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{{Short description|Song}} | |||
{{redirect|Thacholi Othenan|the film|Thacholi Othenan (film)}} | |||
{{Use dmy dates|date=September 2019}} | {{Use dmy dates|date=September 2019}} | ||
{{Use Indian English|date=September 2019}} | {{Use Indian English|date=September 2019}} | ||
'''Vadakkan Pattukal''' ( | '''Vadakkan Pattukal''' ({{Literal translation|the ballads of the north}}) are a collection of [[Malayalam]] [[ballad]]s from the medieval period (12th-20th century).{{sfnp|Menon|2011|p=81}}{{sfnp|Narayanan|2003|p=20}} The genre as a whole represents the [[Rasa (aesthetics)|sentiment]] of ''vira'', or the heroic, through its depictions of "valour and sacrifice."<ref>{{cite book |title=Medieval Indian Literature: Surveys and selections |date=1997 |publisher=Sahitya Akademi |isbn=978-81-260-0365-5 |url=https://books.google.com/books?id=KYLpvaKJIMEC&q=Tiya&pg=PA316 |language=en}}</ref> | ||
[[Unniyarcha]]. The stories centre | |||
==Contents== | |||
The songs present stories of heroes such as [[Aromal Chekavar]] and [[Thacholi Othenan]], and heroines like [[Unniyarcha]]. The stories centre around the fortunes of two families, Puthooram family and Thacholi Manikkoth family. Though the two families belong to two different castes or communities, [[Tiyyar|Thiyyar]] and [[Nair]] respectively, they have a shared martial traditional. The chief among the Thiyyar chieftains of Puthooram was [[Aromal Chekavar]], who had been killed by his cousin Chanthu Chekavar in his first duel (Ankam) by deceit. His sister, Attumanamel Unniyarcha, is equally adept in the use of arms. The exploits of the Nair chieftain, Thacholi Othenan, belonging to the Thacholi family, form the theme of several ballads. The last duel Othenan fought was with his own guru, called Mathiloor Gurukkal, who was from the [[Kaniyar|Ganaka]] caste. Thandasseri Chappan, who was the best friend and all time companion of Othenan, was from Thiyyar caste. They always travel together and fight together. Vadakkan Patt also talks about other strong women like Poomathayi Ponnamma.<ref>{{Cite book|url=https://books.google.com/books?id=KYLpvaKJIMEC&q=Tiya&pg=PA316|title = Medieval Indian Literature: Surveys and selections|isbn = 9788126003655|last1 = Ayyappa Paniker|first1 = K.|year = 1997}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=My8DEAAAQBAJ&q=Chekavan&pg=PT42|title = Jumbos and Jumping Devils: A Social History of Indian Circus|isbn = 9780190992071|last1 = Nisha|first1 = P. R.|date = 12 June 2020}}</ref> They exemplify the heights of folk-poetry and are also sometimes associated with deities. Almost all these ballads show strong connections to [[Kalaripayattu]]. The oldest compositions do not date earlier than 16th century but their idiom and vocabulary seem older.<ref name = "Vada1">Sujit Mukherjee, A Dictionary of Indian Literature (Orient Longman Publications, 1998, {{ISBN|81-250-1453-5}}), page 406</ref>{{qn|date=June 2020}}<ref name = "vada2">Vadakkan and Thekkan Pattukal.(Sri Rama Vilasom Press, 1967), pages 128–148</ref>{{qn|date=June 2020}} However, like any other oral cultural forms that are sung by communities even today, these songs show great flexibility and a repetitive pattern in their lexicon that is typical of the simplicity of folksongs in general.<ref> Rakhava Warrier, Vadakkan pattukalude Paniyala 1982 Vallathol Vidhyapeedom Press</ref>{{pn|date=June 2020}}{{qn|date=June 2020}} | |||
==References== | ==References== | ||
{{reflist}} | {{reflist}} | ||
==Sources== | |||
{{refbegin}} | |||
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* {{Cite book | last =Menon | first=A. Sreedhara | date =4 March 2011 | title =Kerala History and its Makers | publisher =D C Books | isbn =978-81-264-3782-5 | language =en | url =https://books.google.com/books?id=wnAjqjhc1VcC | access-date =10 October 2021}} | |||
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* {{Citation | last =Narayanan | first =M.T. | year =2003 | title =Agrarian Relations in Late Medieval Malabar | publisher =Northern Book Centre}} | |||
{{refend}} | |||
{{Malayalam Literature |state=collapsed}} | {{Malayalam Literature |state=collapsed}} | ||
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[[Category:Indian folk songs]] | [[Category:Indian folk songs]] | ||
[[Category:Ezhava]] | [[Category:Ezhava]] | ||
[[Category:Malayalam | [[Category:Songs in Malayalam]] | ||
[[Category:Malayalam-language literature]] | [[Category:Malayalam-language literature]] | ||
[[Category:Kerala folklore]] | [[Category:Kerala folklore]] | ||
Latest revision as of 14:55, 23 December 2025
Vadakkan Pattukal (lit. 'the ballads of the north') are a collection of Malayalam ballads from the medieval period (12th-20th century).[1][2] The genre as a whole represents the sentiment of vira, or the heroic, through its depictions of "valour and sacrifice."[3]
Contents[edit | edit source]
The songs present stories of heroes such as Aromal Chekavar and Thacholi Othenan, and heroines like Unniyarcha. The stories centre around the fortunes of two families, Puthooram family and Thacholi Manikkoth family. Though the two families belong to two different castes or communities, Thiyyar and Nair respectively, they have a shared martial traditional. The chief among the Thiyyar chieftains of Puthooram was Aromal Chekavar, who had been killed by his cousin Chanthu Chekavar in his first duel (Ankam) by deceit. His sister, Attumanamel Unniyarcha, is equally adept in the use of arms. The exploits of the Nair chieftain, Thacholi Othenan, belonging to the Thacholi family, form the theme of several ballads. The last duel Othenan fought was with his own guru, called Mathiloor Gurukkal, who was from the Ganaka caste. Thandasseri Chappan, who was the best friend and all time companion of Othenan, was from Thiyyar caste. They always travel together and fight together. Vadakkan Patt also talks about other strong women like Poomathayi Ponnamma.[4][5] They exemplify the heights of folk-poetry and are also sometimes associated with deities. Almost all these ballads show strong connections to Kalaripayattu. The oldest compositions do not date earlier than 16th century but their idiom and vocabulary seem older.[6][need quotation to verify][7][need quotation to verify] However, like any other oral cultural forms that are sung by communities even today, these songs show great flexibility and a repetitive pattern in their lexicon that is typical of the simplicity of folksongs in general.[8][page needed][need quotation to verify]
References[edit | edit source]
- ↑ Menon (2011), p. 81.
- ↑ Narayanan (2003), p. 20.
- ↑ Medieval Indian Literature: Surveys and selections. Sahitya Akademi. 1997. ISBN 978-81-260-0365-5.
- ↑ Ayyappa Paniker, K. (1997). Medieval Indian Literature: Surveys and selections. ISBN 9788126003655.
- ↑ Nisha, P. R. (12 June 2020). Jumbos and Jumping Devils: A Social History of Indian Circus. ISBN 9780190992071.
- ↑ Sujit Mukherjee, A Dictionary of Indian Literature (Orient Longman Publications, 1998, ISBN 81-250-1453-5), page 406
- ↑ Vadakkan and Thekkan Pattukal.(Sri Rama Vilasom Press, 1967), pages 128–148
- ↑ Rakhava Warrier, Vadakkan pattukalude Paniyala 1982 Vallathol Vidhyapeedom Press
Sources[edit | edit source]
- Menon, A. Sreedhara (4 March 2011). Kerala History and its Makers. D C Books. ISBN 978-81-264-3782-5. Retrieved 10 October 2021.
- Narayanan, M.T. (2003), Agrarian Relations in Late Medieval Malabar, Northern Book Centre
