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നിങ്ങള്‍ക്ക് അറിയപ്പെടുന്ന എഴുത്തുകാരനാകണോ? ശ്രദ്ധിക്കേണ്ട ഏഴ് കാര്യങ്ങള്‍

നിങ്ങൾക്ക് നല്ല എഴുത്തുകാരനാവാൻ ആഗ്രഹമുണ്ടെങ്കിൽ ശ്രദ്ധിക്കേണ്ട കാര്യങ്ങൾ ഇവയാണ്....

​വായനക്കാർക്ക് എന്താണ് വേണ്ടത് ?

പുസ്തകം എഴുതുമ്പോഴും ലേഖനം എഴുതുമ്പോഴും ആദ്യം വ്യക്തമായ ധാരണ വേണ്ടത് ആരാണ് നിങ്ങളുടെ വായനക്കാരനെന്നതാണ്. വായനക്കാർക്ക് എന്താണ് വേണ്ടത്? നിങ്ങളുടെ എഴുത്തിലൂടെ എന്ത് പ്രധാന വിവരങ്ങളാണ് വായനക്കാർക്ക് ലഭിക്കാൻ പോവുന്നത് എന്നെല്ലാം മനസ്സിലാക്കേണ്ടതുണ്ട്. തിരക്ക് പിടിച്ച ലോകത്ത് സമയം പാഴാക്കാൻ താൽപര്യമുള്ളവരല്ല ആരും. അതിനാൽ തന്നെ വായനക്കാരന് വ്യക്തമായി സ്ട്രെയിറ്റായി കാര്യങ്ങൾ പറയുന്ന രീതിയിൽ കാര്യങ്ങൾ അവതരിപ്പിച്ചാൽ നല്ലത്. വായിക്കുന്നവർ ഏത് പ്രായത്തിലുള്ളവരാണ്, അവരുടെ താൽപര്യങ്ങൾ എന്തെല്ലാമാണ് എന്നെല്ലാം അറിഞ്ഞിരിക്കണം.

എഴുത്തിൻെറ ലക്ഷ്യം എന്താണ് ?

എന്തിന് വേണ്ടിയാണ് എഴുതുന്നതെന്നത് വളരെ പ്രധാനമാണ്. ഈ ലേഖനം എഴുതുന്നതിലൂടെ നേരിട്ടോ അല്ലാതെയോ നിങ്ങൾക്ക് എന്ത് നേട്ടമാണ് ഉണ്ടാവുന്നതെന്ന് അറിയണം. കൃത്യമായ ഒരു ലക്ഷ്യമില്ലാതെ എന്തെങ്കിലും എഴുതി നിറയ്ക്കുന്നതിൽ കാര്യമില്ല. ആളുകളെ ബോധവൽക്കരിക്കുന്നതിനാണോ വിദ്യാഭ്യാസം നൽകുന്നതിനാണോ നിങ്ങൾ എഴുതുന്നത്. ഒരു പ്രൊഡക്ടിൻെറ ഗുണത്തെക്കുറിച്ചാണോ നിങ്ങൾ എഴുതുന്നത് എന്നതെല്ലാം ശ്രദ്ധിക്കണം. എന്തിന് വേണ്ടിയാണ് എഴുതുന്നതെന്ന് വ്യക്തമായെങ്കിൽ പിന്നെ നിങ്ങൾക്ക് അടുത്ത ഘട്ടത്തിലേക്ക് കടക്കാം.

എഴുത്തിൻെറ സാഹചര്യം

ആരാണ് വായനക്കാരെന്നും എന്തിനാണ് എഴുതുന്നതെന്നും വ്യക്തമായെങ്കിൽ ഇനി എഴുത്ത് കൃത്യമായി പ്ലാൻ ചെയ്ത് തുടങ്ങാം. എന്താണോ പറയാനുള്ളത് അത് കൃത്യമായും വ്യക്തമായും പറയുക. അനാവശ്യ കാര്യങ്ങൾ വിശദീകരിച്ച് വായനക്കാരൻെറ ശ്രദ്ധ തിരിച്ച് വിടാതിരിക്കുക. നിങ്ങളുടെ പോയൻറിലേക്ക് അവരെ എത്തിക്കുക എന്നതിലാണ് എഴുത്തിൻെറ പ്രസക്തി. നിങ്ങളുടെ തലക്കെട്ടിനോട് നീതി പുല‍ർത്തുന്നതായിരിക്കണം എഴുത്തിൽ പറയുന്ന കാര്യങ്ങൾ.

​പരമാവധി എല്ലാം ഉപയോഗപ്പെടുത്തുക

നിങ്ങൾ ഒരു ലേഖനമെഴുതുമ്പോൾ അതിന് ഇത്ര വാക്കുകൾ വേണമെന്നും ഇത്ര പുറത്തിൽ കവിയരുതെന്നുമൊക്കെ നിബന്ധനകളുണ്ടാവും. അത് ഗുണകരമായി തന്നെ ഉപയോഗിക്കുക. ഏറ്റവും ആവശ്യമുള്ള കാര്യങ്ങൾ പറയാൻ ശ്രമിക്കുക. എന്നാൽ എന്താണോ പറയാനുള്ളത് അത് പറഞ്ഞുവെന്ന് ഉറപ്പ് വരുത്തുക. എന്താണോ വായനക്കാരന് നൽകാനുള്ളത് അതിൽ ഊന്നിക്കൊണ്ട് കാര്യങ്ങൾ പറയുകയാണ് ചെയ്യേണ്ടത്. ചെറിയ കാര്യങ്ങൾ കൂടുതൽ ഉദാഹരണങ്ങൾ പറഞ്ഞ് വിശദീകരിക്കാൻ നിൽക്കാതെ ആവശ്യമുള്ള കാര്യങ്ങൾക്ക് കൂടുതൽ പ്രാധാന്യം നൽകുക.

​പുതിയ ആശയങ്ങൾ രൂപപ്പെടുത്താൻ ശ്രമിക്കുക

നിങ്ങളുടെ വായനക്കാരെ ഏറ്റവും നന്നായി ഇടപെടീക്കാൻ സാധിക്കുന്നത് പുതിയ ആശയങ്ങളിലൂടെയാണ്. പറഞ്ഞ് പഴകിയ കാര്യങ്ങൾ പുതിയ കുപ്പിയിൽ പഴയ വീഞ്ഞെന്ന രീതിയിൽ നൽകുന്നതിൽ ആ‍ർക്കും താൽപര്യമുണ്ടാവില്ല. മറ്റൊരാളുടെ സമയമാണ് നിങ്ങൾ അപഹരിക്കുന്നതെന്ന് ബോധ്യം വേണം. കൃത്യമായി ആശയങ്ങളെ ക്രോഡീകരിക്കുക. അതിൽ വായനക്കാരെ താൽപര്യത്തോടെ ഇടപെടീക്കാൻ ശ്രമിക്കുക.

​എവിടെയാണ് നിങ്ങൾ പബ്ലിഷ് ചെയ്യാൻ പോവുന്നത്

ഏത് വഴിയിലൂടെയാണ് നിങ്ങൾ എഴുത്ത് പബ്ലിഷ് ചെയ്യാൻ പോവുന്നതെന്നതും എഴുതുമ്പോൾ തന്നെ വ്യക്തമായിരിക്കണം. നിങ്ങൾ മറ്റൊരാൾക്ക് ഇത് പബ്ലിഷ് ചെയ്യാൻ വേണ്ടി അയക്കുകയാണോ അതോ നേരിട്ട് തന്നെ പബ്ലിഷ് ചെയ്യുകയാണോ ചെയ്യുന്നത് ? എല്ലാത്തിനും ഒരേ രീതി അവലംബിക്കാതിരിക്കുക. കൂടുതൽ റീച്ച് നിങ്ങൾക്ക് കിട്ടുന്നത് എവിടെയാണെന്നാണ് നോക്കേണ്ടത്. അല്ലെങ്കിൽ നിങ്ങൾ മെനക്കെടുന്നത് വെറുതെയാവും.

​ഭാഷാശെലി എങ്ങനെയായിരിക്കണം ?

തുടക്കത്തിൽ പറഞ്ഞ ഏത് തരം വായനക്കാരെയാണ് നിങ്ങൾ ലക്ഷ്യം വെക്കുന്നതെന്നതുമായി ഈ പോയിൻറ് ചേ‍ർന്ന് നിൽക്കുന്നു. ഇംഗ്ലീഷിലാണോ അതോ പ്രാദേശിക ഭാഷയിലാണോ നിങ്ങൾ എഴുതുന്നത്. സങ്കീ‍ർണ പദപ്രയോഗങ്ങളും വാചകങ്ങളുമൊക്കെ ഒഴിവാക്കുന്നതാവും നല്ലത്. പുതിയ കാലത്തെ വായനക്കാ‍രെ മനസ്സിൽ കണ്ടാണെങ്കിൽ അവ‍ർക്ക് രസകരമായ ഭാഷയിൽ എഴുതുക. ഏതായാലും ഭാഷാശൈലി ഏതെന്ന് നിങ്ങൾ നേരത്തെ തന്നെ തീരുമാനിച്ചിരിക്കണം.

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ആര്‍ട്ടിക്കിള്‍ ഷോ

Find Good Malayalam Essay Topics to Write About

One of the major hurdles is that of finding essay topics in Malayalam language. Students often wonder if they can write about anything in this language the same way they do in English. But which are the easiest Malayalam essay topics to write about?

Since Malayalam is a language spoken mostly by individuals living in the Kerala region of India, it would be easy to write about the culture of these people. You can study their traditional beliefs, their ways of life, the food they eat, and many other things.

The secret is to find something interesting to write about. Once you find the topic, follow these tips below to write a high-quality paper that will get you a good grade. These tips will help you to increase your GPA, which is very critical in your career after graduation.

Table of Contents

Find Many essay topics in Malayalam language then Select One from Them

The best way to start writing an essay in Malayalam is to find numerous interesting topics. You cannot just find one topic and then settle on it at once because this may have consequences in the end. The problem with settling on one topic at once is that it may turn out to be interesting, but with limited information.

If you decide to study the Malayalam speaking people of Kerala, there are many things that you may wish to write about them. As already indicated above, you may design a topic that aims at studying their beliefs, food, and way of life.

Another topic that you may find interesting may be about the business culture of the people who speak the language. In this topic, you may decide to study their business beliefs, their practices, strategies they use, and how they form relationships with customers.

It would also be interesting to develop a topic that compares the culture of the Malayalam speaking people to that of others such as the English people or any other culture that strikes you. Such a topic would be rich with information.

The final step is to do some preliminary research to find out the topic that has sufficient information. Research each and every topic you have come up with so that it may be easy to select the best. These Malayalam essay writing tips are very valuable if you follow them to the letter. They will make your college life smooth and fun.

How to Write a Vishu essay in Malayalam

Assuming that you have chosen to write a Vishu essay in Malayalam, how would you write your paper? Since Vishu is already a famous festival that is known around the world, there is no doubt that the internet is rich with information about this topic.

It is the same as saying that you want to write about a Christmas essay in Malayalam. You will be spoilt with information about the traditions that led to the festival being formed, what it symbolizes, the activities that people do during this day, and the types of costumes that they wear during the celebration.

The first step in writing the paper is something that you already know. You need an introduction that informs the reader what you aim at achieving in the essay. Write it in a way that will make the reader to be enticed to read the whole paper. You may start by writing something unique about the Malayalam that is not common in other cultures. Such a point may strike the person who is reading and make him or her want to find out more fascinating things about the culture.

The next step is to write the body of your essay. You need to divide this part into sections so that each may cover a different idea. For example, one of the subtopics may be about the history of the Vishu festival. How did it begin? Who was involved in making this event a reality?

After coming up with subtopics, ensure that you write a fresh idea in every paragraph. This is the same way that you do with English essays. Each paragraph has to stand on its own so that you may not confuse the reader by mixing ideas. Research and write a thorough analysis or description of the event depending on the aim of your essay. Note that in Malayalam essay writing, you have to reference your work. This will add credibility to your research, and if you were writing the paper with the aim of getting a good grade, you will definitely achieve this objective.

How to Write a Malayalam Paper Conclusion and Format the Essay

Once you reach the conclusion, it is good to take a break. You may have had enough of all this information that you have found in books and journals. If you have time, a few hours break may be enough if you want to complete your paper the same day. Even fifteen or forty minutes may be enough to rest your mind.

The next step is to start reading the essay from the beginning. As you read, clarify the points that you did not explain in detail when writing the paper. since it is only a few minutes or hours after writing the essay, and you have all the references that you used, this should be easy. You can easily locate the source where you got the information, read, and then add a few details or edit what you wrote to make it better. you should do this for all paragraphs in the body of the assignment.

After this, start writing the conclusion. This should be very easy because you are not introducing any point. You are basically summarizing the work that you have written in the introduction and body of the essay. It is advisable to remind the reader the reason why you started writing the paper, and then give your findings and the final verdict. In the verdict, you may encourage people to learn more about the Malayalam people or state what you have concluded about the culture.

Once you have finalized the Malayalam essay on reading and writing, format the essay. Your professor must have informed you in the instructions about the formatting style to use. If this is not mentioned in the question, it should be indicated in the class notes.

If you were asked to use APA format, ensure that you have a title page with a running head, page numbers, and references at the end of the paper. Note that if there are images or links that you may want to attach in the essay, they should be attached as appendices. The last thing is to pass your essay through a grammar editing software to ensure that you have not missed out on any errors that may lead to potential loss of marks.

Malayalam Essay Sites Writing Guarantees

Sometimes, it may be impossible to write your essay no matter how much you try. Maybe you are learning the Malayalam language for the first time, and you fear that you have not captured the basics of the language. You may also not have enough time to write all the assignments that you have been given in class. In this case, seeking for help from Malayalam essay sites may be very helpful. It may save you from losing marks due to submitting papers late.

We are a reliable Malayalam paper writing service that will help with all your assignments. We will formulate the topic and write the paper on your behalf. Our guarantees include:

• Delivery of papers before the actual deadline.
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We also promise to be in constant contact with you in case of any issues. You have the freedom to talk to our support team or message your writer directly. This enhances our efficiency because it reduces the wastage of time. If you need to give additional details to the writer, you can do this via message. If you are not sure of how to go about it, our support team is always online. They will show you every step of how to place your order and how to download the completed paper.

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Let one of our experts help with your essay now. Click on the order now button and follow the instructions to place your order. Our support team will assign it to a Malayalam expert immediately you complete the ordering process.

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Here is How to Write an Excellent Essay in Malayalam!

Malayalam is a major Indian language spoken widely in South India, more specifically Kerala. The people of this state are famously known as Keralaites or Malayalam’s. When you set out to write an essay in Malayalam, it is better to focus on the life in Kerala and center your essay on some of the most interesting facts pertaining to the region to which this ancient language belongs to. In short, you can write an excellent essay in Malayalam by including some of the key facts and unique knowledge related to the area where Malayalam belongs to. Here are some of those:

1- Location:

Kerala is located on the western coast of India. It features vast areas of coconut trees as well as beaches and plantations of rubber. The official language is Malayalam.

2- Agriculture of the area:

When writing an essay in Malayalam, you can talk about the agriculture of Kerala too. They depend on agriculture to some extent since the soil is very fertile. The soil residue is even used for construction purposes i.e. building houses and walls when turned into bricks.

3- Culture:

The art and majestic culture of the Malayalam region could also be highlighted in an essay. Kathakali and Mohiniattam are traditional dance forms that have been practiced here since thousands of areas. These dance forms involve painting the faces of the dancers which is a very strenuous process and requires groups of people to do so at any given time.

4- Malayalam Language:

Malayalam language in and of itself can be an interesting topic too, for an essay. Here you can talk about the origin and history of this language, also how it has been influenced by the other Dravidian languages. Many researchers have established that Tamil is the father language for all the other south Indian languages, while others have contended against it. You can give an analysis of the various theories present around this subject and give your opinion too.

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About the company7DollarEssay.com is the custom essay writing help provider that intends to provide assistance only. All our essays are written by the professional writers and should be used for the reference purpose only.

The Malayalam Script

All writing systems in India are based on the Brahmi script, the first evidence of which is the group of inscriptions by King Ashoka in the third century BCE. Malayalam has been written in several scripts, including Brahmi, Vatteluttu, Grantha, and modern Malayalam scripts beginning in roughly the ninth century CE.

For English speakers, the Malayalam writing system, or script, may look intimidating. It’s not really. It works a little differently and requires some memorization, but the script is  phonetic , meaning that you say it as you write it (mostly!), and  syllabic , meaning that it’s based on an alphabet and the syllables you can make with an alphabet. With some hard work, you can learn the script within a week and never look back.

There are four types of letters or syllables in Malayalam: initial vowels, consonants, dependent vowels added to consonants, and combining consonants for conjunct sounds. That means there are three tricky parts about learning the Malayalam script for English readers.  1) If a vowel begins a word, you must use its initial vowel  form.  When a vowel occurs in the middle of a word, you must use its  dependent vowel  form. 2) Consonants always have an inherent a-sound, unless they are marked with a different dependent vowel or “cut off” with the special sign that looks like small crescent, for example ത് ല്, or other marker. 3) For some clusters of consonants (str, pl, kr, ty, etc.) you will have to recognize and use a few special combining consonant forms. This guide covers the modern or reformed Malayalam script, established in the 1970s to facilitate typing and computer entry.

Let’s learn the initial vowels first. The chart below is also the alphabetical order for Malayalam vowels. Rounded letters are characteristic of most South Indian language scripts and you will gradually get used to writing with lots of curves. The Roman letter equivalents indicate that most vowels have both a short and a long version. Click each letter below to see a clip showing how each should be written by hand.

Next we come to the consonants. The full chart of consonants (also in alphabetical order) below is organized according to where in the mouth a letter is pronounced (from back to front in the rows) and the addition of aspiration, voicing, or nasalization (from left to right in the columns). Please consult the pronunciation guides for details. For now, first study the chart below to get an overview of all the consonants. Remember that all consonants have an inherent a-sound (short a) without any additional marker. Next, see how each consonant is formed in handwriting by clicking each. All the basic consonants should be formed in a single sequence of curved movements, i.e. your pen should not leave the paper—one complex motion.

To put consonants and vowels together, you need to use dependent vowels. To change the inherent a-sound of a consonant, you add a dependent vowel marker to indicate the new vowel. In the modern Malayalam script described here, all these markers stand apart from the consonant, usually to the right side of the consonant but sometimes on both sides (for ഒ ഓ ഐ and ഔ). (In the old script, some dependent vowels were joined directly to the consonant.)

See below how each dependent vowel connects to the letter ക:

The same dependent vowel markers are used with all basic consonants and the consonant clusters described below. The best way to learn the Malayalam script is to write all the basic consonants with all the dependent vowels over and over again. Try to write each group in a single line on the page. Something like this:

ക കാ കി കീ കു കൂ കൃ കെ കേ കൈ കൊ കോ കൗ ഖ ഖാ ഖി ഖീ ഖു ഖൂ ഖൃ ഖെ ഖേ ഖൈ ഖൊ ഖോ ഖൗ ഗ ഗാ ഗി ഗീ ഗു ഗൂ ഗൃ ഗെ ഗേ ഗൈ ഗൊ ഗോ ഗൗ

Do this twice a day for a week and you will be unable to forget these letters, especially if you pronounce each one as you go. Notice that some initial vowels and several dependent vowels extend below or above the imaginary lines within which each letter is written.

Many Malayalam words end in a special type of vowel that we will call the echo vowel (also called a schwa). Think of it as a kind of half-u vowel sound, a special dependent vowel. Echo vowel has no initial form. It is indicated by a small crescent high and to the right of a basic consonant (്). At the end of a word (where it most frequently occurs), the echo vowel is just another vowel sound.

However, the modern Malayalam script also uses the same symbol to cut off the inherent final a-sound in a consonant. As a general rule of thumb, if the echo vowel is at the end of a word, you can treat it as a half-u vowel sound; if it’s in the middle of a word, it cuts off the a-sound and creates a consonant cluster . Some simple examples with transliteration should illustrate the difference.

ത് (tǔ) as in അത് (atǔ) “that one” ട് (ṭǔ) as in നാട് (nāṭǔ) “country, region” ത്പ (tpa) as in ഉത്പത്തി (utpatti) “origin” ഷ്ട (ṣṭa) as in കഷ്ടം (kaṣṭaṃ) “trouble, problem”

There is another way to cut off the inherent a-sound in a consonant. In Malayalam, it’s called a cillakṣaraṃ , or cillǔ letter. For common words that end in a consonant, a line is drawn vertically to indicate that the a-sound is cut off. In principle, the echo vowel does the same thing, but in practice it’s better to treat echo vowel as a vowel. When words end with one of the following consonants, the cillǔ letter is required. They can also be used in the middle of words with the same effect. While related, therefore, the echo vowel and a cillǔ marker are not the same.

ണ → ൺ (ṇ) ന → ൻ (n) ര/റ → ർ (r) ത/ല → ൽ (t/l) ള → ൾ (ḷ) ക → ൿ (k)

Other consonants do not have cillǔ forms. Those all use the echo vowel marker to create a final consonant, though the half-u sound is often still pronounced.

ഷ് (ṣ) as in മാഷ് (māṣ) “teacher” ഡ് (ḍ) as in ഡേവിഡ് (ḍēviḍ) “David” (name) സ് (s) as in മനസ്സ് (manassǔ) “mind, heart” ങ് (ṅ) as in തെങ്ങ് (teṅṅǔ) “coconut tree”

The use of echo vowel and cillǔ letters is very common and you will pick up how to use each correctly with a little practice.

Many Malayalam words are spelled with doubled consonants, two of the same consonant written together into one syllable. Doubled consonants are written both horizontally and vertically. The second consonant in the cluster often uses a shortened form of the full consonant. Notice particularly the small triangle shape that doubles the letters ച യ and വ. Since doubled consonants occur frequently, you should get comfortable with these combining forms. Letters from the  ക and ങ (nasals) columns (not rows) above frequently double; other letters may double, but more rarely. Here are the most common doubled consonants.

Finally, many Malayalam words combine more than one consonant together into a conjunct or cluster. Usually, a conjunct combines two consonants by joining them horizontally at a common stroke or by using the echo vowel marker on the first. You shouldn’t have to memorize every possible cluster, because the methods or patterns of combining consonants are limited. Notice the patterns in some of the more common conjunct consonants:

Some n-sounds are tricky in how they combine with other consonants.

The remaining conjunct consonants often use the echo vowel marker to make conjuncts. Traditionally, these conjuncts would have been written vertically, with the second letter below the first. You will see both.

Finally, a few special combining consonant markers for the semivowels (യ ര/റ ല and വ) are used to make the writing less cluttered. These frequent combining forms are simplified or stylized versions of the regular consonant. These are the dependent semivowels .

ത് + യ = ത്യ വ് + ര = പ്ര പ് + ല = പ്ല സ് + വ = സ്വ

Once you have mastered the basic consonants and common conjuncts above, you will easily recognize other conjuncts that occur.

Here are a few of the most common mistakes made by people learning to read and write Malayalam.

• Be careful with the dependent versions of ഇ and ഈ below when handwriting. Unless they are clearly written higher than the top of the consonant, they can be confused with the dependent ആ marker. Example: പി vs. പാ.
• The letters പ and വ can be confused. Make sure the initial stroke in പ is small, less than halfway up the final vertical stroke. The top of the initial curved stroke in വ should be even with the top of the final vertical stroke.
• The letters സ and ഡ can be confused, because they are mirrored inversions of each other.
• The dependent vowel  ൃ (from initial ഋ) can easily be confused with the dependent semivowel marker for യ. Remember to close the final curve on the bottom of dependent ഋ. Example: തൃ vs. ത്യ.
• the lower elements of the initial vowels ā, i, ī, u, ū, e, ē, and ai should extend below the line; examples: ഇ ആ ഉ ഏ.
• the dependent u, ū and ṛ vowel markers ( ു  ൂ and ൃ) and all the dependent semivowels (യ ര ല and വ from the previous section) should extend below the line; examples: വു സൂ കൃ വ്യോ ഗ്രു ശ്ലോ and ശ്വ.
• the dependent i, ī, and echo vowel markers should be clearly written above the line:  ി  ീ and  ്; examples: പ്രി ടീ ത്.
• the cillǔ marker should extend above the line. examples: ൻ ൾ.

To put all these syllables together, you simply write each letter/syllable one after the other to form words, left to right.

മ + ക + ൻ = മകൻ “son” പ + ട്ടി = പട്ടി “dog” പോ + കാ +  ം  = പോകാം “let’s go”

In general, to write a Malayalam sentence you just put words together with a space in between each word. However, you will quickly see that Malayalam, like many Indic languages, often makes use of sandhi , joining words together in a composite written form and even sometimes modifying a word’s spelling to make it easier to say—something like the contraction from “cannot” to “can’t” or from “what do you” to “whadya” / “whaccha.” These contractions or joinings occur much more frequently than in English. Unfortunately, they are also not applied consistently in all written Malayalam. For now, we give some simple sentences with each word spaced and some very simple examples of sandhi . A full explanation of sandhi is given elsewhere (see Malayalam Sandhi ).

With spaces ഞാൻ വീട്ടിൽ പോകുന്നു. “I am going home.” വെള്ളം തരൂ. “Please give me some water.” എനിക്ക് പഠിക്കാൻ വയ്യ. “I don’t feel like studying.” ചെച്ചി എവിടെ പോയി? “Where did elder sister go?” With simple sandhi അത് ആണ്. → അതാണ്. “That’s it.” (consonant-vowel) നിങ്ങൾക്ക് ഉണ്ടോ? → നിങ്ങൾക്കുണ്ടോ? “Do you have it/any?” (consonant-vowel) അനിയത്തി എടുത്തു? → അനിയത്തിയെടുത്തു. “Younger sister took it.” (vowel-vowel)

"The Malayalam Script" created by Donald R. Davis, Jr. , University of Texas at Austin.

All resources on this site are licensed under a Creative Commons Attribution 4.0 International License .

Funded by a grant (P017A200040) from the U.S. Department of Education’s  International and Research Studies  program, with additional support from the  South Asia Institute , University of Texas at Austin.

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Collection of Essays in Malayalam

2018, Open Read

This is a collection of essays in Malayalam. The book was published in 2018, by Open Read. This set of essays tries to engage with feminism relating it to larger debates on minority, nation state and citizenship

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Malayalam: Scripting Tradition and Modernity

The article explores the rich tradition of Malayalam script and its evolution in the face of modern technologies. It delves into the challenges and innovations in adapting the script to digital platforms while preserving its cultural heritage.

Malayalam literary culture is marked by a number of contradictions.

Malayalam , primarily spoken in the Indian state of Kerala, has relatively few speakers (~33 million) compared to other major Indian languages, but it boasts a robust written culture; Kerala has the highest literacy rate in India, and has done since before Independence.

Malayalam-language newspapers have disproportionately large readerships. Malayala Manorama , for example, is India’s fifth most read newspaper with an estimated 8.3 million readers, behind four Hindi-language newspapers. For comparison, Hindi has more than 500 million speakers, over 15 times as many as Malayalam (according to the 2011 Census).

All of this is despite literary Malayalam’s relatively young existence as a medium of literature, compared to India’s other literary languages.

Linguistically, Malayalam can be traced back to Old Tamil, used for literature as early as the 4th century CE. However, from the 14th century CE onwards, a Malayalam literary form, distinct from Classical Tamil and reflecting local linguistic evolution and social conditions, began to take shape.

In the centuries that followed, Malayalam literature continued to grow, but was yet to find a firm footing as a literary medium. In fact, early 19th-century print culture played an important role in this process, allowing not only for standardisation of literary forms, but also an unprecedented level of text circulation and production.

Print and modern literary movements were important in securing Malayalam’s place in the modern world, helping establish its distinct character and keeping it from being overwhelmed by neighbouring languages with longer and more widespread traditions.

On the graphical level, the Malayalam script is also infamous for having many complex combining forms, arguably more than any other major Indian script. This complexity posed challenges to printers working with metal fonts, challenges that so-called Traditional Malayalam still poses to modern font designers.

How was one of India’s most complex scripts shaped by these same modernising tendencies that Malayalam literature so wholeheartedly embraced? In this essay, we look at the Malayalam Script Reform of 1971, its intellectual and technological lineage, and its consequences.

Pre-modern writing in Kerala

The modern Malayalam script descends from the mediaeval Grantha script, used in the Tamil, Tulu and Malayalam regions to write Sanskrit.

The local variant of Grantha, referred to as ārya eḻuttu (‘noble writing’) in Malayalam, was unsuited to the local vernacular, which featured a number of Dravidian phonemes absent in Sanskrit.

In fact, Malayalam itself was primarily written in the cursive vaṭṭeḻuttu (‘round writing’) script in this period, a script originally from the Tamil region. In pre-modern times, the language variety of Kerala was often still identified as Tamil, and a distinct local linguistic identity had yet to take shape.

The oldest extant written examples of the Malayalam language are also in the Round script, including the famous Vāḻapaḷḷi plates of 882–3 CE. Before printing, the Round script was more popular than the Malayalam script in terms of daily usage.

Around the 1500s, literary Malayalam increasingly began to be written in the Arya script, with letters taken from the Round script to represent Dravidian phonemes. Some orthographic conventions were borrowed from the Round script as well, most notably special letterforms used at the end of syllables, called cillu .

This development was a compromise of sorts, an effort to better accommodate the renewed infusion of Sanskrit loanwords into literary Malayalam, while ensuring that its underlying Dravidian morphology and phonology would still be represented faithfully.

This shared, two-tiered inheritance forms the basis of the modern Malayalam script, and accounts for its ability to write intact (in theory) both Indo Aryan loanwords and its core inherited Dravidian lexicon.

Like much else that characterises modern Malayalam, this parallel system is credited to the legendary Malayalam poet Tuñcattŭ Eluttaccan (albeit without any real evidence).

Early printing outside Kerala

The first book to be printed in Malayalam, Samkṣēpvēdārttham , was printed at Rome’s Polyglot Press in 1772. Alphabetum Grandonico Malabaricum and Centum Adagia Malabaricum followed shortly afterwards. The former is particularly interesting, as a treatise on the Grantha script used in the Malayalam region.

Clement Pianius, a Malayali Christian, cast the font used in these books. The font was reported as tedious to produce, featuring 1,138 individual type punches.

Over the next few decades, more Malayalam books were printed, but outside of Kerala. The first Malayalam font cast in India was at Bombay’s Courier Press, used in the popular Ramban Bible (1811, the first Bible translation into Malayalam), and Drummond’s Grammar of the Malabar Language (1799).

As elsewhere in South Asia, the introduction of printing put pressure on existing multiscriptal traditions. When European missionaries began to print in Malayalam, they preferred Arya script-based writing to the exclusion of the Round script, helping cement the status of the former as Malayalam’s primary script. In fact, the Round script would never even make it into print, although it continued to be used in handwriting 1 .

Pre-print Arya script writing featured a number of complex combining forms: -i, -ī, -u, -ū, -r̥ mātra forms, as well as stacked consonant clusters. These forms carried over into early printing as well, albeit with great inconsistency.

For example, the -ā mātra was the same across consonants, but in the early fonts it would be cast differently with different consonants, reflecting the carelessness of the typographer. In other words, such fonts were not very typographically sound, and were more functional than aesthetic or internally consistent.

These fonts cast outside Kerala all use blockier inscriptional-style letterforms, reminiscent of Grantha inscriptions, different from the Malayalam script in use today.

Benjamin Bailey and early printing in Kerala

Malayalam typographical development took off in earnest with the efforts of Benjamin Bailey, an English missionary associated with the Church Missionary Society (CMS). Bailey was deputed to the town of Kottayam in 1816 to set up a CMS mission station there, at the invitation of the Raja of Travancore.

A press was set up in 1821, to print materials to aid the society’s efforts in preaching and education. But Bailey was keen on printing texts in Malayalam as well.

To that end, Bailey’s CMS superiors sent him a Malayalam font cast at their headquarters at Fort St George in Madras, modelled after the Courier Press font used in the Ramban Bible . Two Malayalam books were printed at the CMS press in 1825, using this font. These books – the Gospel of St Matthew and Ceṟuppaitaṅṅaḷkku Upakārārtham – were the first Malayalam books to be printed in Kerala.

Bailey was unhappy with the results, however. The Madras font was, in Bailey’s own words, ‘very defective’, and even ‘nearly useless’. In letters to Madras, he spoke of its inconsistencies in letter shapes and dimensions, and incorrectly shaped letterforms.

Working with local metalsmiths, Bailey designed a new metal Malayalam font (originally cast in silver), making efforts to adhere to the principles of typography. A complete metal font was ready by 1829, and was used to print a Malayalam translation of the New Testament, supervised by Bailey. His new font was quickly recognised for its superior quality and legibility.

Bailey’s insistence on a high-quality font was mirrored by his painstaking effort in ensuring the entire range of complex combined forms was represented by metal types. In fact, another one of his primary criticisms of the Madras font was its deficiency in type sorts for complex forms.

The only attempt he made at the simplification of the system was to detach -i and -ī mātra forms from consonants altogether. This innovation caught on and has been part of printed Malayalam ever since.

Very significantly, Bailey’s seminal 1829 font introduced rounded letterforms, in contrast to the earlier inscriptional-style fonts. They show strong continuity with those found in paper and palm leaf records from the northern Malayalam region, closer to the Kannada region. They also had the benefit of being more compressed, making it easier to reduce type size. Bailey’s font also halved printing costs, since letters took up less space and could be typeset more easily.

All in all, the visual differences between Bailey’s 1829 font and earlier Malayalam fonts are striking. His rectification of letter dimensions and alignment, as well as letterform variation, gave his font a certain elegance that Malayalam printing had never seen before. According to linguist Rama Warrier, letters in Bailey’s 1829 font mainly started from the baseline and some from the cap line, but in earlier fonts the starting point was often a lot more haphazard.

Bailey continued to design Malayalam fonts. In 1835, he helped the Raja of Travancore set up the Government of Travancore Press, and shared his fonts with the press for their use. He also cast two fonts in 1840, while back in his native England.

Further north, in the northern Malayalam region (ruled by the British from Madras), parallel developments were taking place. The German missionary Hermann Gundert, attached to the Basel Mission (headquartered in Mangalore), arrived in Tellicherry (now Thalassery) in 1839. Initially tasked with imparting religious education, Gundert soon became fascinated by Malayalam and local history. He learned Malayalam and began to work on documenting local culture, language and literature.

Gundert’s contributions to Malayalam were primarily linguistic and philological 2 , but he also oversaw lithographic printing efforts in Malayalam from Tellicherry, including the first Malayalam periodicals, Paścimōdayam (1846) and Rājyasamācāram (1847).

Among Gundert’s contributions is the introduction of the candrakkala symbol ് into printed Malayalam, a half-moon symbol used to mark the word-final schwa /ə/, as in kaḷḷǔ ‘toddy’. This symbol would later evolve to incorporate other functions, and came to play an important role in script reform efforts.

Later, Gundert helped set up the Basel Mission Press in Mangalore, where Malayalam texts were printed using metal fonts (which featured the candrakkala ), alongside texts in the Kannada script (in Kannada, Tulu and Konkani).

Journalism and periodicals

By the mid-1800s, the Malayalam print sphere had begun to expand beyond the religious and educational. Commercial interests and literary figures began to be involved in printing, and modern periodicals were started in Malayalam, setting the stage for a host of new themes, styles and ideas to enter the realm of print.

These literary endeavours sought to reshape and redefine literary Malayalam, to give it a modern identity outside the shadow of Sanskrit and literary Tamil. This was largely an effort to address anxieties around Malayalam’s relatively younger literary identity.

As this modern literary Malayalam took shape, so did a new socio-linguistic identity centred on the language and its speakers. Commercial printing played a key role in this process, just as it did in other literary South Asian languages.

The first privately Malayalam owned press was the Kēraḷavilāsam Press, founded in Trivandrum, the capital of Travancore, in 1852. More would come up in the following years, many even casting their own fonts, fonts modelled after Bailey’s own.

Out of all the players involved, Kandathil Varghese Mappila, the founder of Malayala Manorama (printed at the eponymous Malayala Manorama Press in Kottayam, also founded by him), was a particularly important force in broadening the scope of discourse in Malayalam. Crucially, Mappila’s work, as historian of literature Ashokan Nambiar writes, featured an ‘integration of the coordinates of the printing world: printing, publishing, editing and writing’.

In addition to his many contributions to journalism and publishing, Mappila wrote numerous essays and editorials on Malayalam printing, a subject that had yet to be dealt with in writing. These writings represent his own experiences working with the printing process, but also reveal his vision of adapting print technology to modernising Malayalam.

In an interesting essay, Mappila writes (correctly) how Malayalam’s 56 individual letters were in practice merely base forms, and that the true number of letters in the script would be in the hundreds, making Malayalam a hassle to print. He also observed that the steadily increasing number of English loans were written linearly, since conjuncts were written according to Sanskrit and Malayalam grammatical rules (which did not apply to English). He then argued that since linear conjunct writing was being used anyway, why not extend it to non-English consonant clusters as well, saving printers hours of effort and many rupees?

Mappila went even further and attempted to apply this idea in Malayala Manorama and other periodicals and books published at his press. He used a dot-like diacritic to represent half consonants, allowing for consonant clusters to be written linearly instead of as conjuncts. This attracted criticism from literary figures and was perceived as breaking continuity with older writing, and he soon had to go back to the traditional pattern of complex conjuncts.

Despite its eventual failure, this innovation foreshadowed the convention of using the candrakkala for splitting up consonant clusters.

Mappila also observed that the Koonamavu Mission Press, run by the Roman Catholic Church, had briefly used detached -u, -ū, -r̥ mātra forms in their publications from 1872 to 1873, the first recorded attempt to simplify these vowel mātra forms. To Mappila, this made perfect sense, since it could ‘greatly reduce the stress printers face in printing’.

Unfortunately, with Mappila’s death in 1904, printing as a topic of discourse and intellectual inquiry largely receded to the footnotes of the Malayalam literary sphere for the rest of the pre-Independence era.

20th-century printing and Malayalam font complexities

After Kandathil Varghese Mappilla’s abortive script reform attempt in the late 1800s, no major suggestion emerged for many decades.

Script reform does not seem to have been an active concern for local intellectuals either, who were more focused on debating social issues and working with literary themes. Kerala also lacked major industrial hubs, and local intellectuals didn’t have ready access to advances in print technology, seeming instead to have adhered to existing written standards.

This is in stark contrast to Bombay-based Marathi- and Gujarati-speaking nationalist and literary figures who sought to reshape the very image and structure of the Devanagari script through experimentation with print technology, which we explore at great length in our essay, The Makings of a National Character .

That being said, the Malayalam script continued to evolve, albeit at a subdued pace of its own.

As Malayalam print researcher Shiju Alex writes in an essay , the candrakkala became increasingly used to mark half consonants by the early 1900s, primarily for English loanwords. He also notes that the repham became less common around the same period, since English loanwords represented clusters with ൪, as in പാ൪ക്ക് ‹pārkk› instead of ധൎമ്മം ‹dharmmam›.

The alveolar stop /t/ in English words was borrowed intact into Malayalam 3 , represented by ററ ‹ṟṟ› used for native words. However, in native words, the sound can only appear between vowels and usually only once, whereas English loans disrupted this pattern by introducing it in new positions and even multiple times in the same word. This led to confusing (and somewhat ridiculous) scenarios where a word could feature chained sequences of റ, with multiple theoretically correct readings based on how these sequences were parsed.

On top of these English-induced changes, Malayalam writing came up against forces more technical than linguistic or literary: the increased commercialisation of newspaper text space, and the tedious labour involved in printing Malayalam at scale. Unlike books, newspapers placed a premium on the compactness of text, aiming to fit in as much editorial content and coverage as possible, with extra space able to be sold for advertisements.

In fact, the journalism sphere in Kerala was the most robust in all of India at the time of Indian Independence – in 1951, Malayalam dailies sold almost as many copies as Hindi ones, a language with over ten times as many speakers at the time.

On one hand, the number of unique type punches needed to represent the range of Malayalam letters was roughly a thousand, involving intensive labour in designing and setting these types. On the other hand, typesetting was challenging because graphical elements could break alignment and crowd up precious whitespace.

The ‹r›/‹y›/‹v› combining forms included both descending and ascending elements and looped back around the base consonant, taking up much whitespace and leaving the letter with multiple tiny apertures.

In short, working with metal Malayalam types was challenging.

Frustratingly enough, these challenges arose from the very script grammar of the language – fonts that were faithful to the Malayalam script’s structure would necessarily be difficult to use, and fonts that used simpler forms would by definition produce unfaithful representations of Malayalam.

It’s an open question as to whether or not these issues significantly hindered the development of a wider range of fonts, but it seems highly likely.

Nor were Malayalis unaware of these issues.

A 1953 article in Malayala Manorama pointed out that Malayalam had the most number of individual characters in the world after the complex Chinese character system, making script simplification a very real concern for ‘language patriots’.

Other articles also stressed the need for Malayalam printing at scale in journalism, to keep up with the requirements of the modern world. The contemporary printing process was described as ‘creating an irredeemable expense of time’ with the script making ‘modern typesetting impossible in it’.

One typesetter even half-joked how the total distance involved in walking across the printing room to fetch the necessary punches over the course of a day’s work could amount to many kilometres.

Newspapers occasionally used linearisation to overcome limitations in space, and detached -u, -,ū mātra signs to avoid breaking alignment. But these workarounds functioned on an ad hoc basis, subject to the space available and the forms used.

Responses on an institutional level only emerged after Indian Independence in 1947, with the formation of the Malayalam-speaking state of Travancore-Cochin (from the merger of the erstwhile kingdoms of Travancore and Cochin).

Early script reform and debates: preludes to 1971

After Independence, Malayalam speakers led India in literacy, and Malayalam boasted a robust public literary sphere – yet print technology was seen as lagging behind.

We looked at archival sources in Malayalam to get a sense of the circumstances and ideas that animated these discussions. In fact, most of the materials referenced in this report are being studied and written about for the first time here.

The dissemination of hot-metal typesetting equipment, particularly Linotype and Monotype machines, and typewriters raised the question of how to modernise the Malayalam script 4 . ‘Composing with machines must be implemented if thousands of copies of a newspaper are required to be printed elegantly without mistakes, in a short span of time’, as an editorial summed it up. A 1953 article in Malayala Rajyam went so far as to claim that Malayalam could only call itself a modern language if it could be composed on Monotype and Linotype machines.

In 1951, the University of Travancore at Trivandrum (now the University of Kerala) set up a committee to develop an ‘abbreviated’ Malayalam script.

Key members of the committee included K. Bhaskaran Nair 5 , a zoology professor and Malayalam writer with a keen interest in typewriter design, G. F. Amalanathan, the Linotype-trained superintendent of the Travancore-Cochin Government Press, and K. Godavarma, a literary figure and linguist.

In addition, representatives from Monotype and Linotype attended as technical advisors.

Intriguingly enough, official records of the committee note that the ultimate objective of the abbreviated script was usage on Monotype composition machines, going so far as to call it ‘the reform of the Malayalam script so as to suit the Monotype Machine’.

Nair maintained correspondence with Monotype representatives, revealing his persistence in ensuring that Malayalam would be supported by the company’s machines. He even personally reviewed and suggested edits to prototypes from the company, and devised a core letterset based on a frequency analysis done by Amalanathan. Monotype’s advisor made changes to Nair’s letterset as well. Amalanathan cast a new font based on these discussions, which Monotype tested and then confirmed that it worked on their machines.

The Committee submitted its recommendations in 1953:

The -u, -ū mātra forms would be regularised, represented only as ു, either descending from letters or written to their right. Low-frequency consonant clusters would be represented linearly, using the candrakkala . Certain characters – with less upper whitespace – would use a vertical mark (|) instead of the candrakkala .

Despite these encouraging developments, however, the committee’s efforts appear to have lost steam somewhere along the way. The committee was clear that its suggestions would have to secure public approval first, and in 1953, it seems to have been presented to managing directors of newspapers. As it would turn out, the newspapers were sceptical of the proposed reform, from its recommendations to the collaboration with foreign corporations.

A 1953 article in Deepam cautioned against allowing ‘vested interests from owning Malayalam’. Manorama scoffed at the efforts, pointing out that their early editors-in-chief (including Kandathil Verghese Mappila) had attempted serious script reform before anyone else. It also questioned the expertise of the committee members.

These newspapers also criticised the reform for not going far enough. The unified ു forms were welcomed, but detached forms were suggested instead, with references to the Koonamavu Press’ publications in the 1870s. The selective linearisation of clusters was described as incomplete and insufficient, with Manorama suggesting more far-reaching linearisation. The vertical marker | was ridiculed for being redundant.

In the meantime, the correspondence between Nair and Monotype turned sour over commercial rights and implementation, with both parties reaching an impasse.

Despite public disapproval and the commercial failure of the project, the 1951–53 reform attempt made room for public discourse and debate on the subject of script reform.

The 1971 Script Reform

India’s 1956 linguistic reorganisation of states led to the formation of Kerala state, intended as a political unit representing Malayalam and its speaker community. Broadening the scope of the Malayalam language in administration became a top priority for the state.

Across India, the typewriter had come to represent modernity in the written language, a device that could fuel aspirations of true linguistic and literary maturity. The writing on the wall was clear: if Malayalam was to be the state’s primary language, it would have to be typed, and necessarily be typed with ease and great speed without excessive cost to boot.

Or as one newspaper article put it, ‘the main obstacle pointed out by all departments and employees in making Malayalam the official language is the lack of a good Malayalam typewriter.’

Several themes emerge across writings on script reform, print technology, printing and linguistics in the years between 1951 and 1971, all of them tying back to navigating the complexity of the Malayalam script. An underlying anxiety was the modernisation of the Malayalam language by updating the script to the modern era, since, as one observer wrote, it ‘was designed for the stylus on palm leaves, not for machines’.

Records clearly show how script reform had become a concern that involved a range of interest groups – literary figures, typewriter manufacturers, printers, government officials and managing directors of major newspapers.

Malayalam literary culture had continued to mature, but the script itself with its numerous complex combining forms and contextual variations was poorly suited to the typewriter. A 1971 Mathrubhumi article noted how four or five keys needed to be pressed to write just one letter, and that 500 letters had to be represented with 92 keys.

Clearly, this was a critical juncture for the language.

The Government of Kerala took heed of these concerns, taking the initiative to set up another script reform committee in 1968, with lexicographer and writer Sooranad Kunjan Pillai at its helm. K. Bhaskaran Nair was a member of this committee as well, and a Madras-based representative from Monotype also participated. The director of the Kerala Bhasha Institute (set up in 1968) and the secretary of the state’s Ministry of Education (who convened the committee) represented the government’s involvement.

Crucially, this time the committee included the managing directors of Malayala Manorama , Kerala Kaumudi and Mathrubhumi ( Manorama and Mathrubhumi were, and still are, Kerala’s two most widely read dailies).

The committee submitted its recommendations in 1969, made official by the Government of Kerala in 1971 .

The -u, -ū mātra forms would be reduced to one set of forms, detached from the combining consonant. The -r̥ mātra would be detached from the combining consonant. The dot repham would be phased out. Apart from a set of consonant clusters – mostly consisting of 18 clusters occurring in native Malayalam vocabulary – all other consonant clusters would be represented linearly, with the candrakkala . The special combining forms for ‹y›, ‹r›, ‹v› would be unified and detached from the combining consonant, to allow for more whitespace and legibility. Cillu forms would be retained, for their uniqueness and grammatical function.

A couple of years later, certain additional recommendations came up, based on linguistic concerns.

The high-frequency Sanskrit clusters ന്ദ ‹nd› and ക്ഷ ‹kṣ› would be added to the official character set. The modern combining forms റ്റ ‹ṯṯ› ന്റ ‹nḏ› would be added to the character set, to reduce ambiguity.

This 1971 Script Reform marks the formal birth of so-called Simplified Malayalam, distinguished from older ‘Traditional’ Malayalam. From this point on, Malayalam had two parallel orthographic systems: Simplified Malayalam, intended for printing, and Traditional Malayalam, retained for handwriting.

Script reform principles

The writings of the script reform committees and commentators offer an insight into the scientific and linguistic underpinning of their efforts. Letter frequency analyses for example formed an important component, leading to the later additions of ന്ദ ‹nd› and ക്ഷ ‹kṣ› to the official character set.

Significantly, the suggestions didn’t follow any overarching logical principle of linearisation or simplification, but are instead a set of compromises between print technology capability, text legibility, linguistic and literary considerations, and user convention. It would be inaccurate to see the move as primarily ‘rational’, since it incorporated these numerous socio-linguistic variables.

For example, the 1968 Script Reform Committee wanted to retain distinct combining forms for native (i.e., occurring in inherited Dravidian words) consonant clusters given their elegance and importance for the language. This was done despite the fact that some of them, like ഞ്ഞ ‹ññ›, were distinctly longer than other characters.

Combining forms for Sanskrit clusters on the other hand were marked for linearisation. Many only appeared in obscure words anyway, as frequency analyses showed.

In fact, none of the suggestions were radically novel or without precedent – all of them drew from conventions and symbols already current, ones attempted by earlier printers (including in Kandathil Varghese Mappila’s writings almost a century earlier), and suggested and proposed anew in the years following 1951.

The 1971 Script Reform’s novelty came from its institutionalisation and formal standardisation, not its design or even its suggestions.

Script reform in practice

The scope of the 1971 Script Reform was initially a lot less ambitious, restricting itself to education and government communications. Records show that the traditional orthography was intended to be taught to students after the 2nd grade, but this seems to have been ignored.

Very importantly, newspapers adopted the new orthography in their own ad hoc fashion. For example, Mathrubhumi kept the complex -r̥ form because it featured in their masthead (Mātr̥ubhūmi).

A 1985 analysis by linguist S. Sreekumari shows that Malayala Manorama used linearised clusters more frequently, and Kerala Kaumudi preserved older forms more, with Mathrubhumi somewhere in the middle. To make things more confusing, she also notes that these were tendencies involving a high degree of free variation, with no consistent patterns.

In general, the detached -u, -ū forms have persisted more than linear clusters or simplified ‹r›, -‹r̥› forms and can be seen as the main innovation of the 1971 Script Reform.

Students at schools began to be taught Simplified Malayalam in textbooks, while their parents and visual media around them – including hand-painted signage and movie posters – continued to use Traditional Malayalam. Simplified Malayalam made its way into the mainstream through younger speakers, but it did not displace Traditional Malayalam.

Ultimately, a range of typewriters and metal fonts were in use even well into the 1980s, hindering any envisioned unification of the Malayalam script.

Digital printing and contextual variation

The 1990s ushered in a new radical shift in technology: digital publishing.

The earliest digital Malayalam fonts were ISCII encoded, with each font having a hard 256 character limit. Naturally, this ruled out the inclusion of Malayalam’s vast range of individual combined forms.

In 1997, the Government of Kerala proposed a new set of reforms, which would completely linearise consonant conjunct forms. This suggestion sparked local groups and individuals into action.

Rachana Akshara Vedi, a community group of computer scientists, made efforts to bring the traditional orthography onto digital devices. They came up with an ingenious workaround – using six different fonts in parallel to represent complex combined forms, using a custom-designed text editor.

Rachana’s Traditional-style Malayalam printing workaround caught the attention of important literary figures, and was used to publish books. According to researcher and type designer Santhosh Thottingal, M. T. Vasudevan Nair and M. Krishna Nair were two major writers who were in favour of Rachana’s Traditional Malayalam font, and Krishna Nair even insisted that his weekly newspaper column be printed in Traditional-style letters.

Local newspapers included debates on the ‘return’ to Traditional Malayalam that Rachana had made possible, with Mathrubhumi preferring it and Manorama questioning its feasibility (reflecting earlier debates).

The spark that Rachana lit soon found expression thanks to advances in text encoding. Malayalam was added to Unicode in 1991, and in 2005 the Malayalam character set was expanded, following a report containing a set of recommendations from the Government of Kerala.

A Unicode font called Rachana, featuring Traditional Malayalam combining forms, was designed in 2005 by the Swathanthra Malayalam Computing group in collaboration with Rachana Akshara Vedi and Unicode. The font was added to Linux operating systems.

The Windows XP Service Pack 3 in 2004 added Unicode support for Indic scripts including Malayalam. However, the default Microsoft Malayalam font (following the Reformed orthography) and its rendering engine were of low quality.

Around 2010, the Government of Kerala decided that all computers at government offices and public schools would use free software and Linux operating systems. This move meant that the Rachana font, with its Traditional-style letter forms, entered common usage across the state, even reaching children in their homes via their personal devices.

Options in fonts have only kept growing since then, as have their font rendering engines. At the same time, however, the orthography displayed on an app or a webpage is then completely dependent on the font used by that platform, and on the functionality of the rendering engine. For example, the stock Malayalam font on Android devices uses Simplified orthography, while the default Malayalam font on Linux OSes is Traditional-style.

Today, the limitations of metal font design that once plagued printers working with Malayalam are no longer insurmountable, and the choice between complex Traditional Malayalam and Simplified reformed Malayalam is a question of user preference.

In other words, the Traditional vs Simplified divide has moved from the hard contours of metal type to the abstractions of socio-linguistic variables. Understanding what goes into these choices, contextual preferences and the considerations of design can help font designers break away from this idea of a hard binary.

Traditional vs Simplified: a false binary?

Script debates notwithstanding, popular usage today draws from across the spectrum.

Some elements of the 1971 Script Reform have been adopted so wholeheartedly that not even Traditional Malayalam purists have opposed them. The dot repham (ൎ) and linear ‹nṟ› ‹ṟṟ› forms (ൻറ, ററ) have been fully phased out of Malayalam writing and only appear in older texts.

Today, the debate centres on -u, -ū, -r̥ mātra usage, and complex conjuncts. But even within this, there seems to be a hierarchy, with detached mātra forms being more common than linear conjuncts.

To better visualise and conceptualise variations in preferences, we propose a visual model of the spectrum, from more traditional to more linear – the orthography proposed in the 1971 Standard is on the more linear side of the spectrum.

Digital typography has removed the physical limitations of designing complex forms, bringing variations in user preference and legibility to the fore instead.

At the same time, technology also allows for dynamic combining patterns, where legibility and alignment take precedence over a strict adherence to Traditional-style stacked clusters. For example, a complex combining form like ‹strū› would feature a number of stacked and looped elements, making it awkward to represent faithfully in one letter, without any linearisation to help spread it out and preserve alignment.

There is a tendency for Traditional Malayalam to be written off as outmoded, impractical or even difficult, but that ignores the fact that strong emotional ties to the elegance of Traditional Malayalam persist, especially among the culturally inclined.

Traditional Malayalam is commonly seen as more aesthetic and representative of Malayalam’s uniqueness and literary character, a cultural attitude also reflected in how the 1971 Script Reform sought to retain consonant clusters used in native Malayalam words.

For example, it’s common for school students to attempt to approximate Traditional Malayalam when writing by hand in more cultural or literary oriented contexts, a mark of how closely Traditional Malayalam is linked to these identities.

A 2018 article authored by Malayalam researchers Kavya Manohar and Santhosh Thottingal explores the impact of script reform on visual representations of Malayalam. They show how Traditional Malayalam has enjoyed increasing visibility in recent years, from meme pages to movie titles. The article goes on to document how major newspapers have also announced that they will be reverting to Traditional Malayalam, while publishers increasingly use Traditional-style fonts.

Manohar and Thottingal conclude that the main driver behind this trend back towards Traditional Malayalam seems to be the growing availability of digital fonts that support Traditional Malayalam, but they stress that this trend is underpinned by existing preferences, both cultural and aesthetic.

In other words, when the option to use Traditional Malayalam is available, many users actively prefer it. It cannot be taken for granted that all audiences will prefer Simplified Malayalam by default.

Publishers in particular play an important role in navigating the spectrum of Malayalam script usage, given the importance of literary culture – writing, reading and printing – in Kerala. We spoke to different figures placed in the industry to understand the rationale behind the orthographic choices in their publications, and their perception of reader response. Manuel George, chief visual editor at Malayala Manorama, the most widely read Malayalam newspaper, told us that Manorama uses fonts produced in-house for both their print and digital editions, and these fonts follow the Simplified orthography.

George explained that Manorama believed younger readers would be more familiar with Simplified Malayalam, and likely unfamiliar with certain unique letter combinations in Traditional Malayalam. He told us that Simplified Malayalam had a wider potential reach, since it is also comprehensible to people who prefer Traditional Malayalam.

At the same time, he spoke to us about his team’s plans to design Traditional orthography variants of their fonts, especially for headings and titles. Despite their editorial position, which is to use Simplified orthography, Traditional forms cannot be ignored, and the option to represent them needs to be available, he added.

It is tempting to trace Manorama’s contemporary position back to the newspaper’s response to script reform efforts, and even further to Kandathil Verghese Mappila’s own thoughts on script.

Govind Deecee of DC Books, Kerala’s largest publishing house, told us that their books were mostly printed in Simplified Malayalam (using two in-house designed fonts) for similar reasons of inclusion. Interestingly, however, he added that they were beginning to use Traditional Malayalam for book chapter titles, similar to Manorama. Lettering used for book covers also often incorporates Traditional Malayalam, albeit not necessarily for every letter.

The 2022 Script Reform: 1971 revisited

In mid-2022, the Government of Kerala approved and issued a new script reform order , just over half a century since the 1971 Reform.

The new script reform seeks to update the Simplified orthography by establishing a new standard, one that acknowledges advances in technology. For clarity’s sake, we’ll call this the updated 2022 orthography.

• It accepts the usage of complex stacked consonant conjuncts. • It allows complex ‹r›‹y›‹v› combining forms. • It continues the usage of unified, detached -u, -ū mātra forms. • It continues the usage of linear consonant clusters for certain combinations.

The provisions of the new orthography are illustrated in a document titled ‘Rules for Writing Malayalam’, available online . Pages 1–6 cover the changes it introduces and offer examples of letterforms and comparisons with Simplified Malayalam.

We managed to speak to VP Joy, the Chief Secretary of Kerala, who instituted and chaired the 2022 script reform committee himself. The 15-member script committee comprised, among others, literary figures, including Madhusudhan Nair. The committee’s work has been projected as a pro-Malayalam move aimed at bringing unity to the written language.

When asked why he initiated the recent reform, Joy began by returning to the 1971 Script Reform, and how the large number of unique Malayalam conjunct forms made it a necessity at the time. However, he continued, since computers lack the limitations of metal type, digital fonts allow for a return to the full range of Malayalam’s graphic variation. At the same time, he justified the continued usage of detached vowel markers as ‘more logical’ than bringing back the complex contextual variation of -u and -ū markers.

Joy admitted that adoption will most likely be slow, but he was pleased that there hadn’t been any major opposition or objection to the move, including from literary figures. He was also expecting wider implementation to take time, over the course of a few years.

Joy pointed out that unlike the 1971 reform that required new metal fonts, modern changes to the script are much easier to make thanks to digital technology reducing the level of effort involved.

The main challenges, in Joy’s opinion, will arise from ensuring more and more people use the new orthography, including children learning and becoming comfortable with it, and newspapers and publishers introducing it to older readers.

Interestingly, Joy asserted that a script reform should have been enacted when Unicode fonts were introduced, in collaboration with Unicode itself. This would have ensured greater uniformity and standards compliance at what was a crucial moment in Malayalam’s wider transition to the digital medium.

Speaking of his vision for the reform, Joy shared that the Government of Kerala was working on putting out another 15–20 digital fonts in the new orthography, and that a 140,000-word Malayalam dictionary adhering to the 2022 orthography would be published on the Government site. He also told us that textbooks for the next academic year (2024) would feature reformed spellings.

In his roadmap for the future, Joy plans to introduce the 2022 orthography into the Bureau of Indian Standards and have the standard codified, bringing it into official national policy. If carried out, digital devices would likely have to adhere to the orthography to ensure compliance.

It’s significant that this order is a move to bring the official standard closer to Traditional Malayalam, attributable to a perception of Traditional-style forms as more elegant and ‘authentic’. It reverses some of the changes proposed in 1971 but retains the most radical one.

Once again, we see that detached -u, -ū forms are the primary source of difficulty, reflecting popular variation in usage. In 2022, however, this is because of a perceived difficulty in children learning these forms, rather than any technical issues in representing them.

The order calls for uniformity in written Malayalam, in a time when font usage itself has become so decentralised, with font support dependent on platforms and devices. Additionally, it states that printed text facilitated by digital technology following any other written conventions, including Traditional Malayalam, should be discouraged in the interest of uniformity and standardisation. This stands uncomfortably with the fact that Traditional-style digital fonts are in wide usage and in many cases even actively preferred.

At the same time, the poorly documented variation in practice today results in a lack of reference points for web and software developers and font designers.

The Government of Kerala has set up a web page with a set of fonts, free to download and use. These fonts all follow the 2022 orthography, but were created by forking existing Traditional-style fonts and editing them, which has consequences for their visual consistency and rendering.

Both George and Thottingal also pointed out that the 2022 reformation has yet to make its way into Malayalam textbooks, meaning that it will not be reaching new students – and by extension, new readers of Malayalam – yet.

We spoke to publishers in order to understand their perspective on the proposed script reform update.

Manuel George was ambivalent on the 2022 orthography, telling us that Manorama had no plans to adopt it in the near future, but may decide to assess its feasibility in a few years’ time. Govind Deecee told us that DC Books was similarly not considering any changes to their text-setting, saying that it would require too much effort.

He stressed how even a seemingly minor orthography change will require significant change and re-assessment to existing processes across the board, to various aspects of editorial, design and printing workflows. New fonts would have to be designed, and proofreaders, printers and editors trained in the new system.

Publishers would have to invest significant time, energy and money in their technical and human resources to adapt to what is essentially a minor update. There is also a sense that the 2022 orthography was finalised without sufficient consultation from technical experts on how to ensure font support and rendering, similar to criticism of the 1951–53 reform.

The lack of production-ready fonts supporting the 2022 orthography, as well as the muted response to it from publishers and government agencies, will likely set back any proposed adoption.

Given the uncertainty surrounding the 2022 orthography, we recommend that font designers focus on the two established orthographies, Traditional and Simplified, for now, until the effects of the 2022 reform are clearer. Fonts should be able to balance the two by including features from the other style when needed. Traditional Malayalam persists, and cannot be dismissed as old-fashioned or too complex, even with young audiences.

Malayalam continues to set its sights decidedly on the future, and this vision calls for continued, deeper engagement with reader preferences, letterforms and technology.

Special thanks to Shiju Alex for his painstaking efforts in digitizing old Malayalam texts and making them available online, to Dr. Babu Cherian for sharing his expertise on Benjamin Bailey and early Malayalam printing, and to Santhosh Thottingal for his insights on digital Malayalam typography and computing.

November Malayalam and October Malayalam font families support both simplified orthography as well as the 2022 Script Reform. They are part of the larger November South Asia project .

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Learn Malayalam Through English: A Complete Self-Study Guide For Beginners and Up

Learning the Malayalam language might not be easy, but it’s worthwhile: it will help you explore the beautiful state of Kerala, make Malayali friends, and enjoy some of India’s best movies and books.

Learn Malayalam on your own. Explore study plan tips, grammar, vocabulary, resources, and answers to Malayalam learning FAQs here. Start learning now!

Since one of the hardest things about learning Malayalam is finding good resources, we’ve listed some great books, movies, novels, and other local media for intermediate and advanced Malayalam learners and provided tips for creating your own Malayalam study schedule.

So whether you’re moving to Kochi, planning a vacation, or simply want to speak to your Kerala-born partner in their native language, read on – we’re about to share everything you need to get started.

A Quick Introduction to the Malayalam Language

Malayalam: the mountain language. Its name literally translates to “mountain region,” although its reach extends far beyond Kerala’s eastern highlands.

You’ll hear it spoken across the entirety of the state of Kerala, from the coastal plains with their sandy beaches and rice paddies to rugged mountain landscapes with deep gorges, coffee and tea plantations, and wild forests.

Plus, it has official status in the Mahé municipality of Puducherry and the Lakshadweep island group. In fact, in Malayalam, Lakshadweep means “hundred thousand islands” – although Britannica puts the figure at around three dozen .

You’ll also overhear Malayalam in Tamil Nadu and Karnataka, alongside Tamil and Kannada , as well as in diaspora communities across India and the globe. Over 35 million people speak this language.

Athirappilly Falls, Pariyaram, Kerala. Credit: Rashi Raffi

It’s officially considered a Classical language of India , thanks to its long history of literary works. Early Malayalam literature is famed for the Pattu poetry movement, as well as erotic Manipravala poems that mix Sanskrit with Malayalam/Tamil. Meanwhile, the striking Kathakali theatrical dances represent Classical literature in a tradition that dates back centuries.

As a Dravidian language, Malayalam shares many features with other classical languages such as Tamil, Kannada, and Telugu, and has slightly less in common with languages such as Hindi and Urdu . It’s not entirely typical for a Dravidian language, however: you only conjugate verbs for tense, not person, number, or gender.

Several different dialects exist, reflecting regional, class, and caste differences. The formal, written language can also be significantly different from the Malayalam used in everyday speech.

There’s a tendency to respect written Malayalam more than its spoken counterpart. However, spoken Malayalam also boasts cultural richness. It’s the language of Mollywood movies, a thriving podcast scene, and catchy pop songs.

And, of course, it’s a living language: one that people utilize on a daily basis to catch up with family, make friends, go shopping, talk politics, scribble shopping lists and reminders, flirt, debate, advise, explain, and more. It’s constantly evolving and constantly in use.

Shopping at the market in Kerala. Credit: Ranjan Prabhat

How Difficult is Malayalam?

Malayalam has a reputation for being a difficult language to learn, particularly because of its long words and at times tricky pronunciation, such as the zh in words like pazham and mazha .

Yet don’t let that put you off learning this musical language. After all, no language is easy. And when you focus on your achievements instead of the challenges, you’ll find learning Malayalam doesn’t seem quite so much of a struggle.

Successful language learning often comes down to staying motivated, not picking an “easier” language. So, break down your Malayalam learning into small goals and celebrate your successes. For example, you could aim to have a five-minute conversation, then a twenty-minute one, and then an hour-long one.

And remember, it doesn’t matter how long it takes you to learn Malayalam. All that matters is that you’re working toward your goals.

Tea gardens in Munnar, Western Ghats, Kerala. Credit: Vivek Kumar

How to Learn Malayalam

Apart from online classes, courses, apps, podcasts, and YouTube channels, there’s an abundance of local resources that could help supplement and advance your Malayalam language learning. We’ll look at a large range of textbooks, movies, and other local resources in this article. You can also try:

• Writing a journal
• Keeping a voice diary by recording yourself speaking in Malayalam every day (remember, nobody has to listen to it – not even you)
• Labeling things around your home in Malayalam
• Following Malayalam bloggers, influencers, and hashtags on social media
• Setting your phone, search engines, and social media accounts to Malayalam
• Speaking to yourself in Malayalam
• Writing shopping and to-do lists in Malayalam
• Joining Malayalam-language forums and Facebook groups
• Writing short stories or poetry
• Starting a Malayalam-language blog

Don’t make the mistake of trying to do everything, though. Not only will you risk exhausting yourself and resenting your studies, but that won’t be an effective use of your time. Instead, ask yourself these three questions:

Why Are You Learning Malayalam?

Is it because you want to travel through Kerala? Move there? Watch Mollywood? Speak with your Malayali partner in their native language? Stay in touch with an old friend who’s moved back to Thiruvananthapuram? Do business with a company in Kochi?

Whatever your motivations are, they should direct your language studies. If you want to travel, you’ll need more hotel-related vocabulary than if you want to ask your partner about their day. When WhatsApping a friend, you can be more casual than with a client. And if you’re a Mollywood fan, you’ll need to work on your listening more than your speaking.

A Kathakali performance in Kochi. Credit: Mayur Nair

How Much Time Do You Have to Study Malayalam?

Some people can dedicate a couple of hours a day to studying a language. Others barely have 20 minutes spare, between work, university, family, the gym, and friends.

Speaking Malayalam is something you’ll benefit from throughout your entire life. So, it doesn’t matter if it takes you a little longer to learn it. Be realistic about how much time you can spend studying without becoming overwhelmed, demotivated, or simply exhausted .

Short, frequent study sessions are better than long weekly ones. Try to study more days than you take off, but don’t get stressed out if you’re studying less than you would like. What matters is that you’re keeping at it – not how many hours of language study you rack up.

That said, how much time you have to study will determine the best methods for you, as well as how many different activities you can take on. Speaking of which…

Kuttanad, Kerala. Credit: Thanuj Mathew

How Do You Learn Best?

Some people like to learn from a textbook. Others prefer apps, writing, or language exchanges.

Most people will likely learn best with one core activity or resource and a few supplementary ones. It’s easier to stay focused and motivated when you have that routine and structure. However, be careful not to neglect any of the key language skills: speaking, listening, writing, and reading.

The best resource for you might depend on where you are with your Malayalam studies. As a beginner learner, you could prefer a course or gamified app. When you reach the intermediate level, you might like to work with a teacher who creates their own learning materials.

So, try out a few different resources from this article to find out what works best for you. And if you find yourself getting into a rut, revisit the list – maybe it’s time to try something different or go back to a resource that was too challenging the first time around.

Kerala Backwaters. Credit: Dexter Fernandes

After all, everyone’s different. There’s no point in us telling you how we prefer to study, because chances are, that won’t work for you. Yet once you’ve worked out these three things – your goals, how much time you have, and how you like to study – you can create an effective, personalized study plan that will keep you on track and motivated.

What’s the Best Way to Learn Malayalam?

Learning Malayalam, like any language, requires a structured and consistent approach. If possible, try enrolling in Malayalam language courses, either online or at a local institution. Courses provide a structured curriculum covering grammar, vocabulary, and cultural aspects, while providing individualized guidance, correct pronunciation, and cater to your specific learning needs. 

There is also a range of online forums, social media groups, or local meet-ups you might be able to join, in which people are learning Malayalam. Engaging with a community of learners and speakers can provide valuable support and practice opportunities.

What’s the Easiest Way to Learn Malayalam?

The easiest way to learn Malayalam is to do as many of your daily tasks in the language as possible, helping you to get full immersion in the language. Some of the things you might try are:

• Writing a journal or blog: Writing a journal enhances language learning by reinforcing vocabulary, grammar, and sentence structure. It promotes active engagement with the language, encourages self-expression, and provides a tangible record of progress over time.
• Following Malayalam bloggers, influencers, and hashtags on social media: This will give you a lot of Malayalam in your feed and give you a chance to practice your skills while scrolling.
• Writing shopping and to-do lists in Malayalam: To help you practice basic food and routine vocabulary
• Writing short stories or poetry: Don’t worry about similes, metaphors, rhymes, or anything else you learned in English class. Just writing in Malayalam to keep your writing skills on point.

How Long Does it Take to Learn Malayalam?

The Foreign Service Institute calls Malayalam a Category 4 language, meaning it takes around 2200 hours of learning to gain proficiency. 

However, if you speak other Dravidic languages (South Dravidian, Tamil, Kannada) then it may not take as long as there will be a lot of commonalities between them. Malayalam also has a lot of loanwords. Most of these come from Sanskrit, but there are also loan words from European languages such as English and Portuguese which may help you to retain vocabulary and learn a little bit faster.

How to Learn Malayalam Fast

Engage in language exchange programs or find language exchange partners online. Practicing with native Malayalam speakers is a valuable way to improve your conversational skills quickly. You can also consider joining online forums, social media groups, or local meet-ups where people are learning Malayalam. Engaging with a community of learners and speakers can provide valuable support and practice opportunities.

You can also immerse yourself in the Malayalam language by indulging in Malayalam movies, and TV shows, or tuning in to Malayalam music. Exposure to genuine content helps your pronunciation, understanding of grammar patterns, and understanding of what is happening in India.

How to Speak Malayalam

There is a significant correlation between written and spoken Malayalam, although informal speech often deviates from the standardized written forms.

Two key points to remember about the Malayalam script (so you can speak straight from your textbook) are: 

• Where a word begins with a vowel, you must use its initial vowel form. In the middle of a word, a vowel must be represented by its dependent vowel form. 
• Consonants always have an “a” sound unless they are marked with a different dependent vowel or “cut off” with the distinctive crescent sign.

Additional Resources for Learning Malayalam

Malayalam learning apps, lessons, or courses all work really well as main language learning resources. However, you should try surrounding yourself with other resources as you learn. Malayalam books, TV, movies, news, and music are great ways to expose yourself to how Malayalam is used in different registers.

Malayalam Textbooks and Reference Books

Textbooks can give your studies structure and break down topics into manageable chunks. What’s more, they typically include a variety of exercises. However, you’ll probably want to pair the textbook with language exchanges or classes so you can get enough speaking practice.

Unfortunately, while there are several Malayalam textbooks available, there are more misses than hits.

Don’t make the mistake of purchasing Learn Malyalam in 30 Days Through English by Krishna Gopal Vikal. This author has published similar textbooks for numerous textbooks, and most of them suffer from the same issues: poor print quality, bad structure, and errors. Perhaps it’s not surprising: he also published a book, Increase Your Height, that promises to help you gain 4–10 cm of stature through 15 minutes of exercise a day.

In our opinion, Learn to Speak Malayalam: Speak Malayalam language in a week lacks sufficient explanations. At times, it also suffers from confusing English phrasing. For example, “you are welcome” comes under the heading of greetings. If we had to guess, we would assume that it just means “Welcome!” as opposed to the standard English definition of a polite response to “thank you.”

Drilling Malayalam grammar with textbooks.

Malayalam Fiction Books

Modern-day Malayalam literature is hard-hitting and often touches on social issues. Start with some of these novels:

The magic realist  Khasakkinte Itihasam by O. V. Vijayan is a much-loved Malayalam novel about a young man’s guilt and the natural world. Don’t be tempted by the English translation, The Legends of Khasak: it departs drastically from the original.

Vaikom Muhammad Basheer’s  Mathilukal is another classic. It tells the story of a prisoner who falls in love with a woman he cannot see. You can also watch the movie .

The 2008 novel  Aadujeevitham by Benyamin resonated so strongly with Malayalis that it has already been reprinted over 50 times . It tells the story of a man who is trapped and enslaved after moving from Kerala to Saudi Arabia in search of work, and his attempt to escape.

K. R. Meera’s award-winning  Aarachar explores caste, capital punishment, and women’s rights in this story of a hangwoman. It’s a dark and powerful novel.

Checking books out of the library.

Malayalam Movies and TV

Ready to challenge your listening comprehension with Malayalam-language movies and TV? You’re in for a treat: Mollywood, aka Malayalam cinema, is one of the most popular in India and for good reason.

Even so, we would recommend easing into watching Malayalam movies and series with children’s videos. You can find plenty on YouTube. Pebbles Live has a Malayalam Stories playlist . (It also has some hour-long videos on learning Malayalam through English, but we’re not convinced by the structure or effectiveness of them.) Malayalam Fairy Tales , MagicBox Malayalam , and Malayalam Kids have plenty to choose from, too.

When you’re ready for movies designed for adults, give Ustad Hotel a go. It’s the story of a young chef torn between his professional ambitions and his troubled relationship with his father.

Speaking of cooking, The Great Indian Kitchen explores gender roles within the family. It was an immediate success – and conversation starter – on its release in 2021, with viewers describing it as raw, beautiful, and real.

If you like crime dramas, try the slow-burning Drishyam . It proved so popular that it was reshot in six other languages shortly after the launch.

Want something that will make you good about the world? Adaminte Makan Abu looks at the sacrifices an elderly Muslim couple in Kerala make to perform the Hajj. Viewers praised its touching depiction of humanity, and it won numerous awards.

For something more traditionally feel-good, watch Bangalore Days . It tells the story of three twenty-something cousins who reunite after one of them gets married.

Premam won viewers over with an age-old story: that of a young man looking for love. Expect plenty of humor along the way.

Netflix and study with Malayalam movies.

Music, News, and Other Resources for Learning Malayalam

Music won’t replace flashcards and courses, but it’s a great way to further immerse yourself in the Malayalam language and even pick up some new words and phrases. Just make sure you know exactly what they mean before you try them out, otherwise, you could accidentally sound corny, overly poetic, or offensive.

Spotify has an official Latest Malayalam playlist. There are also lots of user-made ones, such as Malayalam Sad Songs , Malayalam Hot Hits , and Malayalam Love Songs . If you don’t want to use Spotify, Radio Mango caters to Malayalis and has been running since 2007. You can listen to it online.

Do you read the news most days? Try reading it in Malayalam. This will introduce you to new vocabulary and keep you up to date on what’s happening in Kerala – along with how that affects you. Plus, you’ll always have a good conversation starter.

Of course, each news site has its own editorial slant, not to mention writing style. Try a few out to see which you get on best with. Here are a few options:

• Manorama Online
• Mathrubhumi
• Malayalam News Daily
• Indian Express

As you read the news and listen to music, you’re bound to come across words you don’t know. We’ve already mentioned the Readlang Google Chrome plugin that will translate words and add them to flashcard decks for you. You can also use Malayalam English Dictionary and Olam dictionary . And if in doubt, look up the word’s pronunciation on Forvo .

Kozhikode, Kerala. Credit: Arun Geetha Viswanathan

Don’t let Malayalam’s reputation for being a difficult language put you off. Once you start, you’ll find there are many great resources that will help you in your journey to becoming a fluent speaker.

And when you’re able to follow Mollywood movies, read the untranslated version of Aadujeevitham, and make your Malayali friends laugh at your jokes, you’ll realize that this beautiful language is worth the effort.

Related Posts

If you found this article useful, you might also like:

• From Courses to Kollywood: How to Learn Tamil at Home
• How to Learn Kannada , From First Words to Fluency
• Mastering Urdu and Nastaliq: A Comprehensive Guide
• Learning Malayalam: A Complete Self-Study Guide

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ലഹരി വിരുദ്ധ ദിനം ഉപന്യാസം

ലഹരി വിരുദ്ധ ദിനം ഉപന്യാസം ലഹരി വസ്തുക്കളുടെ ഉപയോഗം ലഹരി വസ്തുക്കളുടെ ഉപയോഗം ഒരു സാമൂഹിക വിപത്ത്

കേരള സംസ്ഥാനം രൂപീകൃതമായി 65 വർഷം പിന്നിട്ടു. ഇക്കാലയളവിൽ ആരോഗ്യം, വിദ്യാഭ്യാസം, സാമൂഹ്യക്ഷേമം, തുടങ്ങി വിവിധ മേഖലകളിൽ നാം കൈവരിച്ച നേട്ടങ്ങൾ രാജ്യത്തിന് തന്നെ മാതൃകയാണ്. ഇതിൽ തന്നെ ചില നേട്ടങ്ങളിൽ ലോകത്തിലെ വികസിത രാജ്യങ്ങൾക്കു തുല്യമായ അഭിമാനാർഹമായ സ്ഥാനവും നമുക്കുണ്ട്. എന്നാൽ സമൂഹത്തിൽ വർധിച്ചു വരുന്ന ലഹരി ഉപയോഗം കേരളം നേടിയെടുത്തിട്ടുള്ള വികസനത്തിനും, പുരോഗതിക്കും, സാംസ്കാരിക മൂല്യങ്ങൾക്കും കടുത്ത വെല്ലുവിളിയാണ് ഉയർത്തുന്നത്. മനുഷ്യനെ ശാരീരികമായും, മാനസികമായും തകർക്കുന്ന സമൂഹ്യ വിപത്താണ് ലഹരി.  ആരോഗ്യ പ്രശ്നങ്ങൾ, കുടുംബ ബന്ധങ്ങളുടെ തകർച്ച, കുറ്റകൃത്യം, ആത്മഹത്യ തുടങ്ങി മദ്യവും, മയക്കുമരുന്നും സൃഷ്ടിക്കുന്ന പ്രത്യാഘാതം നിരവധിയാണ്. കൂടുതലായി കുട്ടികളിലും, യുവജനങ്ങളിലും പിടിമുറുക്കുന്ന ലഹരി വസ്തുക്കളുടെ ഉപയോഗം ഒരു ദിവസം കൊണ്ട് ഉണ്ടാകുന്നതല്ല. എന്താണെന്ന് അറിയാനുള്ള ആകാംക്ഷ, കിട്ടുമെന്ന് കേട്ടിട്ടുള്ള ഉന്മാദാവസ്ഥ, സമപ്രായക്കാരുടെ പ്രേരണ, ബോറടി മാറ്റാൻ,വിഷാദം മാറ്റാൻ, ക്ഷീണം മാറ്റാൻ, വീട്ടിലെ പ്രശ്നങ്ങൾ, അധികമായി ലഭിക്കുന്ന പോക്കറ്റ് മണി എന്ത് ചെയ്യണമെന്നറിയാത്തവർ, എന്നിങ്ങനെ ലഹരി വസ്തുക്കളിലേക്ക് മാറാൻ കാരണങ്ങൾ നിരവധിയാണ്.മൊബൈൽ ഫോണും, ഇന്റർനെറ്റും ജീവിതം നിയന്ത്രിക്കുന്ന ഈ കാലഘട്ടത്തിൽ സോഷ്യൽ മീഡിയകളും ഇതിന് കാരണമാകുന്നുണ്ട്.ലഹരി മരുന്നുകളുടെ കെണിയിൽ പലപ്പോഴും അകപ്പെടുന്നത് കുട്ടികളാണ്. ജീവിതം തന്നെ വഴി തെറ്റിക്കുന്ന ഈ വസ്തുക്കളെ കുറിച്ച് വേണ്ടത്ര അറിവ് കുട്ടികൾക്കില്ല. ഉണ്ടായിരുന്നെങ്കിൽ പലരും ഈ ദുർഗതിയിൽ പെടില്ലല്ലോ!  കേവലം കൗതുകത്തിനായി പലരും ആരംഭിക്കുന്ന ഈ ദുശ്ശീലം കാട്ടുതീയേക്കാൾ വേഗത്തിൽ വളർന്നു സമൂഹത്തെ കീഴ്പ്പെടുത്തുകയാണ്. ഒരിക്കലും തിരിച്ചു കയറാൻ പറ്റാത്ത മഹാ ഗർത്തങ്ങളിലേക്കാണ് ലഹരിയുടെ ഉപയോക്താക്കൾ പതിക്കുന്നത്.കാലാന്തരത്തിൽ ലഹരി ഉപയോഗിക്കാൻ കൂട്ട് നിന്നവരോ, പഠിപ്പിച്ചവരോ, ആരും കൂട്ടാനില്ലാതെ ലഹരിയുടെ മാത്രം സൗഹൃദത്തിൽ ഏകാന്തരായി കഴിയാനാണ് ഇവരുടെ വിധി. അർബുദം, ആരോഗ്യ പ്രശ്നങ്ങൾ, മാനസിക രോഗം എന്നിവ ഇവരെ തേടിയെത്തും.മാനസിക വ്യാപാരങ്ങളെയും, മൃദുല വികാരങ്ങളെയും മരവിപ്പിച്ചു കളയുന്ന ഇത്തരം രസക്കൂട്ടുകൾ ക്രൂരമായ എന്ത് പ്രവൃത്തിയും ചെയ്യാൻ മടിയില്ലാത്തവരാക്കി ഉപയോക്താക്കളെ മാറ്റുന്നുണ്ട്. ദിനംപ്രതി ഇത്തരം വാർത്തകൾ നാം കാണുന്നതാണ്.പുതിയ രൂപത്തിലും ഭാവത്തിലും പടർന്നു പന്തലിക്കുന്ന ലഹരിയുടെ ഈ കരാള ഹസ്തങ്ങൾക്ക് കൈയാമമിടുകയെന്ന ശ്രമകരമായ ദൗത്യത്തെക്കുറിച്ചുള്ള ഓർമ്മപ്പെടുത്തലാണ് ലഹരി വിരുദ്ധ ദിനം. 1987 മുതലാണ് ഐക്യരാഷ്ട്രസഭ ജൂൺ 26 ന് ലഹരി വിരുദ്ധ ദിനമായി ആചരിച്ചു തുടങ്ങിയത്. മുപ്പതാണ്ട് പിന്നിടുമ്പോഴും ജാതി മത പ്രായ ഭേദമന്യേ സ്ത്രീകളും, കുട്ടികളുമടക്കം ലഹരിയൊരുക്കുന്ന അപകടച്ചുഴികളിൽ പതിക്കുന്നവരുടെ എണ്ണം കൂടിക്കൊണ്ടിരിക്കുകയാണ്. അതിനൊരു മാറ്റം വരുത്താൻ ഇനിയും നമുക്ക് കഴിഞ്ഞിട്ടില്ല. ലഹരിയുടെ വല അനുദിനം വിസ്തൃതമായി നമ്മുടെ നാടിനെ വരിഞ്ഞു മുറുക്കിക്കൊണ്ടിരിക്കുന്ന ഈ കാലഘട്ടത്തിൽ ലഹരി വസ്തുക്കളുടെ ഉപയോഗത്തിന്റെ ദൂഷ്യ വശങ്ങൾ അതിശക്തമായ പ്രചാരണബോധവൽക്കരണ പ്രവർത്തനത്തിലൂടെ സമൂഹത്തെ ബോധ്യപ്പെടുത്തണം അതോടൊപ്പം ലഹരി ഉപയോഗം  തടയുന്നതിനുള്ള സർക്കാർ പദ്ധതികളും നിലവിലുള്ള നിയമങ്ങളും ഫലപ്രദമായി നടപ്പിലാക്കുകയും വേണം. അതിന് എല്ലാവരും ലഹരി ഉപയോഗിക്കില്ല എന്ന ഉറച്ച തീരുമാനം കൂടി എടുക്കണം.

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UPSC Mains Malayalam Question paper (Compulsary, Literature)

Table of Contents

UPSC Malayalam Previous Year Question Papers help candidates understand their strengths and weaknesses and prioritize the topics they need to focus on for their UPSC IAS Exam.  In the UPSC Mains examination, both the compulsory Indian Language & Optional Subject papers are important for the candidates. Candidates can choose both papers at their convenience. Optional can prove to be decisive so it is safe to make sure that you understand every little detail about it. We have compiled Previous year’s papers of 8 years for UPSC Mains Question Paper PDF of Malayalam Paper, which will help aspirants to ace the subject preparations and get familiar with the paper pattern & syllabus. Candidates can also improvise their preparation strategy by enrolling in UPSC Online Coaching classes .

UPSC PREVIOUS QUESTIONS

UPSC Malayalam Previous Year Question Papers – Download free PDF

UPSC Civil Services Main Exam consists of two types of Papers: – Qualifying and Papers Counted for Merit. There are 7 papers out of which 5 papers are compulsory and 2 optional. Language paper and English paper will be qualifying in nature and all other papers will count for merit.

Compulsory Malayalam Language Papers for UPSC IAS Mains

Download the UPSC Malayalam Language papers for past 8 years for Mains exam in PDF format :

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Optional Malayalam Literature Papers for UPSC IAS Mains

Download the UPSC Malayalam Literature papers for past 8 years for Mains exam in PDF format:

UPSC Mains Exam Pattern

The Prelims is common for all candidates. The Mains exam has a total of 9 exams out of which two are optional exams which vary from candidate to candidate.

The UPSC Mains exam is a subjective mode examination. Apart from these, the seven exams include one essay writing, four general studies and two optional.

Why Must you Solve Malayalam PYQs?

To lessen the last time burden for the candidates to prepare it becomes mandatory to solve the Previous years papers in order to prepare near equivalent to real shot.

By solving the UPSC Malayalam Previous year paper you can track your preparations and prioritize the topics that need more focus.

The Malayalam Previous year question papers help to understand the frequency of topics and how questions are asked in exams and how to fetch maximum marks possible in optional because this will add in your merits.

For more details about study materials of different optional subjects of UPSC, CSAT questions paper, UPSC Prelim Exam, mock tests, test series, practice sets, Notes PDF & more you can download our mobile application Entri App

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UPSC Centers for Mains Examination

The IAS Mains Examination Centers are mentioned below:

Is it possible to fetch more information from the UPSC Malayalam Prelim Question Paper and UPSC Mains Question Paper of previous year?

By solving the UPSC Previous Years Question Papers for Malayalam you can analyze your learning and plan specific strategies for the final exam.

What is the mode of the UPSC Mains Malayalam optional Question Paper?

The UPSC Mains Malayalam optional Question Paper will be conducted in subjective mode. The exam will be qualifying. You can go through the UPSC Malayalam optional Previous Year question Paper PDFs for understanding the format.

When will the UPSC main exam 2024 be held?

The dates for the UPSC mains exam are not announced yet but the upsc has released its official notification regarding the Prelims exam.

Is it necessary to practice writing answers before the actual exam?

Yes. Since the mains exam is subjective you must have a complete command over your writing skills and become familiar with the pattern. Download the UPSC mains Previous year questions papers with detailed solutions by our experts.

Where can I get access to the UPSC Malayalam previous year question paper?

To download the UPSC Malayalam optional previous year question paper you can download our mobile application.

Aleena V Noushad

Aleena is a passionate Blog writer and a Postgraduate in Master of Computer Application. She also holds a diploma in Aviation and Hospitality. She has been writing for Entri over the past three years, specialising in exam preparation and skill and career development

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NPR defends its journalism after senior editor says it has lost the public's trust

David Folkenflik

NPR is defending its journalism and integrity after a senior editor wrote an essay accusing it of losing the public's trust. Saul Loeb/AFP via Getty Images hide caption

NPR is defending its journalism and integrity after a senior editor wrote an essay accusing it of losing the public's trust.

NPR's top news executive defended its journalism and its commitment to reflecting a diverse array of views on Tuesday after a senior NPR editor wrote a broad critique of how the network has covered some of the most important stories of the age.

"An open-minded spirit no longer exists within NPR, and now, predictably, we don't have an audience that reflects America," writes Uri Berliner.

A strategic emphasis on diversity and inclusion on the basis of race, ethnicity and sexual orientation, promoted by NPR's former CEO, John Lansing, has fed "the absence of viewpoint diversity," Berliner writes.

NPR's chief news executive, Edith Chapin, wrote in a memo to staff Tuesday afternoon that she and the news leadership team strongly reject Berliner's assessment.

"We're proud to stand behind the exceptional work that our desks and shows do to cover a wide range of challenging stories," she wrote. "We believe that inclusion — among our staff, with our sourcing, and in our overall coverage — is critical to telling the nuanced stories of this country and our world."

NPR names tech executive Katherine Maher to lead in turbulent era

She added, "None of our work is above scrutiny or critique. We must have vigorous discussions in the newsroom about how we serve the public as a whole."

A spokesperson for NPR said Chapin, who also serves as the network's chief content officer, would have no further comment.

Praised by NPR's critics

Berliner is a senior editor on NPR's Business Desk. (Disclosure: I, too, am part of the Business Desk, and Berliner has edited many of my past stories. He did not see any version of this article or participate in its preparation before it was posted publicly.)

Berliner's essay , titled "I've Been at NPR for 25 years. Here's How We Lost America's Trust," was published by The Free Press, a website that has welcomed journalists who have concluded that mainstream news outlets have become reflexively liberal.

Berliner writes that as a Subaru-driving, Sarah Lawrence College graduate who "was raised by a lesbian peace activist mother ," he fits the mold of a loyal NPR fan.

Yet Berliner says NPR's news coverage has fallen short on some of the most controversial stories of recent years, from the question of whether former President Donald Trump colluded with Russia in the 2016 election, to the origins of the virus that causes COVID-19, to the significance and provenance of emails leaked from a laptop owned by Hunter Biden weeks before the 2020 election. In addition, he blasted NPR's coverage of the Israel-Hamas conflict.

On each of these stories, Berliner asserts, NPR has suffered from groupthink due to too little diversity of viewpoints in the newsroom.

The essay ricocheted Tuesday around conservative media , with some labeling Berliner a whistleblower . Others picked it up on social media, including Elon Musk, who has lambasted NPR for leaving his social media site, X. (Musk emailed another NPR reporter a link to Berliner's article with a gibe that the reporter was a "quisling" — a World War II reference to someone who collaborates with the enemy.)

When asked for further comment late Tuesday, Berliner declined, saying the essay spoke for itself.

The arguments he raises — and counters — have percolated across U.S. newsrooms in recent years. The #MeToo sexual harassment scandals of 2016 and 2017 forced newsrooms to listen to and heed more junior colleagues. The social justice movement prompted by the killing of George Floyd in 2020 inspired a reckoning in many places. Newsroom leaders often appeared to stand on shaky ground.

Leaders at many newsrooms, including top editors at The New York Times and the Los Angeles Times , lost their jobs. Legendary Washington Post Executive Editor Martin Baron wrote in his memoir that he feared his bonds with the staff were "frayed beyond repair," especially over the degree of self-expression his journalists expected to exert on social media, before he decided to step down in early 2021.

Since then, Baron and others — including leaders of some of these newsrooms — have suggested that the pendulum has swung too far.

Author Interviews

Legendary editor marty baron describes his 'collision of power' with trump and bezos.

New York Times publisher A.G. Sulzberger warned last year against journalists embracing a stance of what he calls "one-side-ism": "where journalists are demonstrating that they're on the side of the righteous."

"I really think that that can create blind spots and echo chambers," he said.

Internal arguments at The Times over the strength of its reporting on accusations that Hamas engaged in sexual assaults as part of a strategy for its Oct. 7 attack on Israel erupted publicly . The paper conducted an investigation to determine the source of a leak over a planned episode of the paper's podcast The Daily on the subject, which months later has not been released. The newsroom guild accused the paper of "targeted interrogation" of journalists of Middle Eastern descent.

Heated pushback in NPR's newsroom

Given Berliner's account of private conversations, several NPR journalists question whether they can now trust him with unguarded assessments about stories in real time. Others express frustration that he had not sought out comment in advance of publication. Berliner acknowledged to me that for this story, he did not seek NPR's approval to publish the piece, nor did he give the network advance notice.

Some of Berliner's NPR colleagues are responding heatedly. Fernando Alfonso, a senior supervising editor for digital news, wrote that he wholeheartedly rejected Berliner's critique of the coverage of the Israel-Hamas conflict, for which NPR's journalists, like their peers, periodically put themselves at risk.

Alfonso also took issue with Berliner's concern over the focus on diversity at NPR.

"As a person of color who has often worked in newsrooms with little to no people who look like me, the efforts NPR has made to diversify its workforce and its sources are unique and appropriate given the news industry's long-standing lack of diversity," Alfonso says. "These efforts should be celebrated and not denigrated as Uri has done."

After this story was first published, Berliner contested Alfonso's characterization, saying his criticism of NPR is about the lack of diversity of viewpoints, not its diversity itself.

"I never criticized NPR's priority of achieving a more diverse workforce in terms of race, ethnicity and sexual orientation. I have not 'denigrated' NPR's newsroom diversity goals," Berliner said. "That's wrong."

Questions of diversity

Under former CEO John Lansing, NPR made increasing diversity, both of its staff and its audience, its "North Star" mission. Berliner says in the essay that NPR failed to consider broader diversity of viewpoint, noting, "In D.C., where NPR is headquartered and many of us live, I found 87 registered Democrats working in editorial positions and zero Republicans."

Berliner cited audience estimates that suggested a concurrent falloff in listening by Republicans. (The number of people listening to NPR broadcasts and terrestrial radio broadly has declined since the start of the pandemic.)

Former NPR vice president for news and ombudsman Jeffrey Dvorkin tweeted , "I know Uri. He's not wrong."

Others questioned Berliner's logic. "This probably gets causality somewhat backward," tweeted Semafor Washington editor Jordan Weissmann . "I'd guess that a lot of NPR listeners who voted for [Mitt] Romney have changed how they identify politically."

Similarly, Nieman Lab founder Joshua Benton suggested the rise of Trump alienated many NPR-appreciating Republicans from the GOP.

In recent years, NPR has greatly enhanced the percentage of people of color in its workforce and its executive ranks. Four out of 10 staffers are people of color; nearly half of NPR's leadership team identifies as Black, Asian or Latino.

"The philosophy is: Do you want to serve all of America and make sure it sounds like all of America, or not?" Lansing, who stepped down last month, says in response to Berliner's piece. "I'd welcome the argument against that."

"On radio, we were really lagging in our representation of an audience that makes us look like what America looks like today," Lansing says. The U.S. looks and sounds a lot different than it did in 1971, when NPR's first show was broadcast, Lansing says.

A network spokesperson says new NPR CEO Katherine Maher supports Chapin and her response to Berliner's critique.

The spokesperson says that Maher "believes that it's a healthy thing for a public service newsroom to engage in rigorous consideration of the needs of our audiences, including where we serve our mission well and where we can serve it better."

Disclosure: This story was reported and written by NPR Media Correspondent David Folkenflik and edited by Deputy Business Editor Emily Kopp and Managing Editor Gerry Holmes. Under NPR's protocol for reporting on itself, no NPR corporate official or news executive reviewed this story before it was posted publicly.

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Malayalam Essay on "The Importance of Education", "Vidyabhyasathinte Pradhanyam Upanyasam" for Students

Essay on The Importance of Education in Malayalam : In this article, വിദ്യാഭ്യാസത്തിന്റെ പ്രാധാന്യം ഉപന്യാസം, Vidyabhyasathinte Pradhanyam Upanyasam.

Essay on The Importance of Education in Malayalam Language : In this article, we are providing " വിദ്യാഭ്യാസത്തിന്റെ പ്രാധാന്യം ഉപന്യാസം ", " Vidyabhyasathinte Pradhanyam Upanyasam " for Students.

വിദ്യാസമ്പന്നരായ ഒരു ജനത രാജ്യത്തിന്റെ മുതൽക്കൂട്ടാണ്. സാക്ഷ രത സാമ്പത്തികവും രാഷ്ട്രീയവും ശാസ്ത്രീയവും സാംസ്കാരിക വുമായ എല്ലാ വളർച്ചയ്ക്കും അനിവാര്യമാണ്. അറിവുള്ളാരു സമൂഹ ത്തിൽ മതങ്ങൾ തമ്മിലുള്ള സ്പർദ്ധയും മത്സരവും ഉണ്ടാവുകയില്ല. സഹിഷ്ണുതയും അച്ചടക്കവും വളരുകയും ചെയ്യും. പല സാമൂഹ്യ തിന്മകളും വളർന്നു വികസിക്കുന്നത് അറിവില്ലായ്മ കൊണ്ടാണ്. നിരക്ഷരത ഒരു ശാപമാണ്.

മനുഷ്യനെ മറ്റെല്ലാ ജീവികളിൽനിന്നും വ്യത്യസ്തനാക്കുന്നത് ചിന്താ ശേഷിയും വിവേകബുദ്ധിയുമാണ്. വിദ്യാഭ്യാസം ഈ കഴിവുകളെ കൂടുതൽ പുഷ്ടിപ്പെടുത്തുന്നു. ഭാരതത്തിൽ ഇപ്പോഴും ബഹുഭൂരി പക്ഷം ജനങ്ങളും അക്ഷരാഭ്യാസമില്ലാത്തവരാണ്. ലോകജനസംഖ്യ യിലും ഇവരുടെ എണ്ണം കൂടുതലാണ്. അറിവില്ലായ്മ അന്ധവിശ്വാസ ങ്ങളും അനാചാരങ്ങളും വളർത്തുന്നു. അതുകൊണ്ട് എല്ലാ രാജ്യങ്ങളും -ഐക്യ രാഷ്ട്രസംഘടനപോലും-നിരക്ഷരതാനിർമ്മാർജ്ജനത്തി നുള്ള യത്നത്തിലാണ്. 

ഇന്ത്യയെപ്പോലൊരു രാജ്യത്ത് നിരക്ഷരത ഉണ്ടാക്കുന്ന പ്രശ്നങ്ങൾ വലുതാണ്. ജനാധിപത്യരാജ്യമാണ് ഭാരതം. ആധുനിക ജനാധിപത്യ സംവിധാനം സാക്ഷരതയുടെയും ചിന്താശേഷിയുടെയും അടിസ്ഥാ നത്തിലാണ് പുലരുന്നത്. കാര്യങ്ങൾ പഠിക്കാനും മനസ്സിലാക്കാനും വായിച്ചറിയാനും വിദ്യാഭ്യാസം വേണം. എഴുത്തും വായനയും നമ്മുടെ അറിവിന്റെ ലോകം വലുതാക്കുന്നു. ജനാധിപത്യത്തിന്റെ നിലനില്പ്പു തന്നെ ശരിയായ തിരഞ്ഞെടുപ്പിലും വിലയിരുത്തലിലുമാണ് കുടി കൊള്ളുന്നത്. നല്ല ജനപ്രതിനിധികളെ തെരഞ്ഞെടുക്കണമെങ്കിൽ ജനങ്ങൾ വിദ്യാസമ്പന്നരായിരിക്കണം. ജനാധിപത്യമൂല്യങ്ങളും മികച്ച ദർശനവും രാഷ്ട്രീയ കാഴ്ചപ്പാടുമുള്ളവരായിരിക്കണം ജനപ്രതിനി ധികളായി വരേണ്ടത്.

രാഷ്ട്രനിർമ്മാണ പ്രക്രിയയിൽ പങ്കാളികളായ ജനങ്ങൾക്ക് വിദ്യാ ഭ്യാസം കരുത്തു പകരുന്നു. പൗരബോധവും കടമയും വിദ്യാഭ്യാസം വഴിസിദ്ധിക്കേണ്ടതാണ്. രാജ്യത്തിന്റെയും സമൂഹത്തിന്റെയും വിക സനത്തിന് വിദ്യാഭ്യാസം കൂടിയേ തീരൂ. ചൂഷണത്തിനെതിരെ ശബ്ദി ക്കാനും പോരാടാനും ജനങ്ങൾക്ക് ശക്തി നൽകുന്നു. അറിവിന്റെ പരിധിയില്ലാത്ത ലോകത്തേക്കാണ് വായന അവരെ നയിക്കുന്നത്. ലോകത്തിന്റെ നാനാ ഭാഗങ്ങളിൽ സംഭവിക്കുന്ന മാറ്റങ്ങൾ മനസ്സിലാ ക്കാൻ വായന സഹായിക്കുന്നു. ഈ മാറ്റങ്ങൾ യുക്തിസഹമാണോ എന്നും ഉപകാരപ്രദമാണോ എന്നും വിലയിരുത്തുവാൻ വിദ്യാഭ്യാസം അവരെ പ്രാപ്തരാക്കുന്നു. അതുവഴി പുതിയ ചിന്തയും ദർശനവും അവരിൽ രൂപംകൊള്ളുന്നു. അത് ജനാധിപത്യത്തിന്റെ കാര്യശേഷി വർദ്ധിപ്പിക്കുകയും പുതിയ പുതിയ സാമ്പത്തികപരിഷ്കാരത്തെപ്പറ്റി ബോധവാന്മാരാക്കുകയും ചെയ്യുന്നു.

സമൂഹത്തിലെ വിവിധ മേഖലകളിൽ നിലകൊള്ളുന്ന ജനങ്ങൾക്ക് അവരുടെ പ്രവർത്തനമണ്ഡലങ്ങളെപ്പറ്റിയും പുത്തൻ സാധ്യതകളെപ്പ റ്റിയും പഠിക്കാൻ വിദ്യാഭ്യാസം അവസരം ഒരുക്കുന്നു. കർഷകർ പുതിയ കാർഷികരീതികളെപ്പറ്റി പഠിക്കുന്നു. വ്യവസായികൾ പുതിയ വ്യവസായതന്ത്രങ്ങൾ പഠിക്കുന്നു. ശാസ്ത്രത്തിലും സാങ്കേതികവിദ്യ യിലും അടിക്കടിയുണ്ടാകുന്ന നൂതന പ്രവണതകൾ മനസ്സിലാക്കുന്നു. ഒരു രാജ്യത്തിന്റെ സാമ്പത്തികാഭിവൃദ്ധിക്ക് ഇതൊക്കെ കാരണമാ കുന്നു. സാമൂഹ്യപരിഷ്കരണവും നീതിയും സമത്വവും സ്ത്രീപുരു ഷസമത്വവുമൊക്കെ സാധ്യമാകണമെങ്കിൽ വിദ്യാസമ്പന്നരായ ജന ങ്ങൾ രാജ്യത്തുണ്ടാകണം.

സാമൂഹ്യതിന്മകളെ ഉച്ചാടനം ചെയ്യാൻ വിദ്യാഭ്യാസത്തിനു സാധി ക്കും. സങ്കുചിതമായ പല ചിന്താഗതികൾക്കും വിലങ്ങിടാൻ ഇതു കൊണ്ട് സാധിക്കൂ. മതസഹിഷ്ണുതയും വിശാലമനസ്കതയും അറിവിലൂടെ സാധ്യമാകുന്നു. ഈ വഴിക്കു ചിന്തിക്കുമ്പോൾ ഒരു രാഷ്ട്രത്തിന്റെ സർവ്വതോന്മുഖമായ പുരോഗതിക്കും സമാധാന ത്തിനും വിദ്യാഭ്യാസ ത്തിന്റെ ആവശ്യകത എടുത്തുപറയേണ്ടതാണ്. എല്ലാവർക്കും വിദ്യാഭ്യാസമെന്ന ലക്ഷ്യം നേടുക എന്നതായിരിക്കണം ഒരു ജനാധിപത്യ സർക്കാറിന്റെ പ്രഥമ പരിഗണന.

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