Mappila subculture 3

Documentation for Elective 1

Mappila Subculture, Literature, Songs and Pakshipattu

Student: Fazal Thanveer V ID: S0900086 Gudie: Sajith Gopinath Project Co-ordinator: Suresh Immanuel

Introduction to the Project

Subculture from the Past Different groups of people may live in the same geographical area but they all are different in their characters and their ways of life. I may be from a state in India but among the people of that state who speak the same language and share similar geographies and weather, I am distinct from all others. I belong to a place, but still my family’s way of life differs from my neighbors. What is that group in which I belong? Where do my roots reach to? Where do the beliefs of my ancestors originate from?

Even before the life of Prophet Muhammad in the 600s, Arab traders were in contact with India. Merchants would regularly sail to the west coast of India to trade goods such as spices, gold, and African goods. Naturally, when the Arabs began to convert to Islam, they carried their new religion to the shores of India. The first mosque of India, the Cheraman Juma Masjid, was built in 629 in Kodungalloor, Kerala, by the first Muslim from India, Cheraman Perumal Bhaskara Ravi Varma1.In northern India, Islam spread in a faster rate through army invasion after some decades it had already grown roots in Kerala.

I remember my Madrassa text-books. They were printed in Arabi malayalam. We were taught to read Arabic. To learn the meaning of the words and sentences, it would take a long time, so, it was decided that our mother tongue- Malayalam be written in Arabic.

But we were not introduced to any Arabi-Malayalm literature other than the text books. There used to be a differnt category for “Mappila songs” in school level competitions because they sounded totally different, and most of it not comprehensible for the majority of the common public. Mappila songs are mostly about romance, war,faith, and many other classical subjects of poetry. To me, they carry the mystery of my ancestors.

Arabi-Malayalam has a poetic tradition. Simply said- it is a written language which was popular in Kerala and Lakshadeep some decades ago in which Malayalam was written in Arabic script. Since malayalam has a number of phonetic sounds to which there are no written characters in Arabic, they made few of their own.

Even before printing in Malyalam ever began, news-papers, magazines and other literary texts were printed in Arabi-Malyalam.

It has a vast treasury of literary works. People forgot about them because of the commencement of modern Malayalam literature, colonial styled school education and globalization.

1. lostislamichistory.com/how-islam-spread-in-india/

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Briefly on

Mappila Subculture and Literature

Over the centuries the descendants and followers of the Arab settlers formed a distinct culture in Kerala with a unique lifestyle and tradition.They were firm believers in the faith, and were regarded as honest people by all others.The Holy Quran starts with asking to recite. It was compulsory for everyone in the community to learn to read and write Arabic since it was the language of faith.

To teach the people who were mostly illiterate peasants, ArabiMalayalam was used. Since there was no printing, everything was taught as songs and a sing song tradition formed. There were song writers and singers who would go around villages singing the old and new songs about heroes and heroines of islamic history,about battles old and new, and about prophets and mystics.There were songs to memorise namaz timings, there were mehandi songs, trade songs,and songs for many other varied subjects. Arabi malayalm printing started decades before Malayalm printing started. “Char Darvesh”, a Persian classic novel was translated in Arabi malayalam and published in 1883 before the first ever malayalam novel “Indulekha” by Chandumenon was written. Old lithoprinted copies of Mappila literature are still present.One poet translated ‘Ashtanga hridayam’ from Sanskrit and made it into a song.Texts were written in Arabi Malayalam to teach the old Malayam called ‘Vattezhuthu’ and ‘Kolezhuthu’, and also to learn foreign languages like Heibru and Cyriac. Mappilas couldn’t ever surrender to any force which were against their freedom or faith. A number of Mappila texts like ‘Cheroor Padappattu’ were banned by the British during their reign because the Government they could trigger a revolution.

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Briefly on

Pakshipattu

This song is magical as an Arabian tale. The poet lived during the time of the Malayalam poet Changampuzha and poetically this song is at par with his creations.The way the story is being told is not in a western way, it is an Arabic way of story telling. Magical realism lightens it lamp through out the song. “In a fort there is a fire burning by its own, a stick which strikes by its own and a net which gets thrown by its own”. Trees and snakes talk in the song, they are characters with dignity. Glimpses of feminist thought also could be seen. the song is about an adventurous journey by the brave Ali with the blessings of prophet Mohammed into the fortress of an evil king and how with his bravery and faith, he is able to overcome all the fierce obstacles and free the beautiful girl who had been imprisoned by the evil king for 16 years. Through its lines the song teaches many moral lessons and philosophies. The song draws amazing imageries in the reader’s mind. Like all other mappila poems, it is written in an enjoyable and easily memorizable style.

When the poet first presented the song to the public, the religious scholars of his native place, Mogral in kasargode wouldn’t approve it saying it is not per the rules of the religion. He went to Malappuram and a printer was ready to print it there. Later on it became so popular in the Malabar region that it was sung in every households. The song was even adapted into a Yakshagana form, an ancient and semi classical dance form belonging to Hindu tradition.

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Mappila Subculture

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Islamic influence in Kerala life Translated from the original aricle: Islam Matha Swadheenam Kerala Jeevithathil from the study Mappilasaili by NKA Latheef, published by Vachanam Books, Calicut. First published July 2010.

Kerala heard the message of Islam during prophet’s lifetime itself and received one of the first task forces of Islam in its soil. The ancient trade relations with the Arabs lead to this early beginning of Islam. The simple lifestyle and humble behavior of Malik Deenar’s group were attractive to the people of Kerala. The historian Sheikh Sainudheen Makhdoom in his Thuhfathul Mujahidheen describes the freedom Muslim missionaries received to spread their religion- “No other Hindu will ever attack a converted muslim. Even if he belonged to a lower caste, other Hindus will treat him like any other Muslim.” The kings encouraged conversion to Islam. Logan describes it- “ The Muslims are increasing in their number. The main reason for it is the conversion of lower cast Hindus. The conversion is not only allowed but also encouraged and ordered by the Zamorin. One or more members of every fishermen family were required to be brought up as Muslim to serve as sailors in Arabian ships. This tradition had been continuing till recent time.”

It is not only the encouragement from the high levels of society that lead thousands of the downtrodden to Islam but also the strong desire to escape from the dark prisons of the evil cast system which was present in Kerala society. Islam was the call for that rebellion.

In Islam an Arab is not greater than a non-Arab, a white man is not greater than a black man. When in his last speech the prophet said that “only the one who is very careful in his affairs will be loved by Allah”, the Muslims of Kerala rose to a new dawn. Jawahar Lal Nehru points out the impact of Islam in India “It reveals the evils crept into the Hindu society. The dogmas of caste, untouchability and the horrifying distancing”.The brotherliness and philosophical equality in islam was very attractive. Particularly for the Hindus for whom a conduct even with a hint of equality was denied.

The belief that there is only one creator is the basis for human equality and brotherhood. Only the one God is worthy of worship.

This concept called ‘Thouheed’ is the foundation stone of Islam. For the Kerala society who worshipped more than a thousand Gods, this idea was revolutionary. . The low castes were not even allowed to pass by the temples which worshiped the Gods of high castes.

They had to attain punya by offering fowl’s blood and toddy. Islam’s 7

invitation from these ancient tradition to the modern and refined monotheism gave birth to a thought revolution. Monothism doesn’t support inequality. The equality in front of God reflects in the social life as well. The Mappilas of Vadakkan Pattu (folk song tradition in Northern Kerala) who stopped Chirakkal Thampuran’s(a native king in northern Kerala) procession is a symbolic representation of this influence in belief. The chieftain of the King after hearing people’s reason for not to follow old rules couldn’t say anything in return and explains to the King what the protestors were askingഎല്ലാരേയും പടച്ച തമ്പുരാന�ോ ഓരക്ക് വ്യത്യാസമില്ലല�്ലോളി ചാളക്കും വെയിലറിക്കുന്നല�്ലോ ക�ോല�ോത്തും വെയിലറിക്കുന്നല�്ലോ രണ്ടുമ�ോരുപ�ോലറിക്കുന്നല�്ലോ പടച�ോന�ോ വ്യത്യാസമ�ൊന്നുമില്ല ക�ോല�ോത്തും ചാളക്കും ഒരു പ�ോലെയാണ് മഴയുമെ തന്നെയത് പെയുന്നില്ലേ? അങ്ങനെയുള്ള നിലക്കെങ്ങാണ് എന്തിനു തമ്പുരാൻ പ�ോകുന്നേരം ഞാളങ്ങേതറ്റിട്ടു നില്ക്കുന്നത്?

(The God doesn’t have any differences. The sun sheds light on the King’s palace and the peasants hut alike, it rains on them alike, but then why do we have to keep away yards from you when you come?)

This courageous proclamation that there is no difference between the King and the subject reflects the great ideals of Islam.

Those who came to Islam believe in the life after and strived for success in it. Trade was one of the major livelihoods. Quranic verses prohibiting interest and promoting trade encouraged them. It was a time when Arabs had monopoly in world trade. After the commencement of Islam, the relation with the Arabs strengthened.

Spices which were considered more valuable than gold and jewels in Europe started to be shipped from Kerala. Historian K M Panickar points out that it was the Kerala Muslims who lived in the shores who lead this trade. It was due to the interest shown by the Muslim traders in the beginning of the 14th century that Kozhikode 8

became an international port. Ibn Batutah records that traders from all around the world were seen in Kozhikode. Muslims had the control over food and cereal distribution. K P Padmanabha Menon records in Kochirajyacharithram - “There won’t be enough rice to feed the whole country. Mappila traders bought rice from outside the country and sold them in the towns and the countrysides. It won’t be difficult for the Mappilas to create a famine if they wish to do that”, but being followers of Quran which strongly prohibits and condemns black-marketing, extortion and cheating in measurements, they were always honest traders. Ethics were respected in trade and the monopoly in trade made Muslims a decisive force in the society.

The Marakkars built a strong naval force for Kerala and they were well known in sea trade. Based on this domination in land and sea trade, historian Dr. Ayyappan records, “In creating the backbone of the wealth here, the Mappilas who shared blood and religion with the Arabs had a big role”. The improvement in trade through them helped Kerala to develop. New towns were born in the coastal lines.

Buildings were built with corner tiles and rectangular bricks like in the Middle Easter countries. Wood trading centers were started.

Timber export from Kallayi started during that time. Pottery, hat-making and dyeing industries also started during that time. City systems were built around jama-at mosques with importance given to trade. Remains of this could be seen in places like Chaliyam and Dharmmadam. Wide roads were built in villages. Arabs had started to exchange coins from the 7th century. It lead to the end of barter system in Kerala. Arab-Persian words which are still used in the field of trade are examples of the Muslim influence. nikuthi(tax), bakki(rest), vasool(attain), inaam(prize), anamath, badal(instead), tariff, rokkam(ready money), karaar(agreement), dallal(brocker), khabool(agree), sraappu(coin exchanger), hammali(porter), khalasiall these words are from Arabic. Bazzar, samanam(goods), nirakku(rate), sumaar(about), sharashari(average), kammi(less), gudaam(godown), thrass(balance), aasami(cunning fellow), bakshippu, thayyar(ready)- all these are Persian words. Among the goods of trade, bathaka(water melon), vazhuthina, musambi, sabarjal, sakkoon pazham, uruman pazham(pomegranate), masala, uluva, 9

kunthirikum, saboon(soap), neelam(blue substance), aalathu, kadalas(paper), makkacholam(maze from Mekka), surka(vinegar) are Arabic. Thakkali(tomato), koorka(a ground tuber), karakka(dates), badam(almond), pista, kismis(raisins), angoor, chakkara, gothambu(wheet) and achar(pickle) are Persian.

Muslim invasion also influenced the dressing style and the food habits. Before Muslim invasion happened, the male dress was only an ottamundu(a single piece of clothe). The caste system had that no women except Brahmin could cover above their veist. Swami Vivekananda had praised Muslims for their contribution for the change from that shameful situation to wearing tailored dress. The world encyclopedia records that interesting facts could be gathered about the socio-economic developments in India due to the spread of Islam from the phonetic origins of the names of different silks and other clothes. Jubba, Kamees, shammies, pajama, lungi, rumal, shawl, kalmeja, papas, shervani- all these are Arab- Persian words.

Conversion to Islam was also called “Kuppayamideekkal�(to put on a clothe). Historian P Balakrishnan points out the influence of the dressing style of Muslim hoories in the female costumes in kathakali.

Muslims contributed to the Kerala cuisine through a variety of Arab-Persian dishes and mixing of their recipes with those which were present here. It ranges from the Persian king’s biriyani to the nadan kanji. chicken biriyani, egg biriyani, fish biriyani, prawns biriyani, kanji, rava kanji, dal kanji, jeer kanji, beans kanji, marunnu kanji(medicinal kanji), coconut kanji, jagiri kanji. Rice dishes- biriyani, ghee rice, irachi choru, thenga choru, chakkara choru. Pathiri- kuzhal pathiri, thurtki pathiri, kay pathiri, chuttu pathiri, mutta pathri, madakku pathiri, net pathiri. Appom- muttayappam, maniyappam, cheeppappom, chakkareppam, madakkappam, idiyappam, chakkareppam, calthappam, ottappam, neyyappam, arrerappam. Mutta surkka, muttamala, manda and unnakka are special dishes. Chaps, kuruma, pidi and samosa are made of meat. drinks like sarbath, falooda, tea and coffee are Persian and Arabic. Mappila cooking is a unique art.

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Even though Muslim influence could be seen in every aspect of the cultural life in Kerala, above everything, the strong desire for freedom and human right which Islam arose were of key importance in the fights against the feudal system and imperial powers in Kerala.

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Social Life in Kerala 15c- 19c Translation of excerpts from the article Samoohya Jeevitham Malayalanovalil from the study Muslim Samoohya Jeevitham Malayala Novalil by Jamal Kochangadi published by Kerala Sahithya Akademi, Thrissur. First published in March 1998.

“There are some universal rules in the history of literary traditions and cultural growth. Different groups of people could acquire the same kind of development or face the same kind of problem. The human minds could find common responses for common problems.

When common problems and common responses happen, it is quite natural that in literature which reflects them, there will be similarities in thought, emotions and imaginations.”1 This discovery by the Marxist critic V M Sirmanski gives us a measure to evaluate the early literary works in malayalam.

The Brahmanical dominance which existed in Kerala was so complete and powerful, such dominance could not be seen in anywhere else in India. The famous anthropologist V Ayyappan says: “From 16th c to the middle of 19th c, till the British interrupted in it, the cast system in Kerala was similar to the apartheid in SouthAfrica”2 In a social system which saw Brahmin as God, Brahmin even had the power to fine the King. The dominance of the colored was built upon cast system. Untouchability and ranks in the society grew up through the superstitions and malpractices which the cast system created. During that time the sexual relationships in the matrilineal families in Kerala were so out of hand we won’t be able to imagine it now. The moral science of the Namboothiri was two faced. He could have relationships where ever he wanted but the Namboothiri woman was allowed not even small excuses in her discipline, they were subjected to expulsion from the society in a very heinous manner. The relationship between Nair women and Namboothiri was given legal value only in 1896.

Nair society which had the second rank in the social hierarchy gave divinity to the Brahmin connection. The colored could butcher the the uncolored if he passes by few yard near him. The uncolored is not allowed to walk through public roads. He was not allowed to use umbrella, footwear or any jwellary. He was not allowed to even cover his naked body. His woman was not allowed to cover her breasts and had to show respect to the higher caste by showing it to them!.

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1. Tharathamya Sahithyam: Thathvavum Prasakthiyum, p 36 (Prof. P O Purushothamann Pilla, Kerala Bhasha Institute, 1958) 2. Dr. A Ayyappan- Social Revolution in Kerala Village p 123

Evenhe justice system was partial. It was not taken seriously even if Brahmin committed a murder, but the lower casts were subjected to cruel torture even if he steals a coconut.

In the feudal society, the fate of a large group of people were to work like slaves and get tortured like animals.

It could be noticed that the winds of change always came from outside the Hindu society. Dr. Tharachand opinionated that the ‘Bhakti’ movement which shattered the cast system, feudalism,religious dominance and priesthood in the 16th c was the defense mantra for the Hindu society against the influence of Islamic culture3. ‘Bhakti’ movement which came to Kerala through Thunjathu Ezhuthachan did not bring any fundamental changes in the social structure. But, Hyder and Tipu ordered to collect tax on land without any consideration of cast, and gave the first blow on the Brahmanical total dominance which existed here for a thousand years in Kerala. Afterwards this gave rise to a peasant group who would question the feudal system. It was long after Tippu had ordered for the right of women to cover their breasts and discouraging polygamy that Kerala women demanded for their right to cover their nakedness. That too was Channar women who were Christians. It was the Christian society who first decided to leave Hindu practices such as untouchability, Thalikettu (name of an elaborate marriage ceremony of the Samanthans, Nairs, Maaran, and Ambalavasis) and pulakuli (a custom in old Malabar. A few days coming after death of a close relative are considered as Pula.If one touches a person who has pula, he should immediately take a bath. The bath taken to remove pula is known as Pulakuli rite) .The contact with semitic cultures brought the first changes in the Hindu society. This external influence is evident in the later period also.

Prof. N Krishna Pilla opinionated that it was as a result of the visible and invisible spread of British rule and the changes it brought about that interest to learn English and modern education spread.4 The works of foreign missionaries laid the foundation for the development of Malayalam language, literature and education.

Dictionary by Herman Gundert and the early news magazines like 3. Dr. Tharachand - History of Philosophy: Eastern and Western p-489 Vol-1 4. Prof. N Krishna Pillai - Kairaliyude Katha p 252 (1992)

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‘Pashchimatharaka’ nurtured the reading interest of the common man. The legal system which the British introduced in Malabar made both the Brahmana and the Chandala same in front of the judiciary. Educational institutions which rose here and there became the energy source for the thoughts of change.

The coming of press and the shift from Sanskrit to a more orally influenced prose energized the communication of the common man like never before.

A notable development was the sense of identity which grew in Nair society. Young Nairs raised their voice against Namboothiri relations. The relations were given legal protection. He got out of the chains of matrilineal and joint family systems and went in search of more freedom. The improvement in technology opened new ways of livelihood in agriculture, trade and other services. The walls between different social groups started to collapse.

The movement lead by Shri Narayana Guru among the Eezhava and Pulaya against cast system had a revolutionary task to fulfill. It organized other groups of people as well. The institution to humanize Brahmin started from within his own community. The Muslim and Christian community wasn’t only spectators, they also became part of these changes and assimilated from them.

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ArabiMalayalam

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ArabiMalayalam Language and Literature Translated from the original aricle: Mappila Sahithyam from the study Mappilasaili by NKA Latheef, published by Vachanam Books, Calicut. First published July 2010.

In the history of the development of languages, the role of missionaries are very important. Missionary activities without language which is the means of communication is impossible.

Where ever the the early Arabs who were the messengers of Islam went, a compound language formed which was a mixture of Arabic and the native language. Arabi-Malayalam is a language in Arabic script formed in Kerala. Even though its main aim was religious study, it became the main means of communication among the common Muslims of Kerala because of its popularity. They used it in their day to day life. Their letters were in Malayalam written in Arabic script. A vast majority of Muslim women also knew how to read and write Arabi-Malayalam. Along with the development of this compound language, new kinds of literary styles also nourished. it was the interest shown by this language to receive and assimilate words from any language that enriched it. Even when Malayalam was an incomplete written language called “Varamozhi” ArabiMalayalam was rich in vocabulary. It was because it assimilated words from not only Malayalam and Arabic but also Persian, Sanskrit, Tamil, Kannada and Thulu. It has words even from English. The historian P A Syed Mohammed claims that even before the earliest text in Malayalam “Ramacharitham” was written, Arabi-Malayalam was in use, taking clues from ArabiMalyalam poems with Chenthamil(early Tamil) influence. The people who handled this language were Muslims of Kerala, especially Muslims of the Malabar region who were called Mappilas and so the language was called mappila language and Mappila literature.

There are many extremely valuable books in the Arabi-Malayalam prose tradition. Quran has been translated into Arabi-Malayalam.

Many other important texts have been translated from Arabic to Arabi-malayalam. Not only religious books but also books on subjects such as history, medicine and law were written. There are many brilliant works in creative writing in Arabi-Malayalam. The earliest novels in Malayalam are Pulleli kunju(1882), Kundalatha(1884) and Indhulekha(1889), the Arabi -Malayalam translation of the Persian novel Chardarvesh is older than all of them.

Alif laila va Laila which are the Arabian tales was translated by 16

Kariyan kunjumoosa. There are many books of which authors remain anonymous.

Many newspapers and magazines were in circulation in ArabiMalayalam. Syed Sanavullah Makthi Thangal is notable in this field. A century ago, he ran a newspaper called “Thuhfathul Akhyar”.

Till now its acknowledged that “Hidayathul Ikhwan” by Syed Abdulla Koya Thangal who died in 1908 is the first ever Arabi-Malyalam magazine. Many scholars have written Arabi-Malayalam dictionaries, which shows the development of the language.

Muhammad Koya Thangal wrote a trilingual dictionary. Arabic, Malayalam and Sanskrit.

Social reformists such as Sanavulla Makthi Thangal, Chalilakathu Kunju muhammad haji, Vakkam Abdul khader moulavi, Kulangara Veetil Moythu Musliyar and Seythalikkutty Master tried to improve the Arabi-Malayalam script to nurture Mappila literature along with the developing language. Makthi Thangal’s Mouleemul Ikhvan (1910) was written improved script. Vakkom Abdul Khader Moulavi gave modern form to the symbols. Mappila language before and after these improvements are very different. Following is an excerpt from the Arabi-Malyalam Quran translation by Mayinkutty Elaya in 1867. He translated 7th verse from chapter 39 as follows: “വ�ൊരു കുറ്റം ചെയ്തെ തടി ചുമക്കുയില്ല ബേറെ വ�ൊരു തടിന്റെ കുറ്റത്തിനെ. പിന്നെ നിങ്ങളെ റബ്ബിനെക�്കൊള്ലെയായിരിക്കും നിങ്ങള്ക്കുള്ലെ മടങ്ങും താനം. നിങ്ങൾ അമൽ ചെയ്യുന�്നോല് ആയിരുന്നിരിന്നു. അങ്ങനത്തെ യാവുന്നു ക�ൊണ്ട് നിങ്ങള�ോട് അവൻ ബിശയം അരവിക്കുന്നത് മൂലം. നിചയം തന്നെ അല്ലാവുയാകുന്നത് അറിയുന�്നോനായിരിക്കും ഖല്ബുകളിന്റെയകതുള്ള യാവുന്നുക�ൊണ്ട് ഒക്കെയും.”

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In 1961 K Ummar Moulavi translated the same as follows: “യാത�ൊരു കുറ്റക്കാരനും വേറ�ൊരാളുടെ കുറ്റം വഹിക്കുകയില്ല. പിന്നെ നിങ്ങളുടെ നാഥന്റെയടുക്കലെക്കാണ് നിങ്ങളുടെ മടക്കം. അപ�്പോൾ നിങ്ങൾ പ്രവര്തതിച്ചു ക�ൊണ്ടിരുന്നതിനെ പറ്റി അവൻ നിങ്ങള�ോട് പറയും. നിശ്ചയമായും അവൻ ഹൃദയങ്ങളിലുള്ളതിനെപറ്റി അറിയുന്നവനാണ്.”

It would be felt as the language of Arab-Malayalam in the early works were not pure. All the ancient texts has the same defect.

There is an opinion that Ramacharitham is not even a Malayalam text. The language then was a mixed language. Naturally, ArabiMalyalam also has that influence. The limitation in the script was a major reason. Change happens in the language after change in the script. Even though many people wrote with interest, gradually Arabi-Malyalam faced decline. The improvement in public education changed the condition of Arabi-malayalam as the main medium of communication. Malayalam started to be used as the day to day language. Even though a number of poems were written in Arabi-Malalyalam after that also.

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Kerala Muslims : Language and Literature Translation of excerpts from the article Samoohya Jeevitham Malayalanovalil from the study Muslim Samoohya Jeevitham Malayala Novalil by Jamal Kochangadi published by Kerala Sahithya Akademi, Thrissur. First published in March 1998.

‘Arabic’ is a word more connected with a language beyond being a name of a group, tribe or a place. It is the youngest among semitic languages. Among the semitic languages like Hebrew, Suryani, Arabic, Assyrian, Babylonian, Ethiopian, Phoenician, Aramaic and Sabian, Arabic is the most prevalent language in use in all the fields today. Hebrew is the official language of Israel. Suryani is used in some Christian churches for religious rituals. Among the rest, only Ethiopian is alive today.1 Arabic has more semitic character in grammar and pronunciation than it’s sister languages and the protection of the language must have been thought a part of Arab culture and racial purity. There is reason for this- “Geographically the Arabs lead a very isolated life.

Mixing with other groups of people were impossible for them.

Therefor no other culture could shed lights on their civilization”2 The early Muslims who had Arabic as their mother tongue believed that not only their religious beliefs and traditions and cultural identity but also their language should not be destroyed by the attacks from other cultures. Arabic was not only the means of communication for them, but it was the holy language in which the Holy text was revealed. Nothing should get mixed in it. The structure of Arabic language is such that a small change in the pronunciation would make a huge change in the meaning. Multiple meanings of a single word makes Arabic vocabulary very vast.

Because of all these reasons, the regional languages in the lands where they went with the message of Islam created a problem for the early Muslims. There were efforts to find solution for this problem in the beginning of Islam itself.

A new programm for the Arabs to teach Arabic was created by a ruler named Hajjab Ibnu Yusuf in Hijra 60. The method was giving one or more dots under or above of some characters and adding few other symbols.3 In that way, new mixed languages were born in many lands where the Muslims convoys went. In Iran with the commence of Islam, along with the Zoroastrian religion Pahlavi language also disappeared. The Persian language became richer using the Arabic alphabet. The same happened in Turkey also. 80% of the vocabulary in modern Turkish language is from Arabic. The 1. Prof. V Muhammad Ali - Arabi sahithyam (Kerala Bhasha Institute) 2. T Jamal Muhammed - Arabikalude Charithram (Kerala Bhasha Institute) 3. Dr. P M Abdul rahman - Sankara Bahasha Shaili (Institute of Mappila studies)

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influence of Arabic on Hindi gave birth to Hindustani and Urdu.

Mali language is written in Arabic script. It was because of this strategy by the early Muslims that mixed languages like ArabiTamil, ArabiKannada, ArabiSindhi, ArabiPunjabi and ArabiBengali were born. ArabiMalayalam is also part of it.

The idea that the Vedas are so divine and that they shouldn’t be written was the reason behind the tradition of learning by reciting.

Recitations by Brahmins and Quran recitations by Muslims are examples of that belief.4 The orthodox Muslims till recent times believed that it is wrong to even step on the chalk dust fallen from writing Arabic words. There were a number of Arabic scholars in Kerala because of the ancient connection the land has to the language. There are many Arabic books in Kerala which are not there in Arabic or any other Muslim countries.5 ‘Pathu Kithabukal’ was used for basic education. Khaidul Jamia by Ahmed Rafthani is believed to be the first Arabic text written by a Keralite. Ponnani Valiya Sainudheen Makhdhoom (1468-1521) have written many Arabic texts including both prose and poems. Shaikh Sainudheen second is the author of the famous book Fathahul Mueen. Thuhfathul Mujahidheen written by Cheriya Sainudheem Makhdoom is the early historical text which paved the way for people in search for the history of Kerala. Assaiful Bathar by Mampuaram Syed Alavi Thangal was a rebellious text against the British government.

The early Muslims assimilated from the local language and culture as well. It was Malabar Muslims who spread Kolezhuthu (Derived from vattezhuthu and written using narayam on plam leaves.) It was in use till the 19th c.

Even though ArabiMalayalam started as a means for religious preaching and day to day communication, later on it became a powerful medium for the Mappila imagination. The Muslim scholars of that time might have thought that because most texts in Malayalam were about Hindu mythology, learning Malayalam language would lead to movement away from the religion. It might also be a reason for the birth of ArabiMalayalam. Muslims of that 20

4. P K Muhammed Kunji - Deseeyodgradhanam oru Padanam (Current Books, 1987) 5. P M Muhammed Moulavi - Keralathile Arabi Granthakaranmar (Kerala Muslim Directory, 1960)

time had designed secret number languages like Akkakettu and secret languages like Mykurudu.6 Akkakettu is a special code language like Abjad in Arabic in which they communicate through numbers. Even though later on they inter-mixed with the main stream Kerala society, a tendency to alienate from the main stream have been a characteristic of the Muslim society. It points towards a complex duality in the social personality.

Muhyudheen Mala by Qazi Muhammed is the earliest work in ArabiMalayalam. There is no other text which has influenced the Muslim history in Kerala like it had. All Muslim women had to learn Muhyudheen Mala to get married during that time. This text says the legend of a saint named Shaikh Sainudheen and it wasn’t in accordance with the Islamic ideals based on monotheism. But it’s literary beauty and musical quality gained popularity among the people. Its influence was like that of the Bhakti movement in Kerala.

It was almost during the same time period that both Adhyatma Ramayanam by Thunjathu Ezhuthachan and Muhyudheen Mala by Qazi Muhammed got popular among the Hindu-Muslim societies.

It was the time when the Portuguese came. It was a time when non-Brahmins were denied learning Vedas that Ezhuthachan who was a non-Brahmin came with the Kilipattu. The work of Ezhuthachan gave Dravidian character to the Malayalam language which was ridden with Sanskrit words. Many Dravidian words and usages could be seen in Muhiyudheen Mala as well.

Muhiyudheen Mala also has the Tamil flavor which many ancient texts and Sandhesha kavyas have.7 Muhiyudheen Mala was written approximately 420 years ago. Thunjan’s periode is also the same.

His Ramayana was written in thaliyola and kept in homes. The part he played in popularizing Malayalam script gave him the title of the ‘father of the language’. The place Thunjan’s Ramayana got in Hindu homes, Myhiyudheen Mala had in Muslim homes.

Mappilappattu was a medium for Muslims to express their aesthetic sense and imagination. While men sang Kissa pattu, women enjoyed 6. M N Karassery - Onninte darshanam (Poorna Publications, Kozhikode) 7. P K Muhammed Kunjhi - Muslimkalum Kerala Samskaravum p 205

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singing Sabeena Pattu together. There is an opinion that they are similar to Harikatha kaalakshepam and Paatakam.8 Till recently father and daughter used to write to each other in Arabimalyalam in poetic style. There is a song called Vasoori keerthana Mala which describes about 18 different kinds of small pox. There is a song on Ashtanga Hridayam. Theyyam and Narikkali were part of Muharram celebration of the Dawoodi Muslims who were Shias and Dhakni muslims who were Hanafis. After some time the scholars prohibited it declaring it non-Islamic.

Moyin Kutty Vaidyar wrote a brilliant love poem called Badarul muneer Huznul Jamal inspired from a Persian story. Even though many of his songs were inspired from persian tales, they became different with his unique writing style. It was Moyin kutty vaidyar who wrote with a background of kerala even before Ulloor wrote Uma Keralam which is considered to be the first poem to have a real Kerala backdrop by many scholars.9 The roots of mappila pattu goes into the Kerala culture. At the same time, they didn’t lose touch with Arabian poetic devices and style of singing and interest towards Arabic vocabulary. They are a result of cultural interaction. There were efforts to modernize and use Sanskrit words on Arabimalayalam poetry, Badar song by Chakeeri Moytheen Kutty is one of them.

News papers, religious magazines and even the first magazine for women were published in ArabiMalayalam. Once even political pamphlets were printed in ArabiMalayalam. During the time of Malabar riots, Britishers banned many books. Cheroor Chintu was one among them. All these shows the influence this mixed language and literature had among the common Muslim people.

Many Mappila songs are based on Arab and Persian stories. The name for the section of Kessa pattu itself suggests that they are about stories. Char Darvez which was published in Hijra 1303 is a translation of a Persian novel. Even though the book the Great History Mappila Literature says that Alavudheen Khamar Samaan, Umarayyar, Ameer Hamza, Gulzanobar, Zubaida, Zainaba and Khilar 22

8. Parappil Muhammad Koya - Kozhikotte Muslimkalude Charithram 9. Balakrishnan Vallikkunnu - Samanthara Sahithya Veekshanam Moyinkutty Vaidyarude Krithikalil

Nabiye Kanda Nafeeza are novels in ArabiMalyalam, they don’t fit into modern idea of a novel.

Many of these novels had deformed and handicapped Malayalam in them. It could be said that works like these from those who call themselves as scholars held many young Muslim people from learning their mother tongue, and pulled them back from rising to the modern times and remain illiterate. This was a danger caused by a some religious scholars. “It is sad that some people write and publish without knowing any language structure, pronunciation or grammar”10, says Sanavulla makthi Thangal who was a social reformer and scholar in the ends of 19th c. During the juncture when malayalam got separated from its Dravidian roots and got influenced from Sanskrit and Chantamil, Muslims did not pay much attention to their mother tongue. The time during when Mappila Muslims did their religious practices and preachings in Arabic and communicated in their limited rustic language alienated them. Its literature including Mappila songs got limited in the Muslim population itself. Non-Muslims who couldn’t read ArabiMalayalam were not able to read or enjoy them. Even though it is necessary that research in depth should be done about works, writers in ArabiMalayalam and the time period, being a mixed language, it couldn’t be said that it will exist or it should exist. It has fulfilled its duty as a medium of a an age and bid goodbye.

Now it is not possible to develop a language with complicated words from foreign languages. There is nothing to mourn upon the fact that during this time of printing press and unification of language, ArabiMalayalam is drowning in the mainstream language.

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10. Sanaulla Makthi thangal - Sampoorna krithikal 11. Dr. K N Ezhuthachan - Arabi Malayalathinte Bhavi

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#

Mappila Songs

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Introduction

Mappila Songs

Music and arts have a timeless influence on the society. It is the medium through which creativity has been transferred from generations in written and oral forms even to the illiterate.It allowed the working class enjoy the sweetness and bitterness of literary creative experience.

Like in any other society, Mappila songs are result of the Muslim invasion in the Malayali coasts. Evidently, Mappila songs should be seen as a metaphor for the creation of social awareness. It is very unscientific to approach arts and music with a consideration to age grouping because its not distant for even the illiterate.

Mappila songs Arabi-Malayalam becomes relevant because of the cultural originality in their tunes which came from generations to generations. The creativity in the tunes is of importance because it is known to even the illiterate. Folk songs reflect life in them unlike the short-lived instrumental music in films. A scientific research is necessary in the field of mappila songs in which magical realism flows though it’s veins.

For women whom education and literacy were a distant dream, particularly the Muslim women, Mappila songs were a medium which united different generations together. To the Muslim women to whom education were prohibited, Mappila songs were a rising song given by the invasive Muslim civilization. Other religious groups like Christians also had their own folk song tradition which had the same consequences.

The presence of a semitic society came to Kasargode along with the ship of Malik Deenar. Sermons didn’t establish the presence of that society and make it stand the test of time. They successfully got mixed with the native culture in Kerala.As a result of that kind of unification that a mappila song culture is prevalent for generations in the Mogral village in Kasargode. More than an inborn talent, music is life itself for them.

Mappila songs were rising songs and declaration of freedom for Muslim women who were denied education by the vested interests 25

of priesthood and male domination. The acceptance to mappila songs in which the prophet and birds were the characters was beyond what their author had thought. The ‘mala’s (songs) are rich with hero worship and there are stories about heroines also like in Nafeesathu Mala.

Music is used in medical treatments now. It is not so long before that to console a woman giving pregnancy women sat around her and sang Nafeesathu Mala. There were songs to give spirit to the warrior going for battle. There are lullabies and satirical songs in Arabi-Malayalam which still people sing.

Many Arabi-Malayalam songs are influenced by magical realism.

The messages from the immortal art forms , and even the doubts which they awake influence people’s minds. Theatre and music have an integral part in the social changes in Kerala. Literacy was the guiding light for renaissance. Art can shed light in people’s minds and trigger revolution. Even though there are Mappila songs in Arabi-Malayalam and pure Malayalam which influence people irrespective of their age, beyond entertainment it’s influence spreads on the backdrop of God worship and hero worship. therefor mappila songs in Arabi-Malayalam are treasures in language and culture. They become ever living because of the clarity in their cultural background.

Art and music forms are symbols of a live society. Arabi-Malayalam songs could be seen as agents of indirect woman empowerment.

There are Mappila songs for every occasion like birth, death, marriage, feast, offerings to God, football, agriculture, battles and love.There are Mappila songs in kannada also. There are set rules and grammar for this range of music. Encouraging language is encouraging humanity. The works of T.Ubaid and Moyikutty Vaidyar should be studied closely. These are invaluable assets for present from the past.

A new generation of Mappila song writers and instant poets are a unique experience in the village of Mogral. A generation in whose 26

veins the sweet tunes of Mappila songs are dissolved will makeanyone wonder. The style of their singing underlines the humanitarian face of music. It is not only language but also the culture which is being transferred with the songs. Mappila songs are guiding lights in the journey of life.

Arabi-Malayalam which shed the light of informal education for the Muslim woman who was denied literacy and education could only be seen as a streak of light in the dark cloudy sky when viewed through the rear view mirror of time. Pakshipattu written on Khalifa Ali radiating hero worship could be read on the grounds of Shiaism.

Mappila songs have turned to the form of worship and offering to God in certain sects.

Mappila songs shouldn’t be rated on the basis of new trends and popularity votes of today. This poetic stream of self expression should be read on the basis of literary values as well as its influence on social and cultural spaces.

For the people of a Holy book which called it’s people to read and recite, Mappila songs are steel swords. It is not only poetic justice that like the ishals which doesn’t stop raining and changes night into day, centuries ago it was the Islamic invasion that gave the magical wand of magical realism to Spain.

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Mappila Songs, History and Influence Translated from the original aricle: Mappila Pattukal from the study Mappilasaili by NKA Latheef, published by Vachanam Books, Calicut. First published July 2010.

Mappila songs have a very important place in the songs of Kerala.

G Shankara Pilla says: “ It may be difficult for one to enter into the complex ‘Manipravalam’(mixed language) of Arabi-Malayalam, into its poetic devices and decorations, but once these hurdles are crossed, a magical world of is awaiting him.” Many poems rich with poetic devices such as upamalangaram, ulprekshalangaram and uniuqe ideas are there. The rhyming sequences in Mappila songs leave poets of other language perplexed. The main kinds of rhyming are kambi kazhuthu valkkambi and valinmel kambi. Unique vrithams (essentially a tune or a rhythm) are speciality of mappila songs. The songs which are bound to the rules are more beautiful. Many different branches like padappat (war song), kissappatu(story song), mangalappattu(wedding song), maduhu pattu(stories of saints), thalolappattu(lullabies), upadeshappattu(advice songs) and malappattu(offering song). The songs of our grand parents come from a time beyond our perception, handed over through many generations.

There are many songs printed in Arabi-Malayalam whose author or the time which they were written are unknown. Aadi mutual puranam, Oppana murukkam, Mylanjippattu, Mazhaya ammayippattu, Pazhaya Mihraj pattukal, Hakhana, Kombu, Vakavalippattu, Daniel nabi kissappattu, Isa nabi kissappattu, Thrikkalyanappattu, Noolmala khanda kavyam, Prophet Ibrahim kissappattu, Pazhaya valiya kachavadappattu, Jaufar thayyarppattu, Mundirbunuaveel kissappattu, Pazhaya yaseed pattu, Falurathul khudsu oppanappattu, Aandu hashu pattu, Puthiya thrikkalyanappattu, Muthumala multhasiminte pattu, Malik ibnu deenar kissappattu and Vafathu kissappattu are only few of them. There are many other handwritten poems also. Among these is the “Mappila Ramayanam” which Dr. M N Karassery discovered. The mappila flavor in the song is very interesting: കുന്നും മലയും കേറിക്കീഞ്ഞു ശെമ്പഞ്ഞെരുക്കം വന�്നൊരു സുന്ദരിലാവണന്റെ പെങ്ങളുമ്മാ പ�ോന്നുപെരുത�്തൊരു പാതാളത്തിലെ സുൽത്തന�ോരെ മിന്നും പ�ൊച്ചണി കമമണി ബീവി ശൂർപണഖ കാലക്കെടിനു ഹലാക്കിനു സുൽത്താൻ മയയത്തായി ശീലംകേട�്ടോൾക്കിന്നും വേണം മാപ്പിളയ�ൊന്നു 28

ആങ്ങളലാവണ രാജാവ�ോട് സങ്ങതിശ�ൊല്ലി പെങ്ങള് കണ്ടാൽ സമമതമാണെന്നവരുശ�ൊല്ലി These are few lines from Mappila Ramayanam. It has similarities to the folksongs from Northern Kerala called ‘Vadakkan apttukal’. C N Ahammed Moulavi and K K Muhammed Abdul Kareem found two epic poems unpublished and authors anonymous. One of them tells history of the battle of Badar and the lines are very ancient. The other epic poem is ‘Rausulgul’ which gives historic description. Few lines from the part which talks about the valor of Hazrath Ali: ആകും അസദുല്ലതങ്ങൾ അലന്തെ പുലിപ�ോൽ പടയിൽ വീകം അലിയാർ സിഫത്തും വിരുത്തുവതാര് പാരിൽ...

Many of the songs by anonymous poets are very popular. ‘Aadhi muthal puraanam’ is a very ancient wedding song. ‘Oppana murukkam’ is also a very old song. മാണിക്കാമണിമുത്തു മുഹമ്മദിനാ മുഹബ്ബതാൽ യദർതള്ളാ തിരിന�ോക്കാലേ തിരിന�ോക്കും തിരിവ�ൊളിവതിനാലെ തിരിവ�ൊളി വെമ്പിനദിമിർ പ�ൊങ്ങി The style of ancient ‘Mylanchi’ songs go like this: മണിമറയിൽ സുവര്ക്കം തന്നിലായെ പീഡം അപ്പീഡം ഏറിപ�്പോയ് ഒപ്പന വെക്കേണം ഒപ്പന കാണാൻ പെരിയ�ോൻ തുണ വേണം പെരിമയിലുള്ള മലാഇക്കന്മാരും സഫ് ഒപ്പിച്ചുള്ള മലാഇക്കത്തെല്ലാരും വിശയെന്നിയെല്ലാരും ഒരുമിചിരുന്നാരെ Old ‘Ammayippattu’ is a witty song. അപ്പങ്ങൾ പലവിധം ക�ൊടുത്തമ്മായി അലങ്കാരം മികച്ചേമാൽ ക�ൊടുത്ത മൂലം ആടുവാൻ ആളുകൾ പെൻട്രിയകൾ യെത്തിരാ തേടുവാൻ കാക്ക അളിയൻ ഹാജർ 29

A list of Mappila dishes and drinks could be seen in the song. There are songs which lists all the jwellary and dress items used

by Mappila women. There are many Kissa songs(songs describing story of heroes) written by anonymous poets. Most of them are epic stories about prophets and saints. Following is a song about Jesus Christ called Isa Nabi Kissappattu. This song was found and published by the first ever Mappila translator of Quran, Mayan Kutty Elaya. Relying on lines from Quran and Bible, the poet writes : ഒരു വാക്കും നായൻയെന്നുന്നിച്ചു ഉത്തിരം കേട്ടാര�ോ ഉത്ത്റാൻ മണ്ണ്മർയം താനും അനുമ�ോദം അരിയെ ജിബ്‌രീൽ ഉരത്ത് മണ്ണ്ടുത�്തോതുംപ�ോൾ ആദരവുല�്ലോരി പയ്തലു പള്ളയിൽ ആയുതയ് പിരിഞ്ഞു അവിടന്ന് അന്ന് ജിബ്‌രീൽ ഉശർന്നു പ�ോയ്‌ പിശകാതെ മങ്കവയറ്റിന്നു ഈശാനബി ച�ൊന്നാര് The tales of prophets and saints could also be seen in lullabies which follow oppana songs. Lines from a lullaby which touches the childhood of prophet Muhammed: താല�ോലം താല�ോലം താഹാ നബിയേ താല�ോലം ക�ൊള്ളുന്നാൾ തായി ഹലീമാ താലത്തിൽ അല്ലുംപ�ോൽ എല്ലാം വലിതാൻ താമരപൂമണം നാളിൽ ഹലീമാ ‘Malappattu’ (offering songs) are a special branch of mappila songs.

They are about the lives of saints, honoring them. There are many anonymous songs in this category also. Following are few lines from‘Abdu Rahmanubnu Ouf Kissa’ to show how ancient they are: കാമീൻ അതയന്റെ ഹബീബ് നബിയ�ോട് കൂറും പിരിശം മികച�്ചോർ അസ്ഹാബി ക�ോമാനത്യെന്റെ മുഖതിന്വേണ്ടി ഖ�ോജാനബി വാശം മാറാതെ നിന�്നോവർ നാമം അബ്ദുരഹിമാനെന്നു പെറ�്റൊവർ നല്ലെനബിദീനിൽ മാല�ോ ശിചിട�്ടോവർ 30

ചീമാന�ോടെറ്റം പിരിശം മികച�്ചോവർ ഒരുമയിൽ നല്ലേ തലാകും പിരിഞ�്ഞൊവർ ഒക്കക�ൊടുത്തു സുഹദായി നടന�്നോവർ A number of Mala songs were written by known and unknown poets following the footprints of this song. Muhiyudheen mala, Badar mala, Rifai mala, Nafeesathu mala, Manjakkulam mala, Mampuram mala, Malappuram mala and Muhdu mala are all popular Mala songs.

Depending on the common knowledge till today, ‘Muhyudheen Mala’ written by Khazi Muhammed of Calicut is the earliest poem to have the poet’s name and written year printed. It is stated in the song itself that it was written in the Malayalam calendar year 782. ക�ൊല്ലം യെലുനൂട്ടുയെന്പതുരണ്ടിൽ ഞാൻ ക�ൊത്തെൻ ഇമ്മാലെനെ നൂറ്റയമ്പതുഞ്ഞുമ്മൽ മുത്തും മാണിക്കവും ഒന്നായി ക�ോത്ത പ�ോൽ മുഹിയുദീൻ മാലേനെ ക�ോത്തെ ഞാൻ ല�ോകരേ Muhiyudheen Mala praises the great scholar and spiritual teacher Sheikh Abdul Khader Jeelani. കുപ്പി അകത്തുള്ള വസ്തുവിനെ പ�ോലെ കാമാൻ ഞാൻ നിങ്ങളെ ഖല്ബകം എന�്നോവേർ തേനീച്ച വെച്ചപ�്പോൾ ഉറുമ്പു ചാലിട്ട പ�ോൽ തിശ അവരെപ�്പോഴും ആവണ്ണമുള�്ളോവർ കളവു പറല്ലാ എന്നുള്ള ച�ോന്നാരെ കള്ളന്റെ കയ്യിലെ പ�ൊന്നു ക�ൊടുത�്തോവർ കനിയില്ലാക്കാലം കനിയെ ക�ൊടുത�്തോവർ കരിഞ്ഞ മരത്തിന്മേൽ കായായ് നിറച�്ചോവർ Even though it has some idealistic flaws from the viewpoint of religion, the poem is very beautiful. It is older than Thunjathu Ezhuthachan’s Adhyatma ramayanam and it’s simplicity and originality is laudable. The unique narrative style of Muhyudheen Mala could be seen later only in the works of Kunjayin Musliyar who was a great scholar and had a unique sense of humor.

‘Kappappattu’ is a very beautiful metaphorical poem written by him.

The song starts with comparing human body to a ship.

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ചായൽ ഒരു കപ്പലുണ്ട് നമുക്ക് ചാഞ്ഞുള്ലെ പാണ്ടിച്ചാണ�ൊൻപതു നീളം This ship is being attacked by four kinds of thieves. നാലുണ്ട് കള്ളർ ഉഴുവ് ചുരലും നാണാദെ നാലും അത് നാലുപാഗം മാലും തടിയിച്ച ല�ോകരിമ്മൂന്നും മൽഊനതെന്ന അസാസീലുമ�ൊന്നു

Wealth, desire for the body, men and the cursed devil are the four sea thieves. കണ്ടിട്ടറിവാന�ോ കണ്ണില്ലേ പ�ൊട്ടാ കാരുണ�ോർ ച�ൊന്നേ ച�ൊൽ കേട്ടില്ലേ പ�ൊട്ടാ പണ്ടുള�്ളോർ ച�ൊല്ലില് പതിരുണ�്ടോ പ�ൊട്ടാ പയ് തന്ന പാലില് കയ്പുണ�്ടോ പ�ൊട്ടാ ... പട്ടം പ�ൊളിഞ്ഞാൽ പറക്കാമ�ോ പ�ൊട്ടാ പാലം മുറിഞ്ഞാൽ കടക്കാമ�ോ പ�ൊട്ടാ പുണ്ണിയം ച�ൊല്ലാമാകേകുമ�ോ പ�ൊട്ടാ വേട്ടാളർ കാതില് കൂടിട�്ടോ പ�ൊട്ടാ ‘Noolmala’ is another devotional song written by Kunjayin Musliyar.

It’s style is different from that of Mala pattu. The poet expresses his love and respect to prophet Muhammed through the song and lists all the great qualities of the prophet. He expresses his extreme desire to see the prophet’s face and ends the ‘Nool maduhu’. Kunjayin Musliyar who preached the religion with a sense of humor lived during 1700’s. There are a number of famous jokes on him connecting Mangattachan and the King Zamorin. Noolmala is 300 years old. Muhiyudheen Mala and Noolmala have a difference of 130 years. In between these two books, we don’t know exatctly how many books were written. ‘Valiya Naseehathu Mala’ by Manakkantakathu Kunjikkoya Thangal is a poem written during that time. He wrote it during Hijra 1052. Muslim women used to depend on this poem for basic religious education.

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ഈടും മഹ്ശറ ചൂടും ക�ൊടുമയിൽ യെത്തിര പ�ോട്ടിക്കരയുമേഖലബുകൾ തേടും അന്നേരത്ത്‌ഹഖുകൾ കിട്ടുവാൻ തക�്കോരെപാത്ത് പിടികൂടുന്നെത്തിരാ കൂടും പിടിയിൽ വിടുതിമയമിലെ കാണും മലക്ക് സമഹായ കടക്കാരിൽ നാടും പലിശ ഭുജിത്തുള്ളവർ പള്ളാ നാശത്തിൽ വിങ്ങി കനംക�ൊണ്ടവർ വീളും വീളും അവർ മേൽ ശൈത്താനും കാഫിറും വിതറി പലേക്കൂട്ടം കേറി നടക്കുമേ ‘Safalamaala’ by Shujayi Moythu Musliyar is a song which reminds of Kunjayin Musliyar’s visionary songs. It was written in Hijra 1316. He included things from the beginning of the world to the life of the prophet. Here are few spiritual and philosophical advices: നാളിന്നു പ�ോകട്ടെ നാളെയാകട്ടെ നാളേക്ക് നാളെ ഈ നീളം വിട്ടാട്ടെ ഓടുന്ന ക�ോടാ ഇടം വലം രണ്ടേ ഓര�ോര�ോ സാ അത്തിൽ മാറ്റങ്ങളുണ്ടേ ആടുന്ന ബാലസ്ഥിതി രണ്ടു വേറെ അൽ പകലെന്നവർക്കാരംഭപ്പേരെ കൂടുന്ന ക�ൊല്ലങ്ങൾ മാസങ്ങലാഴ്ച്ച നെടികൾ കണക്കിൽ നിന്നായുസിൽ തീർച്ച തെടുന്നിവർ നിന്നെ മണ്‍വീട്ടിലേക്കു തന്ജം നീ ന�ോക്കുന്നു പ�ൊൻ വീടിലേക്ക്‌ അകക്കണ്‍തുറന്നാകെ ന�ോക�്കൊന്നു മ�ോടാ ഉൾസാരം ഓർത്താൽ ഉറങ്ങാമ�ോ കേടാ മുഖകണ്ണടയ്കക്കുൾ തുറക്കട്ടെ മാടാ മൂടിട്ട പ�ൊന്ചെപ്പിൽ മുത്തുണ്ട്‌കേടാ പകൽ കണ്ണടച്ചാൽ ഇരുളാമ�ോ പ�ൊട്ടാ പന്തം പിടിച്ചാൽ ഫജ്ർ ആമ�ോ പ�ൊട്ടാ തട്ടി തറക്കുൾ ഉറപ്പെന്തു പ�ൊട്ടാ തിന്നാപഴത്തിൻ രുചിയെന്തു പ�ൊട്ടാ നാട്ടാല്പുൽ നെല്ല് വിളയുമ�ോ പ�ൊട്ടാ പ�ൊട്ടാ നിന്മുന്തുള്ളിപ്പിൻ ച�ോരക്കട്ടാ പിൻ ഇന്ന് കാട്ടം പ�ൊറുക്കുന്ന ക�ൊട്ടാ പെട്ടാല�ോ ചത്ത ചകമല�്ലോ പ�ൊട്ടാ 33

പറനിൽഉടൽക്ക് ബഹുമാനം പ�ൊട്ടാ മാനം വരിപ്പാൻ അലങ്കാരമാകെ മന്തം ഭരിച്ചിങ്ങു പിന്തുലും ആകാ മാനേറും കാട്ടിൽ നീ പഞ്ഞാലും പ�ോരാ മുത്തിൻ ബഹർ കണ്ട് ചാടൂല്യം പ�ോരാ കല�്ലോന്നുട്ടായിരം പ�ൊൻവിലക്കല്ലേ ക�ൊട്ട നിറയ് കൽക�്കൊരു കാശ് കല്ലേ ഇല്ലെന്നു ച�ൊല്ലി നിറയ്ക്കാമ�ോ പൂവേ അല്ലൽ പറഞ്ഞു മകുട്ടാമ�ോ ക�ൊവേ ക�ൊല്ലും മലക്കിന്നു കല്പന കിട്ടി കൂടാടിപാടുന്ന തത്തയെ കിട്ടി തെല്ലും ഒഴികഴിവില്ലല�്ലോ കുട്ടി തന്നിഷ്ടം വിട്ടാമേ പ�ോന്നിഷ്ടം കുട്ടി The influence of mysticism could be seen in Safalamaala. The poet doesn’t lock us in the prison of spirituality, but he talks about a life of virtue based on dharma. He evokes the powers of humanity and wakes up the soul.

Moyinkutty Vaidyar and Chettuvay Pareekkutty were poets who created a new path different than the religious traditional Mappila songs. While the traditional poems connected even the love stories to the lives of the saints and made it divine, these poets gave poetic form to the raw emotions of the common man. Moyinkutty Vaidyar (1852-1892) was the first poet to write a love story poem with all its true charm. Even though he lived for only 40 years, his contribution to Malayalam is unforgettable. The poet who loved nature and flowers could evoke romance in the listeners. He wrote an immortal love poem called ‘Badarul Muneer Huznul Jamal’. Shooranadu Kunjan Pilla evaluated this as a genius work which all of the Keralites together if tried wouldn’t achieve now. This is an example of his descriptive ability: പൂമാകളാണേ ഹുസ്നുനുൽ ജമാൽ പുന്നാരതാളം മികന്തേ ബീവി ഹേമങ്ങൾ മെത്തെ പണിചിത്തിരം നാമങ്ങൾ എണ്ണിപറഞ്ഞാൽ തീരാ നവരത്ന ചിങ്കാരം പൂണ്ടെ ബീവി 34

കമാനക്കായ്ച്ചക്ക തൃപ്പമെന്താം കത്തും തഖ്തിൽ മരുവും ബീവി മരതകത്തുകിലും ഞെറിന്തുടുത്തു മാണിക്ക്യക്കയ് രണ്ടെറിന്തു വീശി പരുക്കിതലമുടിയും കുനിത്ത് പെരുമാൾ കഴുത്തും ചെരിപും ക�ൊണ്ട് കരിപ�ോൽ ഇടതും വലതിട്ടൂന്നി കണ്പിരി വെട്ടിച്ചുഴട്ടീടലിൽ വരിനൂൽ മദനം തരിത്തെന�ോക്കും പവിഴപ�ോന്ച്ചുണ്ടാലെ പ�ോന്ചിരിതും പ�ൊഞ്ചിരി തന്നെ നടച്ചായലിൽ പൂമാനത്തേവി വരവ് തന്നിൽ Moyinkutty Vaidyar also wrote well known battle songs like Badru, Uhdu and Malappuram. Including Saleekathu, Kilathi maala and songs based on Panchatantra called ‘Elippada’, he wrote 12 khanda kavyas.

With this transformation initiated by Moyinkutty Vaidyar, Mappila poets felt more freedom to choose their subject. The number of subjects which were written upon later shows that. Songs like ‘Thengaappattu’ and ‘Mangaappattu’which are connected to the Kerala culture were written. Contemporary issues were written upon. A number of poets came forward to sing against the superstitions and malpractices in the society. Few lines from the poem ‘Durachara Mardhanam’ by Marakkar Musliyar. When false stories about Shaikh in Muthupetta and Koottayi Vellatha, painting divinity on them were getting spread, he satirically wrote: മുത്തുപ്പേട്ടക്ക് പ�ോയവർ വന്നേ മുഴുവൻ കളവെന്നു പുലർന്നെ അത്തരം തന്നെ കൂട്ടായി വെള്ളം അതിനാൽ പുലർന്നതും കള്ളം There were talented women poets like P K Haleema, V Ayishakkutty, Kandathil Kunjamina and Puthooru Amina. Sparks against abuse of women could be seen in some poems. Puthooru Amina writes against treating women like a consumable object:

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നാലുഭാഗവും വന്നിതാ പറയുന്നു പെങ്കെട്ടു ഉമതിലും നല്ല മാരരെ കിട്ടുവാൻ എനിക്കില�്ലൊരു മുട്ട് മട്ടിൽകിട്ടുവരെക്കും മാനേതേനേ വിളിക്കും മട്ടുല�ോഗിയം ഉറ്റിടും പലേ ചക്കരവാക്കും ഒരുപടി മക്കളങ്ങു കളക്കിലായാൽ അടുക്കളെലാക്കും പ�ൊട്ടിപ�്പൊരിഞ്ഞന്തനാളാം പ�ൊരിവെയിലത്താകും ഓളം പ�ോയി മറ�്റൊരു ത�ോപു കണ്ടുപിടിക്കും അയ്യളാ-പുരുഷരെ പൂതി പത്നിമാർക്കു തീരും ഇതെന�്തൊരു ക�ോളാ!

There was a stream of Mappila songs touching the social life. The excitement of India’s freedom struggle could be seen in many Mappila songs of that time. Many mappila poets like Nallalam Beeran were put into jail. T Ubaid wrote to raise the national spirit: എന്തിനു വിണ്ണിൽ പുതുതായ് കരിനിഴൽ കാണുന്നൂ തങ്ങി എന്നു ലണ്ടൻ ഗ�ോപുരങ്ങൾ– തങ്ങളിൽ ച�ോദ്യം തുടങ്ങി ചിന്തയാലിംഗ്ലണ്ട് തന്റെ– തെളിമുഖം കരിഞ്ഞു മങ്ങി ചീർത്താ മേത�ോ വിപത്തിൻ സൂചനകൾ കണ്ടടങ്ങി Mappila Literature researcher K M Ahammed wrote: “Mappilas didn’t sing about the local rulers or the Kings. They did’t fall short of desire for freedom or self respect. It was Mappila song writers and singers who inspired the Muslims of Kerala to fight against any oppression, whether of the local rulers or the imperialist Britain” 36

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Pakshipattu

Akbar Sadaka Pakshipattu should be included in the group of story-songs. This poem written by Naduthopil Abdulla once gained astonishing popularity in Malabar. The story and its presentation in the song would blow away anyone. Clarity, simplicity, ease and the ingredients of unique vocabulary in Kasargodian Malayalam are the characteresitics of this poem.

The poet belongs to a small shore side village in Kasargode, sharing border with Karnataka. The slang over there is a mixture of Malyalam and Kongani.

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The Story

A bird who had lived with her husband for 40 years is subjected to husband’s suspicion for lying two eggs during one day and she gets thrown out of the nest. The bird pleads prophet Muhammed to convince her husband that she was innocent. The prophet replies that he would end her distress if she could bring her husband to his presence. The bird says that he wouldn’t come if she asks and says the prophet should send one of his men, to which prophet asks the whereabouts of her husband. The bird says that it is beyond the tall Jabal Khubais and beyond Jabal Noor and beyond a field in a hill called Thurisina Mala where prophet Moosa was born. The prophet sends Bilal to fetch the male bird. Bilal went there and called the bird’s name twice but the bird pretended that he didn’t hear it.

When Bilal got angry and called for the third time, the bird showed its beak outside and asked Bilal with arrogance- “who are you, you kid, who called me by my name?” When Bilal said that prophet Muhammed send him, Akbar Sadhaka- the bird replied that he knew all the 312 prophets but he he hadn’t heard about Bilal’s prophet and asks him to tell his prophet that Akbar Sadaka is calling him. Bilal returns and tells this to the prophet and he sends Umar. Akbar Sadaka repeats whatever was said to Bilal. Then the prophet thinks that if his son in law Ali was there, he would have brought the bird there. Ali was at a distance of 93 days, gone for a battle. Ali knows about Muhammed’s thought through dream. Ali arrives at the prophet’s presence during Subhi morning prayer on his horse named Dul Dul. It happened so because Allah asked Jibreel to shrink the earth. Ali goes in search of Akbar Sadaka.

When Akbar Sadaka didn’t listen for the first two calls, Ali called him for the third time in a manner that the sky and earth shivered.

Akbar Sadaka called Ali as Chinkapuliyar (the lion Ali). The bird said the same things as before to Ali also. Ali replied that Muhammed is the 313th prophet. Then the bird asked him if there was a prophet like that, why was he not keeping the fourth veda in tact. When Ali asked him to explain he said that the dear daughter of a sahabi named Ibnu Ubaidulla was kidnapped by Ifreeth jinn on the 3rd day of her birth and she is being brought up as an infidel for the last 16 years. Why is that your prophet is not able to save her?

Ali after hearing this marches towards King Ifreeth’s fort. There is a cave covered with a huge stone on the right side of Thurishina hill.

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It is written on it that if a human being enters into the cave he will be burnt to ashes. Ali ties his horse on the stone itself and enters the fort. Then Ali sees a large ocean and two huge serpents guarding it.

Those serpents recognizes Ali. The serpents gets Ali into the fort on some conditions. Then Ali sees a tree. The tree tries to send Ali back but he doesn’t listen. The tree gives keys for all the seven forts to Ali on some conditions. Ali witnesses perplexing sights on opening every fort. In the seventh fort, Ali sees the girl who was abducted

by Ifreeth guarded by a jinn. Ali wakes her up. Th girl says that only Ali from Mecca could enter the fort like he did. She says that Ifreeth had gone for a hunting party and the sounds of his return could be heard. Ifreeth on entering sees that all the forts were open and asks the girl about it. Ifreeth says that he could smell man, he could smell Ali. When he screams and boasts that if he sees Ali, he would burn him to ashes, Ali jumps in front of him. Ali asks Ifreeth to believe in islam but Ifreeth resents. Ali then fights with the King’s guards. In the end Ifreeth falls like the Uhdu hill. Ali takes the girl along with him and reaches the place where Akbar Sadaka lives.

With the first call itself the bird greats him with saying “labbaykum labbaykum labbaykum”. Akbar Sadaka goes along with Ali towards prophet’s presence saying that he is now convinced that Muhammed is the prophet. Akbar Sadaka tells the prophet about his suspicion on his wife. The prophet replied that it was a Kudrath (blessing from Allah) and the bird gets convinced. Akbar Sadaka asks the prophet for forgiveness. He takes his spouse along with him to the nest. Ibnu Ubaidulla’s daughter describes all the events happened in while she was kept in the fort. In this fashion, the story in the song ends happily.

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Kilipattu

One of the most notable period in the Malayalam literature begins with Kilipattu. Even though Thunjathu Ezhuthachan was the central point of this stream, there are many other kinds of works like Champukkal, Aattakathakal and Thullalukal. Many kilippattu were written after Thunjan. Even though Kilipattu are written like a bird is made to sing, there are other songs in which goose, coil and beetle sing the song. They also could be included in the category of Kilipattu. In the Akbar Sadaka song, the bird asks the prophet, Bilal, Umar and Ali two ethical questions in poetic form. The bird talks to each one of them. The song could be read as praising chastity of woman. Even though in the beginning the bird talks down of Muhammed, in the end, he apologizes and does as the prophet says. Unlike Ezhuthachan who used sophisticated verses to talk about the ethical issues, Naduthopil has used some perspectives which existed then and wrote about some philosophies in a not so serious manner. Pakshipattu could be seen as a Mappila version of Kilipattu. Those who blame Pakshipattu for contempt of the prophet should rethink based on what is said above.

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Story of Faith

Pakshipattu is a story about the loss of faith and replacement of it.

Stories about miracles were always used from the ancient times to spread religious belief. Almost every prophet who were mentioned in Quran had many miracles associated with them. They were meant to make the people of their times believe that the prophet is capable of doing things with the blessing from Allah which are not possible by normal people. Many of the miracles were very majestic like splitting of the moon during Muhammed’s time and like the ocean split and made way for Moses. There is a story about Cheraman King in Kerala who lived during the same time during when the prophet was alive that he saw the moon splitting and he converted to Islam. These stories are intented make people believe that there is a power which could do any thing, things majestic and beyond what they could think of.

In the story of Akbar Sadaka, initially when the bird is asked to come see the prophet, he talks down on him saying that he didn’t know about a prophet named Muhammed. If there was a prophet named Muhammed, why would such a dare thing happen like what Ifreeth did?. How would it happen so, that daughter of a sahabi was taken away when she was just 3 days old and now it’s 16 years she had been held in captivity and kept as an infidel by a jinn?

Akbar Sadaka has lost faith in Muhammed that he was the prophet of Allah and Ali is engaged in a mission to restore it. Ali enters the forbidden cave and encounters many supernatural occurrences like talking snake with 80 hoods and talking trees. When he opens the forts by the keys given by the tree, he sees many more miracles like fire by its own, net which gets thrown by its own, arrow which gets shot by its own and a wand which hits by its own, afort in which a thousand women were sleeping while standing, a thousand women were sleeping while sitting, a thousand women were laying and sleeping. Finally when he meets Ifreeth, he is defeating a Waseer (guard) of Ifreeth who is 40 times bigger than Ali, who had eaten 40 camels and drank 7 barrels of water. Ali throws him thousands of yards up in the sky. On falling down the Waseer says that if Ali catches him so that he wont die, he would believe in islam. Ali saves Waseer but he still doesn’t keep his word. Ali throws him up again.

This time also when coming down, the Waseer says the same. Ali trusts him again but Allah sends Jibreel to strike Ali’s hand so that 41

the Waseer falls down and no more cheats Ali. When Ali is back along with the girl, a deed which would not have been possible if not for blessing from Allah and knowledge of Muhammed and valiance of Ali, Akbar Sadaka becomes convinced that Muhammed is Allah’s prophet. His faith in Muhammed and Islam is restored. He goes to Muhammed’s presence and asks his question that how could his wife lay an egg which is not his.

Muhammed assures him that his wife is innocent and it was a blessing from Allah. Akbar Sadaka gets convinced because it is Allah’s prophet who have said so. He has restored his trust in his wife also.

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Ali’s history

Shias are a group of Muslims who give more importance to Ali than other Khalifas. Ali was the fourth Khalifa and one of Muhammed’s first disciples. He was prophet’s close relative and used to write down Vahiyu (messages of Quran revealed to Muhammed through Jibreel from Allah)for him. He was one among the ten people whom the prophet gave news of assured entry to heaven. Ali’s mother had given him the name Haider which means lion. But he was known in the name Ali (one who is in heights)which his father called him. Ali grew up in Muhammed’s house under his guidance.

It helped him to learn good characteristics early in life. He didn’t lower his head in front of any idols when idol worship was very prominent in Mecca. It was the prophet’s wife Khadeeja who believed in Muhammed first and second it was Ali. The brave Ali was ready to die protecting Muhammed. The prophet had married his youngest daughter Fathima to Ali. Ali had fought in the battles of Badr, Uhud, Hantak, Khaibar and Hunain. In his last days, the prophet came to the mosque supporting his hand on Ali’s shoulder.

Ali had a main role in the death ceremony of the prophet.

Historians records that Ali had expectation that prophet would select him as his successor. Knowledge, bravery, justice and simple life were some of his qualities. He had every means to lead a luxurious life but he didn’t lead one. He bought the same kind of dress for him self and his servant. He went to the market himself and carried things from there to home by himself. He lead a very simple life.

There are several reasons for Ali’s rule as the fourth Khalifa not being a complete success. Many had lead an opulent life because of the prosperous times before. Many people turned against Ali who instructed a simple life and strict control in money transactions. So he didn’t get the support of people who wanted a luxurious life.

Another reason is the indiscipline of people who were with Ali. Some people deliberately tried to create trouble. Ibn Sabu was the one behind that. Constant attempts were made to evoke the emotions of blind favoritism and person worship which Islam strongly forbids, among people which made them to hate each other.

Propaganda that Ali being close relative was the righteous successor of Muhammed to be the first Khalifa and that right was snatched 43

away from him was spread by them. Even though Ali publicly and clearly denied that claim, in places like Egypt, Bazra, Koofa and Yemen wrong thoughts got spread. Efforts of enemies of Islam to attack the religion from within itself started to see success. Troubles grew as because of the differences in thinking and polarizations.

Tendencies of animosity created problem like in the time of Uzman.

The group of people who stood for Ali naturally portrayed his character in a higher position. It is a result of this that a group among world Muslims do glorify Ali. Viewing from this back ground, pakshipattu have influenced Kerala Muslims in Shiaism.

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Criticisms

Naduthoppil’s Pakshipattu have faced a lot of criticisms from the beginning. Some scholars have even banned reading it because it tells a fictitious story about the prophet. The criticisms are that there is no such an event in the history and it is non-islamic and it would create misconceptions in the society. All these criticisms should be looked upon, but there is another dimension to it which everybody agrees, that is it’s popularity. This is a song which have been read sung and enjoyed by the common muslim a lot.

Thousands of its copies got printed. Clarity in language, simplicity in representation, appropriate abstractions and augmentations and crystal clear language are the qualities of Pakshipattu.It became popular because it is entertaining.

The male bird expelled his wife because he had doubt in her chastity. His need to save the girl in Ifreeth’s fort reflects his opinion to protect woman’s morality. Ali does this adventure because he recognizes it. The issue which the female bird raises in front of the prophet is also the same. The song suggests that man and woman should trust each other.

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Imagination in the Song

Pakshipattu is full of awesome picturisations.

The age of Akbar Sadaka is not mentioned in pakshipattu. The poet gives us clues to guess it in a strange and beautiful way. പരിശിൽ ഈ ഭൂമിയിൽ നിൽക്കുന്ന കാലത്ത് പരിശ�ൊത്ത ഭൂമി ഞാൻ അഞ്ചു നിറം കണ്ടു മുന്പിനാൽ ഭൂമി അത് പ�ൊന്നു നിറമായി പിന്നെയാ ഭൂമി അത് വെള്ളിത്തറയായി വെള്ളിത്തറപ�ോയി ചെന്പുതറയായി ചെന്പുതറപ�ോയി ഇരുന്പു തറയായി മണ്ണുതറയായിട്ടഞ്ചു നൂറ്റാണ്ടായി (I have seen earth in five colors. It was golden in the beginning.

Then it became silver. Then it turned bronze and then iron. It has been 500 years since it has turned earth colored.)

The scientific basis of this transformation should be questioned. But the transformation of time and space have been beautifully illustrated in these lines. If inspiring awe in the reader’s mind is an element of beauty in literature, Naduthopil have brought his readers to the bring of it. നാല്പതു ചവിട്ടു ക�ൊണ്ടെത്തി ഇമാമലി (Imamali reached in just forty steps) അനന്തവിസ്ത്രിതമായി കിടക്കുന്ന കടൽ (the sea which extends till infinity) അതിന്റെ കാവൽക്കാരായി രണ്ടു നാഗങ്ങൾ, ആ നാഗങ്ങളുടെ വലുപ്പം ഉദയമാനം ത�ൊട്ടു അസ്തമനം വരെയാണ് (it is guarded by two snakes, the length of those snakes extends from sunrise to sunset). These lines remind us of Muhyudheen Mala. ആകാശത്തിൻ മീതെ ഭൂമിക്കു താഴെയും അവരെക�ൊടിനീളം അത്തിരയുള�്ലോവർ (The one whose size of flag is from above the sky to below the earth).

To provide thought which guide you to infinity is characteristic of Quran. It may be Quranic influence that lead mappila poets to use that kind of imagination. The snake called Ibnu Umair in the song has 80 heads and 80 hoods. Ali crosses the ocean sitting on it. Ibnu Umair tells the marvels of the fort like this: 46

തന്നാലെ കുത്തുന്ന വാളുണ്ടാ ക�ോട്ടയിൽ തന്നാലടിക്കുന്ന ദണ്ടുണ്ടാക�ോട്ടയിൽ തന്നാലെ കത്തുന്ന തീയുണ്ടാ ക�ോട്ടയിൽ തന്നാലെ വീശുന്ന വലയുണ്ടാ ക�ോട്ടയിൽ (In the fort there is a sword which strikes by its own, a pole which hits by its own, a fire which burns by its own and a net which gets thrown by its own. ) Magic in depiction, not scientific reality is becoming evident in these lines. Minds of readers and listeners get lit with wonder. The depiction of things inside Ifreeth’s fort makes evident the dangers and adventure Ali has to go through to save the girl. For this poets have been using myths, proverbs and supernatural powers since centuries. This unique method of depiction leads the song to fulfill its purpose.

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Message in the Song

Ali fights bravely to protect the fourth Veda. Ali’s bravery becomes evident only when the reader is convinced of his enemy’s huge power. In Milton’s world classic Paradise Lost, the poet depicts devil as one with extraordinary power, it was to show the greatest might of God. A human level representation of that is shown in pakshipattu.

Even when it is agreed that the events in this story are impossible, the poet tells a truth which the human race has to be convinced, which is to bring purity in life. The reading of Naduthoppil’s Pakshipattu becomes creative only when that is understood. Using the secondary imagination which Coleridge says genius people possess, like Aristotle had proved before, imagination becomes creative, this could be experienced by the reader on careful reading of Pakshipattu. Like moral stories and parables the poet presents Pakshipattu. Writers write stories and songs like parables to present philosophies.

The prophet’s philosophy that even a bird should be given justice should be noticed. It shouldn’t be meant that Pakshipattu is completely righteous. There are attempts to patronize great men like Bilal and Umar who had led a saintly life. The song even patronizes prophet Muhammed who is called the Darling of the Mankind. But when he realizes his mistake, Akbar Sadaka asks for forgiveness. The poet in his excitement to praise Ali would have forgotten and written things which shouldn’t have been written. It would be appropriate for the reader to forgive the poet for the prophet’s teaching was to forgive even your enemy.

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Errors

There are few things which are entirely non-Islamic in Pakshipattu.

They shouldn’t by any means could be justified. The serpents who guard the sea asks a favor in return of helping him cross the sea.

The serpents says- “You are the one who gives the card to enter paradise during the day of Khiyamat, give us also cards during that day”. Ali replies that he would give him a great card. This is completely wrong according to Islamic principles because even the prophet can’t decide who enters heaven. So those lines are absurd.

The concept that tree bends for men has beauty. It is okay if its a display of respect, but its impossible according to Islam. The tree also has a wish, since it is a Sunnath for muslims to brush teeth, the tree asks to give him that Sunnath. This even is also not possible. In the end of the song, the poet pleads to Allah to forgive him for any mistakes in the song he had committed.

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Bibliography

Mahathaya Mappila Sahithya Paramparyam - C N Ahammed Moulavi, K K Muhammed Abdul Kareem Mappila Shaili - N K A Latheef Muslim Samoohika Jeevitham Malayala Novalil - Jamal Kochangadi Pakshipattu Oru Punarvayana - Ibrahim Bevinja Muslimingalum Kerala Samskaravum - P K Muhammed Kunji Mappila Muslims of Kerala - Rollan E Miller Islam in Southern India - W P Warren Mappilapattinte Thayverukal - V K Kutty Arabi Sahithyam - Prof. V Muhammedali Onninte darshanam - M N Karassery Kozhikotte Muslimkalude Charithram - Parapil Muhamed Koya Islam VIjnana Kosham Keralathinte Samskarika Charithram - P K Gopala Krishnan

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Social Revolution in a Kerala Village - Dr. A Ayyappan The Cultural Heritage in ndia - Edited by haridas Bhatacharya Bharateeya Chinta - K Damodaran The Growth of Islamic thought in India - Dr. Tharachand Cochin State Manual - C Achutha Menon

Courtesy

Mr. M A Abdu Rahman Prof. Abdul Satar Mr. Abdulla Mogral Mr. V Abdul Gafoor

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