In the middle of this inferno lived a saranga bird named (ജരിത) and her four young chicks. Her irresponsible husband, Mandapala, had abandoned her and their children.
ഉദാഹരണത്തിന്, ‘മക്കൾക്ക്’ എന്ന കവിതയിൽ, പഴയ തലമുറയുടെ പോരാട്ടങ്ങളും പ്രതീക്ഷകളും മക്കളുടെ ഭാവിയെ എങ്ങനെ നിർണ്ണയിക്കുന്നു എന്ന് കാണാം. ഒ.എൻ.വി. കുറുപ്പ് തന്റെ ഗാനങ്ങളിൽ മക്കളോട് പറയുന്നു:
മക്കളുടെ കഴുത്തില് പാലിന്റെ ഗന്ധം ഇപ്പോഴും, പഴയ ചിത്രങ്ങളുടെ മൃദുവായ നൊസ്റ്റാള്ജി. ജാരിത്തയുടെ പാദങ്ങളില് കാലം കട്ടിച്ചിട്ടുണ്ടോ, വിരല്ചുംബന് മൂടയില് കിടന്ന വാസ്തവങ്ങള്?
When Shyamalan wrote this piece (circa 2013), Kerala was navigating: In the middle of this inferno lived a
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The poet behind "Jarithayum Makkalum" is a talented and socially conscious writer who has been making waves in Malayalam literature. The poet's works are characterized by their simplicity, depth, and emotional resonance. Through their writings, the poet aims to give voice to the voiceless, to highlight the injustices faced by the marginalized, and to inspire collective action for change.
University of Calicut - ആധദയിക മലയാള കവിതയില് When Shyamalan wrote this piece (circa 2013), Kerala
The smartphone becomes a —a reflective surface that both shows and distorts the self. The poet asks whether digital connectivity can substitute for communal intimacy.
അമ്മയുടെ ജീവൻ രക്ഷിക്കാൻ വേണ്ടി തങ്ങളെ ഉപേക്ഷിച്ചു പോകാൻ പറയുന്ന മക്കളുടെ വലിയ മനസ്സ്.
In the golden age of modern Malayalam poetry, few works have captured the socio-political consciousness of Kerala as powerfully as (ജാതിയും മക്കളും) – which translates to "Caste and Children" . Penned by the legendary poet and Jnanpith awardee, O.N.V. Kurup , this poem is not just a collection of verses; it is a searing critique of the caste system and a passionate plea for a rational, humane society. “What of our rituals
The story is set in the , which was being burned by Agni (the Fire God) with the help of Krishna and Arjuna.
| Aspect | Insight | |--------|---------| | | Strong visual and tactile images – rain‑kissed fields, mango‑leaf shade, trembling hands . The poet uses ‘kaṇakku’ (visual metaphor) to link past (old roads) with future (children’s footprints). | | Sound Devices | Alliteration of the “മ” sound creates a musical cadence , which translates well into a sung version. The refrain’s repetitive ‘m’ (jarithayum makkalum) functions as a mnemonic anchor . | | Symbolism | Mango tree = lineage; monsoon = renewal; old road = collective memory. | | Narrative Voice | First‑person plural (“നാം”) – invites the audience to become co‑authors of the legacy, reinforcing communal identity. | | Social Commentary | Subtle critique of modern disengagement: “പറഞ്ഞവരുടെ കഥകൾ മറഞ്ഞു പോയി” (the stories of our elders are fading). The poet calls for active preservation through the youth. |
മാനത്തു മായതു മഞ്ഞും മരുതനും മരത്തിൽ പറ്റിയിട്ടു കിളിക്കൂടുണ്ടു ഞാൻ വന്നു നോക്കുമ്പോൾ അതിലച്ഛനു മക്കളും ഞാൻ കണ്ടു നിന്നു പാട്ടു പാടി നടന്നു.
The poem constructs a : the “old self” asks, “What of our rituals, our stories?” while the “children” respond, “We carry them in our own language.” The poet does not position one side as superior; instead, he presents a dialectic that acknowledges loss yet celebrates transformation.
