM LOGAN
SHORT BIO
William Logan (1841-1914) is remembered for his 1887 guide to the Malabar District,
popularly known as the Malabar Manual. He was the Sub-Collector and Joint Magistrate of
North Malabar under the British Administration. It is believed that O. Chandumenon, author of
Indulekha, helped William Logan in the preparation of Malabar Manual when the former was
working under him.

SHORT ANSWERS
1. Vasco da Gama started his journey from Lisbon on _ _ _ _ _.
Vasco da Gama started his journey from Lisbon on the 25 March 1497.

2. What was the name of Gama’s fleet?

Gama’s fleet consisted of three small vessels called the San Raphael, the San Gabriel and the San Miguel.

3. Which Mountain range is mentioned as the ‘great mountain’?

Mount Dely, identified as Ezhimala, is mentioned as the ‘great mountain’.
4. Which city was named Capocate?
Kappad town was named Capocate.
5. Who was Nicholas Coelho?
Nicholas Coelho was an expert Portuguese navigator and explorer. He was one of the three captains who
accompanied Vasco da Gama in the discovery of the sea route to India in 1498.
 PARAGRAPH QUESTIONS
1. Describe the journey route of Gama from Lisbon to Calicut?

Gama sailed from Lisbon, the capital of Portugal on 25 March 1497, with a fleet of three small vessels.
They passed the Canary Islands on 15 July, and reached Santiago in the Cape Verde Islands on 26 July.
The fleet reached Santa Helena on 18 August. Rounding the Cape of Good Hope in November, they
reached Natal on Christmas Day. The fleet reached Mozambique in March 1498 and Melinde on 29
April. From there, with the help of a Gujarati pilot who knew the route to Calicut, Gama reached
Calicut on 20 May 1498.
2. Illustrate Gama’s meeting with the Zamorin of Calicut?
Da Gama visited the Zamorin in person. He proceeded to the interview accompanied by twelve men
who were well dressed. Gama was also brilliantly dressed. The king, the Zamorin, was sitting in his chair
in all grandeur. Da Gama and the king saluted each other. The king asked him to be seated but Da Gama
declined the honour, and remained standing. In the interview that followed, they discussed the prospects of
trade. The Portuguese had been allowed to erect a factory on shore for trading purposes. Da Gama was at
this factory after his interview with the king. The first meeting ended in this way in a successful manner.

ESSAY QUESTIONS
1. Discuss how the Portuguese established their trade with India?

William Logan’s Malabar Manual published in 1887 gives a detailed account of how the
Portuguese established their trade with India. Da Gama sailed from Lisbon, the capital of Portugal on
25 March 1497, with a fleet of three small vessels. Via Canary Islands, Santiago, and Santa Helena in
the Atlantic and round the Cape of Good Hope, Da Gama reached Natal on the Christmas Day in 1497.
Crossing Mozambique and Melinde on the western coast of Indian Ocean, he finally reached Calicut on
20 May 1498. Da Gama visited the Zamorin in person. The brilliantly dressed Gama met the royal
Zamorin. Though the king asked him to be seated, Da Gama declined; he chose to remain standing. In
the interview that followed, they discussed the prospects of trade. Da Gama pressed for freedom to
trade in the produce of the kingdom. He also explained what he could give in return. The Portuguese
had been allowed to erect a factory on shore for trading purposes. Da Gama was at this factory after his
interview with the king. The first meeting was successful. After that, Da Gama was also invited for a
second interview with the Zamorin. The Palace Guard arrived there with a palanquin to conduct Da
Gama to the palace. It was for the first time that a European sailed to India. The Portuguese
successfully established their trade with India in this way.
2. Evaluate ‘Malabar Manual’ as a historical narrative?

William Logan’s Malabar Manual published in 1887 is a historical narrative. The book gives
a lot of precise information about the region of Malabar in those days Published in 2 volumes, the
book uses illustrations and maps. It is a documentary of the 1880s. The book tells us about geography
of Malabar, its flora and fauna, the inhabitants, their culture, religions and castes. It also gives detailed
information about the occupation of the people, their livelihood, language, literature and economy.
Malabar Manual has four chapters such as Province, People, History and Land. It also has several
subsections. It is the fruit of Logan’s extensive research. Logan has also included the first-hand
information he got from his travels and close interactions with people across the length and breadth of
the region. The first chapter gives geographical information. Chapter 2 describes religion, caste,
customs, language and literature in detail. The third chapter narrates the history of Malabar – its
competition for pepper and other commodities, the Mysore invasion and the British rule. Chapter 4
provides information on tenancy and land tax. Several Manuals on the various districts of the then
Madras Province were published during the time. However, Malabar Manual is the only manual that
attracts historians and scholars as a historical narrative.
 CHAPTER 2
HISTORY
TRIBALS OF KERALA
Prof. S. ACHUTHA WARRIER
SHORT BIO
Prof. S. Achutha Warrier is a former professor of Malayalam. This essay, provides an overview of the tribal
life and culture in Kerala. The general attitude of Indians to adivasis and their lives is inherited from the
colonial masters. The Europeans considered the tribals as savages and uncivilised.

SHORT ANSWER
1.In which present-day districts were the weapons of the Neolithic age (New Stone Age) found?
The weapons of the Neolithic age were found in the present-day districts of Kozhikode and Ernakulam.
2.Where can we see the largest adivasi settlements in Kerala?
We can see the largest adivasi settlements in Wayanad in Kerala.
3.What is known as kudippaka?
Kudippaka is community feud. It means if a member of a community is attacked by a member of
another community, the entire community will avenge him/her. It was considered a primary social
responsibility of the community.

4. Which of the tribes is the most backward?

The Paniyar tribe is the most backward among the adivasis of Kerala.
5. In what way is matrilineal system associated with agriculture?
Women were largely engaged in agriculture and related labour in those days. So, the tribes which were into
farming followed matrilineal tradition. The Pulayar, Parayar, Kanikar and Malambandarans of erstwhile
Travancore and Kurichiyar of Malabar followed matrilineal tradition.
 PARAGRAPH QUESTIONS
1. Australoids and Dravidians?
Australoid is a major division of humankind, according to archaeologists. Majority of Indian tribes
including that of South India are Australoid. The Adivasi tribes of Kerala have striking similarities with
the tribes in Australia and Ceylon. It shows a common origin. The physical features of the Kerala tribes –
round face, curly and silky hair, fat and swollen nose, dark complexion – are similar to the Australoid.
Linguistically, the tribals in Kerala belong to the Dravidian family. Some speak a mixture of Malayalam-
Kannada, some others a mixture of Malayalam and Tamil, while a few others speak Malayalam with
dialectical peculiarities.
2. Rituals of the tribes of Kerala?
Kerala tribals have their own rituals. They worship Kali, Hill Gods and Muthappan, besides other natural
forces. Muthappan is a representative of the ancestors of the community. Kali worship is part of the
gothra culture. Kali has different manifestation s such as Rakta Kali, Mahakali, Chamundy and Raktha
Chamundy. Kali’s anger is believed to cause natural calamities like flood, drought and epidemics.
Offerings of milk, blood and alcohol are believed to make Kali happy. Worshipping the dead is
common. Adivasis bury their dead along with the materials used by them. Some tribes also leave
memory stones at the burial site.

ESSAY QUESTIONS

1. Trace the origin and growth of tribals in Kerala.

The essay, “Tribals of Kerala” by Prof. S. Achutha Warrier provides an overview of the tribal
life and culture in Kerala. It also traces the origin and growth of tribals in Kerala. The remains
of the Paleolithic age (Old Stone Age) were found at various places in South India, but not in
Kerala. However, weapons of the Neolithic age (New Stone Age) were found in Kozhikode and
Ernakulam districts. So, it is believed that people began living here around 4000 years ago.
The most backward tribals in India li ve in the south, including Kerala. As per archaeological
studies, a majority of the Indian tribals belong to the Australoid division of humankind. Adivasi
tribes of Kerala have striking similarities with the tribes in Australia and Ceylon. The physical
features dark complexion are like those of the Australoid. Kerala has more than 20 tribal
communities. Most of them live in Wayanad, Attappadi, Devikulam, Peerumedu and Udumbanchola.
Paniyar, Kurichiyar and Irular are the majority. Paniyar is the most backward. Kurichiyars are
seen in Wayanad. Because of their skills in archery, they were the soldiers of Pazhassi Raja in
the war against the British. In tribal population, Attappadi comes

second after Wayanad. Here the largest community is Irular. Kanikkar tribe lived in caves and
tree houses till the last century. They lived on fruits, tubers, forest resources and animals hunted
by them. This is how the essay traces the origin and growth of tribals in Kerala.
2. Social life of the tribal communities in Kerala. OR [Reflect on the lifestyle of early tribal people
of Kerala.]
The essay, “Tribals of Kerala” by Prof. S. Achutha Warrier provides an overview of the
tribal life and culture in Kerala. It also discusses the social life of the tribal communities. [It
 also discusses the life style of the tribal communities.] In Kerala, the tribals live in communities
called gothrams. Gothrams join together to form Ganam. Each Ganam has a unique symbol that
ensures its social unity. The symbol can be a tree or animal. Neem, kadamba, fish and bow are
examples. The places to gather food by fishing and hunting and the food thus gathered are the
common property of the gana. However, ornaments, utensils and weapons are of private
ownership. Blood relations and descent determined the rights and duties of each member of the
group. There were two types of descent patrilineal and matrilineal. Since women mostly did
agricultural labour, t he farming communities followed matrilineal tradition. Cattle growing tribes
followed patrilineal tradition. Property is transferred to those who had the right to perform the
after rituals of the elder. Marriages between the children of sisters and brothers (murappennu and
muracherukkan) are common. Kudippaka which is the community feud was common among
tribes. If a member of a community is attacked by a member of another community, the entire
community will avenge him/her. It was considered a primary social responsibility of the community.
The famous “vadakkan pattukal” are heroic stories of these fights between the groups. Each gothram has
a leader. The leader plays the mediator of any internal conflicts and decides the penalties for violating
rules. This is how the essay traces the social life of the tribal communities in Kerala. [This is how the
essay traces the life style of the early tribal people of Kerala.]

3. What are the present day issues and threats faced by our tribes? Elucidate

Kerala has more than 20 tribal communities. Most of them live in Wayanad, Attappadi, Devikulam,
Peerumedu, and Udumbanchola. The tribes of Kerala face serious problems these days. The forest area
is drastically reduced and resources have become scarce. Many of tribals have started small scale
farming and working in plantations. This is not the kind of life the adivasis want. But since they are
vastly uneducated and unorganised, their voice is not often heard by the authorities. A serious
problem the adivasis face is poverty and exploitation. They do not have private property and they do not
have good education to get good jobs. They are employed only as labourers in the plantations and they
are given very low wages. The profits made by the plantations go into the hands of the rich owners of
the plantations. The adivasis are forced to stay in huts with no amenities and are forced to work very
hard. This way they are exploited by the rich

people for their own benefit. In the past, the tribals were considered as untouchables. Because of
their mode of dressing, their uncouth and unhygienic appearance, and their superstitions they are not
accepted in many places like equals. They are highly marginalised as they are called savages and
uncivilised. Another issue is that the illiteracy among tribals. This is a major hindrance to their

development. The tribals are unwilling to send their children to schools and sometimes the government
has to force the grownups to send them to schools. But since the adivasis live in remote areas, it is not to
easy to ensure that all adivasis children are enrolled in schools. Then there is the problem of hygiene,
health, and nutrition. The tribals are not concerned with hygiene and they easily become sick. Many,
especially children, suffer from malnutrition. They do not get proper sanitary facilities and medic
treatment. Many adivasis like to be treated by quacks who know nothing about modern medicine. These
quacks thrive on black magic. The adivasis are very poor. They do not think about tomorrow and save
any money. In their areas, which are remote, there are no banking and other financial facilities. Nobody
teaches them the importance of saving for tomorrow. They live for the day. Another problem is that
the tribals living in a village along with caste groups, and other religious groups find it hard to maintain
their identity. Education and mingling with other people make the adivasis aware of their own
backwardness and they themselves want to get out of their style of life. The measures taken by the
governments have helped them in areas like habitat, education, health, ways of dressing and language.
But the problem is that their indigenousness is lost.
 CHAPTER 3
POEM
GHOSHAYATRA
KUNCHAN NAMBIAR
SHORT BIO
Kunchan Nambiar is a very popular Malayalam poet. He is one among the triumvirate of the great
ancient Malayalam poets, the other two being Ezhuthachan and Cherussery. A great satirist, Nambiar is also
the inventor of the performing art of Ottan Thullal. “ Ghoshayatra” is an event from Vanaparvam of
Mahabharata. “Ghosha” in Sanskrit means “a pasture where cattle and their herders live together.” So
“Ghoshayatra” means “a journey to a Ghosha.” The episode tells us how Duryodhana, the wicked
Kaurava king, becomes unhappy when he hears the news that Pandavas are living happily with the
blessings of sages and gods in the forest

SHORT ANSWER QUESTIONS

1. Who, according to the messenger, are blessed for life?
Those who are adorned with the blessings of the gurus are blessed for life, according to the
messenger.
2.What is the refuge of the Pandavas?
The refuge of the Pandavas is the Dwaithavanam where they dwell with gentle and kind
sages.
3.What is the figure speech in the line “Of the benevolent foe of inferno”?
When two words having opposite meanings come one after another, the figure of speech is
Oxymoron. Here “benevolent” means “kind” and “foe” means “enemy.” “Enemy” and “kindness”
do not match.

4. What is Duryodhana’s allegation against the messenger?

Duryodhana’s allegation against the messenger is that although the messenger eats Duryodhana’s
food, he sides with his enemies, Pandavas. The messenger speaks about the virtues of Pandavas and
the vices of Duryodhana.

5. What is Duryodhana’s opinion regarding allies and foes?

Duryodhana says that enemies are better than the friends who are generous and helpful to the
enemies.
 PARAGRAPH QUESTIONS
1. Describe the context of the poem “ Ghoshayathra”?
“Ghoshayatra” is an event from Vanaparvam of Mahabharata. Duryodhana wants to wage a
war against the Pandavas to avenge an insult. But Shakuni warns him that he will lose the
war to Arjuna and Bheema. However, on Shakuni’s advise, Duryodhana invites Yudhishtra for a
Royal Feast, and cunningly introduces a game of dice and wins. Pandavas lose everything
including their wealth and kingdom. They are sent into forest on a fourteen year exile. Curious to
know about the life of Pandavas in exile, Duryodhana send s a messenger to go and report. The
messenger returns and reports. This is the context of “Ghoshayatra”.

2. Why, according to the messenger, are Pandavas untouched by the deceitful Kauravas?
According to the messenger, Pandavas are untouched by the deceits of Kauravas because they
are adorned with the blessings of the sages; so, they are blessed for life. Despair does not touch
them. They are living merrily and peacefully with the sages in the Dwaithavanam. No betrayal of
Kauravas and Duryodhana has touched them. Pandavas are happily living at the feet of God,
who, as per the Hindu belief, is Vishnu. Vishnu is the enemy of hell and he helps those who are
virtuous. So even though the Pandavas are in exile in the forest, they are spending their days in
joy and happiness.

3. What does Duryodhana ask the messenger to do and why?

The messenger returns from Dwaithavanam and tells Duryodhana that Pandavas are happy
there. The deceits of Duryodhana have not touched them. This makes Duryodhana furious . He
yells at the messenger that when he is sent for a job, he should restrict himself to that job.
Duryodhana understands that the messenger is supporting Pandavas. He is angry that the
messenger eats his food but sides with his enemies, talks about the virtues of Pandavas and
the vices of Duryodhana. So, Duryodhana angrily tells him to soon join the Kauravas and eat
the berries and fruits of the forest.
 ESSAY QUESTIONS

1.Discuss how Kunchan Nambiar uses the poem “Ghoshayatra” to enlighten the audience.
OR
2. Comment on how the exchange between the messenger and king becomes humorous as well as
entertaining.

Kunchan Nambiar is a very popular Malayalam poet. His poems, though simple, a re full of
humour and wisdom. “Ghoshayatra” entertains and enlightens the audience. It teaches them the
importance of being virtuous to be happy. In a gamble, Pandavas

lose a bet to Kauravas. Hence, they are sent into exile for fourteen years. Duryodhana, the Kaurava
king, is curious to know about their life in exile. He is a wicked man fond of doing vicious things.
He sends a messenger to gather information and report. He hopes that the messenger will come
back and report about the miserable condition of Pandavas. The messenger, on the other hand, tells
Duryodhana that Pandavas are happy in Dwaithavanam. Duryodhana becomes unhappy. The
messenger further says that the Pandavas have the blessings of sages and gods. Duryodhana
becomes furious. He rebukes the messenger for giving a report in favour of Pandavas. He yells at
him to go and join the Pandavas. He further shouts that enemies are better than friends who are
kind towards the enemies. The poem is full of wit and humour. It teaches the audience great m
oral lessons. The story tells that virtue leads to happiness whereas vice lands us in misery and
despair. The poem also throws light on the cultural and social scenario of Kerala of those days.
Duryodhana stands for a local king in Kerala with an army of N air soldiers who are anything but
valiant. The soldiers eat, spend time with their wives and laze around. The poem entertains as well
as enlightens the audience.
 MODULE 2
EVOLUTIONS
 CHAPTER 1
POEM
ATMOPADESASATAKAM
SREE NARAYANA GURU
SHORT BIO

Sree Narayana Guru was a leading figure of Kerala Renaissance. He was also an accomplished poet. In his
renowned work Atmopadesasatakam, Guru proposes his philosophy of egalitarianism. It means “one hundred
verses on self-instruction.” Written in around 1897, it was published in 1917. The extract contains the essence
of Guru’s concept of knowledge.

SHORT ANSWER QUESTIONS

1. Atmopadesasatakam was published in the year?
1917

2. What is the meaning of the title of the poem?

It means “One hundred verses on Self Instruction.”

3. What is the meter of the poem?

The meter of the poem is Mrugendramukham.

4. According to Guru, attaining the core reality surpasses . . . .

All ordinary knowledge and the five senses.

PARAGRAPH QUESTIONS
1. “The knowledge of being the knower.” Elucidate.
There is a strong relation between knowledge and knower. Knowledge involves seeking answers
to questions. The answer requires evidence. Knowledge essentially means how well we know the
things around us. It is awareness of who we are, what we do, and where we come from. It also means
our existence along with other objects, thoughts, people, and various other things. Guru says that
attaining the core Reality is not easy. It transcends all ordinary knowledge. It radiates the knower
and all other external objects. It requires the turning inward of all senses accompanied by repeated
prostrations, reading, chanting and mastering scriptures.

2. What is Guru’s take on five human senses?

Guru says that no two people are alike. We cannot expect others to have the same experience as
ours. Our knowledge is not from our five senses only. Attaining True Knowledge transcends all
ordinary knowledge. It requires the turning inward of all senses accompanied by repeated
prostrations, reading, chanting and mastering scriptures. Knowledge, what is known, and the
knowledge of the knower are only manifestations of God. Man’s endeavour should be to be united
with God, the One that has no beginning and no end. In knowing that Reality, that Truth, that
Knowledge, the five human senses have no serious role.

ESSAY QUESTIONS
1. What is knowledge according to Guru?
A leading figure of Kerala Renaissance, Sree Narayana Guru was also an accomplished
poet. The extract from his renowned work Atmopadesasatakam contains the essence of Guru’s
concept of knowledge. There is a strong relation between knowledge and knower. Knowledge
involves seeking answers to questions. Knowledge essentially means how well we know the
things around us. It also means our existence along with other objects, thoughts, people, and
various other things. Guru says that attaining the core Reality is not easy. It transcends all
ordinary knowledge. It radiates the knower and all other external objects. It requires the turning
inward of all senses accompanied by repeated prostrations, reading, chanting and mastering
scriptures. Guru says that no two people are alike. We cannot expect others to have the same
experience as ours. Our knowledge is not from our five senses only. Attaining True Knowledge
transcends all ordinary knowledge. It requires the turning inward of all senses accompanied by
repeated prostrations, reading, chanting and mastering scriptures. In knowing that Reality, that
Truth, that Knowledge, the five human senses have no serious role. Mental faculties, senses,
and body are the various forms divinely assumed by the One Sun. The Sun shines in the sky
above. This realisation can come only through intensive and contemplative search. Knowledge
can be achieved by only those who are humble enough to prostrate before the Ultimate reality,
Knowledge.

2. What is the binding philosophy embedded in Atmopadesasatakam?

In his renowned work “Atmopadesasatakam” Guru proposes his egalitarianism.
Egalitarianism is the doctrine which declares that all people are equal and deserve equal rights
and opportunities. It expounds the philosophy of Advaitha in the search for knowledge. It reflects
Guru’s ability to view the human race from a dignified and elevated perspective, in unqualified
equality without discrimination. Two of his famous slogans are “One caste, One Religion and
One god for human beings” and “ Ask not, Say not, Think not Caste”.
Atmopadesasatakam is a work by Narayana Guru in the form of a poem. It is considered as
the classic work of Narayana Guru, the social reformer and spiritual leader of Kerala.
Atmopadesasatakam contained 100 verses or stanzas, each of which describes a set of actions
performed by the self on itself, affecting and recognising moments of transformation into an
absolute value.
The binding philosophy of Atmopadesasatakam is universal brotherhood. All the people in
the world share the Ultimate Reality, the ultimate knowledge, which is God. God is called by
different names in different religion. But ultimately he is the same. India is called by different
names. Some people call it Hindustan or Bharatam,it means the same thing. Similarly Mohandas
Karamchand Gandhi is called by different names by people. People call him Gandhiji, Bapu,
Bapuji, Mahatma, etc. Ultimately all these names mean the same person. So is God, the ultimate
Truth and the Ultimate Knowledge.
3. How can one realise ultimate reality according to Guru?
Ultimate reality is another name used by Sree Narayana Guru to mean God, the Ultimate
truth and the ultimate knowledge. Many people erroneously believe that we can realise Ultimate
reality by, using our senses properly. They think that by studying science subjects like physics,
chemistry and biology or subjects listed under. Humanities can enable them realise the ultimate
really. Sree Narayana Guru has a different viewpoint.
. Sree Narayana Guru to attain Ultimate Reality that transcends, all ordinary knowledge,
that radiates the knower and all other external objects. It requires the turning inward of all sense
accompanied by repeated prostrations, reading, chanting an mastering scriptures. Meditation has
a big role in such a realization. When we meditate deeply we will know that all the distinction
man makes regarding caste, creed and religion are meaningless. All the people in the world share
the Ultimate Reality, the Ultimate Knowledge, which is God. God is called by different names
different religions. But ultimately he is the same.
Mental faculties, senses, the body, and the many tangible worlds are the various forms
divinely assumed by the One Sun. The Sun shines in the sky above. This realisation can come
only through intensive and contemplative search. To realise the ultimate reality one as to rally
struggle. He should be guided by the principle of egalitarianism. Egalitarianism is the doctrine
which declares that that all people are equal and deserve equal rights and opportunities in his
Atmopadesasatakam, Guru expounds the philosophy of Advaita (non-dualism) in the search for
knowledge. It reflects Guru’s perspective, in unqualified equality without discrimination. Two of
his famous slogans are “One Caste, One Religion and One God for human beings” and “Ask not,
Say not, Think note Caste.”
The illusory appearance of the five basic elements exists only externally. If we think
deeply, we will realise that they are as inseparable as the rows of waves arising in the ocean. The
five basic elements are earth (prithvi), water (jala), fire (tejas), wind (vayu) and space (akasha).
Knowledge, the object known and the knowledge of the knower are in fact only variations of
God. Man’s endeavour should be to be untied with that God, the One that has no beginning and
no end. When we do that we can certainly realise the ultimate reality.
 CHAPTER – 2

STORY

INDULEKHA

O. CHANDUMENON

SHORT BIO

O. Chandumenon (Oyyarath Chandumemenon) (09 January 1847 – 07 September 1899) was

born in Oyyarath house. Near Thalassery, in Kannur district. After matriculating at the age of 17,
he joined as a clerk in Thalassery court in 1867. He had worked under William Logan (author of
Malabar Manual) when the latter was working as Sub Collector in Thalassery. He got promoted
as Munsiff and later as Sub Judge. The British Government honoured him with the title of Rao
Bahadur in 1898. At the age of 52 he succumbed to death owing to a cardiac arrest.

INTRO

Indulekha was the first major novel in Malayalam. It was first published in 1889. The first
English translation was by John Willoughby Francis Dumergue in 1890. Another translation was
done by R. Leeladevi in 1979. Oxford University Press published a translation by Anitha
Devasia in 2005. Chandumenon wrote Indulekha to satisfy the curiosity of his friends as well as
his wife who knew no English but used to listen to the translated oral version of the story of the
English novels he had read. It should be remembered that there were no novels in Malayalam
before Indulekha. Chandumenon wrote Indulekha to help his friends and his wife to read and
appreciate a novel for themselves in Malayalam.

SUMMARY

Indulekha, the titular heroine, is an English educated young, charming, Nair girl. She is skilled in
English hobbies like embroidering, painting and playing musical instruments. She is in love with
Madhavan, an educated and handsome young man in the family The family knows and approves
of their relationship. In the beginning of the novel Madhavan is seen questioning the decision of
Panchumenon, the head of the family, regarding the education of Shinnan, a young boy in the
family. In the matrilineal family system, the uncle wielded the power. The other members of the
family had to submit to his decisions. Since Madhavan quarrels with his uncle Panchumenon, the
uncle decides to marry lndulekha off to Suri Nambudiripad in sambandham. Complications arise,
and finally the heroine and the hero are seen moving to Madras at the end of the novel. It can be
seen as a move out of a joint family into a nuclear family. The novel underlines the importance
of education, English education, and Women’s education. It also argues for the need for
changing the matrilineal family system prevalent in the Nair community in those days.

Summary of the LESSON

This is the opening chapter of Indulekha. The novel starts with a serious discussion about a
quarrel that Madhavan, the hero, had with his Karanavar, Panchumenon concerning the
education of a junior member of the family. Madhavan argues that Shinnan, the child, should get
proper English education. Kumminiamma, Shinnan’s mother, says that Shinnan is not old
enough to live away from her. The Karanavar is not pleased with the way Madhavan reacted to
the incident. Shankara Menon, Madhavan’s uncle, tells him that he should not have spoken to
Karanavar like that. His tells him that his behaviour and reaction amount to insolence and
rudeness. However, Madhavan says that if he makes a statement that is just, how can it annoy
him. To Madhavan, the child’s education is more important than anything else.

SHORT ANSWERS

1.Who is Shinnan?

Shinnan is a little son of Kumminiamma in the novel, ‘Indulekha’.

2.What is Parvathi Amma’s opinion regarding Shinnan’s education?

Parvathi Amma says that it is a matter for Madhavan’s valiammaman to decide. He is the one
who supported Madhavan’s education. He may support Shinnan’s education, too.

3.Whom does Madhavan first remember when Sankara Menon talks about his uncle’s anger and
its consequences?

Madhavan first remembers Indulekha when Sankara Menon talks about his uncle’s anger and its
consequences.

4.Why does Madhavan say that Kumminiamma’s family has been mistreated by his family?

Madhavan says that Kumminiamma and her children have been cast aside heartlessly. Her sons
were not given English education. Madhavan says that Kumminiamma and her children are not
servants in this household.

5.What were the circumstances that led to the writing of Indulekha?

Chandumenon says that he began to translate English novels at the behest of his wife, and his
own friends who enjoyed reading them. But soon he realised that much of the western scenario
may be inscrutable to the Malayali readership. A better way would be to write a novel on his
own.
 PARAGRAPH QUESTIONS

1. Attempt a character sketch of Madhavan?

Madhavan is a hero of the novel Indulekha by O. Chandhumenon. Madhavan is well

educated in both Sanskrit and English. He has BA and BL degrees. He passed all
examinations in first class. He won different prizes and scholarships in various competitions.
All the teachers said that they had never seen a student better than Madhavan. He has a good
physique also. He was an expert at lawn tennis and cricket. Madhavan had tried hunting
when he was very young. He was a man of wit, intelligence, learning, courage and courtesy.
His body was the colour of pure gold. He had nurtured his body with exercise. His height
was above average. His kuduma could reach up to his ankle if it was not knotted on the head.
He had a glowing face. In short he was amazingly charming. All the Europeans who met him
were charmed by his looks they became his friends. He was never unethical in behaviour. He
loved Indulekha and she loved him too. He was not afraid to speak his mind openly. He
spoke against the injustice his Valiammaman showed to Kummini Amma’s family. His
Valiammaman was not willing to send Shinnan for English education, but Madhavan was
determined to get him educated.

2. Why is Madhavan being criticised and by whom?

Madhavan is being criticised by his uncle Shankaramenon . The reason is that Madhavan
does not agree with Valiammaman who does not want to send Shinnan for English education.
Madhavan has spoken against the decision od the Valiammaman in this. He also does not like
the way valiammaman treated Kumminiamma and her children. Valiammaman did not
provide for the English education of any of her two sons and he paid no attention to
Kalyanikutty’s education. Shankaramenon says that Karanavar is such senior person and
Madhavan should not have spoken so disrespectfully about him? Shankaramenon thinks it is
his English education that made him speak against valiammaman and his decisions. He
thinks ignorance is Madhavan main problem. He thinks Madhavan has forgotten their
customs, traditions and ways of life and that is why he is speaking against valiammaman.

3. Describe the matrilineal system followed in Kerala?

Marumakkathayam was a system of matrilineal inheritance prevalent in Kerala. Descent

and the inheritance of property were traced through females. It was followed by all Nair
castes, Ambalavasi and tribal groups. The elder male was considered the head known as
Karanavar and the entire assets of the family were controlled by him as if he was the sole
owner. The properties were not handed to his sons but to the daughters of his sons or to their
sisters. The word literally means inheritance by sister’s children as opposed to sons and
daughters. Marumakkal means nephews and nieces. The joint family under the matrilineal
system is known as Tharavad. The system of inheritance is now abolished by The Joint
family System (Abolition) Act, 1975,by the Kerala State Legislature. In the novel Indulekha
we find a very good example of this “ Marumakkathayam “ of the matrilineal system. The
Karanavar makes all decisions in the family and everyone is supposed to obey him.
 ESSAY QUESTIONS
1.Chandumenon emphasises the importance of education in bringing about sociocultural
changes in Kerala. Comment.

O. Chandumenon’s ‘Indulekha’ is a novel that tells the love story of Indulekha and Madhavan.
Through the story, the author attempts to drive home the importance of education. He also argues
for the need to bring about socio-cultural changes in Kerala. Being a product of Western
education, he used his pen to hold the mirror up to his own community. Menon also argues for
the cause of women’s education. The novel starts with a serious discussion about a quarrel that
Madhavan, the hero, had with his Karanavar, Panchumenon concerning the education of a junior
member of the family. Madhavan argues that Shinnan, the child, should get proper English
education. Kumminiamma, Shinnan’s mother, says that Shinnan is not old enough to live away
from her. The Karanavar is not pleased with the way Madhavan reacted to the incident. Shankara
Menon, Madhavan’s uncle, tells him that he should not have spoken to Karanavar like that. He
tells him that his behaviour and reaction amount to insolence and rudeness. However, Madhavan
says that if he makes a statement that is just, how can it annoy him. To Madhavan, the child’s
education is more important than anything else. Chandumenon wants his readers to realise the
importance of English education and Girls’ education. He also wants them to appreciate the
modern values of hero and heroine, without destroying our native traditional value

Matrilineal system was prevalent in Kerala especially among three groups all Nair groups,
Ambalavasi and the tribal groups. The system was known as Marumakkathayam. In that system
the elder male was considered the head and he was known as Karanavar and the entire assets of
the family were controlled by him as if he was the sole owner. The joint family under the
matrilineal system is known as Tharavad. The properties were not handed to his sons but to the
daughters of his sons or to their sisters. The word literally means inheritance by sisters children,
as opposed to sons and daughters. Marumakkal means nephews and nieces. In the novel
Indulekha we find a very good example of this “Marumakkathayam” of the matrilineal system.
The Karanavar makes all decisions in the family and everyone is supposed to obey him.

One of the evils of the matrimonial system is the sambandham. Since only the oldest
Nambudhiri youth in the family was allowed to marry a Brahmin girl, the younger sons were
encouraged to have Sambandham with Nair women. The children born from such relations
belonged to their mother’s family. The matriarchy practised by the Nairs was also coming under
attack during this period. Many of the Nambudhiri men, though learned in Vedas and Sanskrit,
had little knowledge of English and Western education, he used his pen to hold the mirror up to
his own0 community. Menon also argues for the cause of women’s education. The novel starts
with a serious discussion about a quarrel that Madhavan, the hero, had with his Karanavar,
Panchumenon concerning the education of a junior member of the family. Madhavan argues that
Shinnan, the child, should get proper English education. Kumminiamma, Shinnan’s mother, says
that Shinnan is not old enough to live away from her. The Karanavar is not pleased with the way
Madhavan reacted to the incident. Shankara Menon, Madhavan’s uncle, tells him that he should
not have spoken to Karanavar like that. His tells him that his behaviour and reaction amount to
insolence and rudeness. However, Madhavan says that if he makes a statement that is just, how
can it annoy him. To Madhavan, the child’s education is more important than anything else.
Chandumenon wants his readers to realise the importance of English education and girls’
education. He also wants them to appreciate the modern values of hero and heroine, without
destroying our native traditional values.. The novel highlights the lack of willingness of the
Nambudhiris to adapt to the change of times, as well as the struggle by Nair women to break out
of the age old principle of Sambandham. Indulekha refused to have sambandham with a
namboodiri as she loved Madhavan and wanted to marry him. She was an educated girl.

In the novel we see how the Karanavar refuses to send Shinnan for English education and how
he mistreats the family of Kumminiamma. Valiammaman did not provide for the English
education of any of her two sons and he paid no attention to Kalyanikutty’s education. Everyone
in the family was supposed blindly obey the orders of valiammaman. But Madhavan being an
educated and accomplished man does not obey the valiammaman and he does things which he
thinks are right. It was their education that prompted Madhavan and Indulekha to live their lives
the way they chose.

2.How does the novel question the evils of the matrilineal system?

The novel Indulekha was written at a time when there was an emerging class of upper caste men,
mostly Nairs, who received a Western style education, and were achieving prominent positions
in British India. The period witnessed a clash of cultures, as the educated Indians were torn
between Western ideals and traditional practices. The Nambudhiri Brahmins of Kerala,
traditionally had marital relations with Nair women, known as Sambandham, Since only the
oldest Nambudhiris youth was allowed to marry a Brahmin girl, the younger sons were
encouraged to have Sambandham with Nair women. The children born from such relations
belonged to their mother’s family. The matriarchy practised by the Nairs was also coming under
attack during this period. Many of the Nambudhiri men, though learned in Vedas and Sanskrit,
had little knowledge of English and Western sciences. The novel highlights the lack of
willingness of the Nambudhiris to adapt to the change of times, as well as the struggle by Nair
women to break out of the age-old principle of Sambandham, which had little relevance during
the late 19th century.

Indulekha is a graceful Nair girl with good intelligence, artistic talent. She is a young and
educated, knowledgeable woman with education in English, and Sanskrit, who is in love with a
young man, Madhavan, the hero of the novel, who is also presented in ideal colours, a member
of newly educated Nair class graduated from the university of Madras. He is dressed in western
clothes, but at the same time he kept a long tuft of hair, kuduma, according to the Nair custom.
The story details how the matrilineal society of those times, encourages a Namboothiri to start a
relationship with Indulekha. Indulekha promptly snubs the old Nambuthiri man, but Madhavan
in haste runs away from the household, to Bengal. There he makes a lot of good friends. In the
end, he comes back and is united with Indulekha. They then leave to Madras, present day
Chennai.

The old Namboothiri represents the decadence of feudalism and its polygamous practices
Indulekha, the novel’s educated heroine, dramatizes the resistance of a progressive Nair woman.
She refuses to succumb to the oppression of the Namboothiri and marries Madhavan, who stands
up to the social evils of the period. In the novel we see how valiammaman prevents Shinnan
from going for English education and how he mistreats the family of Kumminiamma.
Valiammaman did not provide for the English education of any of her two sons and he paid no
attention to Kalyanikutty’s education. Everyone in the family was supposed to blindly obey the
orders of valiammaman.
 CHAPTER 3
HISTORY
AYYANKALI
M. NISAR, MEENA KANDASWAMY

SHORT ANSWER QUESTIONS

1. What is SJPS?
SJPS is Sadhu Jana Paripalana Sangam

2. Who all influenced the formation of SJPS?

Sadananda Swami and Sree Narayana Guru influenced Ayyankali to form the SJPS.

3. Why was education denied to Dalits?

The upper castes had the right over the school management. They denied education to Dalits.

4. Why could not Dalits enter the public sphere?

Only the English-knowing educated people could enter into the domain of the public sphere. Dalits
only possessed knowledge about agricultural production. With this limited knowledge, they could not
enter the public sphere.

5. Who are “Sadhu Janam”?

Sadhu janam are the servile people – not of one caste alone, but of all the depressed classes, the
Dalits.

PARAGRAPH QUESTIONS
1.Describe the circumstances that led to the formation of the SJPS.?
Dalits were denied entry into the public sphere because they were not English educated. They just had
knowledge about agricultural production. With this knowledge, they could not enter the public sphere. Only
English educated people could enter the public sphere. At the same time, education was denied to Dalits
because the upper castes had the right over the school management. English education was considered as
minimum qualification for all things in society. In the liberal space created by the colonial modernity, the
Dalits had no place. These were the circumstances that led to the formation of the SJPS.

2.Write about Kerala’s Public Sphere during the early 20th century.
Even though the public roads were legally open to Dalits, the brutal physical attack by the upper caste Hindus
deterred them. The public sphere in Kerala during the early 20th century was dominated by the middle class of
various castes. Only the English-knowing educated people could enter into the domain of the public sphere.
Dalits only possessed knowledge about agricultural production. With this limited, specialized knowledge, they
could not enter the public sphere. It was in this context that Ayyankali demanded education for Dalits. He was
acutely aware of the extreme handicap that illiteracy posed to his people.
 2.Why did colonial modernity never reach beyond Kerala’s middle class?
OR
3.How did the upper class use education as a tool to keep the Dalits off the public sphere?
The colonial modernity created a liberal space that fostered reformist ideas. But Dalits had no place in it. It
never reached them; it never reached beyond Kerala’s middle class. Education was a powerful resource.
Modern education brought about by colonialism was the most important criterion to gain entry into public space.
However, sources of knowledge were controlled by “upper” castes and intermediary caste groups. They
maintained reactionary practices. They tried to guard education from outside intervention. The middle class of
Kerala utilized all opportunities of colonial modernity. The Dalits and Adiyalars were deprived of all these
basic human rights.

4.Why were Ayyankali’s objectives for SJPS more material than spiritual?
Ayyankali’s objectives for SJPS were more material than spiritual. He was more concerned about the
economic development of the Dalits. The living conditions of the Dalits were very miserable. They were treated
as Adiyalars. They had no land of their own. Dalits had no place in the liberal space created by colonial
modernity. They were deprived of the fruits of modern education. Dalits were denied entry into the public
sphere because they were not English educated. They just had knowledge about agricultural production. The
Dalit women wore stone ornaments. They were not allowed to cover the upper part of their body.
.

ESSAY QUESTIONS

1.How and why did SJPS labour to organise the voiceless and marginalized people?
Ayyankali was a major figure in Kerala Renaissance. He fought for the rights and betterment of the Dalit
people. He established Sadhu Jana Paripalana Sangam (SJPS) to organise the voiceless and marginalized people.
The purpose of SJPS was to bring about solidarity among sadhu janam and uplift their material conditions.
Ayyankali tried to

bring them into the mainstream of the society. Even though the public roads were legally open to Dalits, the
brutal physical attack by the upper caste Hindus deterred them. Ayyankali started with his fight for getting civil
rights for the lower castes. The public sphere in Kerala was dominated by the middle class of various castes.
Only the English-knowing educated people could enter into the domain of the public sphere. Dalits only
possessed knowledge about agricultural production. With this limited, specialized knowledge, they could not
enter the public sphere. The colonial modernity created a liberal space that fostered reformist ideas. But Dalits
had no place in it. Modern education was the most important criterion to gain entry into public space. Sources
of knowledge were controlled by “upper” castes and intermediary caste groups. They maintained reactionary
practices. It was in this context that Ayyankali demanded education for Dalits. Ayyankali was more concerned
about the economic development of the Dalits. The living conditions of the Dalits were very miserable. The
Dalit women wore stone ornaments. They were not allowed to cover the upper part of their bodies. In this
relentless struggle, Ayyankali was inspired by fellow reformists like Ayyavu Swamikal and Sree Narayana
Guru.
3.Write about education’s role in bringing about a socio- cultural change.
Education has a big role in bringing about socio – cultural changes. Education helps us to think logically and
reasonably. Education helps us to get away from superstitions of different kinds which have been fed to us right
from our childhood. If we look at India, we find that progress and prosperity are achieved by communities that
ate highly educated. We see that many Dalit people are still backward because they are not educated.

In a country like India there are also the overtones of a feudal religion dominated past. In the past, education
and spirituality were held sacred. Material life was thought to be bad. Thus we have still with us the imagery of
the goddess of learning and educational institutions are considered the temples of learning. Such a thinking
fosters the vision of a non- existent glorious past and a double think in the present, causing all – round
confusion about the role of education and its relationship with society.

One of the characteristics of man which distinguishes him from other species is the fact that he shares with
others a common life and a common culture. This means he lives in society. Every society produces its own
public sphere. This public sphere, or social space, as it is often called, is where people meet, engage and
socialise in every day life. Here, opinions are formed and “public consciousness” is shaped. To enter this public
sphere, one needs education. English education was supposed to be the repertoire of all good things. But in the
early 20th century Kerala, the Dalits were excluded from this public sphere. The schools, and other educational
institutions were controlled by the upper classes. As the upper class members got education, they were able to
enjoy the benefits of colonial modernity. These upper classes did not want to share the benefits of education
with the Dalits and so they deliberately kept them out of school. We can see that the main reasons for the
backwardness of the Dalit groups, Adivasi and tribal groups is the lack of education. Education is the sine qua
non, the absolute necessity, for socio- cultural changes.
 CHAPTER 4
POEM
NO, NOT A SINGLE LETTER IS SEEN
POYKAYIL APPACHAN

SHORT BIO

Poykayil Appachan was a revolutionary Dalit leader and social reformer. His poems speak of
injustices and brutalities faced by the downtrodden and the wretched. The poem, “No, not a
single letter is seen” speaks about the criminal silence of history when it is asked to speak about
the history of the people of his race. The marginalised don’t find room in the history books. He
assumes that it is his duty to speak about his people.

SHORT ANSWER QUESTIONS

1. Why does the poem scrutinise the histories of the world?

The poem scrutinises the histories of the world to see if anything is written about the race
of the poet.

2. What does the title of the poem mean?

The title means that in the entire stack of history books of the world, not a single letter is
seen on his race.

3. What strikes the poet as pitiable?

The poet says that it is a pity that there was no one on this earth to write the history of his
race in the olden days. He says regret fills within when he thinks of it.

4. What is the poem’s take on God?

The poet asks how God, who shaped everything, can allow histories to be written with
nothing mentioned about the race of the poet. How can God allow this to happen on earth
today?

PARAGRAPH QUESTIONS
1. What does the poet want to write about?
The poet says that so many histories are seen in this world about so many races.
But not a single letter is seen on his race in any of these books So, he feels that it is
his duty to speak about his people. In his own melody, he will sing the story of a
people who lived in Kerala since the ancient times. The poet doesn’t feel ashamed to
write about how his people became demon-like or about the faults of his caste. It is
not his fault that he became a cursed offspring on the earth.
 2.Why was the history of his race never written?
Poykayil Appachan says that it is a pity that there was no one on this earth to write the
history of his race in the olden days. He ransacked the entire stack of history books of the
world, but not a single letter is seen on his race. The poet was a Dalit converted to a Christian.
Histories are stories about kings, nobles and the upper castes. Historians never bothered to
write about the poor Dalits who were the marginalized section of the society. The
downtrodden don’t find room in the history books.

2. Why does regret fill the insides of the poet?

Poykayil Appachan says that it is a pity that there was no one on this earth to write the
history of his race in the olden days. He says regret fills within when he thinks of it. So, he
feels that it is his duty to speak about his people. In his own melody, he will sing the story of
a people who lived in Kerala since the ancient times. The poet doesn’t feel ashamed to tell
how his people became demon-like. He can very well speak about the faults of his caste. It is
not his fault that he became a cursed offspring on the earth.

3. What is the world’s attitude to the people of his race?

The poet says that the world views his people like demons. It is no fault of theirs that
they became demon-like. He doesn’t feel ashamed to tell how his people became demon-like.
He can very well speak about the faults of his caste. It is not his fault that he became a
cursed offspring on the earth. He asks how it is possible for the world to blame them for all
this till the end of earth and sky. He also asks how God, who shaped everything, can allow
this to happen on earth today.

ESSAY QUESTIONS
1. Describe how the poem criticises written histories.

Poykayil Appachan was a revolutionary Dalit leader and social reformer. The poem, “No,
not a single letter is seen” speaks about the criminal silence of history when it is asked to speak
about the history of the people of his race. The poet says that so many histories are seen in this
world about so many races. But not a single letter is seen on his race in any of these books. Even
if one scrutinizes each one of those history books, not a single letter is seen on his race. Ransack
the entire stack of history books of the world, not a single letter is seen on his race. Poykayil
Appachan says that it is a pity that there was no one on this earth to write the history of his race
in the olden days. He says regret fills within when he thinks of it. So, he feels that it is his duty to
speak about his people. In his own melody, he will sing the story of a people who lived in Kerala
since the ancient times. The poet doesn’t feel ashamed to tell how his people became demon-like.
He can very well speak about the faults of his caste. It is not his fault that he became a cursed
offspring on the earth. He asks how it is possible for the world to blame them for all this till the
end of earth and sky. He also asks how God, who shaped everything, can allow this to happen on
earth today.

2. “ It was caste that cast the major hurdle in Kerala’s walk to modernity”. Comment.

It is very true to assert that it was caste that cast the major hurdle in Kerala’s walk to
modernity. When a state walks to modernity all its people must move with it. But this is not
what we see in Kerala. Some people especially in the tribals areas of Wayanad, Attappadi,
 Devikulam, Peerumedu, Udumbanchola, etc. are not keeping pace with the progress the state
is making toward modernity.

The main reason for this inequality in progress is the caste system that prevailed in the state
for centuries. Although we say caste system is not a problem anymore, many people are still
guided by caste priorities. We see the case of Poykayil Appachan. He was born into a Dalit
family and his parents named him Komaran. Tired of the authorities committed against the Dalits,
Komaran joins the Marthoma Church and accepts a new name Yohannan. He thought he would
be well accepted in the Christian community. But soon he discovered that even in the church the
new converts were marginalised and discriminated against. The then established Prathyksha
Raksha Daiva Sabha ( PRDS) which tried for the liberation and empowerment of all sections of
Dalits without discrimination.

The world’s attitude to the Dalit is utter disregard. The Dalit people have been living in
Kerala since 4000 BC but they are considered as cursed people and even demons. The Dalits are
always blamed although they live honest lives. They toil hard on the lands of the cruel janmins
who pay them very little wages. The Dalits were to live in thatched huts. Their women could
wear only stone ornaments and they were not allowed to cover the upper part of their body. The
Dalits were not given even their civil rights. They could not use some roads and they could not
enter temples. But the world simply closed its eyes to the suffering and misery of these
downtrodden Dalits.

Things are certainly improving. The Dalits are catching up with progressive ideas. The
programmes and policies of the various governments are Dalit- friendly and it is hoped they will
soon catch up with the mainstream society. Great men like Sree Narayana Guru, Chattambi
Swamikal, Thaicaud Ayya Guru, Ayya Vaikundhar, Ayyankali, Sahodaran Ayyappan, Chavara
Achan, Vakkom Maulavi and Poykayil Appachan have done a lot for the upliftment of the Dalits
in Kerala, removing the hurdle in their walk to modernity.
 CHAPTER 5
AUTOBIOGRAPHICAL ESSAY
VAKKOM MOULAVI :MY GRANDFATHER, THE REBEL
SABIN IQBAL

SHORT ANSWER QUESTIONS

1. Who is the founder and publisher of Swadeshabhimani newspaper?

Vakkom Moulavi.

2. Who was the first editor of Swadeshabhimani?

C P Govinda Pillai was the editor of before Ramakrishna Pillai to over as the editor in January 1906.

3. Who talked about the idea of ‘replacing memory?

The Kenyan writer Ngugi wa Thion g’o

PARAGRAPH QUESTIONS

1. Why is Vakkom Moulavi called a rebel?

Vakkom Moulavi is called a rebel because his ideas are quite progressive and the traditionalists
in the society as well as in his community could not tolerate them. When he started the
newspaper Swadeshabhimani even his own relatives dissuaded him from embarking on
publication business. But he told them “What I want to achieve is social service and patriotism.
Money is not the ultimate profit I need.” He had a brave heart. One of the mission statements of
Swadeshabhimani was that the paper “would not conceal any public grievances fearing danger
that may happen to us.” He called for a return to the Quran and Tawhid reinterpreted in the light
of modern needs. This return included the overcoming of ignorance, taqlid, the veneration of
saints and other popular religious practices. He questioned the ‘divinity of the royals and stood
up for the rights of the people. All these made people call him a rebel.

2. What is Vakkom Moulavi’s contribution to Kerala’s social milieu?

Vakkom Moulavi’s contribution to Kerala’s social milieu is very substantial. He started

Swadeshabhimani at a time when people’s rights and privileges were not respected by the
officials. No one had the courage to raise his voice against it or report it to the Maharajah. No
journal in Travancore was willing to carry out this responsibility. In Swadeshabhimani, this gap
was filled. It became the medium to express public grievances. In the masthead of the paper,
Moulavi printed “Fear, crookedness and greed will not build a country.” He also did a lot for his
community. He tried to bring ameliorative changes into a community that was steeped in
superstitions, blindly obeying the ulamas and their sometimes erroneous teachings. Many
religious leaders were against children learning science and they discouraged them from
pursuing areas like photography and films. But Moulavi encouraged them to study these things
as they are very effective in the nation’s progress towards prosperity.

ESSAY QUESTIONS

1. Why is Vakkom Moulavi considered as the leader of Islamic Renaissance in Kerala?

Vakkom Moulavi is considered as the leader of Islamic Renaissance in Kerala for many
reasons. He is known as the “father” of the Muslim socio-religious reform movement here.
He effectively used communication networks to promote his ideas of patriotism, modern
education, and religious reform. He was the son of an educated and wealthy merchant. He
received a well-rounded education, characteristic of the children belonging to the noble class.
Like his contemporaries, he was shaped by discourse on modernity, nationalism, and socio-
religious reform movements in Kerala and Vakkom Moulavi was a staunch patriot and began
his career as a journalist. In 1905, he started a Malayalam newspaper named
Swadeshabhimani to educate people about their rights and responsibilities and campaign for
a responsible government committed to public welfare in Travancore. He used his journals
like “Al Islam” and “Deepika” to motivate Muslims to pursue modern education and to bring
them to the forefront of the nationalist movement. He also initiated a religious reform
movement among Mappilas condemning popular religion and rejecting the authority of
ulama. In his days many Muslims, especially those who were not educated were steeped in
superstitions. Moulavi did his best to bring such people out of their superstitions. Many were
intolerant because of jingoism and he taught them that tolerance is essential to live a peaceful
and happy life on this earth.
When he started the newspaper Swadeshabhimani even his own relatives dissuaded him
from embarking on publication business. But he told them What I want to achieve is social
service and patriotism. Money is not the ultimate profit I need. He had a bravo heart. One of
the mission statements of Swadeshabhimani was what the paper “would not conceal any
public grievances fearing danger that may happen to us.” He encouraged his Muslim brethren
for a return to the Quran and Tawhid reinterpreted in the light of modern needs. This return
included the overcoming of ignorance, taqlid, the veneration o saints and other popular
religious practices. He questioned the ‘ divinity’ of the royals and stood up for the rights of
the people. All these were the reasons why he is called the leader of Islamic Renaissance in
Kerala.

2. What are Moulavi’s journalistic contributions to the cultural space of Kerala?

In 1905, at the young age of 32, he launched Swadeshabhimani as a weekly
newspaper. It was not to uplift the Muslim community in and around him but to empower the
citizens of Travancore, to make them aware of their rights to freedom and liberty, and to
remind the royal rulers and the dewan appointed by the British that the people of the land
were not ‘subjects’. He was championing the democratic rights at a time when civil rights
movement had not gained any momentum across India. His decision to start the newspaper
was not at all a result of a desire for making money. It was taken after careful deliberation
and thought. He imported an automatic flatbed printing press through Pierce Leslie from
England more than a century ago ale cost of Rs 12,000 – when an acre of land in
Thiruvananthapuram could be bought for Rs 100!
 He was a man with a beautiful mind, with dreams of a secular and united India where
people of different faiths lived in harmony. He also dreamt of his community devoid of all
puritanical excesses and bigotry and superstitions. He had once-written a lead under the title
Hindu-Muslim Unity’ in his Al Muslim magazine that Muslims should abstain from
slaughtering cows and buffalos even during Eid el Ad’ah if it hurts the religious
susceptibilities of the Hindus! Imagine, a century ago a Muslim scholar from a small
southern corner of the country urging his own community to do their bit for Hindu-Muslim
unity.
He had a sharp mind. Born into a wealthy family in the erstwhile princely state of
Travancore, he was trained in languages and subjects by hand-picked scholars. His wide
reading and quest for knowledge helped him shape a national outlook and realise the
importance of education for social development. Through foreign publications and books, he
was in touch with what was happening around the world, be it matters to do with Islam,
science or geopolitics. Unlike most religious scholars, he encouraged students to study
science and carried articles on photography and films. He believed they were powerful
mediums.
 MODULE : 3
STIMULATION
 CHAPTER 1
POEM
KUTTIPURAM BRIDGE
EDASSERI GIVINDAN NAIR
SHORT BIO
Born at Kuttippuram in 1906, Edasseri Govindan Nair did not have much formal education due to the death of
his father when he was only 15. However, he taught himself a lot of English and Sanskrit through voracious
reading, and constantly engaging in debates on literature, criticism, science, astronomy and astrology.Edasseri
has received several awards. He got Kerala Sahitya Akademi Award for Poetry in 1969 for his anthology Oru
Pidi Nellikka.
He has also received Kendra Sahitya Akademi Award for Kavile Pattu, and Asan Smaraka Kavitha Purskaram
for Anthithiri (1979) posthumously. Edasseri died in 1974.
INTRO
(I have known about Kuttippuram ferry from my childhood. This poem was born out of mixed feelings I
experienced when I crossed the bridge built recently over this river.)Yes, it’s poem born out of mixed feelings
when he stood on Kuttippuram bridge.The poem runs thru a variety of feelings.
SUMMARY
Pride
Edasseri feels proud and tall that he is now standing on the bridge built at a cost of twenty-three lakhs. He feels
happy that he can now stand so high in the air. In his childhood, this height was achieved only by birds such as
kingfisher, sparrow and crane.
Sad
Soon the proud feeling disappears as he looks down on the river below that is becoming thinner day by day.
Nostalgia
He used to play poothankol on the sandy shores – dipped in river for daily prayers – now he is proud and tall,
standing on the bridge so high in the air - a height achieved only by birds such as kingfisher, sparrow and crane.
River, a powerful victor
Looks down on the river - proud feeling is short-lived – Suddenly he remembers - In the past, when the river
was flooded, it was like a wild beast. No boat or bird dared cross it.
Changed scenario
However, in front of the mammoth bridge, it has turned into a humbled player defeated in a folk game, “doing a
tame Natta,” forced to crawl under the open legs of the victor. The gigantic mother Perar has turned into a
tamed beast, a tiny reeking drain. Nostalgia again, thinks of the beauty of Gramalakshmi. The poet says that the
village is his playmate from childhood. It has wide expanse of green and yellow paddy fields. Groves with
houses stand with fruit bearing trees on both sides. There are slopes covered with flowers of many colours. The
village has also colourful festivals in the kavus with elegant lamps and pipal trees with stone-encircled base.
The days are filled with the songs of the ploughman, and the nights are fearsome with its silence. Urbanisation,
change.The beauty of the village is giving way to steel, stone and cement. Days and nights are noisy with
speeding vehicles. Walls are coming up everywhere and there is no space. Strangers become neighbours, and
neighbours are strangers. Conflicts between strangers are a regular feature. When the roads are developed,
Malloor deity will become just a wayside deity. Malloorkayam will become a shallow puddle. The majestic
Anthimahakalan Kunnu will be reduced to the size of spinning top. When man turns into a machine, Mother
Perar would become a stinking dirty drain.

SHORT ANSWERS
I. Answer the following in a sentence or two.
1. What makes the narrator feel proud as he stands on the newly built bridge?
The poet feels proud as he stands on the newly built bridge because it was constructed at a cost of twenty-three
lakhs. He is proud of the height of material development as a result of modernisation.
2. How does the narrator describe the beauty of the village?
The village has green and yellow paddy fields. There are groves of fruit bearing trees with houses, and slopes
covered with colourful flowers. There are also colourful festivals in the kavus with elegant lamps and pipal trees
with stone-encircled base.
3. "Level with the kingfisher, the sparrow, and the crane that once flew over here." What is the irony in
these lines?
The poet feels proud when he stands on the bridge so high in the air, a height achieved only by birds in the past.
But now, the irony is that there are no birds since there is no water in the river.

4. What happens when the river is in spate?

When the river is in flooded, the riverbanks are washed away. At that time, boats would not dare to go into the
river and kites would not fly across it.
5. What is described in the poem as "the threshold of a new world"?
In the poem, Kuttippuram bridge is described as "the threshold of a new world"
6. Who was the narrator's playmate from the day of his birth?
The charming Gramalakshmi was the narrator’s playmate from the day of his birth.
7. What happens to the neighbourhood connections as a result of urbanisation?
As result of urbanisation, walls spring up everywhere among neighbours. Strangers become neighbours, and
neighbours are strangers, total strangers.
8. What, according to the narrator, are the fates awaiting the deity of Malloor Anthimahakaalan kunnu?
When the roads are developed as a result of modernisation, the deity of Malloor will become just a wayside
deity. The majestic Anthimahakalan Kunnu will be reduced to the size of spinning top.
9. What would happen to mother Perar if man turns into a machine?
When man turns into a machine, Mother Perar would become an unpleasant, dirty drain.

PARAGRAPH QUESTIONS
1. How does the narrator contrast the river and the newly constructed bridge?
In the poem ‘Kuttippuram Bridge’, Edasseri draws a sharp contrast between the river and the newly constructed
bridge. He feels proud and tall that he is now standing on the bridge built at a cost of twenty-three lakhs. He
feels happy that he can now stand so high in the air. In his childhood, this height was achieved only by birds
such as kingfisher, sparrow and crane. However, this proud feeling is short-lived. In the past, when the river
was flooded, it was like a wild beast. No boat or bird dared cross it. But now, mother Perar has turned into a
grieving, reeking drain.
2. Explain the usage "doing a tame Natta".
Edasseri says that he is proud of standing on the new mammoth bridge. It is built across Nila, the second longest
river in Kerala. When flooded, the river used to be like a victorious wild beast. However, in front of the gigantic
bridge (the victor), it has become like a humbled player defeated in a folk game, “doing a tame Natta.” In folk
games in villages, the proud victor stands erect with his legs (natta) wide apart, and the vanquished (the
defeated person) has to crawl under the victor’s legs like a tamed wild animal. Nila is now “doing a tame Natta”
under the legs of the bridge.
3. How does the narrator describe the beauty of the village?
Edasseri uses the term “Gramalakshmi” to convey the beauty of the village. The poet says that the village is his
playmate from childhood. It has wide expanse of green and yellow paddy fields. Groves with houses stand with
fruit bearing trees on both sides. There are slopes covered with flowers of many colours. The village has also
colourful festivals in the kavus with elegant lamps and pipal trees with stone-encircled base. The days are filled
with the songs of the ploughman, and the nights are fearsome with its silence. This is the beauty of the village
as depicted by Edasseri.
4. How does the narrator describe the onset of urbanization?
In the poem ‘Kuttippuram Bridge”, Edasseri gives a graphic description of the start of urbanization. The beauty
of the village is giving way to steel, stone and cement. Days and nights are noisy with speeding vehicles. Walls
are coming up everywhere and there is no space. Strangers become neighbours, and neighbours are strangers.
Conflicts between strangers are a regular feature. When the roads are developed, Malloor deity will become just
a wayside deity. Malloorkayam will become a shallow puddle. The majestic Anthimahakalan Kunnu will be
reduced to the size of spinning top. When man turns into a machine, Mother Perar would become a stinking
dirty drain.
5. What are the similes, metaphors, and images used by the narrator to represent mechanised
development?
The poem “Kuttippuram Bridge” is full of similes, metaphors and images. With the help of a beautiful simile,
Edasseri says that when the roads are developed, the majestic Anthimahakalan Kunnu will be like a spinning
top thrown by a child robot. The fate of mother Perar is portrayed with the help of a beautiful metaphor. He says
that Perar, which was a victorious wild beast, will be turned into a humbled player defeated in a folk game,
“doing a tame Natta”. In another metaphor, the poet addresses the village as his playmate. Images such as soot,
cement, and steel reigning over flowers, and Perar turning into a reeking drain are also very powerful.

ESSAY

1. 'Edasseri's poem "The Kuttippuram Bridge" is a critique of mindless urbanisation.' Explain.

Edasseri’s poem ‘Kuttippuram Bridge’ is a critique of mindless urbanisation. It is an expression of the poet’s
feelings of anxiety regarding the process of modernisation that started slowly invading the peaceful village life
of Kerala.The poet feels proud when he stands on the bridge built at a cost of twenty-three lakhs. He is happy
that he can now stand so high in the air. In his childhood, this height was achieved only by birds. However, this
proud feeling is short-lived as he looks at the dwindling Perar below. When flooded, the river used to be like a
victorious wild beast. But now, it has turned into a humbled player defeated in a folk game, “doing a tame
Natta” between the legs of the bridge.
To the poet, the village is his playmate from childhood. He used to play endless games of “poothankol” on its
sandy shores. The village has wide expanse of green and yellow paddy fields. There are groves with houses and
fruit bearing trees, and colourful festivals in the kavus. The days are filled with the songs of the ploughman, and
the nights are fearsome with its silence.
The beauty of the village is slowly giving way to steel and cement. Days and nights are noisy with speeding
vehicles. Strangers become neighbours, and neighbours are strangers. Conflicts between strangers are a regular
feature. When the roads are developed, Malloor deity will become just a wayside deity. The majestic
Anthimahakalan Kunnu will be reduced to the size of spinning top. When man turns into a machine, Mother
Perar would become a stinking dirty drain.
 CHAPTER 2
SHORT STORY
DAUGHTER OF HUMANITY
LALITHAMBIKA ANTHARJANAM
INTRO
Lalithambika Antharjanam (1909 – 1987) was a renowned Malayalam novelist and short story writer. She was
also a social reformer who exposed the pitiable plight of Namboothiri women who were denied every right.The
story Manushyaputhri (“Daughter of Humanity”) was written in an age of transition in the social history of
Kerala, after the Communist government had enacted the land reforms in 1959. The law put an end to the Janmi
system in the state. It also liberated thousands from bonded labour. But it had some unexpected outcomes. The
Namboothiri illams broke up. In the story, a woman from a Namboothiri household, Kunhathol Amma, visits a
party leader and requests him to admit her grandson to a school so that he would getat least a meal every day. It
is a moment of startling realisation for him.

ESSAY

1. “Illam was ruined by its own generosity.” Elucidate this in the light of 1959 land ceiling laws.
The story Daughter of Humanity by Lalithambika Antharjanam tells the story of an illam that was ruined by its
own generosity. Written after the state government had enacted the land reforms in 1959, it portrays what
happened to a Namboothiri illam. Kunhathol Amma is a representative character. She is very pious, generous
and compassionate. Helping the poor is considered to be her primary duty. Kunhathol has helped all sorts of
people. When Govindankutty and his family are in trouble after his father’s death, it is Kunhathol Amma who
comes to their rescue. It is she who has made him what he is. Even after the ruin of the illam as a result of the
reforms, its generosity continues. When there is no money to feed the poor, the land is sold to continue the
practice. Then they resort to loans. After that, parts of the house are sold to maintain the custom. Finally, the
illam itself is sold. One day Govindankutty sees the illam which was his refuge when he was a helpless boy.
The area is filled with weeds and thorns. The tank is dried up, and its walls crumbled. The people who
accompany him say that the illam is ruined by its own generosity. In the story, Kunhathol Amma appears like a
woman who looks like an odd creature from an eighteenth-century story book. A little seven-year-old boy
clings to her knees. She approaches Govindankutty to request him to admit her grandson to a school so that he
would get at least a meal every day.
 PARAGRAPH
1. Kunhathol Amma looked like an odd creature. Why?
Kunhathol Amma looked like an odd creature. She was in her traditional dress. She was completely enveloped
in a mundu. She held an old palm-leaf umbrella. Her earlobes dangled as she walked. She looked like a
character from an eighteenth-century story book. A little seven-year-old boy clung to her knees. The leader
Govindankutty felt something familiar about her. He got up from his chair and came near her. He asked her
where she came from and what she wanted. The woman raised her head and the mundu covering her head slid
down. He saw her face. It was Kunhathol Amma who had made him what he is.
2. "We starve because we do not have enough to eat. Why do you starve?" What made Lakshmikutty
utter these words?
Lakshmikutty said this when she saw Kunhathol Amma fasting during Ekadashi, Pradosham and every Monday.
Kunhathol used to starve herself regularly. She fasted almost twenty days in a month. However, on all those
days she cooked and served food for others. After her fast, with a smile on her face, she would sing to her deity.
Then, one day,Lakshmikutty asked Kunhathol why she fasted and remained hungry. She also said that she
starved because she had nothing to eat. Kunhathol replied that poverty was a terrible thing. She wanted to share
the sorrow of those who were in need.
3. "Govindankutty is a sinner." What made him think like this?
When Govindankutty was very busy, a woman who looked like an odd creature came to see him. Enveloped in
a mundu, with an old palm-leaf umbrella, she looked like a character from an eighteenth-century story book. A
little seven-year-old boy clung to her knees. Then Govindankutty realised that it was Kunhathol Amma, the
great mother who made him what he is today. She requested him to admit her grandson to a school so that he
would get at least a meal every day. Her illam having ruined, she was struggling even for a meal.
Govindankutty felt very sad; he thought he was a sinner.

4. Character of Kunhathol Amma.

Kunhathol Amma, the protagonist of the story "Daughter of Humanity", is a very pious,
generous and compassionate woman. She fasted almost twenty days in a month. However, on
all those days she cooked and served food for others. When Lakshmikutty asked why she fasted,
Kunhathol said that poverty was a terrible thing. She wanted to share the sorrow of those who
were in need. When Govindankutty and his family were in trouble after his father’s death, it
was Kunhathol Amma who came to their rescue. Now that her illam having ruined, she was
struggling even for a meal.
 SHORT ANSWER
1. Who is the daughter of humanity?
The daughter of humanity is Kunhathol Amma

2. "Do you want to kill me? Tell her that l am a human." Who said this?
Govindan Kutty, the party leader, said this to his secretary when the latter told him that a poor
old woman from far away was waiting to see him.

3. Govindankutty controlled his irritation and smiled pleasantly to everyone though he

was tired. Why?
Govindankutty controlled his irritation and smiled pleasantly to everyone though he was tired
because he was the chief of the political party in power.

4. Who was the unexpected guest who came to see Govindankutty?

The unexpected guest was Kunhathol Amma who had made him what he is.

5. Whose voice was sweeter than delicious food for Govindankutty?

Kunhathol Amma's voice was sweeter than delicious food for Govindankutty.
 CHAPTER 3
SHORT STORY
CHRISTIAN HERITAGE
VAIKKOM MUHAMMED BASHEER
INTRO-
Vaikkom Muhammed Basheer, popularly referred to as Beypore Sulthan, is an iconic figure in
Malayalam literature. He is a widely read novelist and short story writer. His unique style,
subtle humour, profound sympathy, and peculiar language made him very popular. Basheer has
won numerous prestigious awards. He was a fellow of Sahitya Akademy and a distinguished
fellow of Kerala Sahitya Academi. Basheer was awarded Padmasree in 1982 for his
contributions to Malayalam
literature.Ntuppuppakkoranendarnnu, Pathummayude Aadu, Balyakalasakhi, Mathilukal and
Premalekhanam are a few of his popular stories and novellas.

SHORT ANSWERS
1. What makes the narrator proud?
The narrator is proud because an unexpected guest visits Basheer’s house just to see him in
person. A Christian has come to visit a Muslim.

2. Why has Kochu Thommi come to see the narrator?

Kochu Thommi has read a lot of Basheer's books. So, he thought he should meet him in person.

3. Who all were there in Kochu Thommi's family?

Kochu Thommi's wife died. He has nine children – four sons and five daughters. The daughters
were married off and sons had settled with their families.

4. Why did Kochu Thommi stay back at the writer's house on that night?
Basheer and Kochu Thommi sat talking for a long time even after supper. And it was too late
into the night. Thommi yielded to Basheer’s suggestion and stayed at the narrator's house on
that night.

5. What served as a pillow for Kochu Thommi?

The book, Christian Heritage in India by Sri John Ochanthuruth served as his pillow.

6. What was Kochu Thommi's gift to the story writer?

Two fresh one hundred-rupee notes was Kochu Thommi's gift to the narrator.

PARAGRAPH QUESTIONS

1. Describe the character of Kochu Thommi.

Kochu Thommi was a Christian from Changanassery. He was settled in Malabar for the past
nine years. He was a brown skinned man with sinewy body. His hard work had made the skin of
his palms rough. He wore a half sleeve shirt, a dhoti and had a towel on his shoulders. He was
an industrious labourer. He might not have shaved in a month. His wife was no more. He had
nine children – four sons and five daughters. He was an avid reader of the narrator and wanted
to meet him in person.
2. Justify the title of the story
The title of the story Christian Heritage is very appropriate. It talks about universal love and
humanity. In the story, a visitor named Kochu Thommi, comes to visit Basheer. He is a rugged
peasant and an avid reader of the narrator. Basheer projects this visit as a pan -religious one, for
a Christian has come to visit a Muslim. The book titled Christian Heritage in India by John
Ochanthuruth has served as a pillow for Kochu Thommi. Basheer upholds his staunch faith in
universal love and humanity through the story. The title of the story is very evocative and
highly relevant.
3. Comment on author’s attitude towards Kochu Thommi.
In the story, Christian Heritage by Vaikkom Muhammed Basheer, a man named Kochu
Thommi comes to visit him. He is an ardent reader of Basheer. Basheer feels so proud that a
Christian has come to visit a Muslim. They talk for a long time about black pepper, coffee and
rubber, even after dinner. Thommi spends the night there. Basheer also gives him ten rupees for
his expenses, but the latter has left two one hundred-rupee notes in the book used as a pillow.
Basheer isfull of love and sympathy for the man. The incident shedslight on his staunch faith in
universal love and humanity.
ESSAY
1. Describe how the interactions between the author and the guest in the story Christian
Heritage speak about Basheer's philosophy of life.
Christian Heritage by Vaikkom Muhammed Basheer is a story that upholds his philosophy of
life. The interactions between the author and the guest in the story highlight value of humanity
and universal love. With his unique style, subtle humour and specialised use of common
language, Basheer narrated the stories of downtrodden and the marginalised sections of the
society.
The story begins with the visit by Kochu Thommi to Basheer. A Christian farmer from
Changanassery, Thommi is an ardent reader of Basheer. He is settled in Malabar for the past
nine years. A widower, he has nine children. He was hospitalized for one month. On discharge
from hospital, he comes to meet Basheer in person.Basheer feels so proud that a Christian has
come to visit a Muslim. They talk for a long time about black pepper, coffee and rubber, even
after dinner. On Basheer’s suggestion, Thommi spends the night there on a mat, with the book
Christian Heritage in India by Sri John Ochanthuruth as a pillow.
Basheer also gives him ten rupees for his expenses, but the latter has left two hundred-rupee
notes in the book. Basheer projects this visit as a pan - religious one. The story brings out
Basheer’s philosophy of life. Basheer is full of love and sympathy for the man. Besides
underlining the value of humanity and universal love, Basheer also questions society’s
prejudices against common people like peasants.
 MODULE : 4
PROPAGAGATION
 CHAPTER 1
LECTURE
MYTH AND LITERATURE
M.T. VASUDEVAN NAIR
INTRO
M.T. Vasudevan Nair is a great contemporary Indian writer.“Myth and Literature” is a speech that he delivered
at Sahithya Akademi in 1995. It discusses the ways in which Malayalam literature has been influenced by myths,
folklore and legends.

ESSAY
1. Describe the ways in which myths, legends and folktales have figured in Malayalam literature through
the different ages.
M.T. Vasudevan Nair is a great contemporary Indian writer. In “Myth and Literature”, he discusses the ways in
which myths, legends and folktales have figured in Malayalam literature through the different ages.The genesis
of Kerala is linked to the popular Parasuraman myth. This myth has been the raw material for many poets in
Kerala.
To Balamaniamma, the action of hurling away the axe is an epitome of sacrifice. Vyloppilli Sreedhara Menon
finds the axe as a tool that paved the way for the early migrant societies.Sea is a major character in Thakazhi’s
popular novel, Chemmeen. The Arayan fishing community adore the sea as Kadalamma. The goddess looks
after the men who are out in the sea fishing. She also expects the women folk to live a taint-less life while their
men are toiling in the sea.
The novel shows nature as a giver and taker of life. The lives of many ancient writers are believed to be linked
to several legends. Thunchath Ezhuthachan is believed to be the reincarnation of gandharvan. In those days, it
was not acceptable to the society that Ezhuthachan, who was a non-Brahmin, became well versed in the Vedas
and the Upanishads and wrote excellent poetry.
The gandharva myth solves the problem.Many major modernist writers like OV Vijayan use folktales in their
fiction. Younger novelists like KP Ramanunni attempt to recreate the folktales for contemporary times. Modern
science treats myths as fabrications. Creative artists see myths as the emanations of the prototypical psyche.
They treat myths, legends and folktales as imaginary possibilities.
 PARAGRAPH
I. How has Malayalam literature treated the myth of Parasuraman?
Malayalam literature has treated the myth of Parasuraman in a variety of ways. The myth regarding the origin of
Kerala is that Kerala was formed by the hurling of his axe by Parasuraman, standing on Mount Gokarna. It has
been the raw material for many poets in Kerala. To Balamaniamma, the action of hurling away the axe was an
epitome of sacrifice. Vyloppilli Sreedhara Menon, a pioneer modernist poet, salutes the Parasuraman’s axe as a
tool that paved the way for the early migrant societies. But Malayalam fiction writers were not drawn in by the
myth of Parasuraman.

2. Why was Thakazhi criticised for making use of a fisher-folk myth and what is MT's opinion regarding
it?
In Chemmeen, Thakazhi uses the myth of the sea as Kadalamma, the sea goddess. The goddess looks after the
men who are out in the sea fishing. She also expects the women folk to live a taint-less life while their men are
toiling in the sea. When Thakazhi wrote this novel, he was severely criticised for upholding superstitions, and
for forgetting his common theme of class struggle for a love story. C Rajagopalachari said that there is no harm
if the women of a remote locality continue being chaste believing in an old legend. MT says that the novel
shows nature as a giver and taker of life.

3. Why are the lives of our early writers linked with the supernatural?
The lives of many of our early writers are linked with the supernatural. Thunchath Ezhuthachan is believed to
be the reincarnation of gandharvan. In those days, it was not acceptable to the society that Ezhuthachan, who
was a non-Brahmin, became well versed in the Vedas and the Upanishads and wrote excellent poetry. That
somebody from the sidelines of the society has creativity and talent is made tolerable and digestible by the
gandharva myth. There are also stories of divine and supernatural interventions in the lives of poets like
Poonthanam Namboothiri and Melpathur Narayana Bhattathiri.

4. How do artists differ from various other disciplines in their treatment of myths and folktales?
To the Malayalam modernist writers, legends and myths are like parables and allegories. Writers like OV
Vijayan, Kovilan and others have successfully incorporated them into their works. Younger novelists like KP
Ramanunni and TV Kochubava attempt to recreate the folktales for contemporary times. The discipline of
science considers myths and legends as the fantasies of an ancient pagan society. To history, myths are
fabrications. But the creative artists see myths as the emanations of the prototypical psyche. They treat them as
the continuation of culture and civilization. To them, myths and legends are imaginary possibilities.
 SHORT ANSWER

1. How does the myth regarding the origin of Kerala become regional as well as pan-Indian?
The myth regarding the origin of Kerala is regional as well as pan-Indian. It is believed that Kerala was formed
by the hurling of his axe by Parasuraman, standing on Mount Gokarna. It is also seen as a depiction of Aryan
invasion of Dravidian regions, Parasuraman being a major figure leading this invasion.

2. What is the myth that Thakazhi adapted for his novel Chemmeen?
Thakazhi uses the myth of the sea as Kadalamma, the sea goddess. The goddess looks after the men who are out
in the sea fishing. She also expects the women folk to live a taint-less life while their men are toiling in the sea.
The novel shows nature as a giver and taker of life.

3. Why hasn't the early Malayalam fiction made use of myths and legends?
Myths and legends never exerted visible influence on the early fiction of our language. Prominent writers of the
period were overtly or covertly associated with the political left of the state. Under the influence the concept of
class struggle, they became realistic.

4. How do KP Ramanunni and Kochubava bring about a change in Malayalam literature?

Novelists like KP Ramanunni and TV Kochubava go against the traditional concepts of novel writing by
disrupting the linear storytelling and realistic portrayal. They attempt to recreate the folktales for contemporary
times.
 CHAPTER 2
POEM
RAIN AT NIGHT
SUGATHAKUMARI

SHORT ANSWER

1. How does the rain at night behave as a mad young woman?

The rain at-night behaves like a young mad woman who, for nothing, weeps, laughs, whimpers and mutters
without a stop. She also sits huddled up, tossing her long hair.

2. Who sits huddled up tossing the hair?

The rain at night sits huddled up tossing the hair like a mad woman.

3. Rain at night is the pensive daughter of _ _ _.

Rain at night is the pensive daughter of the dusky night.

4. When does rain at night shake the narrator?

The narrator shakes when she hears the groans, shudders, sharp voices and the sudden anguished cry of a
mother.

5. What can be done to the poor heart that is deeply diseased?

Somebody said that a diseased organ can be cut and removed, but what can be done to the poor heart that is
deeply diseased. Comforting words can provide relief to such a heart.
 PARAGRAPH

1. What does the narrator say to the rain at night?

The rain at-night comes like a young mad woman who, for nothing, weeps, laughs and whimpers, sitting
huddled up, tossing her long hair. She is the pensive daughter of the dusky night. She slowly glides into the
hospital and extends her cold fingers through the window and touches the poet. When the poet sobs and tosses
on her sick bed, the rain-at-night, like a dear one, comes through the gloom with comforting words. Rain-at-
night is a witness to her love as well as her grief. The poet knows its varied emotions because she is also like the
rain at night.

2. What are the symbolic elements in "Rain -at -Night"?

Sugathakumari uses several symbols in the poem “Rain at Night”. The picture of ayoung mad woman sitting
huddled up, tossing her long hair is a symbol of the condition of the poet on the hospital bed. The rain is the
“pensive daughter of the dusky night” that glides like a long wail into the hospital. In the “sweltering bed” of
hospital, the rain at night touches the poet with its “cold fingers”, symbolic of comfort. Rain at night is a
witness to the poet’s love as well as grief. “Moonlight” symbolises love and romance. In hospital, she is frozen
like a “stone”.

3. "My friend, I too am like you." Elucidate.

The narrator says that rain at night comes like a young mad woman, sitting huddled up, tossing her long hair.
The rain comes, extends her cold fingers, touches the poet and says comforting words. Rain-at-night is a witness
to her love as well as grief. The poet knows its music which is kind and sad, and its varied emotions; and also,
that it wipes its face and forces a smile in a hurry and puts on an act. The poet asks, “How do I know all this?
Then the poet gives the answer too: “My friend, I too am like you, like you, rain-at-night.”
 ESSAY

Q. 1. The music of the rain at night is the tone of the narrator's grief. Explain.
Sugathakumari’s poem, “Rain at Night” is a poem about loneliness and lament. It is filled with unhappiness and
hopelessness. The music of the rain at night is the tone of the narrator's grief.The poet is in a hospital bed near a
window. The rain at-night comes like a young mad woman who is, for nothing, weeping, laughing, whimpering,
and sitting huddled up, tossing her long hair. The rain is the pensive daughter of the dusky night. She glides
slowly like a long wail into this hospital. She also extends her cold fingers through the window, and touches the
poet. When the narrator is tossing on her sick bed, the rain-at-night, like a dear one, comes through the gloom
with comforting words. It is a witness to her love giving her joy more than the moonlight did. It is also a witness
to her grief when she tosses in the sleepless hours of the night, slowly freezing into a stone. The poet is familiar
with the rain at night in all its varied moods. She knows its music which is kind and sad, and also its varied
emotions; and also, that it wipes its face and forces a smile in a hurry and puts on an act. The poet asks, “How
do I know all this? Then the poet gives the answer too: “My friend, I too am like you, like you, rain-at-night.”
The poem is melancholic in tone with the loneliness and sickness that affect her on the hospital bed. The music
of the rain at night is the tone of the narrator's grief.
 Chapter 3
Essay
FIFTY YEARS OF MALAYALAM CINEMA
V C HARRIS

INTRO
V.C. Harris was a teacher, thinker, critic, theatre personality, and translator.In this essay, he traces the history of
fifty years of Malayalam cinema beginning with Neelakkuyil (1954) and ending with Padam Onnu: Oru
Vilapam (2003).

SHORT ANSWER

1. How did Neelakkuyil become a landmark film in Malayalam?

Neelakkuyil (1954) became a landmark film in Malayalam because it has successfully fused several ingredients
for the first time. It had a local story, caste inequality, progress, a modern secular subject, fine music, folk music,
many excellent actors and technicians.

2. Which was the decade of the emergence of the Modernist Movement in Malayalam cinema?
The 1960s was the decade of the emergence of the Modernist Movement in Malayalam cinema.

3. How did Aravindan's Thampu portray the arrival of modernity into a village community?
Aravindan's Thampu (1978) portrayed a village community coming face to face with modernity represented by
a circus troupe. The village youth were tempted to abandon their traditional role and join the circus.

4. How is Nirmalyam significant today?

M.T. Vasudevan Nair depicted in Nirmalyalm (1973) the degeneration that social change brought to temple
related rituals. This is the significance.
5. How is the year 1975 significant in the history of post independent India?
The year 1975 is significant because it was in that year National Emergency was declared in India. The
Emergency curtailed all political and civil rights of the people. Ahandful of politicians, government
functionaries and the police enjoyed unbridled power.

PARAGRAPH

1. How do Chemmeen and Nilakkuyil cater to the patriarchal ideology?

Patriarchal ideology is the idea that men have more power. dominance, and privilege than women. It is at work
in both Chemmeen and Nilakkuyil. Chemmeen is an epic portrayal of a particular fishing community in Kerala.
It focuses on local culture and mythology which works on this ideology. It says that the safety of the fishermen
at sea depended on their wives’ chastity and loyalty at home. In Neelakkuyil, Neeli, a marginalised girl falls in
love with an upper caste man. Neeli becomes pregnant. The man refuses to marry her. Neeli becomes an
outcaste and dies in childbirth.

2. Comment on the ways in which Chemmeen marks a shift in Malayalam cinema.

Chemmeen (1965) was a film by Ramu Kariat. It reinforced the form and content of the cinema. But, with its
tragic ending, the film marks a shift from the hope and idealism of the previous decades. There was a growing
sense of discontent and disillusionment. It works on two levels. At the national level, the dream of a free and
prosperous modern India was becoming pale. Large sections of the society were denied the fruits of
independence and progress. In Kerala, the Left ideology was under stress due to the developments in the USSR.
This shift was visible in Chemmeen.

3. Write about the Modernist Movement in Malayalam cinema.

The Modernist Movement in Malayalam cinema, led by Adoor Gopalakrishnan, G. Aravindan and John
Abraham, started in the early 1970s. The new cinema was dubbed as 'art film'. It was a response to the shifting
grounds of politics and aesthetics. Swayamvaram(Adoor Gopalakrishnan, 1972) is the first film in this group. It
shows the crisis of the middle class torn between the traditional social norms and the modern impulse. In the
next two decades, film makers would follow the trend set by Swayamvaram. G. Aravindan's Thampu(1978)
shows a village community coming face to face with modernity by the coming of a circus troupe.
4. What does Harris say about the forms and traditions of music in Malayalam cinema?
Film music constructs a public sphere where all people come together sharing their common pasts and charting
their common futures. The music that prevailed in Kerala until the dawn of the 20th century was community or
region specific. Different sections of society had access to different forms of music. All this changed with the
coming of Malayalam film music. It addressed all sections of the society. This was made possible by combining
elements drawn from different sources - folk, classical and others. Film music has promoted the construction of
a public sphere and fostered a sense of unity among the people.

5. What makes Amma Ariyan politically meaningful?

The year 1975 is significant because it was then that a National Emergency was declared. It curtailed all
political and civil rights of the people. Then a few politicians, government functionaries and the police had all
the power. Many people were disillusioned at this time. Amma Ariyan is a 1986 film by John Abraham. It
shows the disillusionment among the youth who had dreamt of a prosperous future. The film takes the form of a
journey from one part of Kerala to another and shows the dreams and despairs of a group of men. It shows the
rise and fall of the revolutionary spirit in contemporary Kerala.

ESSAY
Describe how Harris delineates the fifty years of Malayalam cinema
OR
Discuss the history of Malayalam Cinema.
In the essay, “Fifty Years of Malayalam Cinema”, V.C. Harris traces the history of fifty years of Malayalam
Cinema. It begins with Neelakkuyil (1954) and ends with Paadam Onnu: Oru Vilapam (2003).1940s and 1950s,
issues like caste inequality, class consciousness, nationalism and progress influenced the artistic productions.
There was optimism, and enthusiasm. All this was found in Neelakkuyil (1954). It is a landmark film that has
successfully fused several ingredients for the first time. It had a local story, caste inequality, progress, a modern
secular subject, fine music, folk music, many excellent actors and technicians. The optimism of the 1950’s gave
way to a growing sense of discontent and disillusionment of post-independent India in the 1960s. However,
Chemmeen (1965) by Ramu Kariat reinforced the message given in Neelakkuyil. 1970s saw the emergence of
the new cinema by Adoor Gopalakrishnan, G. Aravindan and John Abraham. It was dubbed as 'art cinema'.
Swayamvaram (Adoor, 1972) is the first film in this group. National Emergency and Modernism marked the
Malayalam movies of 70s and 80s.The last decade of the 20th century brought in several social and political
issues such as Globalisation, religious fundamentalism, and social issues of women, Dalits and Adivasis. There
was also a greater degree of commercialisation. At the same time, there is a greater variety in the kinds of
cinema produced. The representation of the minorities has been problematic in general. It is in this context that
films like Padam Onnu: Oru Vilapam is to be seen. Secularism, as a social agenda, is still a difficult issue in
India.
 CHAPTER 4
POEM
JEET THAYYIL
MALAYALAM’S GHAZAL

SHORT ANSWER
1. What is a refrain?
A refrain is a word, line or phrase that is repeated within the lines or stanzas of the poem itself.
2. Which palindrome is repeatedly used at the end of each couplet?
Malayalam is the palindrome repeatedly used at the end of each couplet.
3. Who recites Baudelaire in Malayalam?
The father of the narrator recites Baudelaire in Malayalam.
4. Who challenges the poet to write a couplet in Malayalam?
The poet challenges himself to write a couplet in Malayalam'
5. Who comes to the school of lost tongues?
Visitors come to the school of lost tongues.

PARAGRAPH
1. What should we do to understand symmetry?
Symmetry comes from the ancient Greek word "symmetria" which can mean agreement in dimensions, due
proportion, or arrangement. In everyday language, it refers to a sense of harmonious and beautiful proportion
and balance. According to Jeet Thayyil, the poet who wrote "Malayalam's Gazal", to understand symmetry,
understand Kerala. Kerala's language 'Malayalam' is the longest palindrome as the name of any language. You
can read "MALAYALAM" forward and backward and the result will the same. Symmetry is very difficult to
achieve in poetry. But in the name of the language of Kerala, Malayalam, you find it. That is why the poet says
to understand symmetry you must understand Kerala. Kerala is reputed to be far ahead of many other States in
India because of its near-complete literacy, low birth rate, religious tolerance, and high political awareness of its
people. That is why it is called "God's Own Country".
2. Why does the poet say that there is no word for "despair" in Malayalam?
Despair actually means the complete loss or absence of hope. In English we have many synonyms for despair.
We can use substitutes like hopelessness, desperation, distress, anguish, pain, unhappiness, dejection,
depression, despondency, disconsolateness, gloom and melancholy. And all these can fit in as per the context in
which the word despair is used in English. But it is not possible to translate it in Malayalam using a single word.
Each language has its own identity and depth. Translations often take away or add to the actual meaning of the
word in the original language. When the poet says there is no word for despair in Malayalam, he also means that
Malayees don't despair. Even when they face serious challenges, they still have some hope in their hearts. It is
the peculiarity of the Malayalee psyche - to be optimistic even when the threats are overwhelming.
3. "When you have been too long in the rooms of English", what should be done to get relaxation?
When we have been too long in the rooms of English, the poet advises us to open our windows to the fresh air
of Malayalam. It is interesting to note that this advice comes from Jeet Thayyil, the poet who wrote
"Malayalam's Gazal". Jeet Thayyil, although born in Kerala, was raised in Mumbai until age 8. His father T.J.S.,
George is a journalist and a writer and he was posted to different places in India, specially to Mumbai and to
Hong Kong and New York. Since his family moved to Hong Kong, Jeet studied there also. Then he returned to
Mumbai at the age of 18. He graduated from Wilson College, Mumbai. He obtained Master's in Fine Arts from
Sarah Lawrence College, New York. In spite of his studying outside Kerala all those years, he had developed a
love for Malayalam because of the influence of his parents, especially his father who was a renowned writer.
Jeet always studied in English and so he tells the readers that they should open their to get the fresh air of
Malayalam.

ESSAY
1. "Write a couplet, if you dare, in Malayalam." Challenges the poet? Why?
The poet is challenging himself. The poem "Malayalam's basically tries to communicate that in translation
many things from the original will be lost. It shows how a bilingual writer fails to find words that have the same
meaning or effectiveness when and phrases are translated into another language. The poet says there are no
proper words for some English words. Each language has its own identity and depth. The poet tries to
understand his land of birth sitting in the rooms in English. He asks the readers to open the windows to the fresh
air of their mother tongue. World literature comes to Malayalam through translations. He challenges himself to
write a couplet in Malayalam. This challenge has relevance when we look into the background of the poet's
education. "Jeet Thayyil, although born in Kerala, was raised in Mumbai until age 8. His father T.J.S., George is
a journalist and a writer and he was posted to different places in India, specially to Mumbai, and to Hong Kong
and New York. Since his family moved to Hong Kong, Jeet studied there also. Then he returned to Mumbai at
the age of 18. He graduated from Wilson College, Mumbai. He obtained Master's in Fine Arts from Sarah
Lawrence College, New York.In spite of his studying outside Kerala all those years, Jeet Thayyil had developed
a deep love for Malayalam because of the influence of his parents, especially his father who was a renowned
writer. Jeet always studied in English and so he tells the readers that they should open their windows to get the
fresh air of Malayalam. He feels Malayalam is a dynamic language. He feels that Malayalam does not have a
suitable word for "despair" because Malayalees are generally optimistic and they don't despair that Jeet
Thayyil's advice is quite relevant now because of our excessive love for English and English medium education,
forgetting the beauty of Malayalam and its possibilities to please and keep you optimistic and hopeful even
when crises knock your doors.
2."At night you open your hair in Malayalam." Explain.
In his famous poem "Malayalam's Gazal", the poet Jeet Thayyil shows how a bilingual writer fails to find words
that have the same meaning or effectiveness when words and phrases are translated into another language. The
poet says there are no proper words for some English words. Each language has its own identity and depth. The
poet tries to understand his land of birth sitting in the rooms in English. He asks the readers to open the
windows to the of their tongue. World literature comes to Malayalam through translations. He challenges
himself to write a couplet in Malayalam."At night you open your hair in Malayalam" means if you are a
Malayalee, you will certainly show that character especially at night when you are not in the company of many
strangers. During the working hours of the day we pretend to be other things than we really are. But at night we
become frank to ourselves and we do things the way it us. The poet makes such a remark because of his own
background of his education. Jeet Thayyil, although born in Kerala, was raised in Mumbai until age 8. His
father T.J.S., George is a journalist and a writer and he was posted to different places in India, specially to
Mumbai, and to Hong Kong and New York. Since his family moved to Hong Kong, Jeet studied there also.
Then he returned to Mumbai at the age of 18. He graduated from Wilson College, Mumbai. He obtained
Master's in Fine Arts from Sarah Lawrence College, New York.In spite of his studying outside Kerala all those
years, Jeet Thayyil had developed a deep love for Malayalam because of the influence of his parents, especially
his father who was a renowned writer. Jeet always studied in English and so he tells the readers that they should
open their windows to get the fresh air of Malayalam. He feels Malayalam is a dynamic language. He feels that
Malayalam does not have a suitable word for "despair" because Malayalees are generally optimistic and don't
despair that easily.At least at night when we are alone let us open our hair in Malayalam and feel free to enjoy
the Malayali spirit, which is always cheerful, refreshing and optimistic.
 CHAPTER 5
SHORT STORY
AGNI
SITHARA .S
Sithara S. is a Malayalam short story writer of repute. She is a recipient of several awards. “Agni” is a short
story that presents sexuality in a new perspective. Priya, the protagonist, is gangraped by Sanjeev, Ravi, and
another boy. She feels that she is the most humiliated woman on earth. Contrary to our expectations, she meets
her rapists the following day, and talks to them. Priya humiliates them through small triumphs and revenge in
the form of questioning masculinity. It gives her great satisfaction.

ESSAY
1.How is Priya successful in her small triumphs and revenge?
Sithara S. is a Malayalam short story writer of repute. The short story “Agni” tells the story of Priya, a gang-
rape survivor, and the unconventional way she protests against this brutal act. The character is successful in her
small triumphs and revenge.The story presents a rape-survivor who is not ready to be persecuted or destroyed
with disappointment or disrespect. The protagonist of the story, Priya does not allow herself to be emotionally
withered after being gang raped. She exercises the right to speak bluntly about her experience in sex. In this
way, she puts the molesters to shame by openly telling them about their incapability to please her sexually.
"Agni" presents sexuality and man-woman relationships from a new perspective. It is also a critique of the
suppression and commodification of the female body. Waiting for assistance from no one, she resolves to
penalise the wrongdoers on her own. She finds an unusual way of vengeance. It is also a tale of revenge and
small triumphs. Just like the flames of fire, Priya is also burning with the fire of fury and revenge. She does not
wish to surrender her highly spirited self to those who had taken the claim even on her menstrual blood. The
story denounces the society that stands against women. It highlights the fault lines in a society where women
victims are deprived of dignity and justice. Priya stands as an epitome of a spirited girl who wishes to fight
against all odds with her small triumphs and revenge.
 PARAGRAPH
1. "I must be the most humiliated woman on the earth." What made Priya think like
this?
Priya was on her way home on a bicycle. In the narrow lane, Priya stopped her bike in shock. Three men were
standing on the road. One of the men pulled her off the bicycle by force. She fell down on the hard ground. One
held her struggling body down while another one clamped her mouth shut. The third one removed the clothes
from her body. Priya wanted to scream, "Let me go." He removed even the sanitary pad she was wearing.
Sanjeev, the strong man, raped her first. At that time, Priya thought she must be the most humiliated woman on
the earth.
2. There is no sense of shame in your mind even while you're being shamed." What made Priya think
like this?
When Priya was on her way home on a bicycle, three men stopped her. She was pulled off the bicycle. One held
her struggling body down while another one clamped her mouth shut. The third one removed the clothes from
her body, even the sanitary pad. Sanjeev, the strong man, raped her first. As Sanjeev was still on her, she
recognised the face of Ravi, whom she had slapped in the bus. When Sanjeev’s turn was over, her body ached
all over. Even in the midst of all the pain, unnecessary thoughts came to her mind. At that time, she thought like
this.

3. What was Ravi's reason for humiliating Priya?

Ravi was a spoiled rich boy. When she used to commute by bus, Priya had slapped him for having taken some
obscene liberty with her in the bus. Later somehow or other, she came to know that his name was Ravi.
Afterwards Priya often saw him like a shadow. And every time, exactly like a shadow, he used to slip out of her
sight. The slap on his face he received from Priya stayed in his mind. He became revengeful. He was waiting
for an opportunity to teach her a lesson. This was Ravi's reason for humiliating Priya.

SHORT ANSWER
1. What was Sanjeev employed as?
Sanjeev ran a telephone booth near Priya’s office.
2. What was Ravi's threat to Priya on the morning after he raped her?
Ravi asked Priya to keep her mouth shut about the rape. If she talked to anyone about it, they would finish her
off, not just her, but her people as well.
3. Who all tried to rape Priya?
Priya was raped by three people – Sanjeev (the fellow who runs telephone booth near her office), Ravi (whom
Priya had slapped once for taking obscene liberty with her in a bus) and a stripling (a boy).
4. "Your love is my revenge." Who said this?
Priya said this.
5. Who were the three men standing on the road in the darkness?
Sanjeev, Ravi and a stripling (a boy).
6. When did Priya feel that she is the most dispossessed women on earth?
Priya felt like that when Ravi was raping her. She also felt that someone has staked his claim even on her
menstrual blood which was her own so far.
 CHAPTER 6
POEM
PICTURES DRAWN ON WATER
K SATCHIDANANDAN

1. How does water come into the house?

Water comes into the house like a long-known neighbour. It comes through the gate to the courtyard and from
the steps to the corridor. From the drawing room it goes to the storeroom without even telling its name.

2. Why do the three people quarrel as the boat arrives?

The three people quarrel as the boat arrives because there is only space for one. Each one of them tells the other
to go into the boat because they love one another so much. Tragedy makes human beings selfless and they don't
fear even death.

3. What makes a cat a philosopher?

The cat is abandoned in the house. It saw fishes coming, tickling him and laughing at him. He wonders whether
preys can laugh like this. Since he has no branch or wall to climb upon even a cat becomes a philosopher.

4. What does the slate remember?

The slate is taken from the rock which contains the history of evolution. It remembers the words and sketches
scrawled on its grey surface by small hands. Now the slate is thinking of creating a new universe within its four
wooden frames. It dreams of a sky where letters rise like stars.

5. What to the slush gathered in the house?

The slush gathered in the house slowly gets dry. It is full of obscure memories. It has now become solid. We see
fields, paddy, pond and lily and blue flowers in the harvested fields.
6. What does the slate stand for?
Slate for past memories and also for eternity. The history of evolution lays hidden in the rock from which it was
cut. It remembers the words and sketches scrawled on its grey surface by tiny hands.
 PARAGRAPH

1. Describe the coming of the water into the houses.

Water comes in like a long-known neighbour as we watch. It comes through the gate to the courtyard and from
the steps to the corridor. From the drawing room it goes to the storeroom without even telling us its name. Even
forgetting it is a river, the water tells the inmates of the house, who were stricken with fear, that it does not find
any other place to go. Slowly the water enters the kitchen and wallows is there. Then it goes to the bedroom and
lies down behind the open door as if it taking a siesta. Then it slowly wakes up. It straightens it back and scares
the residents with its exposed muscles. It breaks on whatever it comes across. It touches the ceiling with swollen
belly until the residents scared that they say we will leave.

2. What are the memories of the slush.

LOS The slush gathered in the house is full of obscure memories. It has now become solid. We can see fields,
paddy, pond and lily and blue flowers in the harvested fields. We can see children racing to gather They have
small flower baskets hanging from their necks. Parrots look like flying green coral leaves. Yellow butterflies fly
about as if on fire. The high noon is tranquil and we can see that cows are grazing. In the dawn we see men and
bulls ploughing the fields and dark hands sowing seeds. Then we see the lean hands of the rain. The first fertile
clay of the earth was burnt out in the hot sun. But when it rained the soil turned into slush. Then we could see
the first blade of grass appearing transforming the situation from desolation to hope.

3. "The flood makes the people selfless and fearless." Comment.

It is very true to say that the flood makes the people selfless and fearless. We see happening in the poem
"Picture Drawn on Water" by the famous poet K. Satchidanandan. When floods hit Kerala in 2018, many
houses were under water. People sought shelter on the roofs. When the government alone could not handle the
situation, our sturdy fishermen volunteered to help. They wen in their fishing boats to rescue people who were
stranded in their homes because of the flood. In the poem we see the rescue boat going to a house where there is
a sick mother, a pregnant daughter and a son who looks after all at home. But the rescue has only space for one
person. Then the three quarrel among themselves for the other to climb in. Here see real, selfless love. They are
concerned with the safety of the other person. Each one is willing die to save the other. The flood has made
them selfless and they are not afraid of death

ESSAY

1. Describe how Satchidanandan uses the deluge as a metaphor for social and ecological concerns.
Satchidanandan has used the deluge as a metaphor for social and ecological concerns Kerala
experienced an abnormally high rainfall from 1 June 2018 to 19 August 2018. This resulted in severe flooding
in 13 out of 14 districts in the State. This rainfall was more than 40% above the normal rainfall expected here.
Satchidanandan describes the rising waters picturesquely. Water comes in like a long-known neighbour as we
watch. It comes through the gate to the courtyard and from the steps to the corridor. From the drawing room it
goes to the storeroom without even telling us its name Even forgetting it is a river, the water tells the inmates of
the house, who were stricken with fear, that it does not find any other place to go. Slowly the water enters the
kitchen and wallows whatever is there.
Then it goes to the bedroom and lies down behind the open door as if it taking a siesta. Then it slowly wakes up.
It straightens it back and scares the residents with its exposed muscles. It breaks on whatever it comes across. It
touches the ceiling with its swollen belly until the people are so scared that they cry and say they will leave.The
water says, "Sorry, nowhere else to go" to the residents of the house. This is an allusin to the closed waterways
and watershed systems in Kerala. Mindless development clogged the waterways which would take the water to
the sea. Then housing complexes were built on watershed systems by levellingthe land, getting the material for
filling the watersheds by breaking down hills. So when the rain poured down, it had no place to go except
upward. And to worsen the situation, the dams were opened adding more water to the floods. This is the
ecology concerns Satchidanandan mentions here.
The social concerns can be seen in the incident where we see the rescue boat going to a house where there is a
sick mother, a pregnant daughter and a son who looks after all at home. But the rescue boat has only space for
one person. Then the three quarrel among themselves for the other to climb in. People live in small huts built in
places which are not habitable, close to the sea, banks of rivers, slopes of hills and so on. We see here a sick
mother and pregnant daughter It shows the lack of social welfare system in our place. People are left to live in
misery, anxiety and pain. The wealthy were not affected by the floods. It was the poor who suffered the most.
This is the social issue highlighted here.

2. Comment on the changes that the flood brings about.

The flood brings abob vast changes in the landscape and in the thinking of people and even in animals. Usually
monsoon comes to Kerala in early June and people welcome it after the scorching heat of the previous months.
The farmers welcome the monsoon rain because they need it for their farming activities. But the year 2018 was
a terrible one for Kerala Kerala experienced an abnormally high rainfall from 1 June 2018 to 19 August 2018.
This resulted in severe flooding in 13 out of 14 districts in the State This rainfall was more than 40% above the
normal rainfall expected here. Water came in like a long-known neighbour as people watched. It came through
the gate to the courtyard and from the steps to the corridor From the drawing room it went to the storeroom.
Slowly the water entered the kitchen and destroyed everything there.
Then it went to the bedroom. It touched the ceiling and the people are so scared that they cried and said they
would leave, but there was no way out.Here we see the changes in the thinking of men. The sturdy fishermen of
Kerala took it upon themselves to rescue everyone who was stranded because of the flood. With their fishing
boats they went round to help people. We then see what happened in a house. There we see a sick mother, a
pregnant daughter and a son who looks after all at home. But the rescue boat has only space for one person.
Then the three quarrel among themselves for the other to climb in. Here we see the selfless love of the three.
Each of is not concerned with his/her safety but the safety of the Crisis of that kind can make people selfless
and fearless. We see change even in animals. A cat is abandoned in the house. It saw fishes coming close to him,
tickling him and laughing at him.The cat then thinks "Can preys laugh like this? And transience spread its nest
so fast?" When there is no branch or wall to climb upon even a cat becomes a philosopherThere are also
changes in the landscape. The flood has made slush. But this slush will later solidify and make the place more
for paddy and also for flowers of various kinds. Then we will see parrots and butterflies flying about bringing
colour to life

3. Do you think that the poem presents the flood in a favourable light? Substantiate your answer.
I think the poem presents the flood in a favourable light because the poet Satchidanandan does not mention the
deaths and destruction caused by the flood. He uses the poem as a metaphor to highlight some socio ecological
concerns. We see the flood apologizing to the residents of the houses where it enters saying that it is
encroaching upon their territory because of the closed waterways and abandoned or misused watershed systems.
To the awestruck inmates of the houses, the flood says, "Sorry, nowhere else to go." It was the people here who
forced the flood to encroach their territory by blocking its usual paths into the sea.The flood brought changes in
the thinking of people. The sturdy fishermen of Kerala took it upon themselves to rescue everyone who was
stranded in their homes or in some high places without food and water because of the flood. With their fishing
boats they went round to help people. We then see what happened in a house.There we see a sick mother, a
pregnant daughter and a son who looks after all at home. But the rescue boat which went near that house had
only space for one person. Then the three in the house quarrel among themselves for the other to climb in.
Here we see the selfless love of the three. Each of them is not concerned with his/her safety but the safety of the
others. Crisis of that kind can make people selfless and fearless.Then we see the abandoned cat becoming a
philosopher. The cat was abandoned in the house. It saw fishes coming, tickling him and laughing at him. He
wonders whether preys can laugh like this. Since he has no branch or wall to climb upon, even a cat becomes a
philosopher in times of crisis like the flood.The slate also has some stories to tell. The history of evolution lays
hidden in the rock from which it was cut. It remembers the words and sketches scrawled on its grey surface by
tiny hands It dreams of a new universe and a sky where letters rise like stars. It also dreams of eternity.The final
part of the poem "Slush" is fine piece of ecological poetry. The poet suggests that the things we had lost now
resides in the memory of the slush left behind by the Thus when we look at the poem, we find that the poem
presents the flood in a favourable light.