Iravivarman Thampi was the son of Parukkutti Thankachi, daughter of Makairam Thirunal Ravivarma. His father was Kerala Varma Thampuran. Iravivarma was born in 1782 and was popularly known as Irayimman Thampi. Even during his childhood he was scholar in drama, grammer, logic , kaavya and alankara and was eminent in music and literature. However, his greatness in classical music reached its zenith during the reign of Swathi Thirunal. He was one among the eminent men who adorned Swathi Thirunal’s court. Their mutual encouragement had helped them in polishing their potentials .

There existed a healthy competition between them in composing songs in which Thampi was always the winner. Swathi Thirunal’s famous lyrics ‘Panchabanan thannudei…..’ and Thampi’s “Prananadhanenikku Nalkiya…..” were the results of such competitions. This particular work of Thampi is the most beautiful sringarapadam in Malayalam.Thampi has composed 21 Sankeerthanas, five Malayalam Keerthanas, five Varnas, and 22 Padams and one lullaby. He has also created musical works in Sanskrit and Manipravalam. Though he excelled in Bhakthi and Sringara he has proved his eminence in all Bhavas through his various works. He has composed beautiful varnas in Aarabhi, Sankaraabharanam, Neelambari, Bhairavi and Punnagavaraali ragas. Sanskrit Keerthanas in rare ragas, like Irdisha, Manchi and Kakubha deserve special mentions. Irayamman Thampi was also enjoyed an esteemed position among the Kathakali musicians of Kerala. His works include single verses, Keerthanas, Malayala Padams, Varnas, Murajapappana, Subhadraharanam, Thiruvathirappattu, Navarathri Prabhandham, Attakkadhas like Utharaswayamvaram, Keechakavadham, Dakshayaagam, and Kilipattu like Rasakreeda and Vasishtam. ‘Omanathinkal Kidavo’ the lullaby composed by Thampi is a lyric hummed by mothers all over Kerala for generations.

Among excellent works of Thampi are ‘Amba Gauri’ (Aarabhi Varnam), ‘Karuna Cheyvan enthu thaamasam’ (Sri), ‘Paradhevathei’ (Thodi), ‘Kamalathikalam’ (Kambhoji) ‘Pahimaam Girithanaye’ (Saveri), ‘Adimalarina Thanne’ (Mukhari), ‘Neelavarna Pahimam’ (Suruthi), ‘Ehi Baalagopala Krishna’ (Punnagavarali Ragam), and ‘Sambho Gaureesha’ (Kedaaragaula.). He has composed songs on Sree Padmanabha of Thiruvananthapuram, Sree Krishna of Guruvayoor and also Chettumala Devi of Chettumala temple attached to Puthu mana veedu in Karamana in Thiruvananthapuram city. Some of his padas refer to Swathi , his aunt and his sister.

In 1856 Irayamman Thampi died after enjoying the patronage of four Travancore kingsand two queens. Swathi is known to have referred to Thampi as Thampi maman (uncle thampi). Irayimman Thampi had the occasion to write a lullaby for Swathi Thirunal and ironically also wrote a charama sloka for Swathi in 1848.

Irayimman Thampi                                     Puthumana Ammaveedu            Memorial for Thampi in Puthumana

    A House in Kizhakkemadam                   Chuttumala Devi Temple

IRAYIMMAN THAMPI AN ARTISTIC GENIUS, by Dr. V. S. SHARMA

The bicentinary of Poet-Laureate and musicologist Irayimman Thampi is being celebrated now by the Art-lovers of Kerala. We remember this unique personality with highest regard and esteem. Nobody can forget the sweetest lullaby song composed by him –

“Omanathinkalkidavo
Nalla komalathamarappovo
Poovil niranja madhuvo
Nalla poornendu thante nilavo”

(Is it the child of moon, Is it a beautiful lotus flower, Is it the honey filled in the flower,
or is it the moon-light of a full-moon-night ?)

This lullaby was composed by Thampi for the sake of a royal child and that too Sri. Swathi Thirunal. Later when the child became the Maharaja of Travancore Thampi was accredited as his court poet and composer. The Maharaja and Thampi fulfilled the musical aspirations of Kerala at a time. We the successors of that glorious tradition can be definitely proud of the wonderful asset and heritage left behind by those two stalwarts of the last century.

Irayimman Thampi was born on the Pooruruttathy star of the month of Thulam in the Year 958 M. E. This year it fell on the 29th of October. Thampi’s father was Kerala Varma (Kelaru) Thampan of Shertallai Palace, and mother was Parvathi Pilla Thankachi of Puthumana Amma Veedu at Karamana, Trivandrum. Thampi was brought up by his parents at their residence Kizhekke madhom near the Virakupurakotta, the House given to Kelaru Thampan by the illustrious king Dharmaraja Sri. Karthikathirunal. The father himself gave Thampi the basic education. Later Moothat Sankaran IIayath gave him higher learning in various branches of knowledge like grammar, literature etc. Thampi’s aptitude towards music and arts was very deep and under the royal patronage he could develop his various talents. At the age of fourteen, he wrote a poem and dedicated it to the Maharaja.

Thampi was married to Kalipilla Thankachi and a child was born to that couple on the Anizha star of the month of Kumbha in the year 995 ME. That child later became the real successor of the arrtistic tradition of her father; She is the well-known writer and poetess, musicologist and composer late Kutty kunju Thankachi who contributed much to Malayalam literature Thampi lived at Trivandrum throughout his life and he had the privilage of enjoying the liberal patronage and protect on of four kings Dharmarajar Balarama Varma, Swathi Thirunal and Uthram Thirunal and two Queens Gouri Parvathy Bai and Gouri Lakshmi Bai. Thampi witnessed so many events of the capital and of the royal life on which he composed poems also. The rulers decorated his hand with golden chain-Veerasrinkhala acknowledging the talented poetic craftsmanship and musical power of Thampi. He was often qualified by the rulers as ‘Kavi’ (Poet). Thampi died in the year 1866 at the age of 73. Thampi’s contributions include 1) Kichakavatham Attakatha 2) Utharaswayamvaram Attakatha, 3) Dakshayagam Attakatha 4) Subhadraharanam Kaikottikalippattu 5) Murajapa Pana 6) Navarathri prabandham 7) Omana thinkal kidavo Tharattu 8) Vasishtam killippattu 9) Rasakrida, and 10) Rajasevakramam Manipravalam in addition to a number of verses and songs. The late T. Lakshmanan Pillai says; “Thampi is said to have composed something like 500 pieces, only twenty five of which seem now to be sung ….. he was a gifted poet, the finish and beauty of those compositions are hardly inferio to those of Maharaja Sri Swathi Thirunal. It would appear that His Highness after composing his pieces loved to show them to Thampi and set much value on his appreciation of them.

Thampi wrote Kichaka Vadham Attakatha according to the will of Utharam Thirunal Yuvaraja. The story of Utharaswayamvaram is a continuation of the theme dealt with in Kichaka Vadham. Both depict stories taken from the Mahabharata. Dakshayagam is another attakatha based on Srimad Bhagavatha. All these three Attakathas combine as a mound-trio of the Kathakali literature and this contribution equates him to famous Unnayi Warrier who wrote Nalacharitham Attakatha in the 18th Century, a work which is said to be a unique one in Malayalam. All the three Attakathas of Thampi are beautiful literary and musical pieces as well as visual porductions. Many padas of these poems have won wide appreciation. For example, some of them are cited below.

1 Sasimukhi varika suseele Kichaka Vadham
2 Malini ruchiraguna Salini -do-
3 Harinakshi Janamoulimane -do-
4 Vira virata kumara vibho (kummi) Utharaswayamvaram
5 Jayajaya naga ketana Dakshayagam
6 Kanninakkanandam -do-
7 Puntenvani srinu -do-

The famous Dandake “Kshonindrapatniyute vanim nisamya” is also noted by the readers. Thampi composed a good number of padas and kirtanas also. Some famous pieces are these:

Malayala kirtanas

1 Neelavarna pahimam (surutti – chempata)
2 Pahimamgirithanaye (saveri – chempata)
3 Karunacheyvan enthuthamasam (saveri – chempata)
4 Adimalarinnathanne (Mukhari – chempata)

Varnam

1 Amba Gouri (Arabhi – Atanta)
2 Manasi parithapam dussaham ayyo (Sankarabharanam – chempata)

Padam

1 Aroducholvan Azhalullathellam (indisa – Jhampa)
2 Kamaladikalam Narumalarellam (Kamodari – chempata)
3 Enthujnanihacheyvu (Neelambari – chempata)
4 Prananathanenikkunalkiya (Kamodari – chempata)

All such songs prove the grace verbal felicity and exquisite artistry reflected in the compositions of Thampi. They are full of lyrical charm and musical beauty. Among the musicologists and the composers of Kerala, Thampi gains a high place perhaps next to Sri Swathi Thirunal Maharaja because of his brilliant writings. Not only as a composer of songs but also as an Attakatha writer he has established his reputation on strong basis. The visual effect and the melodious quality of the three Attakathas is well acknowledged by the actors and the Sahridyas. Some of the padas composed by Thampi are employed by the Mohiniyattam dancers and that is much appreciated by the art-lovers. In fact, Thampi’s contribution in that way to the Mohiniyattam style of dancing is also distinguishable. Many pieces from the Attakathas like the famous ‘Kummi’ – “Veeravirata kumara vibho” from the Utharaswayamvaram is often used for the Thiruvathirakali, another Lasya dance of women in Kerala. They cannot rule out the grace of such padas which are really having aesthetic beauty.

Thampi has proved his ability to depict soft rasas like the Sringara, Karuna, Bhakti etc. throughout his creative writings. The well-knit nature of the musical and literary elements in his compositions and the aesthetic charm of their visual effect are the clear evidence for the musterly writings of Thampi. Even the beautiful lullaby piece makes him uniquely immortal. This second century of the versatile genius, Irayimman Thampi proves the undeniable fact that the has left an indelible impression in the minds of the all people in Kerala. It may also be said that it is only on essential matter to collect and compile all the works of Thampi with suitable notes, so that all admirers and art lovers may know and assess the value of Thampi’s contributions to Art and Literature. Undoubtedly we can quatity Thampi as a bright light which shines ever in the cultural arena of Kerala. Thampi’s pioneering contribution to the musical sphere of this land is also of everlasting value.

LIST OF SONGS OF IRAYIMMAN THAMPI

Here is the list if Irayimman Thampi’s compositions. Await MP3 downloads for all songs, in the second phase of this web site development. [This list excludes songs from Attakathas some of which are sung in Carnatic concerts in Kerala, for intance the beautiful poem in Malahari, Karunaam Vidhehi Mayi Kamalanaabha].

Following is an article on Shadkala Govinda Marar by Sri P. T. Narendra Menon titled “ The Saint who was a Mahanubhavulu”, published in the daily newspaper The Indian Express on December 27, 1992

The Saint who was a Mahanubhavulu

By P.T.Narendra Menon

The ancient temple on the banks of the Muvattupuzha river is still there; its walls grey with the smoke of oil-lamps, and its stone-paved floor worn smoth by the tread of many generations of worshippers. Here was the sopana, the little flight of steps leading o the sanctum-sanctorum, where sat the bedecked figure of Narasimhamoorthy (man-lion), shining in an assortment of flower garlands, and dancing wicks of light.

This was the exact spot where the legendary bard of the village, famed Shatkala Govinda Marar stood and sang his paen to the deity more than one and a half centuries ago. The doves are still there cooing at the turrets, and the handful of worshippers are also there, but the ancient style of singing, sopana, has all but disappeared.

House of Shadkala Govinda Marar’s relatives at Ramamangalam

Ramamangalam Temple

Govinda Marar Smarakam

This sleepy and sequestered village of Ramamangalam saw the birth of Govinda Marar in 1798, who drew forth from no less a saint-singer than Tyagaraja, the immortal pancharatna materpiece ‘Entharo mahanubhavulu’.

Very little is known about his childhood. The present-day Marar families who live in the village, who claim descent from him have only sparse information about their illustrious ancestor. Some enthusiastic people of the locality have organised a ‘Govinda Marar Smarakam’ in a building adjacent to the temple and music and dance classes are conducted there. The Government of Kerala has this year announced yearly grant to it. But the Smarakam has not succeded in acquiring any records on the life of the singer.
The old Marar ladies have heard from their grand-mothers the following: Govinda has a golden voice, with immense range. From his infancy, he was something of an outsider, a loner obsessed with music, spending all his time ceaselessly singing, and playing on the edakka at the temple. An uncle, who had been to Thiruvananthapuram had gifted him a tambura, with which he was greatly entranced. By experimenting he had converted it into a seven-stringed instrument. All the strings, except the mandram were doubled with the result it had two panchamas, two sarinis, two anusarinis, and one mandram. Marar used this tambura all through his life. At 18, he suffered from an acute attack of rheumatism, but he cured it with what we now call music-therapy, by a relentless singing of some kind of music.

In spite of his astonishing musical talents, Govinda Marar was of a restless disposition, his restlessness being the first for attaining some sort of realisation. So, we find him leaving his village at the age of 21, on foot, never to a return, carrying only his tambura and edakka. He sang soulful tyanis and ashtapadis in many temples, sometimes before the deity and often sitting beneath the banyan trees, and eating whatever was brought to him by those who heard his music.

The legends attached to many temples in Kerala say that Marar used to do the Kottippadi Seva (ritual singing of devotional music during the five daily poojas to the accompaniment of edakka) there for a month. The one at Ambalappuzha Krishna Temple recounts that on reaching the sanctum sanctorum, he found the stick of his edakka missing, and he played it with an ezhuthani (writing quill)supplied by a devotee. He sang the whole of the Geet Govind, and had the congregation spellbound by the flow of his music.
We do not know, where else he wandered, but eventually we find him as one of the vidwans of Maharaja Swati Tirunal’s court.

The Maharaja himself was utterly dedicated to music, he was a composer of no mean ability, and his court was studded with a galaxy of musicians including Vadivelu, Palghat Parameswara Bhagavathar, Meruswamy, and Kanniah.

Once Swati Tirunal wanted Marar to sing the Puraneer raga in the evening. This raga is usually rendered only for the early morning pooja. Marar had to comply, and such was the haunting quality of his alapana that the assembled had the illusion of breaking down. The appreciative Maharaja honoured Marar by bedecking his seven-stringed tambura with a vaijayanti (flag of victory).

It is believed that Marar had this flag on his tambura, till he reached Benares in the last years of his short life, where he discarded it, as all pride in his musical prowess had deserted him by that time.

In spite of being soaked in music and art, the palace and its patronage did not satisfy Marar for long, for whom music had a higher aim. While at Thirivananthapuram, he had heard with deep admiration the kritis of Tyagaraja, sung by Kanniah, a direct disciple of the saint. To him Tyagaraja became a holy beacon. One Haripad Ramaswamy Bhagavatar also had learnt those kritis. Marar learnt a few such kritis from him. Soon he was all agog to have darshan of the saint at Tiruvayyaru, and in 1837 he set forth on foot, and reached the house of Tyagaraja on an ekadeshi day.

The daily bhajan session led by Tyagaraja himself was on when the weary wayfarer reached the place.

When the first half of the bhajan session was over, the guest was invited to sing as was the custom. Marar had already been noticed by those assembled due to his glowingly ascetic appearance, and his unusual tambura, with the flag. Being ekadeshi, it was a day dear to Hari, and he chose his favourite Geet Govind song, ‘Chandana charchitha neela kalebara’, in Pantuvarali raga.

Prof.Sambamoorthy reconstructs the memorable scene from information gathered from the palm-leaf biography of the saint written by his direct disciples, Walajapet Venkitramana Bhagavathar and Tanjore Rama Rao, and from the notebook of another direct disciple, Krishnaswami Bhagavathar, thus:
“He (Marar) started singing in the ati ati vilambita kala (first degree of speed). People were wondering why he started at such a dead slow tempo, but they were struck by the precision in duration between count and count. Then he sang the chosen theme in ati vilambita kala (second degree) Vilambita (third degree), Madhyama kala (fourth degree), druta kala (fifth degree) and ati druta kala (sixth degree). As he approached the fifth degree of speed, the entire audience was spellbound, and when he sang in the sixth degree of speed, Tyagaraja himself was taken aback by his laya sampat”. During the performance he was strumming the tambura with his right hand , and playing the ganjira with his left hand, holding the latter instrument in position between the toes of his right leg.

Tyagaraja immediately perceived in Marar a brilliant musician of rare genius. His spiritually evolved soul also recognised him as a mahanubhava (great soul), who like himself was seeking satchidananda, through Sangeetha. To pay tribute to the visitor, Tyagaraja asked his disciplies to sing his scintillating Pancharatna kriti ‘Entharo mahanubhavulu’ . The Walajapet disciples have used the word ‘prasthutimpa’ in Telugu, meaning ‘in order to pour out praise’.

The belief in Kerala is that Tyagaraja composed the kriti extempore in his spontaneous joy on hearing the spiritual and musically fantastic singing of Marar. But the version of the Walajapet disciples would have it that the kriti was already composed, and the disciples had learnt it before the arrival of Marar.

Anyway, the time of the composition of the kriti is immaterial. That Tyagaraja wanted his disciples to praise the strange ministrel by describing him as a mahanubhava, and that too through one of his outstanding kritis was in itself a recognition of not only Marar’s music, but also of his personality.

The latter fell at the feet of Tyagaraja with tears in his eyes, who lovingly asked Marar to stay with him.

The association with Tyagaraja must have strengthened the vein of renunciation in his mind, and bidding adieu to his beloved ideal, Marar started on an indefnite itinerary.

Again he becamee an avadhoota (wandering mendicant in the process of salvation). He finally reached the temple of Panduranga in Pandharpur, near Poona. By this time he must have attained what his restless soul had been seeking from infancy, and he used to sit in the temple and pour out music in a frenzy of ecstasy. He was looked upon as a paramahamsa Govind Das by the people flocking to the temple, a jeevanmuktha. The temple records reveal that he attained samadhi in 1843,while singing.

Thrikkampuram Krishnankutty Marar (b.1936) who is believed to belong to Shadkala Govinda Marar’s family who performs Panchavadyam, Sopanam, Kottipadiseva, Kalamezhuthupattu and an exponent of Kudukkaveena, claims Govinda Marar was uncle to his great grandmother. Krishnan Marar lists five compositions of Govinda Marar

• Ksheerasagara vasa ramadhava – Kedaragoula – Muriyadantha
• Palayamam Parvatheesa – Aanandabhairavi – Aadihalam
• Thunga pinga jada kalapavum – Bhoopalam – Thriputa
• Balachandra vibhushanam – Aarabhi – Aadi
• Lokapalane – Mohanam – Aadi

Krishnakutty Marar also argues that the Swathi composition Narasimha mamava (Aarabhi) is actually Govinda Marar’s. The last line in the charanam “Parama Mangala shobha pankajanabha” could have been “Raama Mangala shobha” which is the mudra for Govinda Marar. (This is unlikely since the previous line is “Paramakripa rasa pari paalethebha” which rhymes with the last line in the second sound, as is the case with other charanas.)

Casamajor was one of the Travancore residents during the reign of Swathi Thirunal. We have the following information from the internet (www.brookmans.com/history kasamajor.shtml)The Casamajors were a family of Spanish origin, claiming descent from the royal house of Cadiz, and had settled in Bristol and founded the English branch of the family by the late 18th century. There were Casamajors also in London and they were working for the East India Company and the Casamajor merchants of Tacking, living at Potterells were James Archibald Casamajor and his daughters, Jane and Elizabeth, these being another branch of the Casamajor famly.James Archibald Casamajor, b. 1787, E.I.C.S., resident at Mysore and Travancore, had three daughters. His co-heirs, (1) Jane, m. 1844, William – Willoughby, 3rd Earl of Enniskillen; (2) Mary, m. 1839, StephanRam. Esq., of Ramsfort; and (3) Elizabeth, m. 1841, Robert WM. Gaussen, Esq., of Brookmans Park, Herts.

The Observatory in Trivandrum was built under the superintendence of Lieutenant (later Colonel) Horsley, of the Madras Engineers. The construction of the Sree Padam palce, during the former reign, on a plan drawn by a European Engineer, had impressed Swathi Thirunal with a favourable opinion of European engineering skill. The construction of the Observatory simply confirmed this impressions. Swathi Thirunal desirous of introducing a knowledge of European engineering art into Travancore, in consultation with the Resident Colonel Fraser, sanctioned the organisation of an experimental engineering department. An irrigation maramuth department was established at Nanjenaud and a superintendent appointed. A few companies of pioneers were formed for irrigation works at Nanjenaud, under the general supervision of the visiting Engineer Lieutenant Horsely, who began to devote his unremitting attention to the improvement of all the maramuth works in Travancore. This very able Engineer’s literacy work “Memoiers of Travancore” (If any visitor has information on this book, please let us know, email to cdit@vsnl.com), written at the request of the Resident, Colonel Fraser, shows his knowledge of the country, and how he exerted himself to be closely acquainted with everything connected with travancore.

Among the genius of Swathi Thirunal’s court were the four brothers Chinnayya [b. 1802], Ponnayya [b. 1804], Sivanandam [b.1808] and Vadivelu [b 1810] known as the Tanjavur Quartette (Nalvar). Sivanandam is the third of the famous Thanjavoor quartette. His youngest brother Vadivelu was the most famous musician in Swathi Thirunal’s court. Sivanandam’s ancestor was one Gangai Muthu who lived in the 17th century and was a devaram scholar, who is believed to hail form Tirunelveli. Gangai Muthu had two sons, Ramalingam and Gangamuthu.Gangmuthu had two sons Subbarayan (also known as Mahadeva Annavi, an accomplished veena player) and Chidambaram.Subbarayan had 4 sons: Chinnaya, Ponnayya, Sivanandam and Vadivelu. After training under the legendary teacher and musician Muthuswamy Deekshithar, the quartette became Asthana Vidwans at Tanjavoor court and also in Travancore court. All of them were entertained in the service of the Maharaja Swathi Thirunal in 1835. Vadivelu was on a monthly pay of Rs.100 and others on slightly lower sums. A lump sum of Rs. 700 was also given to them on their arrival, presumably by way of their traveling expenses. Later on, a house was also built for them at Aryasala. The eldest brother Chinnayya was later invited by Sri Krishna Devaraya to Mysore and he trained many students and teachers there. The second brother Ponnayya and the third Shivanandam rendered exemplary services in the court of Sarabhoji , the king of Thanjavoor. These brothers offered worship through the dance performances of their students in the Brihadeeshwara temple of Tanjavoor.Sivanandam was a composer, veena player and a teacher in dance. A favourite of Raja Sivaji and Konnakol Pakkiria Pillai’s relative, he was the only brother among Tanjore Quartette blessed with sons. Baroda Kannuswami nattuvar, Prof. Ponniah Pillai, Prof. K.P. Krishnamurthi and K.P. Sivanandam are among his descendents. The sabdam “Venyuda”, “Danike Tagu Jaanara” (Thodi Pada Varnam) are among his compositions. It is said that Raja Sivaji was so fond of him that if Sivanandam was abscent in the court, he would rush to his residence!

Subbukutti Ayya was a veena exponent who was a member of Swathi’s Court. He is the grandson of Pachimiriyam Adiyappayya, the celebrated author of the famous ‘Viriboni’ varna in Bhairavi, and was originally attached to the court of the Raja of Puddukkotta. From the record it is seen that Swathi Thirunal carried on a long correspondence with the Raja through Subba Rao for getting him in his court and finally succeeded in the attempt. Respecting the Maharaja wish, Subbukuti chose to settle down in Trivandrum itself. A handsome monthly allowance was sanctioned to him.

Venkata Rao was Dewan of Travancore when Swathi Thirunal ascended the throne. The famous Rajah Sir T. Madhava Rao’s father Runga Row was the younger brother of Venkata Rao. Venkata Rao was one of the most popular Dewans of the state. he also seems to have taught Swathi Thirunal and his brother. Col. Welsh in his Military Reminscences states: I have not made any mention of the present Dewaun, an uncommonly handsome, fair and elegant Carnatic Brahmin. His name is Venkit Rao and he is one of the most intelligent, well educated men, I have met with in India, and writes an excellent letter. As far as I could learn he was most attentive and unremitting in his exertions for the improvement of the country and the good of the State. Such a man to educate the young princes would have been “worth his weight in gold”.After Swathi took over as maharaja, as he had a very high opinion of his tutor, Suba Row, and of his ability and knowledge, he wanted to appoint him Dewan. But the idea of dispensing with the services of the able and popular Dewan Vencatta Row, was not approved of by His Highness’ father, by Her Highness the Ranee, and by the Resident, Colonel Morrison. The controversy on this subject lasted about six months, and in the interval the able Resident, Colonel Morrison, was removed, and Dewan Vencatta Row tendered his resignation. Two months afterwards, in 1830, Suba Row was appointed Dewan. After about 7 years, Swathi was displeased with Subba Rao and suspended him. Remembering the good qualities and ability of the ex-Dewan, Vencatta Row, Swathi Thirunal entertained the idea of re-appointing him to the office of Dewan, and in consultation with His Highness’ brother, the Elia Rajah, this wise measure was resolved upon. His Highness the Elia Rajah then wrote to Vencatta Row, who expressed his willingness to accept the kind offer. The Maha Rajah then deputed His Highness’ favourite attendant, once Cunjen Thampan of Vycome, to Combaconum, to arrange personally with Vencatta Row regarding his return. In the year 1838 A.D., Vencatta Row arrived at Trivandrum, and was at once appointed Dewan. He began to display his characteristic energy in the administration, and his proceedings gave entire satisfaction to His Highness the Maha Rajah. As the new Dewan was progressing in his brilliant career, he had the misfortune to fall out with Captain Douglas, the then Acting Resident. Finding that they could not agree, Vencatta Row tendered his resignation, though much against His Highness’ wish, in 1839 A.D., after a career of only twelve months.

Soon after Reddy Row’s retirement (-1844-), Sreenivasa Row, the then first Judge of the appeal court, was appointed headed Dewan Peishcar, in charge of the administration. This officer was a very honest and quiet man, but had not that administrative tact which characterised many of his predecessors. Being called upon to assume charge of the administration at a time when the ablest Dewan, would have found it difficult to manage affairs satisfactorily ; he experienced great trouble in coping with the emergency. Reddy Row had brought the administration in to a state which Sreenevasa Row’s hand was too weak to rectify. The gradually growing illness of the Maha Rajah and his consequent indifference to the affairs of the State, the increasing misunderstanding between the court and the Resident; the general inactivity of the district officials, who had all a firm belief in the speedy return of Krishna Row to office, and above all the financial embarrassments of the country, were evils which Sreenivasa Row found too hard for him to surmount. People knew that his hands were tied; and that he had no power to act in any matter for himself. The Resident called for reports on every point connected with the administration, while he was utterly unable to get a reply from the palace to his references on important matters for months together. Revenue collections fell into arrears. Sreenevasa Row, was often found in a pitiful state, especially when the time for paying the monthly subsidy to the Resident’s treasury approached. The allowance to the various establishments had been in areas, and every day the Huzzoor cutcherry was invaded by crowds of people expecting and requesting payment. Sreenevasa Row had some good qualities. He was quite amenable to reason. He used to seek advice from able and honest officials of his cutcherry, without regard to their rank and position. He never shrunk from retracing his steps when he found it was necessary to do so. Buy such a sensible line of conduct Sreenevasa Row was enabled to show improvement in the financial department and in the general administration.

British Resident

Col. Morrison was the British resident of Travancore, when Swathi Thirunal ascended the throne. Swathi Thirunal had the advantage of the advice and counsel of his worthy father, the able tutor, the meritorious Dewan, as well as many old and experienced ministerial servants, both in the palace and in other departments. The Resident Colonel Morrison, C.B., a very able officer, was also a warm supporter of the Maha Rajah in the early days of his reign. Afterwards, Swathi Thirunal’s attention was directed to the remodelling of the cabinet, and as he had a very high opinion of his tutor, Suba Row, and of his ability and knowledge, he wanted to appoint him Dewan, but the idea of dispensing with the services of the able and popular Dewan Vencatta Row, was not approved of by His Highness’ father, by Her Highness the Ranee, and by the Resident, Colonel Morrison. The controversy on this subject lasted about six months, and in the interval the able Resident, Colonel Morrison, was removed, and Dewan Vencatta Row tendered his resignation. It is also said, that there had been a little misunderstanding between the Travancore court and the Resident, Colonel Morrison, in this matter and that colonel Morrisom had made some reports unfavourable to the state of things in Travancore, which circumstances induced Mr. Lushington, Governor of Madras to visit the country and ascertain the exact state of affairs by a personal inspection, while he was on tour to the Malabar Coast.