Manipravalam Literature’s Depiction of Kerala’s Material Life

The writings of Manipravalam signify a pivotal evolution in Malayalam literature. Combining both Sanskrit and nonSanskrit words, Manipravalam’s works are prevalent in all South Indian languages, including Malayalam, Tamil, Telugu, and Kannada. These are predominantly categorized into Champus and Sandesa Kavyas and are perceived as the cultural offspring of medieval Kerala’s political landscape. The emergence of the Naduvazhi Swaroopams coincided with the disintegration of the second Chera dynasty (1124 CE) across Kerala, leading to its fragmentation into various cultural and linguistic territories. This era was also marked by a proliferation of literary creations. The most compelling literary depictions of the post-Chera Period are manifested in champus like “Unniyachi Charitham,” “Unniyati Charitham,” “Unni Chirutevi Charitham,” and Sandesa Kavyas like “Unnuneeli Sandesam” and “Kokasandesam.” Champus adopt a prose-poetry form. For instance, “Unnichirutevi Charitham” comprises thirty prose pieces interspersed with three poems. In comparison, “Unniyati Charitham” houses 138 poems enveloped by 32 prose fragments, while “Unniyachicharitham” consists of 27 poems and 30 prose pieces. Manipravalam’s writings primarily focus on the lives of dancers. The female protagonists in the Manipravala poetry, namely Unniyach, Unniyati, Unnichirutevi, and Unnuneeli, were dancers from medieval Kerala.

These dancing heroines, predominant in Kerala’s Manipravala poems from the 13th to the 16th centuries, were likely affiliated with courts and temples, receiving accolades from kings, chiefs, merchants, priests, and scholars for their aesthetic appeal and artistic expertise. Yet, these literary treasures extend beyond chronicling dancer narratives. They also illuminate the material lifestyle of medieval Kerala. Manipravalam’s writings unveil key insights into the markets and trade centers of that era. References to the angadis of Sri Parvatham and Mattam in “Unniyadi Charitham” indicate their governance under the Vempolinadu naduvazhi. “Ananthapura Varnam” details Ananthapuram, situated near the Padmanabha Sawmi temple, while “Unniyachi Charitham” describes Thirumarthur angadi, positioned close to the Tirunelli Temple in Wayanad. Poetic renditions of the city of Kodungallur grace the Sandesa Kavyas like “Sukasandesam,” “Unnuneeli Sandesam,” and “Kokasandesam.” “Unnichirutevi Charitham” mentions Sukapuram and Paniyur villages in Anayar, as well as Chitta Angadi on the path to Unnichirutevi’s residences. Although no medieval Keralan coins have been discovered, Manipravalam teems with references to coinage.

Coins like Achu and Anachu are cited in “Anantapura Varanam,” “Unniyach Charitham,” “Unnuneeli Sandesam,” and “Unniyati Charitham.” These texts also mention the coin kambi/ salaka. Such allusions underline the pervasive monetary circulation in medieval Kerala, indicating an upswing in trade and commerce. This suggests a broadened use of coin currency, especially for petty transactions, revealing the penetration of monetary practices into the socioeconomic substratum. Among Manipravalam’s oeuvre, “Unnuneeli Sandesam” is particularly renowned. This Sandesa Kavya focuses on messages a male lover bequeaths to his beloved. Drawing inspiration from Kalidasa’s “Meghasandesa,” subsequent Sandesa Kavyas emulated its structure. “Unnuneeli Sandesam” bifurcates into “Purvasandesa” with 136 slokas and “Utthara Sandesh” with 101 slokas, totaling 237 slokas. The narrative revolves around Unnuneeli, a dancer hailing from the Mundakkal tharavad of Kaduthruthi. The hero, after a night with Unnuneeli, is transported by a gandharva to Trivandrum’s Sree Padmanabh Swami Shrine. Here, he encounters Adi Varma, Kollam’s monarch. As the story unfolds, the hero’s journey, punctuated by his interactions with various locales, is elaborately charted.

 Slokas 69 to 86 of “Unnuneelisandesam” capture the ‘prosperity of Kollam City,’ painting a vivid tableau of the economic strides made by medieval Kerala’s urban nuclei. These verses hint at an elite class in Kerala’s medieval cities, comprising traders, Brahmin landholders, and foreign goods dealers. Kollam, or Kurakkeni Kollam, was a bustling trade epicenter. Arab travellers’ accounts from this epoch echo the grandeur of its markets, further corroborated by contemporary Malayalam literature. The Kollam Era, or Malabar Era, remains the predominant dating method in Kerala. Tracing the origin to the inception of Kollam as a pivotal pattanam or port town, it commenced in 825 CE. Kollam supported the Venad chieftains, while Kozhikode propelled the Samutiris to ascendancy. Slokas in “Unnuneelisandesam” offer glimpses of Kollam’s market, detailing commodities ranging from varied paddy to an assortment of fish. Sloka 84 reveals that trade in Kollam thrived on both barter and monetary exchange, attracting traders of diverse linguistic origins. For long, medieval Manipravalam literature was perceived as sensual texts focusing on courtesans. Today, they stand recognized as vital conduits to resurrecting Kerala’s medieval history, offering a rich tapestry of the state’s material culture. These works chronicle trade hubs, merchants, and commodities while elucidating the socio-economic landscape of Kerala’s medieval angadis. In essence, Manipravalam literature highlights the pulence and indulgences of Kerala’s elite, a class that burgeoned due to increased agricultural surpluses that, in turn, fostered trade and commerce. Kollam, as delineated in “Unnuneelisandesam,” emerges as a thriving port city of the medieval era, drawing traders and explorers globally. This stature is further solidified by Kollam’s historical inscriptions and the testimony of the Suyrian Copper Plates, underscoring its significance in global commerce