CHAPTER- II LIFE AND WORKS OF Dr. K. N EZHUTHACHAN

The great intellect Dr. K.N Ezhuthachan was an Indian writer and scholar in Sanskrit and Malayalam literature. He dedicated his life towards literature, which resulted in literary outputs like poetry, criticism and research.

Dr. K.N. Ezhuthachan was born on May 21st 19111 at Cherpulassery in the former Valluvanad in Malabar. His father‟s name was Ku¶iyirikkal Krishnan

Ezhuthachan and mother was Lakshmi Amma. Krishnan Ezhuthachan was a famous eye specialist and a Sanskrit scholar2. His maternal uncle

Kuruvanthodi Sankaran Ezhuthachan was a noted critic of those days.

After school from which he graduated in 1927, he could not go for higher studies because of financial constraint. So he went to Calicut, to learn typewriting and shorthand. These days helped him go into the wide life of literature. He started working as a teacher in Cherukara elementary school after his secondary education in 1932 to 1934. He later worked at Pattambi high school for four years from 1940 to 19443. Meanwhile he acquired such a

1 Ezhuthachan K.N, Ente Sahitya Jivitham, (Autobiographical Essay by Ten Eminent Writers), Vallathol Sahitya Vedi, Mavur, Calicut, 1981, p.63. 2 Ibid., 3 Ibid.,p.76. 52

good proficiency in Sanskrit that he took his Vidvan title, intermediate and BA examinations as a private candidate4. He went to Bombay in 1944 due to his financial constiants where he worked as clerk and a stenographer. During that time he was able to use the Town hall library and Vettit library. He also managed to study Homeopathy at that time.

In 1948, he passed M.A Sanskrit course from the University of Nagpur with first rank via private study. Later on he was appointed as lecturer in

Malayalam department, at the University of Madras in the year 19535 and continued till 1971when he retired from his job. Meanwhile, he successfully completed Post Graduation in Malayalam (1962) and English (1964) and he completed his PhD in Malayalam. He stayed at Madras and gets remarkable knowledge in the languages like Tamil, Kannada, Marati and other Dravidian languages. After his retirement he worked as senior research officer in the

State Language Institute of Kerala in 1972. He was senior fellow among the

Dravidian Linguistics Association in 1973, UGC Professor in the University of

Calicut from 1974 to 1978 as well as research guide in Kerala Sahitya

Academy from 1973 until his death. He contributed much to the field of linguistic literature and research throughout his life. He passed away in 19816

4 Ibid., 5 Ibid., pp. 77-79 6 It was on October 28, 1981. 53

when he was giving a lecture on Sakthi Award, instituted in memory of his intimate friend Cherukatu, a famous poet, novelist, and play write. Contribution to the literary world

Dr. K.N Ezhuthachan‟s books are literary wider from Îgveda to

Idassery poetry. He touched various realms of English, Sanskrit, P¡li, Pr¡k¤t,

Tamil, Hindi, Kannada and Malayalam literatures. He has keen knowledge in grammar, linguistics, critics, religion, education, culture, and politics. His early works were not published. “There are a lot of articles remain in the magazine

Jayakeralam. My early life in Mumbai was concentrated in lively hood. I never thought that I would return to the field of literature. I only noticed my mistake when I came to Madras I have lost my entire collection of magazine which published my own prose and poetries”7.

Major Works

Dr. K.N Ezhuthachan wrote a lot of works on literature and literary criticism. Kusumopah¡ram8 (collection of poems), Pratijµa9, Prat¢kÀa10 (Short poetry), Ezhuttacchante Ady¡tma R¡m¡ya¸am oru Pa¶anam11,

Kath¡saudham12, Kath¡bh£Àa¸am13, Kath¡maµjari14 (Collection of Stories),

7 Ezhuthachan K.N, Ente S¡hitya J¢vitam, Vallathol Sahityavedi, Mavoor, Kozhikkode, 1981, p.1. 8 Vidya Vilasam Press, Calicut,1933. 9 P.K Brothers, Calicut, 1949. 10 P.K Brothers, Calicut, 1949. 11 P.K Brothers,Calicut, 1949. 12 P.K Brothers,Calicut, 1949. 13 P.K Brothers,Calicut, 1949. 14 P.K Brothers,Calicut, 1949. 54

Kavitakkoru S¡dh£kara¸am, Kalayu¶e S¡m£hya Verukal, EÀiayum

P¡¿c¡tyamedh¡vitvavum, ManuÀyanum Prak¤tiyum (translation from English),

Vir¡huti (Translation of Ve¸¢samh¡ra), Kera½odaya15 (Sanskrit epic),

Kira¸a´´gal16, Ilayum Verum17, Katirkkula18, Uzhutanila´´gal19,

Ezhilamp¡la20, Kala¶ipp¡takal21, Muttum Pavizhavum22, D¢pam¡la23,

Sam¢kÀa24 (Collection of Articles), Ì¿varacandra Vidy¡s¡gar (Biography),

Mahil¡r¡mam, K.N Ezhuthachante Teraµµedutta Prabanda´gal Vol.I & II,25

L¢l¡tilakam (English Translation), S¡rthav¡han (Translation from Hindi),

Tolk¡piyam, Puran¡n£ru, Kurunthokai, Natt¤ina, (Malayalam Translation),

Bh¡À¡ Kau¶il¢yam (Adhikara¸as 4, 7 Edition), Bh¡À¡ Kau¶il¢ya – A

Linguistic Study ( Research Work) and A History of the Grammatical

Theories in Malayalam ( Grammar History) are the major works.

One of the important research treatises is Kilipp¡ttu prasth¡nam (long study). In the text of S¡hityacaritram Prasth¡na´´alil£¶e, Tar£rsvar£pam,

R¡macarita and its metres, A Study of R¡m¡ya¸a themes in Malayalam, The

Morphology of L¢l¡tilakam, The Problem of meaning Modern trends in Indian

15 Ottappalam, 1977. 16 Current Books, Trissur, 1968. 17 Current Books, Trissur, 1968. 18 P.K Brothers, Calicut, 1949. 19 Current Books, Trissur, 1968. 20 Current Books, Trissur, 1968. 21 Current Books, Trissur, 1968. 22 National Book Stall Kottayam, 1974. 23 Poorna Publications, Calicut, 1981. 24 Poorna Publications, Calicut, 1979. 25 Poorna Publications, Calicut, 1979. 55

Poetry, Ran¶u Bhagavadg¢takal etc., Malay¡lattile Pazhancollukal,

Thunjathezhuthaccan, The Artisan Classes of Kerala (Social history of Kerala) etc are some of them in included in Encyclopaedia.

His not yet published works are Ajanum Indumatiyum, (Mathrubhumi

Weekly 1935 March), V¡tm¢kiyu¶e Phalitam (Mathrubhumi Weekly 1935

Nov), R¡map¡¸iv¡dante R¡ghav¢yam (Mathrubhumi Weekly 1936, Feb),

R¡map¡¸iv¡dante Candrik¡v¢dhi (Mathrubhumi Weekly, 1937, Dec),

Bhagavadajjuk¢yam (Mathrubhumi weekly 1938, April), Nammu¶e

Mah¡kavikal (Jayakeralam Yearly), P¡¿c¡tya Nir£pa¸am Innale

(Navaratnangal, (EKN âaÀ¶yabdap£rtti), S¡hityatile LakÀyabodham

(Desabhimani Republic Print, 1978), S¡hityak¡ranum Sam£havum

(Desabhimani Onam Special print), Nir£pakante Upakara¸a´gal

(Malayalar¡jyam Weekly), Paµcavatsara Paddhati RaÀyan S¡hityattil

(Jayakeralam 1954, March), Va½½attol½inte Va½arcca (Va½½attol

Sm¡rakopah¡ram, 1966), Malay¡½attile Tennison (Va½½attol Sm¡rakopah¡ram,

1967), Ull£rite K¡vya¿aili (bh¡À¡s¡hiti), U½½£rinte Lakhukavana´gal (S¡hitya

Samithi, 1977, November), Mun∙a¿¿eriyute Sambh¡vana (1977, December),

G. Yute Ëkhy¡na Kavitakal 1978, May) and K.P Ke¿avamenonte Upade¿a

S¡hityam. Some of them are including K.N Ezhuthachante Teraµjedutta

Prabanda´´al (Vol.2). 56

He won the C. B Kumar Award of the Kerala Sahitya Academy in 1977 for his collection of research, Muttum Pavizhavum, and Kendra Sahitya

Academy Award in 1977 for the Keralodaya Mah¡k¡vya. Many of the universities in India honoured him by conferring membership of various academic bodies. Keralodaya and its Importance

Many poets have written Sanskrit Mah¡k¡vyas based on historical facts. The great poets Kalhana and Bilhana have written historical poems. But they gave predominance for exaggerations, not for historical values. The salient features of Keralodaya is not that it has made historical facts its theme, but it found poem in history and wrote history in the poetic style.

How can a historic epic that is true to history can possibly be composed? For the readers to pass through the times past, and experience that bygone generations and make it possible for them to experience the past as truly as the poet himself does the poet has to the social contact concerned and depict the instructions between men in the widest canvas possible in the most sincere manner. The Poet need to present the historic episodes of the creatively unique and dynamic human life in such a way as if they were taking place now 57

in the reader‟s imaginative sphere. In the process, the readers transform the poetic as well as historic experiences into individual experience. For achieving this end, the poet has to be extremely careful in deploying the historic event into mutually encouraging and helpful units.

The poet‟s task is not defining history or historic happenings, but recreating the underlying human strength and potential imaginatively. While doing so we must be able to vicariously experience the thoughts and acts of the people and the reasons behind such thoughts and acts. In short, the plot of a historic epic shall be able to imaginatively recreate in their mind‟s eye, the past, the people in it, their thoughts and acts and the reasons and that motivated the people into them.

As he recreates and represents the changes and the events of the past, he democratises them. What the poet lays particular stress on is how his recreation and representation will asset the life of the common man and how much far reaching the influence will be. The poet will not only be very careful about the impacts this may have on the physical, mental and spiritual life, but also on the every day life of the people. A poet that has conceived this idea of the historic epic alone can depict in his work the idealistic, political and moralistic institutions and the physical environment that is the basic of such 58

complex institutions. Against this background, Dr. K.N Ezhuthachan becomes a notable figure26. K.N Ezhuthachan‟s Keralodaya is dealing with modern history. Ezhuthachan, how ever, had a definitive objective and purpose in choosing Sanskrit. He has made a reference to this in Keralodaya, Dr.K.N

Ezhuthachan says “This is written in Sanskrit for reaching a wider sphere of the readers. Sanskrit is a national and international language and is a language of scholarship. Any work written in any other language is not as enriched as written in Sanskrit27”. Ezhuthachan had some well defined principles and understanding regarding poetic composition. He was well known as a poet working for the overall progress and advancement of the individual and society: As such he tirelessly strove towards enlightening his readers and there by aimed at the progress of the nation.

What Ezhuthachan has done in Keralodaya is painting the picture of the history of Kerala right from the early beginning till the formation of the integrated state on an extensive canvas. It was too much a herculean task to be performed single handled either by a poet or an artist. The task can be

26 Dr. Dharmaraj Adat, Dr. K.N Ezhuthachante Krithikal oru Patanam, Kerala Sahitya Academy, Trissur, 1991, p.128. 27 K.N Ezhuthachan, Kera½odayam Kaviyu¶e Kurippukal, p.1. 59

performed effectively only by a person who is both an artist and a poet. Dr.

Ezhuthachan has dominion over both the fields28.

Actually the beginning of a well written and definitive history of Kerala can be traced back to the advent of the Portuguese in Kerala during the 15th century. History of Kerala before this watermark is based on some incriptions on stones and references to it in Sangha period. Post Sangha period, works in

Tamil and in works written by Keralites or by others had a brief history about the people of Kerala. Kerala‟s history before this mostly is confined within legends and oral traditions. Works from the Sangha period have references to a few kings and towns in Kerala. There are some specific references to some kings belonging to first Cera Empire. These works also have reference to customs and traditions of the common people that pursued hunting farming and agriculture for a always Cilappatikara on of the outstanding works written by Ilanko Atikal, a Keralite who belonged to the post Sangha- period.

Exploration of this text can reveal some of the earliest roots of Kerala history.

Besides this, travelogues written by foreign travellers visiting Kerala, through the light of the society of those times, its form of governance its towns, trade

28 Anappaya Sethumadhavan, Dr. K.N Ezhuthachan, Department of Cultural Publication, Govt. of Kerala, Trivandrum, 1999, P.99.

60

and commerce and various other aspects too account for various textual references. In fact these were also used as sources by Ezhuthachan to draw an outline during the creation of Keralodaya.

N.V. Krishnavarrier in an article titled Kera½¢ya Samsk¤ta

Mah¡k¡vyan´´a½il Keralodayattinu½½a Sth¡nam, wrote that Dr. Ezhuthachan was not like common academic scholars who analysed a work of art after removing it from its social context. He was not interested in this process. He had a definite vision regarding the formation of Kerala society, its progress and development. The matter he studied in detail was the social history of Kerala, he engaged his tiresome efforts and intellect in studying developmental changes in the life of Kerala. From his in-depth studies, he gathered immense knowledge and scholarship. Keralodaya can be seen as a bleed of

Ezhuthachan‟s poetic genius and profound scholarship. There is no doubt that

Keralodaya remain one of his greatest works comprising 200 verses scattered across 21 chapters29. It is indeed his magnum opus. Referring to this, he says:

“What is the greatest among my works? That which lives the longest? Well by all means, it is Keralodaya. This may appear rather strange. I began the work on it‟s for fun, for pleasure. It actually has ended up as my magnum opus. This

29 Ezhuthachan memorial Lecture in Pattambi College, 1982, November 15. 61

is the only work I have composed in Sanskrit, and another works are done in

Malayalam using an extensive canvas, I have tried to depict the socio-political and cultural history of Kerala in Kera½odaya. I think in Keralodaya stands as unique among historic epics written in Sanskrit30”.

Keralodaya

It consists of 2484 ¿lokas in metrical beauty and G¢tacatuÀ¶ayam with overflowing sweetness of the song composed of Nad¢g¢tam, Kinnarag¢tam,

Sainikag¢tam, and Kera½ag¢tam altogether. The poet imagines this to be radiating the brightness and fragrance of a freshly blossomed bud (phulla kusuma da½a ¿obhini) and also to be bouquet with five distinctively colourful bunches of blossoms such as Svapnamaµjari (dream flower), Sm¤timaµjari

(memory flower), Aitihyamaµjari (legendary flower), Bodhamaµjari

(conscious flower), Caritramaµjari (history flower) engender.

Svapnamaµjari

Chapters one and two deal with Svapnamaµjari. This part deals with the legend of Para¿ur¡ma and the origin of Kerala. N. V Krishnavarrier 31 has the following to say about the relevance of Ezhuthachan choosing the little

Svapnamaµjari: “There is a certain use for presenting this part of the story in a

30 K.N Ezhuthachan, Ente S¡hitya j¢vitam, Op. cit p.24. 31 Ezhuthachan Memorial Lecture, Op. cit., 62

dream form. An enumeration of historical facts will not necessarily be poetry.

Poetry is rich in a variety of human personality and emotion. Human emotions are the very source of life of poetry. For this reason, it has to be couched in emotion. In a state of dream, the physical world undergoes into unbelievable transformations. In Ezhuthachan‟s dream world there appears a lot of scenes:

Para¿ur¡ma who has eschewed violence and transformed subsequently; an ocean that has assumed the role of a father, Kerala that has put on the role of a virgin, and Utiyan Ceral, and even the King of Kerala. The scenes help in unravelling some profound truths about life and also help in enacting an emotionally enriching human drama. Perhaps, what Ezhuthachan opines is that it is this age old race memory that rejuvenates the hearts of Kerala and horripilate them whenever they think of their homeland”.

A series of highly romantic imaginations such as áaivic institutions of á¡stha and Durga as presiding deities , bringing Brahmins from the North, giving in marriage of Bhargavi the beauty that Prav¤ddha stoops from the weight of her voluptuous breasts and having long and enchanting cascading hair to a North

Indian King opening of the gates of heaven that Sri R¡ma had blocked an enrich the story of Para¿ur¡ma and import to it a touch of humanism that makes its appreciation sweets. 63

Sm¤timaµjari

Chapter 3 to 7 cover Sm¤timaµjari. They depict the exploits of courage and valour of Cera Empire I. There is a story of Utiyan Ceral Atan, the first ever king of the Cera Empire, who provided food to the warriors of both the sides in Kula¿ekhara. Thus he even gained the nickname Perumcottutiyan.

Sm¤timaµjari portrays life during the reigns of three succeeding kings viz., reign of his son Nedumceral Atan, his grandson Cenkuttavan Imayavarampan.

The social situation existing at that time is contextualised in Sm¤timaµjari in the light of relevant facts available in the works from the Sangham period. The poet has also re- interpreted Ma¸imekhala and Cilappatik¡ram. Several portrayals of the villages during the Sangha period enrich the story of Ka¸¸aki and Kovala. The story of Cenkuttuvan getting a temple with murals engraved with the history of Ka¸¸aki is extensively described in the slokam from 74 to till 182 in 5th Sarga. During the early years if the reign of Ceras, Kerala held a great fascination for the foreign tourists and several foreigners had already entered the land such as Konkanar, Kadambar, Pallavar, the Greeks (Yavanas) etc. King Solomon‟s court bore the signs of radiantly spread peacocks feathers from the Western Ghats in Kerala, which bear witness to the fact that Kerala had commercial alliances with foreign countries rest from the ancient times. 64

Aitihyamaµjari

This encompasses Sargas from 8th to 13. It deals with several kings such as Kula¿ekhara Ëlwar, Ceraman Perumal, N¡yan¡r, Sth¡¸u Ravivarma,

R¡mavarma, Kula¿ekharan and the most significant events during their reign.

The culture of Kerala was formed by the coming of various cultures such as the culture during the times of M£varassar as well as the culture evolved from the inroads by Aryans and non-Aryans. An analytical study of changes that came over the social and cultural fields of Kerala due to Brahmanical hegemony, the decline and fall of Buddhism and Jainism, Cera Cola war and the destruction of the colas, the intercourse entered into with Kadambas etc can be seen here. Though 8th and 9th centuries, Kerala history was based on

Tarisappally Ordinance, P¡lium Ordinance and Jewish Ordinance, a lot of poetic imaginative faculty can be seen merging into the poetic fabric. History has been transformed into poetry. In the imaginary dialogue between Sri

áankara and Kulasekhara, one can perceive áankara‟s great genius and

Kula¿ekhara‟s glory.

घटो न साधो न मदृ ो ििििद्यत॓

पटश्च तꅍतोददिध चात्र द嵍ु धतः। 65

तथा न िििळिष्यित ििश्वतेजसो

महाप्रप祍जोऽयमये यथा तः

(Oh! Good and great friends, known that the earth is not separate from the pot, nor the thread from the cloth, nor the curd from the milk. The visible world around us is not separate from the vast and limitless Universe; in fact, one merges into the other, distinctly and is only a transformation).

In such verses, what is brought out is not just the scientific aspect of the religion of áankara, but reveals the peak of the philosophic bent of mind of the poet.

Bodhamaµjari

In the 14th and 15th sarga deals with Bodhamaµjari. The main theme concerns the dominion of the Muhammadan‟s in the North and the decline of the Aryan culture. During the reign of Alavudhin Khilji, Malik Khafur invaded

South India. After the reign of king Jayasimha in kollam, Ravivarma

Kulasekhara who had won fame as the Samadhira, assumed power. He was the son of Queen Uma. What is reflected in these verses is the profound of knowledge in various sciences of queens in general. Scholarship is a necessary accompaniment of taste in case of high ideals being expressed and couched in

32 Keralodaya, IX/47. 66

appropriate language. Readers are astounded by the versatility of the poet in the revelation of queen Uma‟s philosophical thoughts.

The description of M¡m¡´kam in 15th chapter is amazingly live.

Kunnalakkon¡tiri, a certain chieftain observing that Zamorin of Kozhikkode and Valluvakkon¡tiri are engaged competitively in establishing the dominion over each other. Later on the persisting Valluvakkon¡tiri‟s rights over

M¡m¡´kam,which were handed over to Zamorin is humorously described.

Further adds the beautiful description of M¡m¡´kam which longed about 28 days. One cannot hold laughter while going through these accounts once they proceed towards arena of M¡m¡´kam.

(“N¢li, where are you Cakki? Down with fever, what about N¡r¡ya¸i? The poor women are in labour year after year”. “Where‟s your man”? The present guy in the seventh in the row”).

33 Keralodaya,15/109. 67

These are some of the extracts from a conversation between women folk.

Caritramaµjari

The history that covers events from the arrival of Vasco-Da- Gama in

Calicut in 1548 till the formation of integrated Kerala state in 1956. Women, with their lobes hanging swaying and dangling pendulously with heavy studs on them as they ceremoniously march towards Vasco-Da-Gama to have a look at the white man and the young boys wearing only with their limbed penises swaying to and fro as they follow the women in the procession are examples of the poet‟s humorous description. The Arabs present there at the time made offerings to presented Gama and asked the Zamorin to depart Gama and said they would go back Arabia if their demands were not met. Portuguese soon established contacts with the king of Kochi. They set ablaze the ships on which the Arabs would be bound for Hajj. Vasco-Da-Gama left Kerala for home in

1502. Finding the best opportune, Zamorin launched an attack on Kochi.

Following the Portuguese, the Dutch and the English also reached Kochi to engage in trade. With the decision to battle at Kulachal, Dutch began to decline while the English rose in prominence. 68

There is an extensive description of customs, traditions, rituals ceremonies festivals and practices of Kerala in the18th chapter. The poet described exquisitely the unique characteristic birth marks of life in Kerala such as ViÀu, Tiruv¡tira, the unique rhythmic cry of the bird associated in the

ViÀu, cultural aspects of O¸am, the cry of men and women in the public such as „p£ve polip£ve‟, floral arrangement, fasting associated with the Tiruv¡tira, bedeck the hair with the midnight flower, á¢poti of Karkki¶akav¡vu, recitation of scripts like R¡m¡ya¸a, the unique festivals at temples (Vela and p£ram) beauty of drums (p¡¸¶ime½a), Ayyappanp¡¶¶u, P¡mpu thullal, (snake dance),

Pu½iku¶i (drinking of sour soup by pregnant woman), Tiran¶ukaly¡¸a

(celebration of menstruate), re-marriage of Brahmins solely for money,

Pulappe¶i, Pa¤appe¶i etc..

The 19th chapter includes invasion of Hyder Ali, commuting of suicide by a Vanquished Zamorin, the reign of Dharmaraja, governance adopting cruellest methods of Dalawa, the life during incarceration of Rajakesavadas, the courageous exploits the ultimate acceptance of death by Pazhassiraja through his own hand.

Sargas 20 and 21 deal with the variety of subjects in the modern era such as the arrival of the British, the origin of Indian National Congress, 69

Brahma Samaja, Arya samaja, the rise of Indian Renaissance under the leadership of Tagore, Gandhi, besides other political and cultural events. The poet goes on engaging his attention the rise of English influence on India, their subsequent dominion of the country, the emergence technology and modern machinery adding to comfort of modern life and gives us as a picturesque description of these. He enters the sphere of literature after passing through

Vaikkom and Guruvayur Satyagraha and proclamation on temple entry of the out castes and untouchables.

He refers to the works of Kerala Varma, Rajaraja Varma, Kunjikkuttan

Tampuran, C.V Raman Pillai, Chandu Menon, V.C Balakrishna Panikker etc.

Further on the poet goes on to describe the end of second World War,

Campaigns for freedom Struggle, Quit India Movement, Independence,

Partition of India and martyrdom of Gandhiji. After reviewing the achievements obtained through several five year plans, the section ends with the singing of Kerala Anthem as a mark of joy on the formation of an integrated Kerala based on linguistic re-organization of states.

70

(Oh! Hai my saintly mother land be victorious. Kerala, the land densely populated by coconut trees be victorious. Let land full of gardens replete with fragrantly exquisite flowers be victorious. Oh! The land that tantalizes the ocean with an ever bewitching beauty mother land be victorious. The land that is part of any life sweetened by the softness of simplicity be victorious).

An analytical explication of all the verses yields richness of the meaning and hence the verses surely find a permanent place in our hearts.

Therefore Dr. Lilavathy observes that “before the unique beauty of verses

Irayimman Tampi and Vayal¡r will postrate in obeisance”35.

Generally, when one comes across a historic epic, one could think of a chronological narration of months and years, kings and wars. Actually

34 Kera½odaya, 21/245, 246. 35 Lilavathy. M, Amrithamasnuthe- Ezhuthachante Kavyasudha, National Book Stall, Kottayam, p.106. 71

Dr. Ezhuthachan demolishes this view in his Kera½odaya. History belongs not only to kings but also to people. History is made by people as well as by kings.

Dr. Ezhuthachan has succeeded in constructing a perfectly linked catena of events gathered meticulously from various scattered sources like legends, inscriptions on copper plates, ancient Tamil literature in to a melodiously beautiful historic epic. He has rendered easily what was actually difficult and obscure Keralodaya is certainly a rising start of unique literary beauty born from a blend of customs, practices festivals, and celebrations of people distanced in time and space from each other recently in a garland of exquisite beauty.