Malayalam

Malayalam has incorporated many elements from other languages over the years, the most notable of these being Sanskrit and later, English.[35] According to Sooranad Kunjan Pillai who compiled the authoritative Malayalam lexicon, the other principal languages whose vocabulary was incorporated over the ages were Pali, Prakrit, Urdu, Hindi, Chinese, Arabic, Syriac, Dutch, and Portuguese.[36]

Many medieval liturgical texts were written in an admixture of Sanskrit and early Malayalam, called Manipravalam.[37] The influence of Sanskrit was very prominent in formal Malayalam used in literature. Malayalam has a substantially high amount of Sanskrit loanwords but these are seldom used.[38] Loanwords and influences also from Hebrew, Syriac, and Ladino abound in the Jewish Malayalam dialects, as well as English, Portuguese, Syriac, and Greek in the Christian dialects, while Arabic and Persian elements predominate in the Muslim dialects. The Muslim dialect known as Mappila Malayalam is used in the Malabar region of Kerala. Another Muslim dialect called Beary bashe is used in the extreme northern part of Kerala and the southern part of Karnataka.

For a comprehensive list of loan words, see Loan words in Malayalam.

The first letter in Malayalam

• */ɨ̆/ is the saṁvr̥tōkāram, an epenthentic vowel in Malayalam. Therefore, it has no independent vowel letter (because it never occurs at the beginning of words) but, when it comes after a consonant, there are various ways of representing it. In medieval times, it was just represented with the symbol for /u/, but later on it was just completely omitted (that is, written as an inherent vowel). In modern times, it is written in two different ways – the Northern style, in which a chandrakkala is used ⟨ക്⟩, and the Southern or Travancore style, in which the diacritic for a /u/ is attached to the preceding consonant and a chandrakkala is written above ⟨കു്⟩. According to one author, this alternative form ⟨കു്⟩ is historically more correct, though the simplified form without a vowel sign u is common nowadays.[47]
• */a/ (phonetically central: [ä]) and /ə/ are both represented as basic or "default" vowels in the Abugida script (although /ə/ never occurs word-initially and therefore does not make use of the letter അ), but they are distinct vowels.

Malayalam has also borrowed the Sanskrit diphthongs of /äu/ (represented in Malayalam as ഔ, au) and /ai/ (represented in Malayalam as ഐ, ai), although these mostly occur only in Sanskrit loanwords. Traditionally (as in Sanskrit), four vocalic consonants (usually pronounced in Malayalam as consonants followed by the saṁvr̥tōkāram, which is not officially a vowel, and not as actual vocalic consonants) have been classified as vowels: vocalic r (ഋ, /rɨ̆/, r̥), long vocalic r (ൠ, /rɨː/, r̥̄), vocalic l (ഌ, /lɨ̆/, l̥) and long vocalic l (ൡ, /lɨː/, l̥̄). Except for the first, the other three have been omitted from the current script used in Kerala as there are no words in current Malayalam that use them.

• Like in other Dravidian languages the retroflex series are true sub apical retroflex ie its the bottom part of the tongue which contacts the roof.[50]
• All of the alveolars (except /s/) are apical.[46]
• /ca cha ja jha/ can either be postalveolar[46] or alveolo-palatal depending upon the speaker, dialect and the word, they are allophones.[51]
• The alveolar nasal once had a separate character ⟨ഩ⟩ that is now obsolete (it can be seen in the ⟨ṉ⟩ row here ) and the sound is now almost always represented by the symbol that was originally used only for the dental nasal. However, both sounds are extensively used in current colloquial and official Malayalam, and although they were allophones in Old Malayalam, they now occasionally contrast in gemination – for example, eṉṉāl ("by me", first person singular pronoun in the instrumental case) and ennāl ("if that is so", elided from the original entāl), which are both written ennāl.
• The unaspirated alveolar stop also had a separate character ⟨ഺ⟩ but it has become obsolete, as the sound only occurs in geminate form (when geminated it is written with a റ below another റ ⟨റ്റ⟩) or immediately following other consonants (in these cases, റ or ററ are usually written in small size underneath the first consonant). The archaic letter can be found in the ⟨ṯ⟩ row here .
• The alveolar stop *ṯ developed into an alveolar trill /r/ in many of the Dravidian languages. The stop sound is retained in Kota and Toda (Subrahmanyam 1983). Malayalam still retains the original (alveolar) stop sound in gemination (ibid).[7]
• The alveolar trill (ṟ) is pronounced as a [d] when its prenasalized. For example, in the word എന്റെ [ende] ‘my’, often transcribed as (ṯ).[51]
• All non geminated voiceless stops and affricate (except for the alveolar one which is often geminated) become voiced at the intervocalic position like most other Dravidian languages.[46]
• The geminated velers /k:/ and /ŋ:/ are sometimes but not always palatalized in word medial and coda positions like in the words കിടക്കുക /kiɖɐk:ugɐ/ vs ഇരിക്കുക /iɾikʲ:ugɐ/ and മങ്ങൽ /mɐŋ:ɐl/ vs മത്തങ്ങ /mɐt̪:ɐŋʲ:ɐ/. Although some of the northern dialects might pronounce them as the same.[51][46]
• The letter ഫ represents both /pʰ/, a phoneme occurring in Sanskrit loanwords, and /f/, which is mostly found in comparatively recent borrowings from European languages. Though nowadays there is a increase in the number of people (especially youngsters) who pronounce /pʰ/ as /f/ like in the word "ഫലം" /falam/.[46]
• Words can only end with either /m/ /n/ /ɳ/ /l/ /ɭ/ or /r/ (represented with the Chillŭ letters). Words will never being or end with a germinated consonant. /ɻ/ /ɭ/ /ʂ/ /ŋ/ /ɳ/ /t/ /t̪ʰ/ /t͡ɕʰ/ and /d͡ʑʱ/ never occur word initially. All consonants appear word medially.[46]
• The plain stops, affricates, nasals, laterals, the fricatives /s/ and /ɕ/ and approximates other than /ɻ/ can be geminated and gemination can sometimes change the meaning of the word for eg കളം /kaɭam/ 'cell' കള്ളം /kaɭ:am/ 'lie'.[46]
• The retroflex lateral is clearly retroflex, but may be more of a flap [] (= [ɺ̢]) than an approximant [ɭ]. The approximant /ɻ/ has both rhotic and lateral qualities, and is indeterminate between an approximant and a fricative, but is laminal post-alveolar rather than a true retroflex. The articulation changes part-way through, perhaps explaining why it behaves as both a rhotic and a lateral, both an approximant and a fricative, but the nature of the change is not understood.[52]
• In a few dialects consonants are no longer aspirated and have merged with the modal voice.

A chillu (ചില്ല്, cillŭ), or a chillaksharam (ചില്ലക്ഷരം, cillakṣaram), is a special consonant letter that represents a pure consonant independently, without help of a virama. Unlike a consonant represented by an ordinary consonant letter, this consonant is never followed by an inherent vowel. Anusvara and visarga fit this definition but are not usually included. ISCII and Unicode 5.0 treat a chillu as a glyph variant of a normal (“base”) consonant letter.[53] In Unicode 5.1 and later, however, chillu letters are treated as independent characters, encoded atomically.[54]

Malayalam numbers and fractions are written as follows. These are archaic and no longer used. Instead, the common Hindu-Arabic numeral system is followed. Note that there is a confusion about the glyph of Malayalam digit zero. The correct form is oval-shaped, but occasionally the glyph for ​¹⁄₄ (൳) is erroneously shown as the glyph for 0.

Number "11" is written as "൰൧" and not "൧൧". "32" is written as "൩൰൨" similar to the Tamil numeral system.

Suppose the number is "2013". It is read in Malayalam as "രണ്ടായിരത്തി പതിമൂന്ന്" (raṇḍāyiratti padimūnnŭ). It is split into:

• രണ്ട് (raṇḍŭ) : 2 - ൨
• ആയിരം (āyiram) : 1000 - ൲
• പത്ത് (pattŭ) : 10 - ൰
• മൂന്ന് (mūnnŭ) : 3 - ൩

Combine them together to get the Malayalam number "൨൲൰൩".[55]

And 1,00,000 as "൱൲" = hundred(൱), thousand(൲) (100×1000), 10,00,000 as "൰൱൲" = ten(൰), hundred(൱), thousand(൲) (10×100×1000) and 1,00,00,000 as "൱൱൲" = hundred(൱), hundred(൱), thousand(൲) (100×100×1000).

Later on this system got reformed to be more similar to the Hindu-Arabic numerals so 10,00,000 in the reformed numerals it would be ൧൦൦൦൦൦൦. [56]

In Malayalam you can transcribe any fraction by affixing (-il) after the denominator followed by the numerator, so a fraction like ​⁷⁄₁₀ would be read as "പത്തിൽ ഏഴ്" (pattil ēḻŭ) "out of ten, seven" but fractions like ​¹⁄₂ ​¹⁄₄ and ​³⁄₄ have distinct names (ara, kāl, mukkāl) and ​¹⁄₈ (arakkāl) "half quarter".[57]

The declensional paradigms for some common nouns and pronouns are given below. As Malayalam is an agglutinative language, it is difficult to delineate the cases strictly and determine how many there are, although seven or eight is the generally accepted number. Alveolar plosives and nasals (although the modern Malayalam script does not distinguish the latter from the dental nasal) are underlined for clarity, following the convention of the National Library at Kolkata romanization.

Vocative forms are given in parentheses after the nominative, as the only pronominal vocatives that are used are the third person ones, which only occur in compounds.

The following are examples of some of the most common declension patterns.

When words are adopted from Sanskrit, their endings are usually changed to conform to Malayalam norms:

• Masculine Sanskrit nouns with a word stem ending in a short /a/ take the ending /an/ in the nominative singular. For example, Kr̥ṣṇa → Kr̥ṣṇan. The final /n/ is dropped before masculine surnames, honorifics, or titles ending in /an/ and beginning with a consonant other than /n/ – e.g., "Krishna Menon", "Krishna Kaniyaan" etc., but "Krishnan Ezhutthachan". Surnames ending with /ar/ or /aḷ/ (where these are plural forms of "an" denoting respect) are treated similarly – "Krishna Pothuval", "Krishna Chakyar", but "Krishnan Nair", "Krishnan Nambiar", as are Sanskrit surnames such "Varma(n)", "Sharma(n)", or "Gupta(n)" (rare) – e.g., "Krishna Varma", "Krishna Sharman". If a name is a compound, only the last element undergoes this transformation – e.g., "Kr̥ṣṇa" + "dēva" = "Kr̥ṣṇadēvan", not "Kr̥ṣṇandēvan".
• Feminine words ending in a long /ā/ or /ī/ are changed to end in a short /a/ or /i/, for example "Sītā" → "Sīta" and "Lakṣmī" → "Lakṣmi". However, the long vowel still appears in compound words, such as "Sītādēvi" or" Lakṣmīdēvi". The long ī is generally reserved for the vocative forms of these names, although in Sanskrit the vocative actually takes a short /i/. There are also a small number of nominative /ī/ endings that have not been shortened – a prominent example being the word "strī" for "woman".
• Nouns that have a stem in /-an/ and which end with a long /ā/ in the masculine nominative singular have /vŭ/ added to them, for example "Brahmā" (stem "Brahman") → "Brahmāvŭ". When the same nouns are declined in the neuter and take a short /a/ ending in Sanskrit, Malayalam adds an additional /m/, e.g. "Brahma" (neuter nominative singular of "Brahman") becomes "Brahmam". This is again omitted when forming compounds.
• Words whose roots end in /-an/ but whose nominative singular ending is /-a-/ (for example, the Sanskrit root of "karma" is actually "karman") are also changed. The original root is ignored and "karma" (the form in Malayalam being "karmam" because it ends in a short /a/) is taken as the basic form of the noun when declining.[62] However, this does not apply to all consonant stems, as "unchangeable" stems such as "manas" ("mind") and "suhr̥t" ("friend") are identical to the Malayalam nominative singular forms (although the regularly derived "manam" sometimes occurs as an alternative to "manas").
• Sanskrit words describing things or animals rather than people with a stem in short /a/ end with an /m/ in Malayalam. For example,"Rāmāyaṇa" → "Rāmāyaṇam". In most cases, this is actually the same as the Sanskrit accusative case ending, which is also /m/ (or, allophonically, anusvara due to the requirements of the sandhi word-combining rules) in the neuter nominative. However, "things and animals" and "people" are not always differentiated based on whether or not they are sentient beings; for example, "Narasimha" becomes "Narasiṃham" and not "Narasiṃhan", whereas "Ananta" becomes "Anantan" even though both are sentient. This does not strictly correspond to the Sanskrit neuter gender, as both "Narasiṃha" and "Ananta" are masculine nouns in the original Sanskrit.
• Nouns with short vowel stems other than /a/, such as "Viṣṇu", "Prajāpati" etc. are declined with the Sanskrit stem acting as the Malayalam nominative singular (the Sanskrit nominative singular is formed by adding a visarga, e.g., as in "Viṣṇuḥ")
• The original Sanskrit vocative is often used in formal or poetic Malayalam, e.g. "Harē" (for "Hari") or "Prabhō" (for "Prabhu" – "Lord"). This is restricted to certain contexts – mainly when addressing deities or other exalted individuals, so a normal man named Hari would usually be addressed using a Malayalam vocative such as "Harī". The Sanskrit genitive is also occasionally found in Malayalam poetry, especially the personal pronouns "mama" ("my" or "mine") and "tava" ("thy" or "thine"). Other cases are less common and generally restricted to the realm of Maṇipravāḷam.
• Along with these tatsama borrowings, there are also many tadbhava words in common use. These were incorporated via borrowing before the separation of Malayalam and Tamil. As the language did not then accommodate Sanskrit phonology as it now does, words were changed to conform to the Old Tamil phonological system, for example "Kr̥ṣṇa" → "Kaṇṇan".[63] Most of his works are oriented on the basic Malayalam family and cultures and many of them were path-breaking in the history of Malayalam literature

Malayalam letters on old Travancore Rupee coin

The earliest known poem in Malayalam, Ramacharitam, dated to the 12th to 14th century, was completed before the introduction of the Sanskrit alphabet. It shows the same phase of the language as in Jewish and Nasrani Sasanas (dated to mid‑8th century).[21] But the period of the earliest available literary document cannot be the sole criterion used to determine the antiquity of a language. In its early literature, Malayalam has songs, Pattu, for various subjects and occasions, such as harvesting, love songs, heroes, gods, etc. A form of writing called Campu emerged from the 14th century onwards. It mixed poetry with prose and used a vocabulary strongly influenced by Sanskrit, with themes from epics and Puranas.[31]

Cover page of Nasranikal okkekkum ariyendunna samkshepavedartham which is the first book to be printed in Malayalam in 1772.

Rama-charitam, which was composed in the 14th century A.D., may be said to have inaugurated Malayalam literature just as Naniah's Mahabharatam did for Telugu. The fact is that dialectical and local peculiarities had already developed and stamped themselves in local songs and ballads. But these linguistic variations were at last gathered together and made to give a coloring to a sustained literary work, the Rama-charitam, thereby giving the new language a justification and a new lease on life.

The Malayalam language, with the introduction of a new type of devotional literature, underwent a metamorphosis, both in form and content, and it is generally held that modernity in Malayalam language and literature commenced at this period. This change was brought about by Thunchathu Ezhuthachan (16th century) who is known as the father of modern Malayalam literature. Till this time Malayalam indicated two different courses of development depending on its relationship with either Sanskrit or Tamil–Kannada languages.

The earliest literary work in Malayalam now available is a prose commentary on Chanakya's Arthashastra, ascribed to the 13th century. The poetical works called Vaisikatantram are also believed to belong to the early 14th century. These works come under a special category known as Manipravalam, literally the combination of two languages, the language of Kerala and Sanskrit. A grammar and rhetoric in this hybrid style was written sometime in the 14th century in Sanskrit and the work, called the Lilatikalam, is the main source of information for a student of literary and linguistic history.

According to this book, the Manipravalam and Pattu styles of literary compositions were in vogue during this period. "Pattu" means "song" and more or less represents the pure Malayalam school of poetry. From the definition of the Pattu style given in the Lilatikalam, it can be surmised that the language of Kerala during this period was more or less in line with Tamil, but this has misled many people to believe incorrectly that Malayalam was itself Tamil during this period and before. However, till the 13th century there is no hard evidence to show that the language of Kerala had a literary tradition except in folk songs.

The literary tradition consisted of three early Manipravalam Champus, a few Sandesa Kavyas and innumerable amorous compositions on the courtesans of Kerala, which throb with literary beauty and poetical fancies, combined with a relishing touch of realism about them with regard to the then social conditions. Many prose works in the form of commentaries upon Puranic episodes form the bulk of the classical works in Malayalam.

The Pattu (a sutra devoted to define this pattern is termed a pattu) school also has major works like the Ramacharitam (12th century), and the Bhagavad Gita (14th century) by a set of poets belonging to one family called the Kannassas. Some of them like Ramacharitam have a close resemblance to the Tamil language during this period. This is to be attributed to the influence of Tamil works on native poets belonging to areas that lie close to the Tamil country.

It was during the 16th and 17th centuries that later Champu kavyas were written. Their specialty was that they contained both Sanskritic and indigenous elements of poetry to an equal degree, and in that manner were unique.

Unnayi Varyar, whose Nalacharitan Attakkatha is popular even today, was the most prominent poet of the 18th century among not only the Kathakali writers, but also among the classical poets of Kerala. He is often referred to as the Kalidasa of Kerala. Although Kathakali is a dance drama and its literary form should more or less be modeled after the drama, there is nothing more in common between an Attakkatha and Sanskrit drama.

That is to say, the principles of dramaturgy to be observed in writing a particular type of Sanskrit drama are completely ignored by an author of Attakkatha. Delineation of a particular rasa is an inevitable feature with Sanskrit drama, whereas in an Attakkatha all the predominant rasas are given full treatment, and consequently the theme of an Attakkatha often loses its integrity and artistic unity when viewed as a literary work.

Any Attakkatha fulfills its objective if it affords a variety of scenes depicting different types of characters, and each scene would have its own hero with the rasa associated with that character. When that hero is portrayed he is given utmost importance, to the utter neglect of the main sentiment (rasa) of the theme in general. However, the purpose of Attakkatha is not to present a theme with a well-knit emotional plot as its central point, but to present all approved types of characters already set to suit the technique of the art of Kathakali.

The major literary output of the century was in the form of local plays composed for the art of kathakali, the dance dramas of Kerala also known as Attakkatha. It seems the Gitagovinda of Jayadeva provided a model for this type of literary composition. The verses in Sanskrit narrate the story and the dialogue is composed in imitation of songs in the Gitagovinda, set to music in appropriate ragas in the classical Karnataka style.

Besides the Raja of Kottarakkara and Unnayi Varyar referred to above, nearly a hundred plays were composed during this century by poets belonging to all categories and subscribing to all standards, such as Irayimman Tampi and Ashvati Raja, to mention just two.

Devotional literature in Malayalam found its heyday during the early phase of this period. Ezhuthachan referred to above gave emphasis to the Bhakti cult. The Jnanappana by Puntanam Nambudiri is a unique work in the branch of philosophical poetry. Written in simple language, it is a sincere approach to the advaita philosophy of Vedanta.

It took nearly two centuries for a salutary blending of the scholarly Sanskrit and popular styles to bring Malayalam prose to its present form, enriched in its vocabulary by Sanskrit but at the same time flexible, pliable and effective as to popular parlance.

As regards literature, the leading figures were Irayimman Thampi and Vidwan Koithampuran, both poets of the royal court. Their works abound in a beautiful and happy blending of music and poetry. The former is surely the most musical poet of Kerala and his beautiful lullaby commencing with the line Omana Thinkalkidavo has earned him an everlasting name. But the prime reason why he is held in such high esteem in Malayalam is the contribution he has made to Kathakali literature by his three works, namely the Dakshayagam, the Kichakavadham and the Uttara-svayamvaram. The latter's Kathakali work Ravana Vijayam has made him immortal in literature.

The first printed book in Kerala was Doctrina Christam, written by Henrique Henriques in Lingua Malabar Tamul. It was transliterated and translated into Malayalam, and printed by the Portuguese in 1578.[78][79] In the 16th and 17th centuries, Thunchaththu Ramanujan Ezhuthachan was the first to substitute Grantha-Malayalam script for the Tamil Vatteluttu alphabet. Ezhuthachan, regarded as the father of the modern Malayalam literature, undertook an elaborate translation of the ancient Indian epics Ramayana and Mahabharata into Malayalam. His Adhyatma Ramayana and Mahabharata are still read with religious reverence by the Malayalam-speaking Hindu community. Kunchan Nambiar, the founder of Tullal, was a prolific literary figure of the 18th century.

The British printed Malabar English Dictionary by Graham Shaw in 1779 was still in the form of a Tamil-English Dictionary.[80] The Syrian Christians of Kerala started to learn the Tulu-Grantha Bhasha of Nambudiris under the British Tutelage. Paremmakkal Thoma Kathanar wrote the first Malayalam travelogue called Varthamanappusthakam in 1789.

The educational activities of the missionaries belonging to the Basel Mission deserve special mention. Hermann Gundert, (1814–1893), a German missionary and scholar of exceptional linguistic talents, played a distinguishable role in the development of Malayalam literature. His major works are Keralolpathi (1843), Pazhancholmala (1845), Malayalabhaasha Vyakaranam (1851), Paathamala (1860) the first Malayalam school text book, Kerala pazhama (1868), the first Malayalam dictionary (1872), Malayalarajyam (1879) – Geography of Kerala, Rajya Samacharam (1847 June) the first Malayalam news paper, Paschimodayam (1879) – Magazine.[81] He lived in Thalassery for around 20 years. He learned the language from well established local teachers Ooracheri Gurukkanmar from Chokli, a village near Thalassery and consulted them in works. He also translated the Bible into Malayalam.[82][83]

In 1821, the Church Mission Society (CMS) at Kottayam in association with the Syriac Orthodox Church started a seminary at Kottayam in 1819 and started printing books in Malayalam when Benjamin Bailey, an Anglican priest, made the first Malayalam types. In addition, he contributed to standardizing the prose.[84] Hermann Gundert from Stuttgart, Germany, started the first Malayalam newspaper, Rajya Samacaram in 1847 at Talasseri. It was printed at Basel Mission.[85] Malayalam and Sanskrit were increasingly studied by Christians of Kottayam and Pathanamthitta. The Marthomite movement in the mid-19th century called for replacement of Syriac by Malayalam for liturgical purposes. By the end of the 19th century Malayalam replaced Syriac as language of Liturgy in all Syrian Christian churches.

Thanks to the efforts of kings like Swathi Thirunal and to the assistance given by him to the Church Mission and London Mission Societies, a number of schools were started.

The establishment of the Madras University in 1857 marks an important event in the cultural history of Kerala. It is from here that a generation of scholars well versed in Western literature and with the capacity to enrich their own language by adopting Western literary trends came into being. Prose was the first branch to receive an impetus by its contact with English. Though there was no shortage of prose in Malayalam, it was not along Western lines. It was left to the farsighted policy of the Maharaja of Travancore (1861 to 1880) to start a scheme for the preparation of textbooks for use by schools in the state. Kerala Varma V, a scholar in Sanskrit, Malayalam and English was appointed Chairman of the Committee formed to prepare textbooks. He wrote several books suited for various standards.

The growth of journalism, too, helped in the development of prose. Initiated by missionaries for the purpose of religious propaganda, journalism was taken up by local scholars who started newspapers and journals for literary and political activities.

Vengayil Kunhiraman Nayanar, (1861–1914) from Thalassery was the author of first Malayalam short story, Vasanavikriti. After him innumerable world class literature works by was born in Malayalam.

With his work Kundalatha in 1887, Appu Nedungadi marks the origin of prose fiction in Malayalam. Other talented writers were Chandu Menon, the author of Indulekha, a great social novel, in 1889 and another called Sarada. Also there was C V Raman Pillai, who wrote the historical novel Marthandavarma in 1890 as well as works like Dharmaraja, and Ramaraja Bahadur.

Shakuntala writes to Dushyanta. Painting by Raja Ravi Varma. The poetry was translated by Kerala Varma as Abhijnanasakuntalam

In poetry there were two main trends, one represented by Venmani Nampoodiris (venmani Poets) and the other by Kerala Varma. The latter's poetry was modeled on the old Manipravalam style abounding in Sanskrit words and terms, but it had a charm of its own when adapted to express new ideas in that masterly way characteristic of himself. His translation of Kalidasa's Abhijnanasakuntalam in 1882 marks an important event in the history of Malayalam drama and poetry. Also Kerala Varma's Mayura-sandesam is a Sandesakavya (messenger poem) written after the manner of Kalidasa's Meghadutam. Though it cannot be compared with the original, it was still one of the most popularly acclaimed poems in Malayalam.

One of the notable features of the early decades of the 20th century was the great interest taken by writers in translating works from Sanskrit and English into Malayalam. Kalidasa's Meghaduta and Kumarasambhava by A. R. Raja Raja Varma and the Raghuvamsa by K. N. Menon must be mentioned. One of the most successful of the later translators was C. S. Subramaniam Potti who set a good model by his translation of the Durgesanandini of Bankim Chandra from an English version of it.

The early decades of the 20th century saw the beginning of a period of rapid development of all branches of Malayalam literature. A good number of authors familiar with the latest trends in English literature came forward to contribute to the enrichment of their mother tongue. Their efforts were directed more to the development of prose than poetry.

Malayalam language in mobile phone

Several Bengali novels were translated during this period. C. S. S. Potti, mentioned above, also brought out the Lake of Palms of R. C. Dutt under the title Thala Pushkarani, Kapalakundala by V. K. Thampi and Visha Vruksham by T. C. Kalyani Amma were also translations of novels by Bankimochandra Chatterji.

Among the original novels written at that time only a few are worth mentioning, such as Bhootha Rayar by Appan Thampuran, Keraleswaran by Raman Nambeesan and Cheraman Perumal by K. K. Menon. Although many social novels were produced during this period, only a few are remembered, such as Snehalatha by Kannan Menon, Hemalatha by T. K. Velu Pillai and Kambola-balika by N. K. Krishna Pillai. But by far the most inspiring work of that time was Aphante Makal by M. B. Namboodiri, who directed his literary talents towards the abolition of old worn-out customs and manners which had for years been the bane of the community.

Short stories came into being. With the advent of E. V. Krishna Pillai, certain marks of novelty became noticeable in the short story. His Keleesoudham proved his capacity to write with considerable emotional appeal.

C. V. Raman Pillai was a pioneer in prose dramas. He had a particular knack for writing dramas in a lighter vein. His Kurupillakalari of 1909 marks the appearance of the first original Malayalam prose drama. It is a satirical drama intended to ridicule the Malayali official classes who started imitating Western fashion and etiquette. There were other authors, less well-known, who wrote in this vein.

Under the guidance of A. Balakrishna Pillai, a progressive school of authors appeared in almost all branches of literature, such as the novel, the short story, the drama, and criticism.

Kumaran Asan's celebrated poem, Veena Poovu (The Fallen Flower) depicts in a symbolic manner the tragedy of human life in a moving and thought-provoking manner. Vallathol's Bandhanasthanaya Aniruddhan, which demonstrates an exceptionally brilliant power of imagination and deep emotional faculties, depicts a situation from the Puranic story of Usha and Aniruddha. Ulloor S. P. Iyer was another veteran who joined the new school. He wrote a series of poems like Oru Mazhathulli in which he excelled as a romantic poet.

The three more or less contemporary poets Kumaran Asan, Vallathol Narayana Menon and Ulloor S. Parameswara Iyer considerably enriched Malayalam poetry. Some of their works reflect social and political movements of that time. Asan wrote about untouchability in Kerala; Ullor's writings reflect his deep devotion and admiration for the great moral and spiritual values, which he believed were the real assets of ancient social life of India. They were known as the trio of Malayalam poetry. After them there were others like K. K. Nair and K. M. Panikkar who contributed to the growth of poetry.