A pilgrim, a student of Malayalam, a history enthusiast or a connoisseur of vernacular architecture — for all of them a visit to the Poonthanam Illam in Malappuram would be rewarding.
Most of us in Kerala, regardless of faith, know at least a few snatches of the Jnanappana , the peerless devotional poem by Poonthanam Nambuthiri. From early childhood we’ve heard it played at daybreak from a nearby temple, typically in the voice of the late P Leela.
It helps that the lines of the Jnanappana have a wonderful quotable quality that extends its appeal beyond the universe of devotion. It is as much about language as of content.
At a time when his contemporaries still used Sanskrit, Poonthanam wrote in everyday Malayalam. He had the uncanny ability to pick homespun insights to express the sublime reaches of devotion. His words on the futility of conflict in our all-too-short lives is an example: ‘ Koodiyalla pirakkunna nerathum, Koodiyalla marikkunna nerathum, Madhye ingane kanunna nerathu, Malsarikkunnathu enthinnu vridha? ’
Four centuries later, in a world that has transformed, his words still ring true. His down-to-earth tone and gentle wit reflect a certain essence of Malayali wisdom.
In a frequently-heard story underlining his appeal, it is recounted that even Lord Guruvayurappan favoured his unaffected Bhakti over the Vibhakthi, ( grammatical prowess) of the more erudite Melpathur. The latter, a contemporary, was the author of the Narayaneeyam , a Sanskrit work that would become as enduring a classic as the Jnanappana .
The two, along with Thunchath Ezhuthachan, form an important trinity from this region who lived in the same period, and shaped the modern language as it was coming into its own.
Many specifics about Poonthanam’s life remain uncertain, and have inevitably become subject to the divisions of our time. The lack of recorded evidence is unsurprising for a figure of that period. Our understanding of his life is based on the lore that has been passed on to us, and insights scholars have gleaned from his texts. We know that he was born in the mid-16th century. It is believed that his marriage was followed by years of childlessness. Turning to fervent prayers, a baby boy was born. But the infant dies soon after in tragic circumstances.
Poonthanam Illam
Devastated, the poet seeks solace at the Guruvayur temple. The story goes that, in time, the Lord appears in the playful form of the child Krishna and comforts him, and further becomes his constant companion; in effect the son he lost.
As his remarkable spiritual journey evolves, the Lord instructs Poonthanam that he no longer needed to visit Him in a temple, and that instead He would come live with him at his home. In the last of a series of visitations, Krishna informs his by-now aged devotee that his work on earth was done, and guides him to heaven.
Some of those events are believed to have taken place at the poet’s home, the Poonthanam Illam at Keezhattoor. Other incidents are believed to have occurred in locations around it like the Edathupuram Srikrishna temple, or in places like Tiruvegapra along the route he used to take on his monthly visits to Guruvayur. Following a rather chequered series of events, Poonthanam Illam was taken over by the Guruvayur Devaswom, and is now preserved as a unique memorial; part shrine, part museum.
Poonthanam Illam
It is a short drive from Angadipuram, the old capital of the erstwhile Valluvanad kings. The Goddess of the realm, Thirumandhamkunnu Bhagavathy, worshipped at the great hilltop temple nearby, is consecrated inside the sanctum of the Illam too. Opened every morning by a priest, it houses the miniature idols of Krishna worshipped by the poet.
The terrain of the region is rugged and densely wooded. Roads have sharp bends and undulations. Its buildings, especially the older ones, are constructed of laterite blocks hewn off the hills. They exude a rough, medieval quality. It’s a beautiful country during the day. As night gathers, the area feels secluded and mysterious. A place where myths and legends blend with facts.
Unni Poonthanam, a local chronicler of the poet, says that legend has it that the Pandavas had visited the nearby town of Pandikkad, and that it was a grove they frequented that was called ‘Poonkavanam’, which in later years was corrupted to Poonthanam. The Illam is located alongside the SH73 that connects Valanchery and Nilambur. It is a half hour’s drive from Perinthalmanna.
The Poonthanam estate, once vast, is now just over an acre. There is a faux-traditional arch built at the gate. It is a study in contrast with the graceful old Padippura. As you walk up the lane, a timeless quiet washes over. To enter the Illam, a visitor is expected to conform to norms of tradition, customary to temples in Kerala.
The Pathayappura is the first building you reach. In spite of its rather humble function, its every detail is crafted with care and beauty. Wooden partitions divide the entire ground floor into chambers that hold grain. The upper floors must once have been used as living quarters.
Stepping towards the Nalukettu, you notice a brightly painted idol of Krishna on the left. A sign says that this was the spot where Poonthanam was elevated to the heavens. In spite of the knowledge that it’s a legend, it is strangely moving. It gives you an overpowering awareness of the extraordinary life that was lived here all those centuries ago.
Poonthanam Illam
The rooms inside the Nalukettu are mostly bare. A series of laminated A4 prints, each with a stanza from the Jnanappana , is pasted on the walls around the Nadumuttam.
To its north is a room in which Poonthanam’s infant son is believed to have died on that fateful day of his ‘Annaprasham’. The raised platform across it on the other side still retains the apparatus used for the Kalamezhuthu Pattu rituals that used to take place here.
A steep flight of ancient stairs takes you to the first floor where the poet is believed to have done much of his writing. Its dimly-lit rooms look out on views that seem largely unchanged from his time. It is not hard to imagine Poonthanam seated on the floor over a low desk and an oil lamp inscribing the immortal lines that would inform a new devotional culture across the land.
In spite of the great popularity of his main work, Poonthanam remains a somewhat enigmatic figure. A great Bhakta in the archetype of Jayadeva, a maverick who followed a singular inner voice, a poetic genius who channeled adversity to create works of sublime beauty...he comes across as all of these.
A visit to the place where it all took place is therefore an interesting experience. In its relative seclusion and quiet, the Poonthanam Illam allows a visitor to immerse in the spirit of the place and engage in a very personal conversation. It’s a privilege unavailable at many other memorials where an excess of signs, guidebooks and human assistants narrow down the possibilities of interpretation. Having said that, there is still need for some contextual information, perhaps in the form of a simple, well-written sign at the entrance.
The writer is convener, Indian National Trust for Art & Cultural Heritage (INTACH), Palakkad Chapter
