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THE FIFTEENTH century Manipravalam poem,
Kokasandesam, is one of the earliest texts that refer to the temple of ‘Kuruvayur’ which later became one of the foremost pilgrim centres in Malabar region. It was the reign of Zamorins, who came to power in 12th century with the port city of Kozhikode as their capital, and Guruvayur was on the outer limits of his kingdom and was a strategic location where his forces often used as a transit point during their raids to the southern kingdoms.
The temple and its deity, Krishna, had become quite famous by the end 15th century and early 16th century.
Bhakti poet Poonthanam and scholar-poet Melputhur Bhattathirippad were closely associated with the temple and some of the historical information we have on the early days of Guruvayur come from their writings. Poonthanam’s
Jnanappana, one of the early Malayalam texts along with Cherusseri Namboodiri’s
Krishnagatha and Ezhuthacchan's
Adyatma Ramayanam, give us an insight into the development of the
bhakti cult in deep-south which all over India had, by then, been spreading a renaissance culture with focus on the language of the common people, unlike the more Brahmanical Sanskrit which held sway in the classical ages. One of the interesting aspects about all three poets is that they belonged to the northern part of Kerala, Cherusseri hailing from a region under the Kottayam Rajah while Poonthanam and Ezhuthacchan lived in the Zamorin kingdom.
One of the specific mentions of the age and time is seen in
Narayaneeyam, the great Sanskrit kavya by Melputhur, who ends his poem with a note on
ayurarogyasoukhyam, a reference to a
Kalidina number which translates into a date in late 16th century according to the Kollam Era that was popular in this region. Since there are references that both poets were contemporaries, we infer that Poonthanam and Melputhur lived in the kingdom of Zamorin in 16th century.
Narayaneeyam is a text that is more pedantic and scholarly, and according to legends the lord of Guruvayur himself had commented he preferred the
bhakti of the poor Malayali Brahmin to the
vibhakti of the Sanskrit scholar-poet. Surprisingly, we see that Melputhur always held sway in the temple town despite the deep bhakti that we encounter in Poonthanam.
There have been a few attempts to translate Narayaneeyam into Malayalam, one of the well known works being that of C V Vasudeva Bhattathiri. Recently I came across a new translation done in Dravidian metres,
Neythiri, executed by Balendu. This is a commendable effort for a variety of reasons, first and foremost being the difficulty of rendering a popular text into our language without losing its musical and poetic elements. As I went through the text I found it was a beautiful rendering of
Narayaneeyam in Malaylam and it deserves a better attention from Malayali reading public.
I had a talk with the poet, who hails from Elanhi in Ernakulam and now lives in Bangalore, on his work:
On the poet’s devotion and inspiration to work:
I am a believer in God as a source of Divine justice. More than any of the famous temples I like Gramadevatha. I like the epics as the best purposeful fiction. Krishna is my favourite character. I don’t consider Rama as very significant. I like Ramayanam. I went inside Guruvayur Temple only after writing
Neythiri. I have “read” in few
sapthahams just to read
Bhagavatham.
On
Narayaneeyam:Till 1994 my only encounter with
Narayaneeyam was through P.Leela’s rendering. I don’t know Sanskrit. I tried to read
Narayaneeyam, but could not make much headway till I joined a group of devotees in 1999 in chanting sessions.
The musical quality attracted me the most. I loved the literary excellence too. As a spiritual work I think
Jnaanappana is better.
Idea of translating:
It struck me like a blitzkrieg (October 2002). It was as a means of understanding
Narayaneeyam better. My close relatives have always liked my translations. (I know six languages).
On other translations of
Narayaneeyam into Malayalam:
I have seen a few translations. I did not see any that was worth talking about. Those which were in the
sankrit vrithams had a lot of handicaps. I had seen only one like
Neytthiri, in
Dravida vrithams, but not before I had actually started mine. Well, I believe it is a sloppy work.
How long it took to complete the work:
Almost three years, from October 2002 to 25th July 2005. Spasmodic is the proper adjective for the process. Or rather like
Punartham njatuvela.
What were the problems faced:
Mainly Pattery’s
slesham. It is simply un-translatable.
Even Kumaran Asan had spoken about the limitations of our language:
I disagree. He was talking about language in general. Not about Malayalam specific, when he said,
innu bhaashayithapoornnam.
As a translator how did you find these limitations:
My work is not exactly a translation. It is
Narayaneeyam retold.
Where do you place
Narayaneeyam:Narayaniyam’s place is very high; should be at par with
Bhagavatham and
Ramayanam. But, it is in Sanskrit
Do you look at your own translation as a contribution to the rich tradition of devotional literature?
Well! Is it not better that I leave it for the readers to answer that. So far many (well known writers, spiritual gurus, and well read public) appreciated the work. Only three persons have pointed out mistakes. One is my wife, the two others had extremely good intentions.(Such good work should be spotless, they said.)
On Thunchan:
Thunchan is my inspiration. I believe Malayalam as a language has not progressed from where he had left it. His works are also
punaraakhyaanams, not
paribhasha.What else did you do by way of original writing:
I have published six books for children. Three are collections of stories, two novels, one
kuttikkavithakal. One of my stories is a lesson in 4th standard Malayalam text.
Details on the book:
Neythiri, Sahitya Manjari Publications, Onakkur, Ernakulam. Price: Rs.180.
Contact the poet: kavibalendu@gmail.com