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Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person.^[1] The term derives from a form of Ancient Greek literature, the lyric, which was defined by its musical accompaniment, usually on a stringed instrument known as a lyre.^[2] The term owes its importance in literary theory to the division developed by Aristotle between three broad categories of poetry: lyrical, dramatic, and epic.

• 2History
  • 2.1Antiquity

Meters[edit]

Much lyric poetry depends on regular meter based either on number of syllables or on stress. The most common meters are as follows:

• Iambic – two syllables, with the short or unstressed syllable followed by the long or stressed syllable.
• Trochaic – two syllables, with the long or stressed syllable followed by the short or unstressed syllable. In English, this metre is found almost entirely in lyric poetry.^[3]
• Pyrrhic – Two unstressed syllables
• Anapestic – three syllables, with the first two short or unstressed and the last long or stressed.
• Dactylic – three syllables, with the first one long or stressed and the other two short or unstressed.
• Spondaic – two syllables, with two successive long or stressed syllables.

Some forms have a combination of meters, often using a different meter for the refrain.

History[edit]

Antiquity[edit]

Greece[edit]

For the ancient Greeks, lyric poetry had a precise technical meaning: verse that was accompanied by a lyre, cithara, or barbitos. Because such works were typically sung, it was also known as melic poetry. The lyric or melic poet was distinguished from the writer of plays (although Athenian drama included choral odes, in lyric form), the writer of trochaic and iambic verses (which were recited), the writer of elegies (accompanied by the flute, rather than the lyre) and the writer of epic.^[5] The scholars of HellenisticAlexandria created a canon of nine lyric poets deemed especially worthy of critical study. These archaic and classical musician-poets included Sappho, Alcaeus, Anacreon and Pindar. Archaic lyric was characterized by strophic composition and live musical performance. Some poets, like Pindar extended the metrical forms to a triad, including strophe, antistrophe (metrically identical to the strophe) and epode (whose form does not match that of the strophe).^[6]

Rome[edit]

Among the major extant Roman poets of the classical period, only Catullus (N° 11, 17, 30, 34, 51, 61) and Horace (Odes) wrote lyric poetry, which however was no longer meant to be sung but instead read or recited. What remained were the forms, the lyric meters of the Greeks adapted to Latin. Catullus was influenced by both archaic and Hellenistic Greek verse and belonged to a group of Roman poets called the Neoteroi ('New Poets') who spurned epic poetry following the lead of Callimachus. Instead, they composed brief, highly polished poems in various thematic and metrical genres. The Roman love elegies of Tibullus, Propertius, and Ovid (Amores, Heroides), with their personal phrasing and feeling, may be the thematic ancestor of much medieval, Renaissance, Romantic, and modern lyric poetry, but these works were composed in elegiac couplets and so were not lyric poetry in the ancient sense.^[7]

China[edit]

During China's Warring States period, the Songs of Chu collected by Qu Yuan and Song Yu defined a new form of poetry that came from the exotic Yangtze Valley, far from the Wei and Yellow River homeland of the traditional four-character verses collected in the Book of Songs. The varying forms of the new Chu ci provided more rhythm and greater latitude of expression.^[9]

Medieval verse[edit]

Originating in 10th-century Persian, a ghazal is a poetic form consisting of couplets that share a rhyme and a refrain. Formally, it consists of a short lyric composed in a single meter with a single rhyme throughout. The central subject is love. Notable authors include Hafiz, Amir Khusro, Auhadi of Maragheh, Alisher Navoi, Obeid e zakani, Khaqani Shirvani, Anvari, Farid al-Din Attar, Omar Khayyam, and Rudaki. The ghazal was introduced to European poetry in the early 19th century by the Germans Schlegel, Von Hammer-Purgstall, and Goethe, who called Hafiz his 'twin'.^[10]

Lyric in European literature of the medieval or Renaissance period means a poem written so that it could be set to music—whether or not it actually was. A poem's particular structure, function, or theme might all vary.^[11] The lyric poetry of Europe in this period was created by the pioneers of courtly poetry and courtly love largely without reference to the classical past.^[12] The troubadors, travelling composers and performers of songs, began to flourish towards the end of the 11th century and were often imitated in successive centuries. Trouvères were poet-composers who were roughly contemporary with and influenced by the troubadours but who composed their works in the northern dialects of France. The first known trouvère was Chrétien de Troyes (fl. 1160s–80s). The dominant form of German lyric poetry in the period was the minnesang, 'a love lyric based essentially on a fictitious relationship between a knight and his high-born lady'.^[13] Initially imitating the lyrics of the French troubadours and trouvères, minnesang soon established a distinctive tradition.^[13] There was also a large body of medieval Galician-Portuguese lyric.^[14]Hebrew singer-poets of the Middle Ages included Yehuda Halevi, Solomon ibn Gabirol, and Abraham ibn Ezra.

In Italy, Petrarch developed the sonnet form pioneered by Giacomo da Lentini and Dante's Vita Nuova. In 1327, according to the poet, the sight of a woman called Laura in the church of Sainte-Claire d'Avignon awoke in him a lasting passion, celebrated in the Rime sparse ('Scattered rhymes'). Later, Renaissance poets who copied Petrarch's style named this collection of 366 poems Il Canzoniere ('The Song Book'). Laura is in many ways both the culmination of medieval courtly love poetry and the beginning of Renaissance love lyric.

A bhajan or kirtan is a Hindudevotional song. Bhajans are often simple songs in lyrical language expressing emotions of love for the Divine. Notable authors include Kabir, Surdas, and Tulsidas.

Chinese Sanqu poetry was a Chinese poetic genre popular from the 12th-century Jin Dynasty through to the early Ming. Early 14th-century playwrights like Ma Zhiyuan and Guan Hanqing were well-established writers of Sanqu. Against the usual tradition of using Classical Chinese, this poetry was composed in the vernacular.^[15]

16th century[edit]

In 16th-century Britain, Thomas Campion wrote lute songs and Sir Philip Sidney, Edmund Spenser, and William Shakespeare popularized the sonnet.

In France, La Pléiade—including Pierre de Ronsard, Joachim du Bellay, and Jean-Antoine de Baïf—aimed to break with earlier traditions of French poetry—particularly Marot and the grands rhétoriqueurs—and began imitating classical Greek and Roman forms such as the odes. Ontario driver's license number. Favorite poets of the school were Pindar, Anacreon, Alcaeus, Horace, and Ovid. They also produced Petrarchansonnet cycles.

Spanish devotional poetry adapted the lyric for religious purposes. Notable examples were Teresa of Ávila, John of the Cross, Sor Juana Inés de la Cruz, Garcilaso de la Vega, and Lope de Vega. Although better known for his epic Os Lusíadas, Luís de Camões is also considered the greatest Portuguese lyric poet of the period.

In Japan, the naga-uta ('long song') was a lyric poem popular in this era. It alternated five and seven-syllable lines and ended with an extra seven-syllable line.

17th century[edit]

Lyrical poetry was the dominant form of 17th-century English poetry from John Donne to Andrew Marvell.^[16] The poems of this period were short. Rarely narrative, they tended towards intense expression.^[16] Other notable poets of the era include Ben Jonson, Robert Herrick, George Herbert, Aphra Behn, Thomas Carew, John Suckling, Richard Lovelace, John Milton, Richard Crashaw, and Henry Vaughan. A German lyric poet of the period is Martin Opitz; in Japan, this was the era of the noted haiku-writer Matsuo Bashō.

18th century[edit]

In the 18th century, lyric poetry declined in England and France. The atmosphere of literary discussion in the English coffeehouses and French salons was not congenial to lyric poetry.^[17] Exceptions include the lyrics of Robert Burns, William Cowper, Thomas Gray, and Oliver Goldsmith. German lyric poets of the period include Johann Wolfgang von Goethe, Novalis, Friedrich Schiller, and Johann Heinrich Voß. Kobayashi Issa was a Japanese lyric poet during this period. In Diderot's Encyclopédie, Louis chevalier de Jaucourt described lyric poetry of the time as 'a type of poetry totally devoted to sentiment; that's its substance, its essential object'.^[18]

19th century[edit]

In Europe, the lyric emerged as the principal poetic form of the 19th century and came to be seen as synonymous with poetry.^[19]Romantic lyric poetry consisted of first-person accounts of the thoughts and feelings of a specific moment; the feelings were extreme but personal.^[20]

The traditional sonnet was revived in Britain, with William Wordsworth writing more sonnets than any other British poet.^[19] Other important Romantic lyric writers of the period include Samuel Taylor Coleridge, John Keats, Percy Bysshe Shelley, and Lord Byron. Later in the century, the Victorian lyric was more linguistically self-conscious and defensive than the Romantic forms had been.^[21] Such Victorian lyric poets include Alfred Lord Tennyson and Christina Rossetti.

Lyric poetry was popular with the German reading public between 1830 and 1890, as shown in the number of poetry anthologies published in the period.^[22] According to Georg Lukács, the verse of Joseph von Eichendorff exemplified the German Romantic revival of the folk-song tradition initiated by Goethe, Herder, and Arnim and Bretano's Des Knaben Wunderhorn.^[23]

France also saw a revival of the lyric voice during the 19th century.^[24] The lyric became the dominant mode of French poetry during this period.^[25] For Walter Benjamin, Charles Baudelaire was the last example of lyric poetry 'successful on a mass scale' in Europe.^[26]

In Russia, Aleksandr Pushkin exemplified a rise of lyric poetry during the 18th and early 19th centuries.^[27] The Swedish 'Phosphorists' were influenced by the Romantic movement and their chief poet Per Daniel Amadeus Atterbom produced many lyric poems.^[28] Italian lyric poets of the period include Ugo Foscolo, Giacomo Leopardi, Giovanni Pascoli, and Gabriele D'Annunzio. Spanish lyric poets include Gustavo Adolfo Bécquer, Rosalía de Castro, and José de Espronceda. Japanese lyric poets include Taneda Santoka, Masaoka Shiki, and Ishikawa Takuboku.

20th century[edit]

In the earlier years of the 20th century rhymed lyric poetry, usually expressing the feelings of the poet, was the dominant poetic form in the United States,^[29] Europe, and the British colonies. The English Georgian poets and their contemporaries such as A. E. Housman, Walter de la Mare, and Edmund Blunden used the lyric form. The Bengali poet Rabindranath Tagore was praised by William Butler Yeats for his lyric poetry; Yeats compared him to the troubadour poets when the two met in 1912.^[30]

The relevance and acceptability of the lyric in the modern age was, though, called into question by modernist poets such as Ezra Pound, T. S. Eliot, H.D., and William Carlos Williams, who rejected the English lyric form of the 19th century, feeling that it relied too heavily on melodious language, rather than complexity of thought.^[31] After World War II, the American New Criticism returned to the lyric, advocating a poetry that made conventional use of rhyme, meter and stanzas, and was modestly personal in the lyric tradition.^[32] Lyric poetry dealing with relationships, sex and domestic life constituted the new mainstream of American poetry in the late 20th century following the confessional poets of the 1950s and ’60s such as Sylvia Plath and Anne Sexton.^[33]

References[edit]

1. ^Scott, Clive, Vers libre : the emergence of free verse in France, 1886–1914 Clarendon Press, Oxford ISBN9780198151593
2. ^Miller, Andrew. Greek Lyric: An Anthology in Translation/books?id=80MpjrOfTH8C&pg=PR12 pp. xii ff]. Hackett Publishing (Indianapolis), 1996. ISBN978-0872202917.
3. ^Stephen Adams, Poetic Designs: an introduction to meters, verse forms, and figures of speech, Broadview Press, 1997, p55. ISBN1-55111-129-2
4. ^Staatliche Antikensammlungen (Inv. 2416)
5. ^Bowra, Cecil. Greek Lyric Poetry: From Alcman to Simonides, p. 3. Oxford University Press (Oxford), 1961.
6. ^Halporn, James & al. The Meters of Greek and Latin Poetry, p. 16. Hackett Publishing, 1994. ISBN0-87220-243-7.
7. ^Bing, Peter & al. Games of Venus: An Anthology of Greek and Roman Erotic Verse from Sappho to Ovid. Routledge (New York), 1991.
8. ^ ^ab袁行霈 [Yuán Xíngpèi] & al. 《中国文学史》 [Zhōngguó Wénxué Shǐ, A History of Chinese Literature], Vol. 1, p. 632Archived 4 October 2013 at the Wayback Machine. 高等教育出版社 [Gāoděng Jiàoyù Chūbǎn Shè] (Beijing), 1992. ISBN9787040164794. Accessed 14 July 2013. (in Chinese)
9. ^「《史记·屈原贾生列传》…形成悲愤深沉之风格特征。」^[8]
10. ^Thym, Jurgen & al. Of Poetry and Song: Approaches to the Nineteenth-Century Lied, p. 221. University of Rochester Press (Rochester), 2010.
11. ^Shaw, Mary. The Cambridge Introduction to French Poetry, pp. 39–40. Cambridge University Press (Cambridge), 2003. ISBN0-521-00485-3.
12. ^Kay, Sarah & al. A Short History of French Literature, pp. 15–16. Oxford University Press (Oxford), 2006. ISBN0-19-815931-5.
13. ^ ^abJohnson, Sidney & al. Medieval German Literature: A Companion, p. 224–25. Routledge, 2000. ISBN0-415-92896-6.
14. ^Tavani, Giuseppe. Trovadores e Jograis: Introdução à poesia medieval galego-portuguesa. Caminho (Lisbon), 2002. (in Portuguese)
15. ^「抒情性文学…的创作开创了元代理学家诗文创作的先河。」^[8]
16. ^ ^abCorns, Thomas. The Cambridge Companion to English Poetry, Donne to Marvell, p. xi. Cambridge University Press (Cambridge), 1993. ISBN0-521-42309-0.
17. ^Sir Albert Wilson in J. O. Lindsay's The New Cambridge Modern History, p. 73. Cambridge University Press (Cambridge), 1957. ISBN0-521-04545-2.
18. ^'Lyric Poetry'. University of Michigan Library. Retrieved 1 April 2015.
19. ^ ^abChristopher John Murray, Encyclopedia of the Romantic Era, 1760–1850, Taylor & Francis, 2004, p700. ISBN1-57958-422-5
20. ^Stephen Bygrave, Romantic Writings, Routledge, 1996, pix. ISBN0-415-13577-X
21. ^E. Warwick Slinn in Joseph Bristow, The Cambridge Companion to Victorian Poetry, Cambridge University Press, p56. ISBN0-521-64680-4
22. ^Eda Sagarra and Peter Skrine, A Companion to German Literature: From 1500 to the Present, Blackwell Publishing, 1997, p149. ISBN0-631-21595-6
23. ^Lukács, György. German Realists in the Nineteenth Century, p. 56. MIT Press (Cambridge), 1993. ISBN0-262-62143-6.
24. ^Prendergast, Christopher. Nineteenth-Century French Poetry: Introductions to Close Reading, p. 3. Cambridge University Press (Cambridge), 1990. ISBN0-521-34774-2.
25. ^Prendergast (1990), p. 15.
26. ^Pensky, Max. Melancholy Dialectics: Walter Benjamin and the Play of Mourning, p. 155. University of Massachusetts Press (Boston), 1993. ISBN1-55849-296-8.
27. ^Jakobson, Roman. Selected Writings, p. 282. Walter de Gruyter, 1981. ISBN90-279-7686-4.
28. ^Richardson, William & al. Literature of the World: An Introductory Study, p. 348. Kessinger Publishing, 2005. ISBN1-4179-9433-9.
29. ^MacGowan, Christopher. Twentieth-Century American Poetry, p. 9. Blackwell Publishing, 2004. ISBN0-631-22025-9.
30. ^Foster, Robert. W.B. Yeats: A Life, p. 496. Oxford University Press (Oxford). ISBN0-19-288085-3.
31. ^Beach, Christopher. The Cambridge Introduction to Twentieth-Century American Poetry, p. 49. Cambridge University Press (Cambridge), 2003. ISBN0-521-89149-3.
32. ^Fredman, Stephen. A Concise Companion To Twentieth-Century American Poetry, p. 63. Blackwell Publishing, 2005. ISBN1-4051-2002-9.
33. ^Beach (2003), p. 155.

Further reading[edit]

• Wilhelm, James J., (editor), Lyrics of the Middle Ages : an anthology, New York : Garland Pub., 1990. ISBN0-8240-7049-6

N. Kumaran Asan (12 April 1873 – 16 January 1924) was an Indian social reformer, philosopher and poet of Malayalam literature. He is known to have initiated a revolution in Malayalam poetry in the first quarter of the 20th century, transforming it from the metaphysical to the lyrical and his poetry is charecterised by its moral and spiritual content, poetic concentration and dramatic contextualisation. He is one of the modern triumvirate poets of Kerala and a disciple of Sree Narayana Guru.

• 4Works

Biography[edit]

Kumaran Asan^{[note 1]} was born on April 12, 1873 in a merchant family belonging to the Ezhava community^[1] in Kayikkara village, Chirayinkeezhu taluk, Anchuthengu Grama Panchaayath in Travancore^{[note 2]} to Narayanan Perungudi, a polyglot well versed in Malayalam and Tamil languages, and Kochupennu as the second of their nine children.^[2] His early schooling was at a local school by a teacher by name, Udayankuzhi Kochuraman Vaidyar, who taught him elementary Sanskrit after which he continued his studies at the government school in Kayikkara until he was thirteen. Subsequently, he joined the school as a teacher in 1889 but had to quit as he was not old enough to hold a government job. It was during this time, he studied the verses and plays of Sanskrit literature. Later, he started working as an accountant at a local wholesale grocer in 1890, the same year he met Shree Narayana Guru and became the spiritual leader's disciple.^[3]

Narayana Guru's influence led Asan to spiritual pursuits and he spent some time at a local temple, in prayers and teaching Sanskrit.^[2] Soon, he joined Guru at his Aruvippuram hermitage where he was known as Chinnaswami (young ascetic). In 1895, he moved to Bangalore and studied for law, staying with Padmanabhan Palpu. He stayed there only until 1898 as Palpu went to England and a plagueepidemic spread over Bangalore and Asan spent the next few months in Madras before proceeding to Calcutta to continue his Sanskrit studies.^[3] At Calcutta, he studied at Tarka sastra at the Central Hindu College, studying English simultaneously and also got involved with the Indian Renaissance, but his stay was again cut short due to plague epidemic.^[4][5] He returned to Aruvippuram in 1900.^[3]

Asan was also involved with the activities of the Sree Narayana Dharma Paripalana Yogam (SNDP) and became its secretary in 1904.^[6] The same year, he founded Vivekodayam, a literary journal in Malayalam, and assumed its editorship.^[7][8] Under his leadership, the magazine became a monthly from a bi-monthly.^[9] In 1913, he was elected to the Sree Moolam Popular Assembly (Sri Moolam Praja Sabha),^[3] the first popularly elected legislature in the history of India.^[10] He relinquished the position at SNDP in 1919 and a year later, took over the editorship of Pratibha, another literary magazine In 1921, he started a clay tile factory, Union Tile Works, in Aluva but when it was found that the factory was polluting the nearby palace pond, he shifted the project to a site near Aluva river and handed over the land to SNDP for building an Advaitashramam.^[11] Later, he moved to Thonnakkal, a village in the periphery of Thiruvananthapuram, where he settled with his wife.^[3] In 1923, He contested in assembly election from Quilon constituency but lost to Sankara Menon.^[12]

Asan married Bhanumathiamma, the daughter of Thachakudy Kumaran Writer who was a cousin of Padmanabhan Palpu in 1917.^[13] On January 16, 1924, he died by drowning, when Redeemer, the boat he was traveling capsized in River Pallana.^[14] His body was recovered after two days and the place where his mortal remains were cremated is known as Kumarakodi.^[15]

Legacy[edit]

Kumaran Asan was one of the triumvirate poets of modern Malayalam, along with Vallathol Narayana Menon and Ulloor S. Parameswara Iyer.^[16] Some of the earlier works of the poet were Subramanya Sathakam and Sankara Sathakam, which were devotional in content but his later poems were marked by social commentary.^[17] He published Veena Poovu (the fallen flower) in December 1907 in Mithavadi of Moorkoth Kumaran which went on to become a literary classic in Malayalam; its centenary was celebrated in 2017 when a book, Veenapoovinu 100 was published which carried an introduction by M. M. Basheer and an English translation of the poem by K. Jayakumar.^[18]Prarodanam, an elegy, mourning the death of his contemporary, friend and grammarian, A. R. Raja Raja Varma, Khanda Kavyas (poems) such as Nalini, Leela, Karuna, Chandaalabhikshuki, Chinthaavishtayaaya Seetha, and Duravastha are some of his other major works.^[19] Besides, he wrote two epics, Buddha Charitha in 5 volumes and Balaramayanam, a three-volume work.^[20]

Honours[edit]

In 1958, when Joseph Mundassery was the Minister of Education, the Government of Kerala acquired Asan's house in Thonnakkal and established the Kumaran Asan National Institute of Culture (Kanic), as a memorial for the poet,^[21][22] the first instance in Kerala history when the government took over a poet's property to convert it into a memorial.^[23] It houses an archives, a museum and a publications division. Asan Memorial Association, a Chennai-based organization, has built a memorial at Kayikkara, the birth place of the poet.^[24] They have also instituted an annual award, Asan Smaraka Kavitha Puraskaram, for recognising excellence in Malayalam poetry.^[25] The award carries a cash prize of ₹30,000 and Sugathakumari, O. N. V. Kurup, K. Ayyappa Panicker and K. Satchidanandan are some of the recipients of the award.^[26]Asan Memorial Senior Secondary School is a CBSE affiliated higher secondary school run by Asan Memorial Association.^[27] The India Post issued a commemorative postage stamp depicting Asan's portrait in 1973, in connection with his birth centenary.^{[28][29][note 3]}

Works[edit]

Major works[edit]

Other works[edit]

Kumaran Asan also wrote many other poems. Some of these poems are listed in the book Asante Padyakrthikal under the name 'Mattu Krthikal' (Other Works):

• Sadaachaarasathakam
• Sariyaaya Parishkaranam
• Bhaashaaposhinisabhayodu
• Saamaanyadharmangal
• Subrahmanyapanchakam
• Mrthyanjayam
• Pravaasakaalaththu Naattile Ormakal

This is another collection of poems that come from various letters Kumaran Asan wrote over the course of several years. None of the poems were longer than thirty-two lines.

• Koottu Kavitha

The other poems are lesser known. Only a few of them have names:

• Kavikalkkupadesam
• Mangalam
• Oru Kathth

This is another one of Asan's letter-poems.

• Randu Aasamsaapadyangal

Prose[edit]

• Kumaran Asan, N. (1991). Brahmasri Sri Narayana Guruvinte Jeevacharithra Samgraham (3rd. ed.). Thonnakkal: Kumaran Asan Memorial Committee.
• Kumaran Asasn, N. ed (1984). Kumaran Asante Gadyalekhanangal v.1. Thonnakkal, Trivandrum: Kumaran Asan Memorial Committee. 3 volumesCS1 maint: Extra text: authors list (link)
• Kumaranasan; Shaji, S. (2010). Aasante kathukal. Kottayam: Sahitya Pravarthaka Co-operative Society.

Translations[edit]

Best Poems For Recitation

• Asan, Kumaran; Gangadharan, P. C (1978). The Tragic plight (1st ed.). Thonnakkal : Kumaran Asan Memorial Committee; [Madras : distributed by Macmillan].

Works on Asan[edit]

• E. K. Purushothaman, ed. (2002). Suryathejas — Studies on Asan Poetry. Asan Memorial Association.
• M. Govindan, ed. (1974). Poetry and Renaissance: Kumaran Asan birth centenary volume. Madras: Sameeksha.
• Pavitran P. (1994). Evolution of the poetic life of Kumaran Asan: A psychu-philosiphical enquiry.
• Nithyachaithanya Yathi (1994). Kumaranasan. Author.
• Kumaran, Murkoth; Madhavan K. G (1966). Asan vimarsanathinte aadya rasmikal. Kottayam: Vidhyarthimithram.
• Sreenivasan, K. (1981). Kumaran Asan: Profile of a poets vision. Thiruvananthapuram: Jayasree Pubs.
• George, K. M. (1972). Kumaran Asan. New Delhi: Sahitya Academi.
• Sukumar Azhikode. Asante Seethakavyam. Lipi Publications. ISBN978-81-88011-74-2.

See also[edit]

Notes[edit]

1. ^Asan was commonly referred to as Mahakavi Kumaran Asan (the prefix Mahakavi, awarded by Madras University in 1922, means 'great poet' and the suffix Asan means 'scholar' or 'teacher')
2. ^present-day Thiruvananthapuram district of Kerala, South India
3. ^Please check year 1973

References[edit]

1. ^Tharamangalam, Joseph (1981). Agrarian Class Conflict: The Political Mobilization of Agricultural Labourers in Kuttanad, South India. The University of British Columbia. p. 38. ISBN0-7748-0126-3.
2. ^ ^ab'Biography on Kerala Sahitya Akademi portal'. Kerala Sahitya Akademi portal. 2 March 2019. Retrieved 2 March 2019.
3. ^ ^abcde'Chronicle'. kanic.kerala.gov.in. 2 March 2019. Retrieved 2 March 2019.
4. ^Das, Sisir Kumar, ed. (2006). 'The Narratives of Suffering: Caste and the Underprivileged'. A History of Indian Literature 1911–1956: Struggle for Freedom: Triumph and Tragedy (Reprinted ed.). Sahitya Akademi. pp. 306–308. ISBN978-81-7201-798-9.
5. ^ ^abNatarajan, Nalini. Handbook of Twentieth-Century Literatures of India. Greenwood Publishing Group, Inc. pp. 183–185. ISBN0-313-28778-3. Retrieved 8 February 2015.
6. ^'SNDP Yogam'. Sree Narayana Dharma Paripalana Yogam. 3 March 2019. Retrieved 3 March 2019.
7. ^ ^abSisir Kumar Das (2005). History of Indian Literature. Sahitya Akademi. pp. 257–. ISBN978-81-7201-006-5.
8. ^S. N. Sadasivan (2000). A Social History of India. APH Publishing. pp. 600–. ISBN978-81-7648-170-0.
9. ^'Kumaranasan - Kerala Media Academy'. archive.keralamediaacademy.org. Retrieved 3 March 2019.
10. ^'History of legislative bodies in Kerala-- Sri Moolam Praja Sabha'. keralaassembly.org. 3 March 2019. Retrieved 3 March 2019.
11. ^'Kumaran Asan As A Business Man'. veethi.com. Retrieved 3 March 2019.
12. ^'Kumaran Aasan once contested from Kollam'. Manorama. 20 March 2019. Retrieved 20 March 2019.
13. ^K. M. George (1972). Makers of Indian Literature. Kumaran Asan. Sahitya Akademi. Retrieved 3 March 2019.
14. ^'Kumaranasan Biography Kerala PSC'. pscteacher.com. 3 March 2019. Retrieved 3 March 2019.
15. ^'Kumarakodi - District Alappuzha'. Government of Kerala. 3 March 2019. Retrieved 3 March 2019.
16. ^'When poesy met poise on stage - Times of India'. The Times of India. Retrieved 3 March 2019.
17. ^'Kumaran Asan - Indian poet'. Encyclopedia Britannica. 3 March 2019. Retrieved 3 March 2019.
18. ^'Veena Poovu: still in bloom'. The Hindu. 21 December 2007. Retrieved 3 March 2019.
19. ^'Kumaran Asan - A Biography'(PDF). sayahna.org. 3 March 2019. Retrieved 3 March 2019.
20. ^'Books and Works'. kanic.kerala.gov.in. 3 March 2019. Retrieved 3 March 2019.
21. ^'Kumaran Asan National Institute of Culture'. kanic.kerala.gov.in. 3 March 2019. Retrieved 3 March 2019.
22. ^'Archived copy'. Archived from the original on 7 April 2013. Retrieved 23 April 2013.CS1 maint: Archived copy as title (link)
23. ^'The Memorial of Asan'. www.keralaculture.org. 3 March 2019. Retrieved 3 March 2019.
24. ^'Asan Memorial, Kayikkara'. www.keralaculture.org. 3 March 2019. Retrieved 3 March 2019.
25. ^'Asan Smaraka Kavitha Puraskaram'. asaneducation.com. 3 March 2019. Retrieved 3 March 2019.
26. ^'List of Awardees'. asaneducation.com. 3 March 2019. Retrieved 3 March 2019.
27. ^'ASAN Memorial Senior Secondary School'. asancbse.com. 3 March 2019. Retrieved 3 March 2019.
28. ^'Amrut Philately Gallery - 1973'. amrutphilately.com. 3 March 2019. Retrieved 3 March 2019.
29. ^'Commemorative and definitive stamps'. postagestamps.gov.in. 3 March 2019. Retrieved 3 March 2019.
30. ^Kumaran Asan, N. (2007). Veenapoovu. Kottayam: D C Books. ISBN9788126417995.
31. ^Paul, G.S. (21 December 2007). 'The Hindu : Friday Review Thiruvananthapuram / Dance : Visual poetry'. Archived from the original on 22 May 2011. Retrieved 20 July 2011.
32. ^Mohan Lal (1992). Encyclopaedia of Indian Literature: Sasay to Zorgot. Sahitya Akademi. pp. 4529–. ISBN978-81-260-1221-3.
33. ^Kumaran Asan. Nalini : Patam, Patanam, Vyakhyanam. DC Books. ISBN9788126424108.
34. ^Kumaran Asan (1970). Nalini. Thonnakkal: Sarada book dipo.
35. ^K. M. George (1972). Western Influence on Malayalam Language and Literature. Sahitya Akademi. pp. 123–. ISBN978-81-260-0413-3.
36. ^Kumaran Asan (1970). Leela. Thonnakkal: Sarada book dipo.
37. ^'ലീലയ്ക്ക് 100 വയസ്'. Azhimukham (in Malayalam). 7 October 2014. Retrieved 3 March 2019.
38. ^Kumaran Asan (1968). Prarodanam. Thonnakkal: Sarada book dipo.
39. ^Kumaran Asan (1970). Chindavishtayaya Seetha. Thonnakkal: Sarada book dipo.
40. ^George Pati (18 February 2019). Religious Devotion and the Poetics of Reform: Love and Liberation in Malayalam Poetry. Taylor & Francis. pp. 93–. ISBN978-1-351-10359-6.
41. ^Kumaran Asan (1969). Duravastha. Sarada book dipo: Sarada book dipo.
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43. ^Kumaran Asan (1970). Chandala bhikshuki. Thonnakkal: Sarada book dipo.
44. ^S. N. Sadasivan (2000). A Social History of India. APH Publishing. pp. 634–. ISBN978-81-7648-170-0.
45. ^Kumaran Asan (1969). Karuna. Sarada book dipo: Sarada book dipo.
46. ^S. N. Sadasivan (2000). A Social History of India. APH Publishing. pp. 681–. ISBN978-81-7648-170-0.
47. ^P. P. Raveendran (2002). Joseph Mundasseri. Sahitya Akademi. pp. 47–. ISBN978-81-260-1535-1.
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49. ^Kumaran Asan, N. (1915). Sree Budhacharitham. Trivandram: Sarada Book Depot. 5 volumes
50. ^Kumaran Asan (1970). Kuyil. Sarada book dipo: Sarada book dipo.
51. ^Kumaran Asan (1969). Pushpavadi. Sarada book dipo: Sarada book dipo.
52. ^Kumaran Asan (1965). Manimala. Sarada book dipo: Sarada book dipo.
53. ^Kumaran Asan (1925). Vanamala. Sarada book dipo: Sarada book dipo.

Malayalam Poems For Recitation By Krishna Pillai

External links[edit]

Simple Malayalam Poems For Recitation Lyrics

• 'Portrait commissioned by Kerala Sahitya Akademi'. Kerala Sahitya Akademi. 2 March 2019. Retrieved 2 March 2019.
• YesLearners Kerala (18 April 2017). 'Kumaranasan - (കുമാരനാശാന്‍) - Kerala Renaissance'. YouTube. Retrieved 4 March 2019.
• Audiopedia (26 August 2014). 'Kumaran Asan - A Lecture'. YouTube. Retrieved 4 March 2019.
• binbrainvideos (5 April 2010). 'Kumaran Asan's tomb at Alappuzha'. YouTube. Retrieved 4 March 2019.