Marthandavarma (novel)

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Development

Background

C. V. Raman Pillai was introduced to historical fiction through the works of Sir Walter Scott and Alexandre Dumas during his days at Maharaja's College, Thiruvananthapuram;^[14] he did not graduate at first, as he did not complete his examinations, but instead went on an expedition^{[upper-alpha 1]} and ended up at Hyderabad.^[18] There he stayed with some muslim people who suggested he marry a Muslim girl after proselytization to Islam. However, he returned home after realizing the worries of dear ones through one of the natives of his hometown whom he met at Hyderabad. The experiences during the expatriation were later put to use in his novel writing. After graduating in 1881,^[21] Pillai traveled to the southern provinces of Travancore with his friend P. Thanu Pillai^{[lower-roman 1]}, who was then the Tahsildar at Agastheeswaram during 1881–1882, and acquainted with the regional legends that he later adapted to his novel writings.^[23] In November 1887, Pillai had his second marriage to Bhageeridhi Amma, and subsequently moved to the house of spouse, the Keezheveedu at Perunthanni.^[24][25] N. Balakrishnan Nair^{[lower-roman 2]} quoted the words of Ms. Mukkalampattu Janaki Amma, who was a friend of Bhageeridhi; which state that the author moved to Keezheveedu with the preparations for Marthandavarma novel.^[27]

Composition

Mukkalampattu Janaki Amma remembers Bhageeridhi Amma telling her that before starting to write Marthandavarma, Pillai used to read English novels and take notes.^[27] P. K. Parameswaran Nair^{[lower-roman 3]} said that some days, the reading would go on until 03:00 hours. P. K. Parameswaran Nair further stated that while writing Marthandavarma, Pillai had difficulty sleeping and his constant betel chewing for every Nāḻika (24 minutes) instigated his writing.^[29] During the composition, Pillai’s spouse and Mukkalampattu Janaki Amma were amanuenses, whenever one of them was free. However, Ms. Thazhamadathu Janaki Amma, a neighbor, actually transcribed more for the author than either of them.^[27] According to P. K. Parameswaran Nair, C. V. Raman Pillai was in Madras during the end of 1889 to pursue the proceedings of law exams that he should appear.^[30] N. Balakrishnan Nair states that the author went to Madras after getting leave for six months from Kuṁbhaṁ 10, 1065 (February 20, 1890).^[31] C. V. Raman Pillai stayed with his group of friends, which included N. Raman Pillai^{[lower-roman 4]} and G. Parameswaran Pillai who where earlier expelled from Travancore.^[34] During this period, G. Parameswaran Pillai, who had discussions with barrister Eardley Norton, proposed to bring out a memorandum detailing the grievances of educated natives of Travancore, who are not considered for higher posts in government services at Trivandrum due to recruitment of expatriate Brahmins. C. V. Raman Pillai promised to get necessary signatures of supporters for the memorandum.^[35]

In January 1890, the Malayalam novel Indulekha was released^{[upper-alpha 2]} and became a topic of discussion among the friends-circles in Madras.^[35] The instant fame of Indulekha and its author O. Chandumenon swayed C. V. Raman Pillai to complete his novel Marthandavarma.^[38] N. Balakrishnan Nair states an account of challenge raised by some Malabarians that whether there were any men in Travancore who could create a literary work as Indulekha, to which C. V. Raman Pillai reciprocated that he will prove it as affirmative.^[39] According to P. K. Parameswaran Nair, for almost two months from then, author was involved in the scripting of Marthandavarma.^[38] C. V. Raman Pillai, while involved in the discussions of memorandum, mentioned to G. Parameswaran Pillai that with the publication of his novel, Marthandavarma, people would be proud about their early history. Eventually he was not interested to pass the law examinations, as his main intention was to complete Marthandavarma novel and ready the manuscript for printing.^[40] C. V. Raman Pillai left for Trivandrum after he was entrusted to translate the memorandum to Malayalam.^[35] According N. Balakrishnan Nair, the author rejoined in his job on Ciṅṅaṁ 9, 1066 (August 23, 1890).^[41]

C. V. Raman Pillai continued the scripting of Marthandavarma at Trivandrum to have a printing draft, and he sent the completed chapters to his friend N. Raman Pillai at Madras, who in turn edited the same and made his own contributions to the manuscript.^[42] The author’s earlier experiences of having estranged from home, his life with Muslims at Hyderabad, having suggested converting to Islam and marry a Muslim girl were adapted to build the characterization of Shamsudeen and the descriptions of Pathan camp in the novel.^[43] He created the character of Karthyayani Amma as a reminiscence of his elder sister with the same name, and the attire of Velu Kuruppu was based on the outlook of K. C. Kesava Pillai.^[41] According to P. K. Parameswaran Nair, the scripting was winded up in six to seven months during when the editing and corrections in the manuscript were done by N. Raman Pillai, who intimated about those to C. V. Raman Pillai through letter transactions before passing the same to printing press.^[42]

Controversy over the period

P. K. Parameswaran Nair states that the consensus about the period of development of Marthandavarma novel is during 1890; however he also claimed that the author started writing Marthandavarma in 1883 and completed in 1885, which contradicts with his own statement that C. V. Raman Pillai thought about writing a novel only at the age of twenty-eight years which is by 1887. P. K. Parameswaran Nair purported his claim by quoting a remark from a private letter reportedly dated Māśi 1, 1059 (February 11, 1884) from P. Govinda Pillai^{[lower-roman 5]} to whom C. V. Raman Pillai supposedly showed early drafts of his novel.^[45] Dr. P. Venugopalan^{[lower-roman 6]} affirms that there is an earlier version of the novel, which N. Raman Pillai refers to in his letter to C. V. Raman Pillai regarding the character Subhadra as quoted by P. K. Parameswaran Nair. Dr. P. Venugopalan states that N. Raman Pillai listened to the oration of novel’s earlier manuscript while at Madras.^[50] The affirmation about the inclusion of Subhadra in the earlier version of novel brought out another contradiction to the claim of P. K. Parameswaran Nair with his own quotes from the words of C. V. Raman Pillai, which state that the author envisioned the character of Subhadra through his wife, Bhageeridhi Amma, whom he married only in November 1887.^[24] One of Pillai's later amanuenses, K. R. Prameswaran Pilla, quoted the author as saying that he started writing Marthandavarma while staying in Madras.^[51] N. Balakrishanan Nair notes that, Pillai made several visits to Madras with the particulars from N. Raman Pillai’s home, while G. Parameswaran Pillai and the latter were in Madras.^[52] Dr. George Irumbayam asked P. K. Parameswaran Nair about the existence of such a letter, who said that he had lost it. The claim of P. K. Parameswaran Nair and those who supported the same^{[upper-alpha 3]} were concluded as attempts of fans of C. V. Raman Pillai, whom they wanted to cast as the first novelist of Malayalam literature, and Dr. George Irumbayam remarked that the fans went to the extent of not believing the words of the writer in the deliberation of their attempt.^[55]

Printing

P. K. Parameswaran Nair states that the proceedings with printers at Madras were initiated after the completion of novel writing, which contradicts his own statement about the completion of printing till 150 pages while quoting a letter from N. Raman Pillai, whose words indicate that the scripting was in progress.^[42] K. R. Parameswaran Pilla notes that the printing of the novel was started after the completion of third chapter.^[56] The printing was done at Messrs. Addison^{[upper-alpha 4]} & Co., Madras, to whom the manuscripts were passed over by N. Raman Pillai.^[42] N. Balakrishnan Nair points that C. V. Raman Pillai went to hometown from Madras to arrange the money for printing, and during the time, he sent the manuscripts to N. Raman Pillai.^[39]

C. V. Raman Pillai was involved in the Malayalam translation of memorandum proposed by G. Prameswaran Pillai titled then as Malayāḷi Memorial followed by the printing and getting the signatures from supporters, and being involved in the activities, he fell short of money as some promised sponsors pulled out fearing an adverse reaction from Government.^[60] K. P. Sankara Menon^{[lower-roman 7]} and G. Parameswaran Pillai came to Trivandrum by the end of December 1890 for campaigning about the memorandum. C. V. Raman Pillai bore the expenses of their commutations and proceedings, and went on to sell his wife’s necklace to meet the requirements.^[63] The memorandum was eventually sent to the king on January 10, 1891 by K. P. Sankara Menon.^[64]

The financial crunch due to the situations put C. V. Raman Pillai in a difficulty that he could not meet the expenses to complete the printing of the remaining chapters as intended; so, he made a concise version and got it printed as part of twenty-sixth chapter, which thus became the final chapter of the novel. P. K. Parameswaran Nair states that there were three more chapters after the twenty-sixth chapter by referring to a letter from N. Raman Pillai, who came to know about the concise narration only after getting the printed copy as he had left to Thiruvananthapuram before the completion of printing, criticized the author regarding the same.^[65] According to N. Balakrishnan Nair, the concise version included in twenty-sixth chapter is an abridgement of two intended chapters. C. V. Raman Pillai states in the preamble that he wanted to have an annexure at the end of the novel.^[39]

Proofreading

When the printing was over, an advance reading copy was handed over to Kilimanoor Rajaraja Varma for proofreading, who in-turn pointed out the typographical errors which later made into an errata and added to the printing of further copies.^[42] During the proofreading, Rajaraja Varma informed C. V. Raman Pillai that some of author’s own way of expressing the Sanskrit words would be objected by Kerala Varma Valiya Koil Thampuran, however C. V. Raman Pillai did not allow those to be added to errata pointing that he did not fear criticism from literary autocrats.^[66]

Publication

Release

When printing of further copies with errata was over, C. V. Raman Pillai made a request for permission on April 13, 1891 to submit the first copy at royal palace, and subsequently the book was released on June 11, 1891 after presenting the first copy to Aswathi Thirunal Marthanda Varma, to whom the book is also dedicated to.^[67] Pillai sent two copies to Kerala Varma Valiya Koil Thampuran, one for the recipient and another for recipient’s wife, which was acknowledged in the recipients’ letter to the author dated June 24, 1891.^[68] N. Balakrishnan Nair states that author gave several copies of book as complimentary ones, out of the total 1000 copies printed.^[69] According to P. K. Parameswaran Nair, the publication of Marthandavarma was a great event in the history of Malayalam literature.^[68] The novel was the first of its kind in Malayalam literature, the release of the novel made Malayalam the sixth^{[upper-alpha 5]} Indian language and first Dravidian language to have a novel in the genre of historical fiction, thus became the first^{[upper-alpha 6]} historical novel of South India.

Revised edition

In 1911, Kulakkunnathu Raman Menon,^{[lower-roman 9]} who owned of B. V. Book Depot at Trivandrum, acquired rights of the novel, to publish from his own publishing house.^[88] C. V. Raman Pillai did a revision for the new edition, in which he had replaced the edits of N. Raman Pillai in the first edition with his own. The author corrected the flaws in the usages of Sanskrit and Malayalam words, together with the change of phrases that are in line with the then usages of Malayalam. The changes included the removal of a precognitive narration about the death of Padmanabhan Thambi at Nagercoil, removal of reference to an earlier spouse of character Anantham prior to her relationship with Sundarayyan and removal of references to mistresses from Thanjavur.^[89] The copyrights of the novel were registered on August 11, 1911,^[67] and D. C. Kizhakemuri notes that the copyrights were reserved until December 31, 1972.^[90]

All the reprints of the novel available after 1911 are only of the revised edition. Sahitya Pravarthaka Co-operative Society (SPCS) alias Sahithya Pravarthaka Shakarana Sangham of Kottayam, Poorna Publications of Kozhikode, and D. C. Books of Kottayam started publishing their editions from 1973,^[91] 1983,^[92] and 1992^[93] respectively to remain as the major publishers^{[upper-alpha 7]} of the novel.

Translations

Marthandavarma has been translated into three languages, Tamil, English and Hindi as five different versions, among which two were in Tamil another two, were in English and one incomplete translation was in Hindi.

• 1936: Marthanda Varma (English) - The first English translation by B. K. Menon^{[lower-roman 10]} was published by Kamalalaya Book Depot, Trivandrum in 1936,^[99] and was republished by Sahitya Akademi in 1998 after a revision by the daughter of B. K. Menon, Prema Jayakumar.^[98]
• 1954: மார்த்தாண்ட வர்மா (Mārttāṇḍa Varmā, Tamil) - The first translation of the novel in Tamil was by O. Krishna Pillai. It was published by Kamalalaya Book Depot, Trivandrum.^[100]
• 1979: Marthanda Varma (English) - The second English translation by R. Leela Devi was published by Sterling Publishers, New Delhi. A reprint by the same publisher was released in 1984.^[101]
• 1990: मार्ताण्ड वर्मा (Mārtāṇḍa Varmā, Hindi) - Kunnukuzhy Krishnankutty has done the Hindi translation, which was serialized and left incomplete in the editions of journal Kēraḷ Jyōti from Kerala Hindi Prachar Sabha, Thiruvananthapuram during June 1990 to December 1990.^[102]
• 2007: மார்த்தாண்ட வர்ம்மா (Mārttāṇḍa Varmmā, Tamil) - The second Tamil translation of the novel by P. Padmanabhan Thambi was published by Sahitya Akademi.^[103]

Reception

The novel received positive to mixed response, being the first historical novel of Malayalam literature and south India. Prof. Guptan Nair notes that the literary work was hailed as a masterpiece.^[53]

Critical reception

In the review appeared on The Hindu, Madras edition dated December 21, 1891, the novel is mentioned as a respectable specimen what an Indian graduate is capable of accomplishing in the department of fiction.^[104] P. Thanu Pillai rated the novel as a rare and valuable addition to the literature of Malayalam.^[105] Kerala Varma Valiya Koil Thampuran and Kodungallur Kunjikkuttan Thampuran ranked the novel as better than the heretofore-released novels^{[upper-alpha 8]} in Malayalam. Kilimanoor Ravi Varma Koil Thampuran remarked that he could not keep aside the novel once he started reading the book. P. Sundaram Pillai stated that he read the novel with so much pride.^[68] The review in The Hindu criticized the free usage of Sanskrit words, which will make novel to be enjoyed by the elite people and not the general readers.^[53] Kerala Varma Valiya Koil Thampuran criticized the inappropriate usages of Sanskrit words, among which some^{[upper-alpha 9]} are remarked as unpardonable blunders.^[66]

General reception

When Marthandavarma was released, the people of Trivandrum devoured it.^[53] N. Balakrishnan Nair notes that the release of novel was celebrated like a literary festival at Trivandrum.^[112] Though the novel became the topic of discussion in cottages, elite circles, clubs and law courts, the sale of book was very poor.^[113] The author did not even get the required revenue to pay the printing costs,^[50] and at one point of time, he took one hundred numbers of unsold books as a bundle to his elder brother, who was then the Tehsildar at Muvattupuzha and demanded one hundred rupees. C. V. Raman Pillai had sent unsold copies of the novel to P. Ayyappan Pillai^{[lower-roman 11]}, the then Education Secretary and to his friend P. Thanu Pillai, the then Manager of Huzur Court (Court of Appeal) at their respective offices, to have those sold. N. Balakrishnan Nair notes that the remaining copies among the one thousand numbers of first print were damaged due to infestation by termites.^[115] The general reading people slowly accepted the novel and, the author went on to release five more editions until 1911.^[88]

Reception of revised edition

The revised edition of the novel, published in 1911 by Kulalakkunnathu Raman Menon's publishing house,^{[lower-alpha 1]} received overwhelming positive response and became one of the best sellers of the period. N. Balakrishnan Nair notes that the sale of book was similar to that of Adhyatma Ramayana and by 1951 Kamalalaya Book Depot released the 25^th edition.^[88] Dr. P. Venugopalan states that it is not doubtful that Marthandavarma is the most sold book in Malayalam.^[118]

Theme

History and chivalric romance

In the preamble, Pillai states that he wrote the book with the intention of creating a model of historical romance in Malayalam. The novel is identified as a literary work done in the manner of historical romance, in which historical events of the eighteenth century serve as the skeleton of the story.^[119] The novel presents the events during Kollavarsham 901 to 906 (Gregorian Calendar: 1726–1731). The claim of throne and the related disputes in Venad during 1729 are the main historical aspects of this novel. Dr. Ayyappa Paniker notes that the embodiment of these historical aspects in romance makes the literary work attractive and provides better outlook of the history.^[120] The novel presents plenty of historical events during the period of a well known personality (Marthanda Varma) from the bygone period, notes Dr. Kalpatta Balakrishnan.^[121] Dr. George Irumbayam points that the real history in the novel is wrapped in romance,^[122] with which the author successfully combines romantic elements with the history to make the historical narrative an excellent one.^[123] Prof. K. M. Tharakan points that the history of Venad presented in the novel is immersed in romance.^[124] According to Irumbayam the actions of mad Channan, the dweller of Kasi, Chulliyil Marthandan Pilla, and the disguised prince at most times are romantic.^[125] C. V. Raman Pillai implies in his works that the soul of a novel is perception of internal and external conflicts within.^[126] The internal conflicts in this novel are presented through the character of Subhadra, while most of major conflicts in the novel are external.^[127] The novel generates a feel of greatness in the readers^[128] with the narration of conflicts that are physical as well as intellectual.^[129] The presentation of legends is more convincing as narrated though romance-clad yesteryear history in the novel.^[130] The novel depicts a romantic atmosphere through the environmental descriptions.^[131] Dr. Kalpatta Balakrishnan notes that, the unbelievable heroic adventures of the character, Anathapadmanabhan are major points to validate the genre of novel as historical romance,^[132] as the character is historic^[133] as well as romantic.^[134] The presentation of romance in the novel is able to ignite hero-worship and patriotism followed by the libation of romantic emotions. The curiosity generated by the romantic elements is maintained through the novel until the end.^[135] The conflict between Thambi brothers and Marthanda Varma along with the love story of Ananthapadmanabhan and Parukutty intertwines the history and imagination to be chivalric in the plot development.^[136] The presentation of events from a distant past and the fictional outlook of historical personalities provide considerable significance to the romance in the novel.^[137]

Romance and romanticism

The realistic aspects of the novel are presented through conversations,^[124] which in its inherence and vigor provide an individuality to the story.^[138] Dr. George Irumbayam is of the view that the romantic elements in the novel are intertwined with the realistic legibility of historical elements.^[139] The honest behavior of Mangoikkal Kuruppu to the prince, the anxious preparations of Karthyayani Amma to receive Padmanabhan Thambi, short-tempered reactions of Shanku Assan represent realistic aspects in the novel.^[140][141] N. Balakrishnan Nair states that the novel is a love story built around a serious period in the history of Travancore.^[142] The romance of Ananthapadmanabhan and Parukutty is presented as a supporting aspect to heroism in the novel, according to Dr. Poojapura Krishnan Nair.^[143] Ayyappa Paniker states that the romance between Ananthapadmanabhan and Parukutty gives a soul and emotional angle to the historical and political themes of the novel.^[144] According to Dr. George Irumbayam, the historical plot about power struggle between Marthanda Varma and rebels is presented as rich and active through the love story of Ananthapadmanbhan and Parukutty.^[145] The emotional factor of the novel is further emphasized with another plot of romance involving Ananthapadmanabhan with the unrequited love of Zulaikha, there by making the love story to be a triangular one.^[146] The story of Subhadra is also considered as a tragic love story, which strengthens the romantic aspects of the novel.^[147] The love failures of Subhadra and Zulaikha aid in creating a favorable surrounding for the romantic aspects of the novel.^[148] Dr. D. Benjamin remarks that the very first instance of romantic love is in this novel.^[149] The longing of Parukutty for the return of her lover, Zulaikha's love failure are seen as reminiscences of romantic love, and latter is considered as foremost romantic heroine of Malayalam literature in romanticism.^[150] The romantic aspects similar to that in Prometheus Unbound and in the apocalyptic poetry of William Blake are identified in the personality of Subhadra,^[151] with which the character coveys a conflict-oriented complexity of multi-colored romanticism.^[152]

Politics

The novel is also classified as a political novel as the story is about political struggle^[153] and the political interests of the author are shown in allegorical form.^[154] The novel presents the conspiracies, power struggle, internal agitations in the political history of Travancore,^[155] and history serves the purpose to cause the basic conflict and provides a suitable period for the novel.^[156] Ayyappa Paniker points that novelist incorporated political and social undercurrents in the novel,^[157] and politically the novel is about the power struggle as well as a conflict between the ruler and the ruled.^[158] The political struggle in the novel has a social relevance about the questions against collateral rule of succession (Marumakkathayam) followed in Venad,^[159] and historically, it is perceived as failed agitation of Nair-Thambi clans to acquire power from Kshatriyas.^[160] In a way, the basic theme of novel is the eruption of revolt against the collateral succession through maternal nephews, and the subsequent suppression of the revolt.^[161] Kalpatta Balakrishnan notes that the major theme of the novel is power struggle between the royal head and the kingship seekers,^[162] and not a conflict between the ruled and the ruler.^[163] The relevance of historical context is that, it is about the contest to acquire political power,^[164] and the political significance is that it is about forceful acquisition of royal power,^[165] and so novel is previewed as a political novel.^[166] The freedom of thought that links the ruled ones to the power is presented through Mangoikkal Kuruppu’s impeccable criticism of kingship.^[167] In the high-paced narrative, the character of Subhadra creates the lot of responses,^[168] as she is the only political character in the novel,^[169] even though the character Marthanda Varma represents royal lineage, royal power and royal justice, where as Thambies and Pillas are the riotous group who try to topple the traditional rule of succession in the kingdom.^[170] Subhadra represents the patriotic code of conduct, with which she heads to defeat the attempts of rebel groups, and eventually sacrifices her life.^[171] The open claim for the throne and the subsequent agitations lead the course of actions in the novel; which in result is to topple the rule of succession of the kingdom.^[172] This no-compromise fight for the throne makes the novel rather a political history of power struggle in Venad.^[173] Ayyappa Paniker states that the author raises the royal position through the novel, not the personality of the royal head^[174] as the history in novel is the historical awareness constituted by the author.^[175]

Conflicts

When the historical background is kept apart, the novel represents dramatic feud between the good and bad,^[176] and concludes to the complete failure of sin and partial success of goodness in the end.^[177] The novel presents the fight between respectable and despicable characters as that in devasura conflict.^[178] According to K. M. Tharakan, though novelist tries to preach global philosophy about the final victory of goodness through various conflicts in the plot, serious effort is not taken to unveil the human mindset;^[179] however, M. P. Paul mentions that author depicts peculiar skill in presenting minute emotions of human mind, in the novel.^[180] Even though, the motif of the novel is politics,^[181] the curiosity generated in the novel is through exceptional presentation of interpersonal issues.^[182] The novel successfully comprises history of the state, interpersonal relationships, and social issues in the outset of imagination.^[183] The character of Subhadra adds the investigative mood to the plot,^[184] though she is considered as the foremost representation of tragedy in C. V. Raman Pillai's writings.^[185] The amusement-thread of the novel is led by her secretive investigations similar to that of Sherlock Holmes.^[186] The story of Subhadra is presented as a delightful tragedy, where she realizes her identity apart from the atrocities of her ancestors.^[187]

N. Krishna Pillai and Prof. V. Anandakuttan Nair^{[lower-roman 12]} state that the novel comprises three plots, among which the first one is the political theme about the power struggle between Marthanda Varma and opponents, the second is the romance of Ananthapadmanabhan and Parukutty, and the third is the tragedy of Subhadra.^[189] Dr. M. G. Sasibhooshan states that the plot consists of four sections, which are the above three together with the adventures of Marthanda Varma, and concordance of these sections made the novel as an exceptional literary work.^[190]

Style

Structure and characters

The novel is presented in twenty-six chapters describing the historical events, and each chapter is provided with an epigraph in the form of verses that implies the content of the respective chapter.^[191] Prof. N. Krishna Pillai and Prof. V. Anandakuttan Nair point that the major events of the novel take place during Kollavarsham 903–904 (Gregorian Calendar: 1728), within a span of twenty-eight days, among which only eleven days are explicitly presented through the chapters from two to twenty-six. A night during the Kollavarsham 901 is presented in chapter one and a consolidated set of events until Kollavarsham 906 is narrated in the final chapter.^[10] The novel switches to earlier periods, 1680s, 1703, 1720 while describing the backgrounds of Sundarayyan and Subhadra, marriage and breakup of Subhadra, and the relationship of Ananthapadmanabhan and Parukutty. Prof. Thumpamon Thomas^{[lower-roman 13]} points that the narration is as small water streams that eventually form into a waterfall similar to the strands in a twisted rope made of coir.^[193] The novel uses a particular style of using verses from ballads, puranas, and archiac literary works in descriptions and dialogs pertaining to the narrative situation,^[194] among which usage of puranic quotes are comparatively less in the novel.^[195] The major usages of quotes as epigraphs and inline ones are to indicate the plot of respective chapters or to point a particular behavior of characters,^[196] and this is noted to be a style inspired from Sir Walter Scott,^[197] as well as a manifestation of author's knowledge in the purans, legends, yesteryear ballads, and socio-cultural situation of Venad.^[198] The story is narrated in a non-complex structure^[199] by maintaining the momentum of heroic valor and action, while presenting three dimensional characters.^[200] The unveiling of truth and mystery in the end through conversations is arguably a perfection of narration technique, according to C. Sreekanta Kurup.^[201] The narration easily convinces that environment created in the novel and the personalities of bygone period are coherent to the situation and are memorable, historically.^[202] The variance in the behavior of characters are shown through specific style of language used for particular characters, though the styles of language in description and narration are same, which are also noted to be light and heart-touching,^[203] as well as beautiful and vigorous as that in conversations.^[204] The characters are presented in a way that it is impossible to differentiate between fictional and historical ones.^[205] N. Krishna Pillai notes that the major attributes of historical characters in the novel are specifically given by the author.^[206] The presentation of novel is unique with the creation of unprecedented characters and not through structure complexity, notes Dr. D. Benjamin.^[207] The presentation of characters in the novel is noted to be similar to the appearance of roles in Kathakali.^[208] The novel is noted to be focused on multiple heroes and heroines.^[209] Dr. Grorge Irumbayam states that the hero of the novel is Ananthapadmanabhan and Parukkutty is the heroine,^[210] however also mentions that the novel has dual heroines due to the prominence of the character, Subhadra.^[211] Dr. D. Benjamin notes that Marthanda Varma is the hero of novel.^[212] Dr. Kalpatta Balakrishnan remarks that Ananthapadmanabhan and Parukutty are leads of the plot only when the story is a romance,^[213] and as the story is based on the heir-ship of Marthanda Varma who leads the course of actions,^[214] Ananthapadmanabhan is not the hero of the novel.^[215]

Narration

The expansion of plot is noted to be through the stagnantly rising events,^[216] without pushing back the narration on the behest of describing the struggles of characters.^[217] The narration keeps the reader in suspense, with the rise of incidents out of incidents, leading to unexpected intricacies and complications with a veil of mystery until the final revelations.^[218] The novel is presented with so many events, the arrangements of which create a feel that plot is long enough to fit in a book double the present size of the novel.^[219] Pillai created a new style of his own for narration,^[220] in which author presents different style of languages for different characters.^[221] N. Krishna Pillai points that 64% of the novel is used for conversations of characters.^[222] The narration style interspersed with fine pieces of humor, and lively flashes of wit^[223] is stated as heartily attractive to the readers^[224] due to its simplicity and sweetness; which also leads the reader through the events of novel at fast pace.^[225] Dr. Raghavan Pillai notes that the language used in the novel is simple and is not overly mixed with Sanskrit, when tallying with author's later novels.^[226] The language used in this novel does not create any resistance to reading, unlike in his later novels.^[227] The style of narration in Dharmaraja is termed as Kirmīravadhaśaili,^[228] adhering to author’s terminology, Kiṟmīravadharīti^{[upper-alpha 10]}, where as the narrative style used in this novel is termed as Śī Vī Śaili.^[230] The author termed it as Mārttāṇḍavaṟmmā-style,^{[upper-alpha 11]} which he admitted to not able to continue in his later works.^[232] The novel is noted for the usage of rhetorical embellishments in narration.^[233] The narrative style comprises plenty of such embellishments as in a lyric, to form a rhetorical prose,^[234] and this is noted to be author’s crookedness of narrative style.^[235] The narrative style depicts a considerable level of the coherence between the consecutive sentences and in parts,^[236] and presents notions adapted from performance arts such as Kathakali, Play, Kudiyattam, Mohiniyattam, and Bharatanatyam.^[237] The dramatic language attained in the narration is through the abundant usages of passive voice and gender-neutral pronouns in objective case,^[238] where as the archaic style of language is through usages of dative case.^[239] The stylistic symbols among the specialties of language variance and author's idiolect marks the narration as a classic style.^[240] The narration is presented in a manner that makes a reader to feel the accomplishment of wonders in the novel are inevitable.^[241] The author successfully combines geographical structure of locality and suitable historical period with a legitimacy of day and night, and an accuracy as in an almanac, through his narrative style.^[242]

The narrative style is noted to be of a global standard due to the extraordinary brilliance and greatness of subject as well as the presentation of human mindset in the novel.^[243] The novel is identified as an incident-rich work interlaced with fast-paced events^[199] during the period of a well-known historical personality, there by possessing the most required aspect of a historical novel.^[121]

Intertextuality and allusions

The novel has a rich focus on intertextuality, making regular references and homages to both Indian subcontinent and Western literary traditions, histories and cultures. These sections provide a limited overview of the most important references and allusions in the novel and links to more thorough examinations of the allusions and intertextuality used throughout the novel.

Characters based on legends, history and real life

Marthanda Varma

Ananthan

Dharmaraja

Ramayyan

The novel presents characters with allusions to personalities from history, legends and personal life of author. The major characters based on history and legends apart from the titular character, the prince Marthanda Varma based on Marthanda Varma^[244][245] are Pappu Thambi & Raman Thambi,^[246] based on the Thambi brothers,^[247] Ananthapadmanabhan based on Ananthan, a warrior and commander in Travancore forces during the reign of Marthanda Varma,^[189][248] Mangoikkal Kuruppu based on Mangottu Assan, a martial arts master from Mancode^{[upper-alpha 12]},^[249][250] Ettuveettil Pillas^[251] based on Ettuveetil Pillamar,^[252][253] Ramayyan based on Ramayyan Dalawa,^[254][255] and Chulliyil Chadachi Marthandan Pilla based on Chadachi Marthandan, a legendary character from Chulliyur^{[upper-alpha 13]}.^[256][257]

The other characters are the King Rama Varma based on Rajah Rama Varma,^[258][259] the little prince Karthika Thirunal Rama Varma based on the infant Dharma Raja,^[260][261] and Ammattampurāṭṭi is based on his mother.^[259][260] The novel also mentions about Narayanayyan, an assistant of Ramayyan,^[262][263] and Arumukham Pilla, the acting Dalawa of Venad during Kollavarsham 901–903 and Dalawa during 904–909.^[254][264]

Events based on legends, history and politics

The novel explicitly mentions about the pact with Madurai Nayaks made by king Rama Varma in Kollavarsham 901 at Tiruchirappalli to supply additional forces to Travancore for a fixed annual payment.^[5] The novel mentions the lethal attempt on Marthanda Varma at Kalliyankattu temple,^[265] and also refers to similar attempts at Panathara, near the Ezhava house at Perunkadavila,^[266] as well as at the Nedumangad fort. The novel narrates an attempt by Velu Kuruppu and his men, when Marthanda Varma is aided by mad Channan to hide inside a tree implying the aid by a Channan plougher to hide and another attempt where Marthanda Varma hides inside the big hole within a jack tree at the Neyyattinkara Sree Krishna Swami Temple.^[267] The novel makes references to lethal attempt on the little prince, Karthika Thirunal Rama Varma in Kollavarsham 903^[259] while the little prince and mother were heading from Trivandrum to Attingal.^[258] One of the major events mentioned novel is the heirship claim by Thambi brothers through linear succession^[263] against the collateral rule of succession followed in Venad.^[268] This is followed by the treaty of Thambi brothers with foreign forces^[262] to out-throw Marthanda Varma from power.^[4] The novel presents the council of Ettuveettil Pillas^[269] planning the murder attempt on Marthanda Varma,^[270] as well as the coup d'état by Thambi brothers.^[246][271] The accession of Marthanda Varma^[272] in Kollavarsham 904^[254] post the illness and demise of king Rama Varma is mentioned in the novel.^[273][10] The novel also narrates about the detention of Arumukham Pilla^[254] by Madurai forces due to the arrears in payment to the latter.^[264]

The other events mentioned in the novel are the conquest of Desiganadu^[274] by Marthanda Varma post the accession^[275] and the Kalipankulam incident as a murder of five princes with the involvement of Ramanamadathil Pilla.^[276][277] The novel remarks about the death of Padmanabhan Thambi^[274] at the hands of Marthanda Varma's accomplices in the first edition.^[278] The novel also refers to the attack of a Mukilan (a petty chieftain under Moghul emperor) in Travancore during Kollavarsham 853–855^[279] when, a few families were converted as Mohammedians,^[280] and the tragic death of Iravikutti Pilla in the war against forces of Thirumalai Nayak.^[281]

Architecture and geography

Venad is mentioned as the kingdom in which the events of novel take place; in the novel, the king Rama Varma is referred as the ruler of Venad. Aralvaimozhi is referred as Āṟāṁvaḻi, the south-eastern border of Venad, through which the traitorous criminals are exiled from the kingdom. Edava or Idava is mentioned as the north-western boundary of Venad, through which Sundarayyan proposes to exile the people of Channar clan. The major events of the novel happen at and around Padmanabhapuram and Thiruvananthapuram.

Padmanabhapuram area
The novel describes Padmanabhapuram as an earlier capital of Thiruvithamkodu state, and the locality is maintained as a royal adobe.

The main locations around Padmanabhapuram, where the events in the novel happens are Padmanabhapuram Palace, Charottu palace, and Mangoikkal house. According to M. G. Sasibooshan^{[lower-roman 14]}, only the Darbhakulam mansion and the Kalkulam mansion of Padmanabhapuram Palace were existed during the timeline of novel. The novel presents only the residence existed at the place of present southern mansion on the northern side of the contemporary palace. Prince Marthada Varma halts there on his way to Boothapandi and later Padmanabhan Thambi camps there, after which fifty numbers of Channar people were executed at the palace compound.^[284] Charottu palace is a royal residence existed at Charode, which is a locality near to Padmanabhapuram. According to Dr. P. Venugopalan, Charottu palace existed 2 miles (3.218688 km) north to Padmanabhapuram palace. The novel describes the Charottu palace as a small one which consists of a quadrangular homestead (Nalukettu) and a cookhouse (Madapalli) surrounded by a compound wall with doors on the eastern and southern portions. The prince Marthanda Varma and his aide Parameswaran Pilla reside here after evading from Padmanabhan Thambi at Padmanabhapuram palace through the tunnel passage.^[285] The novel states about the dungeon existed within the Padmanabhapuram palace compound. The dungeon is described to have a room twenty feet below the ground level; where the mad Channan is locked up. The dungeon also leads to an underground tunnel, which further goes down from the floor level of the dungeon and the passage leads to an upward stair that lead to the door to a small room. The door on the roof of the small room opens to a room inside of Charottu palace. Dr. P. Venugopalan states that the closed tunnel passage between Padmanabhapuram palace and Charottu palace had access from the Tāikoṭṭāraṁ (Mother’s mansion) at the former palace, and cites its closed existence.^[285]

Mangoikkal house in the novel is described to be 2 Nazhika north to Charode, and the road to Padmanabhapuram exists on its northern side. The southern side of the house is a grove, from where at a half Nazhika distance is a thicket, through which mad Channan reaches Mangoikkal house to rescue the prince Marthanda Varma. The novel also mentions that the Mangoikkal kalari (martial arts school of Mangoikkal) is nearby and from where the men came to aid Mangoikkal Kuruppu and his nephews. The house name Mangoikkal is in reminiscence of house of Mangottu Assan at Mancode,^[250] a village in Vilavancode taluk of Kanniyakumari district, and the house name of author’s patron Kesavan Thambi Karyakkar, Nangoikkal.^[286]

The novel mentions that prince Marthanda Varma is cornered and trapped at Kalliancaud temple or Kaḷḷiyankāṭṭukṣētraṁ, from where, he is later escaped as a Brahmin. The temple is Kalliancaud Sivan Kovil, geographically located at 8°11'52"N 77°23'27"E. The novel mentions Panchavankadu or Panchavan forest as the place where Ananthapadmanabhan is attacked and left for dead by Velu Kuruppu and his team. It is only described that the forest area is on the way to Nagercoil from the residence of Ananthapadmanbhan’s mother and is nearer to the place where the Pathans, Hakkim and his group camped in Kollavarsham 901. Prof. N. Krishna Pilla and Prof. V. Anandakuttan Nair state that Panchavankadu and Kalliyankadu are the same.^[287]

Thiruvananthapuram area
Thiruvananthapuram is referred as the capital of the kingdom during the timeline of the novel. Dr. P. Venugopalan points that this is historically inaccurate as the capital was not changed from Padmanabhapuram to Thiruvananthapuram during the period.^[288]

The main locations around Thiruvananthapuram, where the events in the novel happens are Thiruvananthapuram fort, Subhadra's house, Killi river, and Manacaud. The main locations mentioned within the fort are Thiruvananthapuram palace, where king Rama Varma is bed ridden, Thekkekoyikkal, and Chembakassery house. Thekkekoyikkal or the southern mansion is the residence of prince Marthanda Varma within the fort premises. In the novel, it is presented that Velu Kuruppu tried to attack Marthada Varma, while the latter is on his way to the mansion, but attempt is foiled by the intervention of Shankarachar. In the novel, it is mentioned that Chembakassery house existed to the south-western side of the pathway to the Mithranandapuram temple from Sree Padmanabhaswamy temple. P. K. Parameswaran Nair assumes that Chembakassery house was never existed,^[289] but Mr. Parthan from Thiruvananthapuram states that the house existed and the author C. V. Raman Pillai was familiar with the same.^[290] The fort existed during the timeline of the novel was later rebuilt during Kollavarsham 922–928 and eventually demolished post the independence of India;^[291] a few remains of which are existed at the east fort in Thiruvananthapuram as property of Archeology department.^[292]

Subhadra's house is mentioned to be a few blocks north to the royal passage at Andiyirakkam. In the novel, it is mentioned that the pathway from Subhadra’s house to Valiyanalukettu through the royal street that crosses over the Killi river and on its over-bridge Sundarayyan and Ananthapadmanbhan fight to fall into the river.^[293] Manacaud or Manakadu is referred in the novel as the place where Pathan merchants are camped.^[294] Fighters of Mangoikkal also camp there, where their final confrontation with Thambi brothers and Ettuveettil Pillas take place.^[295]

Sociocultural practices

Writers and literature

The novel explicitly mentions Thunchaththu Ezhuthachan, P. Shangoony Menon,^{[lower-roman 8]} Kunchan Nambiar as 'Kuñcan',^[321] and also refers Shankaracharyar as kēraḷēcārakaṟttāvŭ,^[322] which means the author of customs in Kerala, Venmani Achhan Nambudiripad as kavikulōttaṁsan (one at the crest of poets clan) and compares his lifetime to that of Sundarayyan.^[323]

Story-line adaptation

The novel uses the references of Ettuveettil Pillas in the Sree Veera Marthandavarmacharitham Aattakatha, to form the characters and also uses the four-line verse about the same as epigraph to the eleventh chapter. The character of Sundarayyan in the novel is similar to the character of Pichakappalli in this Aattakatha.^[252] The situations in which Marthanda Varma escapes the attempts on his life by Thambi's men are in line with similar events mentioned in Marthandamahathmyam, a lyrical work written as a Kilippattu based on the stories about Marthanda Varma.^[252] The attack at Mangoikkal house by Padmanabhan Thambi's men in the novel is similar to the attack and eventual burning of Mangottu Assan’s house in Ottan Katha, one of the ballads of Venad based on the stories about Marthanda Varma.^[249] Ivanhoe by Sir Walter Scott is considered as the most influential work in the development of Marthandavarma.^[324] Like in Ivanhoe, the first chapter of the novel opens with the description of a forest, and every chapter opens with an epigraph similar to those in Scott’s books.^[325] M. P. Paul claims that the characters Marthanda Vama, Ananthapadmanabhan, Chulliyil Chadachi Marthandan Pilla are based on the characters from Ivanhoe, even though those are based on the history and legends of Venad.^[326]

M. P. Paul also claims that the situations involving either of mad Channan, Subhadra or Thirumukhathu Pilla are similar to situations in King Lear by William Shakespeare, the character of Shanku Assan is similar to that of Dominie Sampson in Guy Mannering by Sir Walter Scott.^[326] Dr. M. Leelavathy points that the character of Subhadra is prototyped from the Flora McIvor of Waverley by Sir Walter Scott.^[327]

Neelikatha (subplot)

According to Dr. P. Venugopalan, the story of Panchavankattu Neeli (Pañcavankāṭṭunīli, lit. Neeli of Pachavan forest) in the third chapter of novel is a combination of stories form the ballads Panchavankattu Neelikatha (Pañcavankāṭṭunīlikatha) and Neelikatha (Nīlikatha, lit. story of Neeli).^[328] Dr. Thikkurissi Gangadharan states that Kaḷḷiyankāttunīli (Neeli of Kalliyancaud) is changed to Pañcavankāṭṭunīli by the author of the novel.^[329]

Appropriations

The novel heavily incorporates verses from Nalacharitham Aattakatha (Day 1,^[330] Day 2,^[331] Day3,^[332] Day4^[333]) Adhyathmaramayanam Kilippattu, Sree Mahabharatham Kilippattu by Thunchaththu Ezhuthachan,^[334][335] Harishchandracharitham Aattakatha by Pettayil Raman Pilla Asan,^[336] Ravanavijayam Aattakatha by Vidwan Rajarajavarma Koi Tampuran of Kilimanur,^[337] Rukmineeswayamvaram Aattakatha by Aswathi Thirunal Ramavarma Thampuran,^[337] Kalakeyawadham Aattakatha by Kōṭṭayattŭ Tampuran,^[336] Bashanaishadham Champu by Mazhamangalam^[338] as epigraphs, as descriptions and quotations. The novel also draws verses from Kirmeerawadham Aattakatha by Kōṭṭayattŭ Tampuran,^[337] Subhadraharanam Aattakatha by Mantṟēṭattŭ Nampūtiri,^[339] Dakshayagam Aattakatha by Irayimman Thampi,^[310] Banayudham Aattakatha by Bālakavi Rāmaśāstrikaḷ,^[340] Keechakawadham Aattakatha by Irayimman Thampi,^[339] Rāmāyaṇaṁ (Irupattunālu vr̥ttaṁ),^[341] Ramayanam Vilpattu,^[339] Vethalacharitham Kilippattu by Kallēkuḷaṅṅara Rāghavapiṣāraṭi,^[342] Symanthakam Ottan Thullal by Kunchan Nambiar,^[343] Krishnarjunavijayam Thullal,^[344] Kuchelavritham Vanchipattu by Ramapurathu Varrier.^[339] The novel also comprises verses from ballads Neelikatha,^[252] Ponnarithal Katha,^[345] Mavaratham,^[346] and Iravikuttipillaporu.^[347]

Languages

The novel mentions the languages, Malayalam, Tamil and Hindustani, among which the former one is used primarily for the narration with the adopted words from Tamil, Sanskrit, English, Hindustani, Persian and a conversation in a substitution cipher, Mulabhadra.

Malayalam is the primary language used in the novel, Sanskrit words are extensively used in the novel such as khādyapēyalēhyabhōjya^[348] (Sanskrit: खाद्यपेयलेह्यभोज्य, ഖാദ്യപേയലേഹ്യഭോജ്യ, lit. chew-able, drinkable, lick-able, and eatable), tējaḥpuñjaṁ^[349] (Sanskrit: तेजःपुञ्ज, തേജഃപുഞ്ജ, lit. heap of ardor). Tamil words and prepositions are used in the statements of Shanku Assan, Anantham, Mangoikkal Kuruppu and in the narrations, among which, the Tamil word nāyaki (Tamil: நாயகி, lit. spouse[feminine], Malayalam: നായകി) in the first edition of the novel is been replaced with the adapted one from sanskrit, nāyikā (Sanskrit: नायिका, lit. the lady who leads) as the malayalam version nāyika (Malayalam: നായിക, lit. heroine) in the second edition.^[350] The novel uses the word caittān^[351] which is a form of Hindustani word šaitān (Hindustani: शैतान, شیطون, lit. devil)^{[upper-alpha 17]}, and also uses the word bahadūṟ,^[352] a form of Hindustani word bahādur (Hindustani: बहादुर, بهادر, lit. brave)^{[upper-alpha 18]}. The novel makes a malayalam usage for the shawl used by Thirumukhathu Pilla as sālva,^[353] which is analogous to the English word shawl and the Persian version shāl (Persian: شال‎‎), and for the meaning of guard while referring to the posture of Chembakassery Mootha Pilla at the door of Parukutty's room, the novel uses a word gāṭṭ^[354] akin to the obsolete form gard.

The novel uses the word kinkāb which is a form of word kinkhab, which stands for silk brocade with gold and silver designs and term is a conjoined form of kin kab originated or westernized from kam (Hindi: कम, lit. less) and khwab^{[upper-alpha 19]} (Hindi: ख्वाब, lit. dream).^[355]

• Ambiguous usage – The novel presents the ambiguous usages of the term nazhika (Malayalam: നാഴിക, nāḻika), as a unit of measure for time and as a unit of measure for length. Nazhika¹ as a unit of measure for time is analogous to Ghaṭi and 1 Nazhika corresponds to 24 minutes. Nazhika² is a unit of measure for length prevailed in yesteryear Kerala at different denominations such as 1 Nazhika = 1.828 kilometers and 1 Nazhika = 914.4 meters.^[356] The C. V. Vyakhyanakosam states that 1 Nazhika in the novel corresponds to approximately 1.5 kilometers.^[357]

Adaptations

Abridgement

• 1964: Marthandavarma – An abridged version by Kannan Janardhanan,^{[lower-roman 16]} published by Kamalalaya Book Depot.^[364]
• 1984: Kuttikalude Marthandavarma – An abridged version by Dr. M. M. Basheer, published by C. V. Raman Pillai National Foundation.^[365]
• 2011: Marthandavarma – An abridged version by Prof. P. Ramachandran Nair^{[lower-roman 17]}, published by D. C. Books with illustrations by Reji Karimulackal.^[367][368]
• 2012: Marthandavarma – An abridged version by Dr. V. Ramachandran^{[lower-roman 18]}, distributed through National Book Stall, Kottayam.^[370][371]

Comics

In 1985, Amar Chitra Katha comics of IBH Publishers Pvt. Ltd released an English comic book adaptation of novel. The thirty-two pages of comic book adaptation was scripted by Radha Nair, illustrated by M. Mohandas, had the cover art by Ramesh Umrotkar under the consultancy by Ram Waeerkar and editing by Anant Pai.^[372]

In 2007, the comic book adaptation was released in Malayalam by Balarama Amar Chithra Katha of Malayala Manorama group as Māṟttāṇḍavaṟmma.^[373] The title The Legend of Maathaanda Varma was later altered to Maarthaanda Varma and released in 2010 by Amar Chitra Katha Pvt. Ltd, and it was included in the comics-collection The Great Indian Classics.^[374]

Films

Marthanda Varma (1933)

• 1933: Marthanda Varma – a silent black & white film directed by P. V Rao.

For more details on this topic, see Marthanda Varma (film).

The film released on May 12, 1933 to face litigation from the publishers of the novel during the period through a court order as the producer of the movie did not have the required rights, subsequently the film was retained by court authorities and imposed a stay on further screening of the film till the closure of legal proceedings which later went against the film producer.^[375][376] Thus, the film marked the first of its kind copyright case involving a literary work and a feature film in India^[377] by being a second feature film of Malayalam film industry and the novel being the first Malayalam literary work to adapt to a film from the same industry.^[378][379]

• 1997: Kulam - a loose adaptation directed by Lenin Rajendran

For more details on this topic, see Kulam (film).

The film released on Feb 21, 1997 through Ambadi Pictures,^[380][381] focuses only on the story of Subhadra,^[382] the pivotal character of the novel by exploring her marital and non-marital relationships finally to her murder by Kudamon Pilla.^[383][384]

Television

• 2003: Marthanda Varma – A television serial directed by Suryan Chennithala.^[385] The telecast of the serial commenced on January 15, 2003 at 18:00 hours as an episode of 30 minutes on Doordarshan’s Thiruvananthapuram channel.^[386] The serial was abruptly discontinued after the telecast of fourth episode on March 3, 2003 due to non-agreement of terms between the producer and the television channel team.^[387]
• 2010: Veera Marthanda Varma – A television serial produced by Colosceum Media Pvt Ltd.^[388] The telecast commenced on July 19, 2010 through Surya TV as a daily serial on weekdays from Monday to Friday at 21:30 hours, which was later changed to weekend slot after the eighty-third episode in November 2010.^[389][390] The telecast slots of the serial on Surya TV were intermittently skipped from March 2011 and eventually it was discontinued after the 128^th episode on May 21, 2011.^[391]
• 2014: Marthanda Varma – A television play based on the script of stage adaptation by Dr. P. Venugopalan and performed in 2013, with the same cast members who reprised their roles from the stage performance except for a few including the replacement of Jiji Kalamandir by Vinayan for the role of mad Channan. The program was telecasted on March 27, 2014 at 15:30 hours through DD Malayalam, and it was re-telecasted as six episodes on Sundays from the following week.^[392][393]

Theatre

Marthandavarma was first adapted for theater in 1919 by Sree Chithira Thirunal Grandhasala. It featured an all male cast. Dr. N. Rajan Nair notes that Nair societies of Palkulangara, Vanchiyoor and Kunnukuzhy also staged theatre adaptations in early days. The cultural organization, Kalavedi of Thiruvananthapuram forayed into theatre adaptations of Marthandavarma from 1957. Dr. N. Rajan Nair points that a stage performance of Marthandavarma once happened at Kozhikode and performances are happened at Delhi, Bombay and Madras under the respective Malayali associations.^[394]

• 2008: Marthanda Varma – A stage adaptation directed by Kaladharan staged on May 18, 2008 at VJT hall, Thiruvananthapuram under the banner of cultural organization, Rasika.^[395][396]
• 2013: Marthanda Varma – A stage adaptation staged on May 19, 2013 17:30 hours at Prof. N. Krishnapillai Foundation Theatre, Nandavanam under the banner of Kalavedi, Thiruvananthapuram.^{[397][398][399]}

Radio

• 1991–1992: Marthandavarma – A radio play produced by All India Radio, Thiruvananthapuram. The radio play was broadcast in 30 minutes episodes, every Wednesday at 21:30 hours from July 17, 1991 to January 1, 1992, and it was re-broadcast in 15-minute episodes from Monday to Saturday at 14:15 hours between January 20, 2014 and February 8, 2014.^[400][401]
• 2012: Subhadra – A radio program produced by All India Radio, Thiruvananthapuram. The radio play was broadcast in 30 minutes episodes, every Wednesday at 21:30 hours from November 28, 2012 to December 12, 2012.^[402][403]

Sequels

In the fame of Marthandavarma, C. V. Raman Pillai received so many requests from the youngsters to do another literary work based on the story of Raja Kesavadas. The author states that requests at times were unbearable, and decided to split the work into three parts as he felt creating a single narrative based on the subject will be an overload.^[404]

• 1913 : Dharmaraja – The story follows from the novel Marthandavarma with the return of Thripura Sunadari Kunjamma, the sister of Thevan Vikaraman Kazhakkoottathu Pilla and her granddaughter Meenakshi to Travancore and subsequent situations in which Kesava Pilla (young Kesavadas) gets involved with the proceedings of Chandrakaran, the son of Ramanamadathil Pilla and the emergence of Haripanchanan as the antagonist, who is later revealed by Ananthapadmanabhan to be one among the twins of Thripura Sunadari Kunjamma, Ugran, who plan to topple the kingdom.^[405]
• 1918 : Ramarajabahadur Part I – The story follows from Dharmaraja with the return of Chandrakaran as Manikyagoundan while Tipu Sultan is planning a march to Travancore for eventual conquer and presents cousin of Raja Kesavadas, Perinchakodan as main antagonist, who abducts Savithri, the daughter of Meenakshi.^[406]
• 1919 : Ramarajabahadur Part II – The story follows from part I, with the failed meeting of Raja Kesavadas and the Ajithasimhan, the messenger of Tipu Sultan; that leads to war at Aluva between the Mysore forces and Travancore forces. The war is ended up with flood in the Periyar and eventual retreat of Tipu Sultan.^[407]

P. K. Parmeswaran Nair guesses that Diṣṭadaṁṣṭṟaṁ by C. V. Raman Pillai, serialized in the 1920 periodical Mitabhāṣi to incomplete is the follow up of above story.^[408] N. Balakrishnan Nair claims that C. V. Raman Pillai never wrote the third part of story based on Raja Kesavadas.^[409] Dr. Ayyappa Panicker, who analyzes the published texts of Diṣṭadaṁṣṭṟaṁ to find no historical or related references to above story line and concludes the claim of P. K. Parameswaran Nair as a mere assumption.^[410]

The above novels, Dharmaraja, Ramarajabahadur together with Marthandavarma are known as Si. Vi. Rāmanpiḷḷayuṭe Nōvaltṟayaṁ^{[upper-alpha 20]} (lit. C. V. Raman Pillai's Novel Trilogy), SiViyuṭe Ākhyāyikakaḷ^{[upper-alpha 21]} (lit. CV's Narratives), SiViyuṭe Caritṟākhyāyikakaḷ^{[upper-alpha 22]} (lit. CV's Historical Narratives) in Malayalam literature. In 2010, D. C. Books released a combined edition of three novels under title Si. Vi. Rāmanpiḷḷayuṭe Caritṟakhyāyikakaḷ Sampūṟṇṇaṁ^{[upper-alpha 23]} (lit. C. V. Raman Pilla's Complete Historical Narratives).^[414]

Significance

Influence

The novel influenced the writers in Malayalam to attempt on the historical fiction. Dr. Kalpetta Balakrishnan^{[lower-roman 19]} notes that Rājaśēkaran by C. R. Velu Pillai has influence of Marthandavarma, same is the case of Nellimūṭṭile Nammuṭe Ammacci, and Taccil Māttu Tarakan of 1927 by K. M. Varghese. Śṟī Padmanābhadāsan (1936) by Vidwan Kesava Pillai, Kuññu Naṅṅa and Oru Ñeṭṭil Raṇṭu Pūkkaḷ by K. S. Nair Cherthala are later novels with the story timeline being the reign of Marthanda Varma.^[416] Kunjunni Mash stated that once he had written a novel after reading Marthandavarma at young age, but never published the same.^[417] The Malayalam writer, Paul Zacharia was influenced by the novel, Marthandavarma, which reportedly helped him to gain the ability to imagine a scene for his writing career.^[418]

• Kuñcuttampimāṟ, the historical novel by N. Parameswaran Pilla is presented as an unauthorized sequel to Marthandavarma, from which the characters Ananthapadmanabhan, Parukutty, Thirumukhathu Pilla, and Thambi brothers are narrated.^[419]
• Śītālakṣmi, the historical play by E. V. Krishna Pillai is also considered as an unauthorized sequel. In the play, Śītālakṣmi, the grandniece of Kudamon Pilla wows to take revenge on Ananthapadmanabhan with the help of Ananthakrishnan Thampi for the murder of the latter in Marthandavarma.^[420]

Academic usage

The literary significance of novel led the text of the novel to be used in school curriculum as original and abridged forms, and also been included in the course programs offered by various universities of south India.

• School curriculum – An abridged version of the novel is used as Malayalam II Reader / Malayāḷaṁ Upapāṭhapustakaṁ for Standard IX under Kerala State Education Board during 1977–1986.^[421] The chapter 24 of the novel was used as third chapter in Malayalam I Reader / Kēraḷa Pāṭhāvali of Standard X during 1987–2004 under the same education board.^[422]
• University curriculum – The novel is prescribed as study material for B.A. programmes in Malayalam offered by Kannur University (2014),^[423] Mahatma Gandhi University (1998, 2009), Pondicherry University (2010),^[424] University of Kerala (1977, 1991, 1997, 2004–2012). The text of the novel is prescribed for M.A. programmes in Malayalam offered by Madurai Kamaraj University (1998–2008),^[425] Mahatma Gandhi University (1991–1992),^[426] University of Kerala (1984, 1977–1992, 2007, 2012, 2013)^[427] and as a reference book or M.A. programme in Malayalam offered by University of Madras.^[428]

Relevance

Dr. Ayyappa Paniker notes that Marthandavarma has the highest position among the novels in Malayalam, particularly historical novels.^[429] The novel attracts new readers and researchers over the time and remains as the most popular historical novel in Malayalam, thus considered as one among the classics of Malayalam literature.^[430] Dr. K. M. George notes that though C. V. Raman Pillai wrote two more historical novels, Dharmaraja and Ramarajabahadur, the reception of Marthandavarma was unsurpassed.^[431] The romantic elements are more elegant in Marthandavarma than to the author's later historical novels, according to Dr. K. Raghavan Pillai.^[432] Prof. K. M. Tharakan notes that legends about Marthanda Varma are believable due to the presentation of romance cladded yesteryear history in the novel.^[433] Dr. George Irumbayam notes that the unexpected adventurous events in the novel are romantic where as historical events shows realism,^[434] and further states that the author united romantic elements with historical facts to make the narrative an excellent one.^[435]

The novel is also been the subject in the marketing of other historical novels. D. C. Books, in one of their advertisements for novel Atijīvanaṁ by Ettumanoor Somadasan, states that there would not be any Malayali who has not read the novel Marthandavarma.^[436]

See also

• Ettara Yogam

Notes

• Biographical notes

References