A rationalist manthravadi
G.S. Paul
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Kaattumadam Narayanan was a multifaceted person whose genius enriched the different areas he worked in.
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He never brooked hypocrisy of any kind. His vitriolic comments were manifestations of his courage of conviction.
The hamlet of Vanneri in Ponnani taluk has still not shaken the pall of gloom that engulfed the village owing to the death of Kaattumadam Narayanan.
Among the literary luminaries that the village had produced so far, Kaattumadam (as he was popularly known) stood out for the singular traits of his personality.
True, he was a prolific writer. But the nature of his works and the sporadic manner in which they came out indicated that he wrote only on what he liked and further did it only when he felt like doing so. And they covered a wide spectrum of the variegated branches of human knowledge, ranging from cricket to manthravada. Perhaps this was a reflection of the life style of a maverick who was also a descendant of an age-old tradition.
He began his literary pursuits even as a student in Kozhikode during the Forties. But his association with Vanneri Kalasamathy was a turning point.
An encounter with C.J. Thomas made him an avid fan of theatre. `Introduction to Sophocles' (1958) introduced Greek theatre to Malayalis. `Malayala naatakangaliloote' (1960), Nataka Niroopa Charcha' (1973), `Biography of Ibsen' (1987), `Malayala Nataka Prasthanam' (1990) - to mention only a few - were quintessential of his knowledge in theatre that he had painstakingly acquired by self-study.
His feudalistic background did not prevent Kaattumadam from supporting the progressive movements in Kerala. His age-old mana was a shelter for many revolutionaries when the Communist party was banned. The association of leaders like EMS, M. Govindan, Edassery, N. Damodaran and so on influenced him a great deal.
He never brooked hypocrisy of any kind. His vitriolic comments on anything or anybody were manifestations of his courage of conviction. He was an ace conversationalist. And when he talked, whether a scholar or schoolboy, you would listen for hours on end.
Strangely enough, he was a mix of a rationalist and a manthravadi. Although it was his kuladharma, he used to say, "I am not very convinced about the efficacy of manthravada." But he believed that an affliction that cannot be seen or felt needed intangible means of treatment.
Known for his erudition in performing arts, he had a fascination for outstanding performing artistes, especially of Kathakali and melam and would go to any extent to entertain them. He knew their idiosyncrasies as well as intricacies of their artistry.
The great flautist Mahalingam (Mali) had stayed at Kaattumadam mana years ago for treatment as advised by Chembai Vaidyanatha Bhagavathar.
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