12. The Sarikasandesa by Ramapanivada

Sarikasandesa^[1] is a beautiful lyric composed by Ramapanivada a famous poet of Kerala. He belonged to the 18th C. AD. The colophon of the kavya gives the identity of the author. The poem contain 122 stanzas, it has not been divided into two parts. The messenger Sarika has to forward from Vrindavan to Ambalapuzha.

A cowherd damsel who was in love with Krishna sat hiddenly in a bower on the banks of Yamuna in Vrndavan due to some conquetish anger. After remaining some time there she came out to join with her lover. But she could not see him in Vrndavan even after her earnest search. No she heard an aerial voice that her Lord had gone to Kerala. He remains in a temple at Amaratateni, a place ruled by Devanarayana. The unearthly voice also suggested that she should send a messenger to her lord in Kerala. The message was sent and the lovers were united again.

Devanarayana of Ambalappula

The Campekasseri region otherwise known as Purakkat (comprised of the present Ampalappula and Kuttanad Taluks) was ruled by the Brahmin kings known by the title of Devanarayanan. They were great patrons of poets and artists^[2]. They ruled the kingdom of the city of Ambalapula, which was the capital.

The other king referred to in many works of the author is one Devanarayana of Ambalapula.

In Sanskrit Devanarayana of Campakasseri is referred to as the ruler of the country and sharing the responsibility of its protection with lord Krsna.—

pāre yācāmapi ca manasāṃ paścimassyāmburāśeḥ tīre tīrthaṃ kimapi kamanīyāṅgi! tat kṣetramāhuḥ |
vikhyātaṃ yad vipulamahimā devanārāyaṇākhyākṣoṇīdevakṣitipatiratiprauḍhakīrtiḥ praśasti || (Sarika Sandesa 5)

sampannaśrīvibhavasulabhāṃ campakakṣoṇirājyam yo gopayannapi hi bhagavāneṣa gopāyamānaḥ |
goptetyuccairnijamapi yaśo devanārāyaṇākhye kṣoṇīdevakṣitibhuji samāveśayan joṣamāste || (Sarika Sandesa 28)

The poet eulogises the king as the representative of Lord Krsna. He states that Krsna shouldering himself the responsibility of the protection of the kingdom, simply bestows the credit for the protection upon king Devanarayana and remains silent as an innocent cowboy. Under his protection, the Campakasseri kingdom enjoys the height of prosperity.

The region Campakasseri is to be identified with the modern Ambalappula Amaratatini, Ambaradhuni, Devavahini etc, are Sanskritised forms of the vernacular Ambalapuzha. The members of the Brahmin family of Campakasseri were the rulers of the region and the members traditionally assumed the title of Devanarayana. One Devanarayana (1566-1622 AD) founded the Ambalapula Temple dedicated to Lord Krsna and patronized Melpattur Narayana Bhatta, the grammarian poet. He is known by the name Puratam Tirunal Devanarayanan^[3]. It is this Ambalapula temple that forms the destination of Sarika in the message poem.

The identity of this Puratam Tirunal Devanarayana alone can be established from among the several Devanarayanas of Ambalapula. The history of Ambalapula ends with the annexation of that kingdom by Martandavarma of Travancore in 1746 AD^[4].

The description in the Sarika-Sandesa poem about the destination of messenger corresponds exactly to those historical facts. It mentions Kuttarastram (Kuttanad) and Campakasseri alternatively as the kingdoms of Devanarayana^[5]. Ambalapula is referred to as the city (Puravaram)^[6] where the temple is situated.

King Devanarayana referred to by Ramapanivada can be any one of the kings of Ambalapula other than the patron of Melpattur. Most probably the ruler at the time of annexation must have patronised the poet.

Concluding verses in S.S. also refer to this Devanarayana.

sampatprājye campakaśreṇirājye sampannaśrīssaṃpratītaprabhāvaḥ |
devaprakhyo devanārāyaṇākhyo dedīpīti kṣoṇīdevakṣitīśaḥ || (Sarika Sandesa120)

The description of the temple and its surroundings met with in the poem still holds good. Krsna is worshipped in the temple in the form of Parthasarathi (the charioteer of Arjuna) with the whip and the coch in his hands, in a pose having completed his mission of helping Arjuna. Krsna is portrayed as such in the work^[7].

There are a few stone throughs, though the present removed to nearby places. Since they are out of use now, built for the use of cows to drink water. The reference to a big through near the well in the poem^[8]. Supports this, though it cannot be identified, as the present there is no through to be found near the particular well. Traditions say that there were arrangements for fethering herds of cows belonging to the temple. It is interesting to note that the temple in still called by the name gosala and the deity there, ‘gosalakrisna’ as seen in the work^[9]. Time has obliterated the marks of this stable and there are no arrangements for feeding cows of the temple now.

The other traits of the temple as visualised by the poet in the Sarikasandesa poem^[10] are to be found almost as such, even now. The circular pond infront of the temple is found there with its pavements. The reference to the military parades in that pond is called ‘Velakali’, a performance by the warriors exhibiting their talents in using weapons, customary in some temples of South Kerala in connection with the annual festivals^[11]. In the Ambalapula temple it is the Nair community which organises this martial exercise during the annual festivals which fall in the month of Mina of Malabar Calender (March -April). These sports are conducted in the temple from the second upto the ninth day of the annual festivals even now. The drum ‘Velathegil’ is used for this as musical accompaniment. The soldiers display their skill in exercise often standing in knee-deep water.

To the west of the temple, there is a row of royal mansions and another pond near it. In the south is situated a dancing hall and a royal palace. On the northern side is to be seen the dining halls, standing almost intact even now. The royal palaces are almost deserted now, though some portions are occupied by the employees of the temple. The flag-staff infront of the shrine, the pillar of lamps behind and the beautiful well nearby are also found there. The well is called ‘Manikkinar’ even now, which is referred to and ‘Sudrsat’ and ‘nirmalapah’^[12] and is still in good condition.

The description of the oblational ceremonies refers^[13] to the prevalent customs of the temple, that the idol of Krsna is usually carried on the head by the priest and on special occasions like festival, on the idol of ‘Garuda’ or a top an elephant.

The big pipal tree described in the Sarikasandesa poem^[14] still stands there as a mute witness to the incidents of history for centuries. Thus the descriptions pertaining to the shrine and its surroundings have some historical bearing.

Footnotes and references:

[1]:

Ed. Dr. Nilakanthan, Delhi 1987

[2]:

Sreedhara Menon, Kerala caritram, 1975, P 245

[3]:

Sreedhara Menon -Op. cit -P 293

[4]:

Ibid Pp 349 -350

[5]:

Sarika Sandesa 25 -28

[6]:

Ibid 24

[7]:

Sarika Sandesa 6, 30

[8]:

Ibid 21

[9]:

Ibid 10

[10]:

Ibid 19, 20, 21

[11]:

A. Sreedhara Menon Kerala Caritram 1975, P 540

[12]:

Sarika Sandesa 21

[13]:

Ibid 22

[14]:

Ibid 35 -36