malayalam language child labour essay in malayalam

HindiVyakran

• नर्सरी निबंध
• सूक्तिपरक निबंध
• सामान्य निबंध
• दीर्घ निबंध
• संस्कृत निबंध
• संस्कृत पत्र
• संस्कृत व्याकरण
• संस्कृत कविता
• संस्कृत कहानियाँ
• संस्कृत शब्दावली
• Group Example 1
• Group Example 2
• Group Example 3
• Group Example 4
• संवाद लेखन
• जीवन परिचय
• Premium Content
• Message Box
• Horizontal Tabs
• Vertical Tab
• Accordion / Toggle
• Text Columns
• Contact Form
• विज्ञापन

Header$type=social_icons

• commentsSystem

Malayalam Essay on "Child labour", "Balavela", ബാലവേല ഉപന്യാസം

Child labour Essay in Malayalam : In this article, we are providing ബാലവേല ഉപന്യാസം . Balavela Essay in Malayalam Language. Malayalam E...

Advertisement

Put your ad code here, 100+ social counters$type=social_counter.

• fixedSidebar
• showMoreText

/gi-clock-o/ WEEK TRENDING$type=list

• गम् धातु के रूप संस्कृत में – Gam Dhatu Roop In Sanskrit गम् धातु के रूप संस्कृत में – Gam Dhatu Roop In Sanskrit यहां पढ़ें गम् धातु रूप के पांचो लकार संस्कृत भाषा में। गम् धातु का अर्थ होता है जा...

• दो मित्रों के बीच परीक्षा को लेकर संवाद - Do Mitro ke Beech Pariksha Ko Lekar Samvad Lekhan दो मित्रों के बीच परीक्षा को लेकर संवाद लेखन : In This article, We are providing दो मित्रों के बीच परीक्षा को लेकर संवाद , परीक्षा की तैयार...

RECENT WITH THUMBS$type=blogging$m=0$cate=0$sn=0$rm=0$c=4$va=0

• 10 line essay
• 10 Lines in Gujarati
• Aapka Bunty
• Aarti Sangrah
• Akbar Birbal
• anuched lekhan
• asprishyata
• Bahu ki Vida
• Bengali Essays
• Bengali Letters
• bengali stories
• best hindi poem
• Bhagat ki Gat
• Bhagwati Charan Varma
• Bhishma Shahni
• Bhor ka Tara
• Boodhi Kaki
• Chandradhar Sharma Guleri
• charitra chitran
• Chief ki Daawat
• Chini Feriwala
• chitralekha
• Chota jadugar
• Claim Kahani
• Dairy Lekhan
• Daroga Amichand
• deshbhkati poem
• Dharmaveer Bharti
• Dharmveer Bharti
• Diary Lekhan
• Do Bailon ki Katha
• Dushyant Kumar
• Eidgah Kahani
• Essay on Animals
• festival poems
• French Essays
• funny hindi poem
• funny hindi story
• German essays
• Gujarati Nibandh
• gujarati patra
• Guliki Banno
• Gulli Danda Kahani
• Haar ki Jeet
• Harishankar Parsai
• hindi grammar
• hindi motivational story
• hindi poem for kids
• hindi poems
• hindi rhyms
• hindi short poems
• hindi stories with moral
• Information
• Jagdish Chandra Mathur
• Jahirat Lekhan
• jainendra Kumar
• jatak story
• Jayshankar Prasad
• Jeep par Sawar Illian
• jivan parichay
• Kashinath Singh
• kavita in hindi
• Kedarnath Agrawal
• Khoyi Hui Dishayen
• Kya Pooja Kya Archan Re Kavita
• Madhur madhur mere deepak jal
• Mahadevi Varma
• Mahanagar Ki Maithili
• Main Haar Gayi
• Maithilisharan Gupt
• Majboori Kahani
• malayalam essay
• malayalam letter
• malayalam speech
• malayalam words
• Mannu Bhandari
• Marathi Kathapurti Lekhan
• Marathi Nibandh
• Marathi Patra
• Marathi Samvad
• marathi vritant lekhan
• Mohan Rakesh
• Mohandas Naimishrai
• MOTHERS DAY POEM
• Narendra Sharma
• Nasha Kahani
• Neeli Jheel
• nursery rhymes
• odia letters
• Panch Parmeshwar
• panchtantra
• Parinde Kahani
• Paryayvachi Shabd
• Poos ki Raat
• Portuguese Essays
• Punjabi Essays
• Punjabi Letters
• Punjabi Poems
• Raja Nirbansiya
• Rajendra yadav
• Rakh Kahani
• Ramesh Bakshi
• Ramvriksh Benipuri
• Rani Ma ka Chabutra
• Russian Essays
• Sadgati Kahani
• samvad lekhan
• Samvad yojna
• Samvidhanvad
• Sandesh Lekhan
• sanskrit biography
• Sanskrit Dialogue Writing
• sanskrit essay
• sanskrit grammar
• sanskrit patra
• Sanskrit Poem
• sanskrit story
• Sanskrit words
• Sara Akash Upanyas
• Savitri Number 2
• Shankar Puntambekar
• Sharad Joshi
• Shatranj Ke Khiladi
• short essay
• spanish essays
• Striling-Pulling
• Subhadra Kumari Chauhan
• Subhan Khan
• Sudha Arora
• Sukh Kahani
• suktiparak nibandh
• Suryakant Tripathi Nirala
• Swarg aur Prithvi
• Tasveer Kahani
• Telugu Stories
• UPSC Essays
• Usne Kaha Tha
• Vinod Rastogi
• Wahi ki Wahi Baat
• Yahi Sach Hai kahani
• Yoddha Kahani
• Zaheer Qureshi
• कहानी लेखन
• कहानी सारांश
• तेनालीराम
• मेरी माँ
• लोककथा
• शिकायती पत्र
• सूचना लेखन
• हजारी प्रसाद द्विवेदी जी
• हिंदी कहानी

RECENT$type=list-tab$date=0$au=0$c=5

Replies$type=list-tab$com=0$c=4$src=recent-comments, random$type=list-tab$date=0$au=0$c=5$src=random-posts, /gi-fire/ year popular$type=one.

• अध्यापक और छात्र के बीच संवाद लेखन - Adhyapak aur Chatra ke Bich Samvad Lekhan अध्यापक और छात्र के बीच संवाद लेखन : In This article, We are providing अध्यापक और विद्यार्थी के बीच संवाद लेखन and Adhyapak aur Chatra ke ...

Join with us

Footer Social$type=social_icons

• loadMorePosts
• relatedPostsText
• relatedPostsNum

Download Manorama Online App

• Change Password
• Lok Sabha Election 2024
• Latest News
• Weather Updates

Today's Epaper

MANORAMA APP

Register free and read all exclusive premium stories.

webExclusive Report --> യുദ്ധം തരിപ്പണമാക്കിയ രാജ്യത്തുനിന്നും ദുരിതമനുഭവിച്ചു വന്ന കുട്ടികൾ, അവരുടെ ഭാവി

മൻഷാദ് ആംഗലത്തിൽ

Published: March 26 , 2022 11:54 AM IST

5 minute Read

Link Copied

Mail This Article

‘യുദ്ധങ്ങൾ അവസാനിക്കും,

നേതാക്കന്മാർ ഹസ്തദാനം ചെയ്യും

വൃദ്ധമാതാവ് വീരചരമം പ്രാപിച്ച തന്റെ മകന്റെ തിരിച്ചു വരവിനായി കാത്തിരിക്കും’

യുദ്ധങ്ങളും സംഘർഷങ്ങളും ഇന്നോ ഇന്നലെയോ ഉണ്ടായതല്ല, പ്രാചീനകാലം മുതൽ മനുഷ്യരടങ്ങുന്ന ജന്തു ജീവികൾ പരസ്പരം കലഹിച്ചും കൊന്നും കൊലവിളിച്ചുമാണ് ജീവിച്ചു പോന്നത്. ഇതിനിടക്കെവിടെയോ മനുഷ്യൻ ബുദ്ധിപരമായും സാമൂഹികമായും വ്യതിചലിച്ചു, പരിഷ്കാരത്തിന്റെയും വിവേകത്തിന്റെയും പാതയിൽ സഞ്ചരിച്ചു തുടങ്ങി. എങ്കിലും കലഹിക്കുന്നതും തമ്മിൽ തല്ലി ഇല്ലാതാകുന്നതുമായ സ്വഭാവം കൈവിടാതെ സൂക്ഷിക്കുകയും തരം കിട്ടുമ്പോഴൊക്കെ അത് പ്രകടമാക്കുകയും ചെയ്തു പോന്നു. പലപ്പോഴും ഇതിന്റെ ഇരയാവുക ധൈര്യക്കുറവും ദുർബ്ബലരുമായിരിക്കും. ഒരുപക്ഷേ നിഷ്കളങ്കരും ആവാം.

ഈ നൂറ്റാണ്ടിൽ നാം സാക്ഷിയായ യുദ്ധം ഇറാഖിന് മുകളിൽ അമേരിക്ക നടത്തിയ യുദ്ധമായിരുന്നു. ഇപ്പോൾ ഇതാ റഷ്യ - യുക്രയ്ൻ യുദ്ധവും. ചെർണോബിൽ ആണവ ദുരന്തത്തെപ്പറ്റി അറിവുണ്ടായിരുന്നുവെങ്കിലും പഴയ സോവിയറ്റ് യൂണിയന്റെ ഭാഗമായിരുന്ന യുക്രയ്ൻ എന്ന രാജ്യത്തെ പറ്റി കൂടുതലും അറിവ് കിട്ടുന്നത് സന്തോഷ് ജോർജ് കുളങ്ങരയുടെ സഞ്ചാരം എന്ന ടെലിവിഷൻ പരിപാടിയിലൂടെയായിരുന്നു. മലയാള ഭാഷയുടെ ശുദ്ധ പദപ്രയോഗങ്ങൾകൊണ്ട് സമ്പന്നമായ യാത്രാ വിവരണങ്ങളിലൂടെ, ഓരോ രാജ്യങ്ങളിലെ വിവരങ്ങളും ചരിത്രവും അവിടങ്ങളിൽ സന്ദർശിക്കാതെ തന്നെ നമ്മുടെ മനസ്സുകളിൽ ആഴത്തിൽ പതിപ്പിക്കുവാൻ സഞ്ചാരം എന്ന പരിപാടിക്ക് സാധ്യമായിരുന്നു. ചെറുപ്പകാലത്തെ സോവിയറ്റ് യൂണിയൻ , സ്പുട്നിക്ക് , എന്നീ മാസികകൾ വീട്ടിൽ വരുത്തിയിരുന്നതിനാൽ ഗ്ലോസി പേപ്പറിൽ പതിഞ്ഞിരുന്ന ചിത്രങ്ങളിലൂടെയും മറ്റും സോവിയറ്റ് യൂണിയനെ പറ്റി ഏകദേശം അറിവ് ലഭിച്ചിരുന്നു. എന്നിരുന്നാലും യുക്രയ്ൻ എന്ന രാജ്യത്തെ പറ്റിയും അവിടുത്തെ ഒഡെസ, കീവ്, ഖാർകിവ് എന്നീ നഗരങ്ങളെ പറ്റിയും അവിടുത്തെ ഗ്രാമപ്രദേശത്തെ കുറിച്ചും പിന്നെ മൃത നഗരമായ ചെർണോബിലിനെ കുറിച്ചും മനസ്സിൽ ആഴത്തിൽ പതിഞ്ഞത് സഞ്ചാരം എന്ന പരിപാടിയിലൂടെയായിരുന്നു.

പിന്നീട്, മക്കൾ വളർന്നുവലുതായപ്പോൾ അവരുടെ ഉപരിപഠനത്തിനുള്ള സാധ്യതകൾ തിരയുമ്പോൾ വീണ്ടും യുക്രയ്ൻ മുന്നിലെത്തി. യുക്രയ്ൻ മാത്രമല്ല, സോവിയറ്റ് യൂണിയന്റെ ഭാഗമായ ജോർജിയ, ഖസാഖിസ്ഥാൻ, കിർഗിസ്ഥാൻ എന്നീ രാജ്യങ്ങളിലും എന്തിനേറെ റഷ്യയിൽ പോലും ഉപരിപഠനത്തിന് സാധ്യതകൾ ഏറെയുണ്ടായിരുന്നു. മക്കളുടെ പല സുഹൃത്തുക്കളും ഈ രാജ്യങ്ങൾ തിരഞ്ഞെടുക്കുകയും അവിടങ്ങളിലേക്കു ചേക്കേറുകയും ചെയ്തപ്പോൾ പ്രലോഭനങ്ങൾ പലതുമുണ്ടായിട്ടും എന്തുകൊണ്ടോ മക്കളെ നാട്ടിൽ വിട്ടു പഠിപ്പിക്കുവാനാണ് തീരുമാനിച്ചത്. തീരുമാനങ്ങൾ ഓരോരുത്തരുടെയും വ്യക്തിപരമായ കാര്യങ്ങൾ ആണല്ലോ.

മക്കളുടെ സുഹൃത്തുക്കളിൽ കൂടുതലും ഈ രാജ്യങ്ങൾ തിരഞ്ഞെടുത്തത് മെഡിക്കൽ വിദ്യാഭ്യാസത്തിനു വേണ്ടി തന്നെയായിരുന്നു. എന്തുകൊണ്ടാണ് സ്വന്തം നാടും വീടും വിട്ടു വിദൂരദേശങ്ങളിൽ കുട്ടികളെ വിട്ടു പഠിപ്പിക്കാൻ മാതാപിതാക്കൾ തയാറാവുന്നത്? പലപ്പോഴും പല കോണുകളിൽ നിന്നും ഇവിടങ്ങളിലെ മെഡിക്കൽ യുണിവേഴ്സിറ്റികളെ പറ്റി അംഗീകാരമില്ലാത്തവയും (ചിലതെങ്കിലും) നിലവാരം കുറഞ്ഞവയെന്നും ആക്ഷേപങ്ങൾ കേൾക്കാറുണ്ടെങ്കിലും ഇന്നത്തെ കാലത്തു വിവരങ്ങൾ അറിയുവാനുള്ള വിശാലമായ സംവിധാനങ്ങൾ ഉള്ളപ്പോൾ അവ തിരിച്ചറിഞ്ഞു അർഹമായ ഉന്നത നിലവാരമുള്ള യൂണിവേഴ്സിറ്റികളിൽ കുട്ടികളെ എത്തിക്കുവാൻ ഇന്നത്തെ രക്ഷാകർത്താക്കൾക്കു സാധിച്ചിരുന്നു. ധാരാളം അംഗീകൃത ഏജൻസികൾ ഇന്ത്യയിൽ നിന്നും കുട്ടികളെ ഇവിടങ്ങളിലേക്കു കൊണ്ടുപോകുന്നുണ്ട്. കേരളത്തിലും ധാരാളമുണ്ട്. ആറുവർഷത്തോളം വീടുകളിൽ നിന്ന് വിട്ടുനിൽക്കേണ്ട കുട്ടികളുടെ

ആരോഗ്യകാര്യങ്ങളിലും ഭക്ഷണകാര്യങ്ങളുമായിരുന്നു ആദ്യകാലങ്ങളിൽ ആശങ്കയുണ്ടായിരുന്നുവെങ്കിൽ ഇപ്പോൾ ഗ്രൂപ്പുകളായി പോകുന്ന കുട്ടികളുടെ കൂടെ ഓരോ പാചകക്കാരും പോകുന്നുണ്ട്. അത്യാവശ്യം മരുന്നുകളും കൊണ്ടുപോകുന്നുമുണ്ട്. കൊണ്ടുപോകുന്ന ഏജൻസികളുടെ റെപ്രെസെന്റേറ്റിവ്‌കൾ കുട്ടികളുടെ ഉത്തരവാദിത്വവും ഏറ്റെടുക്കുമ്പോൾ മാതാപിതാക്കളുടെ ആശങ്കകൾ കുറയുന്നു.

ഇനി പ്രധാന കാര്യം സാമ്പത്തികം. ആക്ഷേപിക്കുന്നവർക്കു പലതും പറയാം. കാരണം അവരുടെ ജോലി തന്നെ അതാണല്ലോ. ഭൂരിഭാഗവും മിഡിൽ ക്‌ളാസ് ഫാമിലികൾ തന്നെയാണ് ഇവിടങ്ങൾ തിരഞ്ഞെടുക്കുന്നത്. നീറ്റ് പരീക്ഷയിൽ മാർക്ക് കുറഞ്ഞ കുട്ടികളാണ് ഇവിടങ്ങൾ തിരഞ്ഞെടുക്കുന്നത് എന്നുള്ള ആക്ഷേപവുമുണ്ട്. എന്നാൽ ഇവരേക്കാൾ മാർക്ക് കുറവുള്ള സമ്പന്നർ എൻ ആർ ഐ കോട്ടയിൽ പതിനഞ്ചു ശതമാനം സീറ്റുകളിൽ ഇരുപതുലക്ഷവും അതിൽ കൂടുതലും വാർഷിക ഫീസ് കൊടുത്തു പഠിക്കുന്നവർ ഇല്ലേ? ആവശ്യത്തിലേറെ ജനങ്ങളുള്ള രാജ്യത്തു പരിമിതമായ സീറ്റിൽ മെഡിക്കൽ പഠനം ഒതുങ്ങുമ്പോൾ മറ്റുള്ളവരുടെ ആഗ്രഹപൂർത്തീകരണത്തിനായി മറ്റുരാജ്യങ്ങൾ ലക്ഷ്യമാക്കാതെ തരമില്ലല്ലോ. ഇനി സ്വാശ്രയകോളേജുകളുടെ ഫീ സ്ട്രക്ച്ചർ തന്നെ നോക്കാം. നിലവിൽ എൺപത്തിയഞ്ചു ശതമാനം കുട്ടികൾ ആണ് കേരളത്തിൽ ഏകദേശം ഏഴുലക്ഷത്തിനടുത്തു വാർഷിക ഫീസ് അടച്ചു മെഡിസിന് പഠിക്കുന്നത്. ഡെന്റലിനാകട്ടെ അത് മൂന്നര ലക്ഷത്തോളം വരും. രണ്ടായിരത്തി പതിനാറിന് മുൻപ് ഫീസിനത്തിലും കോഴയായും ഫീസിന് പുറമെ നാല്പതുലക്ഷത്തോളം രൂപ സ്വാശ്രയ കോളേജുകൾ മെഡിസിന് കൈപറ്റിയിരുന്നു. ഇപ്പോൾ പ്രവേശനം സർക്കാരിന്റെ മേൽനോട്ടത്തിലായതിനാൽ കോഴ ഇല്ല. എന്നാലും ആദ്യവർഷം ആറരലക്ഷം ഫീസിന് പുറമെ രണ്ടുലക്ഷം സ്പെഷ്യൽ ഫീസും ഒരുലക്ഷത്തിനടുത്തു ഹോസ്റ്റൽ ഫീസും ചേർത്ത് ഏകദേശം പത്തുലക്ഷം കയ്യിലുണ്ടെങ്കിൽ മാത്രമേ ഒരു കുട്ടിക്കു സ്വാശ്രയകോളേജിൽ എം ബി ബി എസ്സിന് പഠിക്കുവാൻ കഴിയൂ. ഡെന്റലിനാണെങ്കിൽ ഏകദേശം മൂന്നുലക്ഷത്തി അൻപതിനായിരം വാർഷിക ഫീസിന് പുറമെ ഒരുലക്ഷത്തിനടുത്തു സ്പെഷ്യൽ ഫീസും ഹോസ്റ്റൽ ഫീസും കൂടിയാകുമ്പോൾ അഞ്ചരലക്ഷത്തോളം ആദ്യവർഷം കൊടുക്കേണ്ടതായുണ്ട്. എൻ ആർ ഐ ആണെങ്കിൽ ഡെന്റലിന് ആറുലക്ഷം ഫീസിന് പുറമെ ഒരുലക്ഷത്തോളം ഹോസ്റ്റലിൽ ഫീസും കൊടുക്കേണ്ടതായുണ്ട്. മറ്റുള്ള വർഷങ്ങളിൽ സർക്കാർ പറയുന്ന ഫീസ് ആണെങ്കിലും മറ്റെന്തെങ്കിലും തരത്തിൽ മാനേജ്‌മെന്റുകൾ അല്പസ്വല്പം കുട്ടികളിൽ നിന്നും ഈടാക്കാറുണ്ട്. കൊറോണക്കാലത്ത് അടച്ചിട്ട ഹോസ്റ്റൽ ഫീസുകൾ പോലും മാനേജുമെന്റുകൾ ഒഴിവാക്കിയിട്ടില്ല.

ഭീമമായ ഈ ചിലവുകൾ നോക്കുമ്പോൾ ഉക്രയ്‌നിലെ ചില യുണിവേസിറ്റികളിൽ എം ബി ബി എസ്സിന് വാർഷിക ഫീസ് ഈടാക്കുന്നത് മൂന്നു ലക്ഷമാണ്. മറ്റു ചില യൂണിവേഴ്സിറ്റികളിൽ ഇത് മൂന്നു മുതൽ അഞ്ചു ലക്ഷം വരെയാകാറുണ്ട്. ജോർജിയയിൽ ആണെങ്കിൽ അഞ്ചു ലക്ഷത്തിനു ചില യൂണിവേഴ്സിറ്റികളിൽ പഠനം സാധ്യമാണ്. വാർഷിക ചിലവുകൾ വിമാന ടിക്കറ്റടക്കം രണ്ടു ലക്ഷം ആണെങ്കിൽ പോലും മുപ്പതു ലക്ഷം രൂപയ്ക്കു ഒരു കുട്ടിക്ക് എം ബി ബി എസ് പഠിച്ചിറങ്ങുവാൻ കഴിയും. അതായത് കേരളത്തിലെ സ്വാശ്രയ കോളേജുകളിൽ ബി ഡി എസ്സിന് പഠിക്കുന്ന ചിലവിൽ വിദേശത്തു എം ബി ബി എസ് കരസ്ഥമാക്കാം. അല്ലെങ്കിൽ അതി സമ്പന്നരായിരിക്കണം. മിഡിൽ ക്‌ളാസ് കുടുംബങ്ങളിൽ മിക്കവാറും ലോണെടുത്തും മറ്റുമാണ് കുട്ടികളെ ഇവിടങ്ങളിലേക്ക് അയക്കുന്നത്.

ഇനിയുള്ള ആക്ഷേപം, ഈ കുട്ടികളുടെ വിദ്യാഭ്യാസ നിലവാരത്തെ പറ്റിയും രാജ്യത്തോടുള്ള കൂറിനെ പറ്റിയും മറ്റുമാണ്.

ഒരു കാര്യം ശ്രദ്ധേയമാണ്. കുട്ടികളുടെ ഇടുങ്ങിയ കാഴ്ചപ്പാടുകൾ നഷ്ടമാകുന്നു. ചിന്തകൾ വിശാലമാകുന്നു. സൗദി സ്‌കൂളുകളിൽ പഠിച്ചിരുന്ന മക്കളുടെ സുഹൃത്തുക്കൾ പലരും വിദേശങ്ങളിലാണ് പഠനമെങ്കിലും കടലോളം പഠിക്കാനുള്ള പാഠ്യപദ്ധതികൾക്കിടയിലും അവർ തമ്മിലുള്ള സൗഹൃദം പഴയതുപോലെ ഇന്നും സൂക്ഷിക്കുന്നുണ്ട്. യുദ്ധം കലുഷിതമായ യുക്രൈനിൽ നിന്ന് തിരികെ എത്തിയ കുട്ടികളുടെ സഹ ജീവി സ്നേഹം നമ്മൾ കണ്ടതാണല്ലോ. നാട്ടിലാണെങ്കിലും എവിടെയാണെങ്കിലും കുട്ടികളുടെ സ്വഭാവസവിഷേതകൾ ഒന്ന് തന്നെയാണ്. വളർത്തു മൃഗങ്ങളെയും പക്ഷികളെയും കൈവിടാൻ അവർക്കാവില്ല. പഠനം കഴിഞ്ഞു സ്വന്തം രാജ്യത്തു പ്രാക്ടീസ് ചെയ്യുവാൻ കഴിയാതെ വരുമ്പോൾ മറ്റു രാജ്യങ്ങൾ തേടി പോകുന്നതിൽ ആർക്കാണ് തെറ്റുപറയുവാനാകുക. നമ്മുടെ നാട്ടിലെ രാഷ്ട്രീയ സാംസ്കാരിക സാമൂഹിക കലുഷിത അന്തരീക്ഷം ഇഷ്ടമാകാത്തവർ അതിൽ നിന്നും രക്ഷതേടാനായി സമാധാനം തേടി മറ്റു രാജ്യങ്ങൾ അഭയമാക്കുന്നവരുടെ കണക്കുകൾ അതിവേഗം ഉയരുകയാണല്ലോ.

സമാധാനം പ്രതീക്ഷിക്കുമ്പോഴും ഇടിത്തീ പോലെ സമാധാനക്കേടുണ്ടാകുക എന്നത് ലോക നിയമമാണല്ലോ. യുദ്ധമുഖത്തുനിന്നു പലായനം ചെയ്തു വന്ന കുട്ടികൾക്കു വളരെ അധികം ബുദ്ധിമുട്ടുകൾ അനുഭവിക്കേണ്ടി വന്നിട്ടുണ്ട്, അതിനേക്കാൾ കൂടുതലാണ് അവർക്കെതിരെ വന്ന ഒളിയമ്പുകൾ പോലുള്ള വിമർശനങ്ങൾ. തനിക്കു വന്നു ഭവിക്കുന്നതെല്ലാം നല്ലതും മറ്റുള്ളവർക്ക് എതിരെ നെഗറ്റീവ് പറയുക എന്നതും ഒരുപണിയുമില്ലാത്ത കുറെ പേരുടെ ശീലമാണ്. കുട്ടികൾ കൊണ്ടുവന്ന വളർത്തുമൃഗങ്ങൾ കേരള കാലാവസ്‌ഥയുമായി പൊരുത്തപ്പെടുമോ, ജീവൻ രക്ഷിക്കേണ്ടിടത്ത് എന്തിനിതിനെയൊക്കെ കൊണ്ട് വരുന്നു, യുദ്ധ ഭൂമിയിൽ വച്ച് അവിടെ റെസ്റ്റോറന്റുകളിൽ കിട്ടുന്ന ഷവർമ്മ കഴിച്ചതിനു കുറ്റം പറയുക, തുടങ്ങിയ കാര്യങ്ങളിൽ വല്ലാത്ത ആശങ്കയാണ് ഇവർക്ക്. മിണ്ടാപ്രാണികളെ അവിടെ നിർദ്ദാക്ഷണ്യം ഉപേക്ഷിച്ചിരുന്നുവെങ്കിൽ,  ഷവർമ്മയ്ക്കുപകരം കഞ്ഞിയും പയറും വച്ച് കഴിച്ചിരുന്നുവെങ്കിൽ കുറെ പേർക്കെങ്കിലും ആത്മനിർവൃതിയുണ്ടായേനെ.  വൈദ്യശാസ്ത്രം പഠിക്കാൻ പോയ കുഞ്ഞുങ്ങൾക്ക് പരിസ്‌ഥിതിയെ പറ്റിയും ആവാസവ്യവസ്‌ഥയെപ്പറ്റിയുമൊക്കെ ക്ലാസ് എടുക്കേണ്ടതുണ്ടോ?

യുദ്ധഭൂമിയിൽ കുടുങ്ങിയ കുട്ടികൾ യാത്രാമധ്യേ നേരിടേണ്ടി വന്ന കുറെ സംഭവങ്ങൾ മക്കളിൽ നിന്നും അറിയാനിടയായി. ഭക്ഷണവും വെള്ളവും തീരുന്ന അവസ്‌ഥ, കൈയിൽ പണത്തിന്റെ ലഭ്യതക്കുറവ്, പെട്ടെന്നൊരു തീരുമാനത്തിലെത്താതെ ബുദ്ധിമുട്ടുന്ന എംബസി ഉദോഗസ്ഥർ, ഇതിനിടയിൽ സമൂഹമായി ഹോസ്റ്റലുകളിൽ, അവിടെ ബങ്കറുകളിൽ അഭയം തേടിയ കുട്ടികളിൽ നിന്നും അടർന്നു പോയി പല ഭാഗങ്ങളിലായി ഭൂഗർഭ റെയിൽവേകളിലെ സ്റ്റേഷനുകളിലും മറ്റും അഭയം തേടിയ കുട്ടികൾ (ഇവരിൽ പലരും നാട്ടിലേക്കു യാത്ര തിരിക്കാനായി രാജ്യ തലസ്ഥാനമായ കീവിലെക്കു മറ്റു വിദൂര സ്ഥലങ്ങളിൽ നിന്നും യാത്ര തിരിച്ചു പകുതിവഴിയിലായപ്പോൾ ആണ് യുദ്ധം തുടങ്ങിയത്) . മിക്ക കുട്ടികളും വളരെ അപകടാവസ്ഥയിൽ കൊടും തണുപ്പിൽ യാത്ര ചെയ്തു ഉക്രയിന്റെ പടിഞ്ഞാറൻ അതിർത്തികളിൽ എത്തിപ്പെട്ടാണ് രക്ഷപ്പെട്ടത്. സമൂഹ മാധ്യമത്തിലെ വെറുപ്പിന്റെ സൃഷ്ടാക്കൾ ഇതിന്റെ ഒരംശം പോലും ദുരിതം ജീവിതത്തിൽ അനുഭവിക്കാത്തവരാണ്. അവർ നാല് മതിൽക്കെട്ടിൽ വെറുപ്പ് സൃഷ്ടിച്ചുകൊണ്ടേയിരിക്കും. ഒടുവിൽ രണ്ടു വിലപ്പെട്ട ജീവനുകൾ നഷ്ടമായെങ്കിലും ഏറെക്കുറെ എല്ലാവരും നാട്ടിൽ എത്തപ്പെട്ടു. പണ്ട് കുവൈറ്റ് യുദ്ധത്തിൽ കേട്ട് തുടങ്ങിയ എയർലിഫ്റ്റ് ഇന്നും തുടരുന്നു. ഇന്ത്യക്കാരായതിൽ അഭിമാനം.

ഇനി ഈ കുട്ടികളുടെ തുടർ പഠന സാധ്യതകളാണ്. യുദ്ധം എത്രയും പെട്ടെന്ന് തീർന്നാൽ എത്രയും വേഗം തിരികെ പോയി പഠനം തുടരാനാണ് മിക്ക കുട്ടികളും ആഗ്രഹിക്കുന്നത്. ഓർക്കുക. യുദ്ധം തരിപ്പണമാക്കിയ രാജ്യത്തുനിന്നും ദുരിതമനുഭവിച്ചു വന്ന കുട്ടികളാണ് ഇത് പറയുന്നത്. പ്രതീക്ഷകൾ. അതാണ് മനുഷ്യർ.

അല്ലെങ്കിലും ഇന്ത്യൻ യുവത അന്യനാടുകളിൽ  ചേക്കേറുവാൻ ആണ് വെമ്പൽ കൊള്ളുന്നത്. മെച്ചപ്പെട്ട ജീവിതനിലവാരവും സൗകര്യങ്ങളുമുള്ള നാടുകൾ, കാലാവസ്‌ഥാ പ്രതികൂലമാണെങ്കിൽ പോലും അവരെ അങ്ങോട്ടേക്ക് ആകർഷിക്കുന്നു. ഇനിയും തിരിച്ചെത്താൻ കഴിയാതെയുള്ള കുട്ടികൾ ഉണ്ടെങ്കിൽ വേഗം അവർ തിരിച്ചെത്തട്ടെ എന്ന് പ്രാർഥിക്കാം. യുദ്ധത്തിന് പെട്ടെന്നുതന്നെ ഒരന്ത്യമുണ്ടാകട്ടെ എന്ന് പ്രത്യാശിക്കാം. ഈ കുഞ്ഞുങ്ങൾക്ക് ഉപരിപഠനം വീണ്ടും എത്രയും വേഗം സാധ്യമാവട്ടെ എന്ന് ആഗ്രഹിക്കാം. 

Content Summary: Essay written by Manshad Angalathil 

• Essay Essaytest -->
• Writers Blog Writers Blog test -->
• Malayalam Literature Malayalam Literaturetest -->

• Photogallery
• malayalam News
• lok sabha elections
• World Day Against Child Labour 2020 Here Kerala Statistics Of Child Labour

വീണ്ടുമൊരു ബാലവേല വിരുദ്ധ ദിനം; രണ്ട് വർഷത്തിനിടെ സംസ്ഥാനത്ത് മോചിപ്പിച്ചത് അമ്പതിലധികം കുട്ടികളെ

കൊവിഡ് കാലത്ത് കുട്ടികളെ സംരക്ഷിക്കുക എന്നതാണ് ഈ വർഷത്തെ ബാലവേല വിരുദ്ധ ദിനം മുന്നോട്ട് വയ്ക്കുന്ന ആശയം. ഐഎൽഒയുടെ ആഹ്വാനം പ്രകാരം 2002 മുതലാണ് ജൂൺ 12 ബാലവേല വിരുദ്ധ ദിനമായി ആചരിക്കാൻ ആരംഭിച്ചത്.

Recommended News

ആര്‍ട്ടിക്കിള്‍ ഷോ

Essay on Child Labour for Students and Children

500+ words essay on child labour.

Child labour is a term you might have heard about in news or movies. It refers to a crime where children are forced to work from a very early age. It is like expecting kids to perform responsibilities like working and fending for themselves. There are certain policies which have put restrictions and limitations on children working.

The average age for a child to be appropriate to work is considered fifteen years and more. Children falling below this age limit won’t be allowed to indulge in any type of work forcefully. Why is that so? Because child labour takes away the kids opportunity of having a normal childhood, a proper education , and physical and mental well-being. In some countries, it is illegal but still, it’s a far way from being completely eradicated.

Causes of Child Labour

Child Labour happens due to a number of reasons. While some of the reasons may be common in some countries, there are some reasons which are specific in particular areas and regions. When we look at what is causing child labour, we will be able to fight it better.

Firstly, it happens in countries that have a lot of poverty and unemployment . When the families won’t have enough earning, they put the children of the family to work so they can have enough money to survive. Similarly, if the adults of the family are unemployed, the younger ones have to work in their place.

Moreover, when people do not have access to the education they will ultimately put their children to work. The uneducated only care about a short term result which is why they put children to work so they can survive their present.

Furthermore, the money-saving attitude of various industries is a major cause of child labour. They hire children because they pay them lesser for the same work as an adult. As children work more than adults and also at fewer wages, they prefer children. They can easily influence and manipulate them. They only see their profit and this is why they engage children in factories.

Get the huge list of more than 500 Essay Topics and Ideas

Eradication of Child Labour

If we wish to eradicate child labour, we need to formulate some very effective solutions which will save our children. It will also enhance the future of any country dealing with these social issues . To begin with, one can create a number of unions that solely work to prevent child labour. It should help the children indulging in this work and punishing those who make them do it.

Furthermore, we need to keep the parents in the loop so as to teach them the importance of education. If we make education free and the people aware, we will be able to educate more and more children who won’t have to do child labour. Moreover, making people aware of the harmful consequences of child labour is a must.

In addition, family control measures must also be taken. This will reduce the family’s burden so when you have lesser mouths to feed, the parents will be enough to work for them, instead of the children. In fact, every family must be promised a minimum income by the government to survive.

In short, the government and people must come together. Employment opportunities must be given to people in abundance so they can earn their livelihood instead of putting their kids to work. The children are the future of our country; we cannot expect them to maintain the economic conditions of their families instead of having a normal childhood.

{ “@context”: “https://schema.org”, “@type”: “FAQPage”, “mainEntity”: [{ “@type”: “Question”, “name”: “What causes child labour?”, “acceptedAnswer”: { “@type”: “Answer”, “text”: “Child Labour is caused by many factors. The most important one is poverty and illiteracy. When people barely make ends meet, they put their children to work so they can have food two times a day.”} }, { “@type”: “Question”, “name”: “How can we prevent child labour?”, “acceptedAnswer”: { “@type”: “Answer”, “text”:”Strict measures can prevent child labour. Unions should be made to monitor the activities of child labour. Education must be made free to enroll more and more kids in school. We must also abolish child trafficking completely to save the children.”} }] }

Customize your course in 30 seconds

Which class are you in.

• Travelling Essay
• Picnic Essay
• Our Country Essay
• My Parents Essay
• Essay on Favourite Personality
• Essay on Memorable Day of My Life
• Essay on Knowledge is Power
• Essay on Gurpurab
• Essay on My Favourite Season
• Essay on Types of Sports

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Download the App

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 .

Tracing Meitei Mayek & Ol Chiki Letters: A Comparative Study

Devanagari – The Makings of a National Character

Karthik Malli

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.
• Delivery of superior quality essays that follow instructions and answer the question.
• Essays that are 100% unique no matter the topic or deadline.
• Money-back guarantee if you are not satisfied with the final essay that you receive.
• Twenty-four hours of customer service.

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.

Hire Our Experts Now

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.

15% OFF Your first order!

Aviable for the first 1000 subscribers, hurry up!

You might also like:

150 Qualitative and Quantitative Nursing Research Topics for Students

Why You Should Read a Data Gathering Procedure Example

What Is Culture and What Are Some Popular Culture Essay Topics?

Money-back guarantee

24/7 support hotline

Safe & secure online payment

Benefits of learning Malayalam

Here we discuss benefots of learning spoken Malayalam and reading for Malayalee diaspora, especially those who visit Kerala for their annual vacation.

Introduction

Malayalam, the mother tongue of the Indian state of Kerala, holds profound significance, especially for Malayalee diaspora. For Malayalee parents, teaching their kids Malayalam is about more than just language acquisition. It is about preserving cultural roots, fostering a sense of belonging, and forming a vital link with their ancestral land. This essay discusses why Malayalam should be part of the educational journey for children born to Malayalee parents, while residing outside Kerala.

Cultural Connection

Learning Malayalam allows diaspora children to connect deeply with their rich Malayalee heritage. The Malayalee culture, laden with diverse art forms, intriguing literature, vibrant festivals, and a distinct culinary style, finds its essence in the Malayalam language. Grasping the language can help children understand the nuances of this culture and participate more meaningfully in family and community traditions. This can foster a sense of identity and pride, nurturing their emotional and cultural wellbeing.

Family Bonding

Language is a potent connector. Knowing Malayalam helps children communicate effectively with family members, especially the older generation who may be more comfortable in their native language. It can foster intergenerational bonding and understanding, ensuring that family stories, wisdom, and values are passed down smoothly. This bond can be comforting and grounding, providing a sense of continuity and belonging in an increasingly global world.

Cognitive Advantages

Beyond the cultural and emotional benefits, learning Malayalam offers cognitive advantages. Research shows that bilingualism or multilingualism enhances various cognitive abilities, including problem-solving, multitasking, and memory. Malayalam, with its unique script and rich vocabulary, provides a robust cognitive workout, contributing to children’s overall cognitive development.

Access to Literature and Arts

Knowledge of Malayalam allows children access to Kerala’s rich literature and art forms. It helps them appreciate the complexity of art forms like Kathakali and Koodiyattam and delve into the depths of Malayalam literature. Such experiences can enrich their understanding of human emotions, cultural expressions, and philosophical questions, nurturing empathy and broad-mindedness.

Preserving Language Diversity

Finally, children learning Malayalam contribute to the preservation of linguistic diversity. As English continues to dominate global communication, less widely spoken languages risk marginalization. By learning and using Malayalam, children of the Malayalee diaspora can play a significant role in keeping their ancestral language alive and vibrant.

In conclusion, learning Malayalam offers Malayalee diaspora children a vital connection to their cultural heritage, enhances familial bonding, supports cognitive development, and helps preserve linguistic diversity. It opens doors to a wealth of literature and arts, enriching their worldview. Ultimately, Malayalam serves as an invaluable bridge—linking these children to their roots while equipping them to engage with a diverse and globalized world. Hence, the journey of learning Malayalam represents an essential component of their personal and educational growth, creating a harmonious blend of heritage and global citizenship.

To attend a Malayalam trial class signup here .

Great Ambitions

മാതൃഭാഷ പഠനത്തിന്റെ പ്രാധാന്യം ഉപന്യാസം Essay on Importance of Mother Tongue in Malayalam

Essay on Importance of Mother Tongue in Malayalam Language: മാതൃഭാഷ പഠനത്തിന്റെ പ്രാധാന്യം ഉപന്യാസം for students and teachers. Importance of Mother Tongue Essay in Malayalam Language.

മനുഷ്യജീവിതത്തിൽ ഉന്നതമായ സ്ഥാനം നൽകേണ്ട ഒന്നാണ് വിദ്യാഭ്യാസം. കാരണം ഒരു മനുഷ്യായുസ്സ് നേടിയെടുക്കുന്ന സകല കഴിവുകളുടെയും വികാസം സാധ്യമാകുന്നത് വിദ്യാഭ്യാസത്തിലൂടെയാണ്. അതുകൊണ്ടാണിവിടെ “വിദ്യാഭ്യാസം എന്നത് ജീവിതത്തിന്റെ അഭിവൃദ്ധിക്കു വേണ്ടിയുള്ള തയ്യാറെടുപ്പാണ് എന്ന് നിർവചിച്ചിരിക്കുന്നത്. വിവിധ സ്വഭാവമേന്മ യോടുകൂടി ജനിക്കുന്ന മനുഷ്യൻ വിദ്യാഭ്യാസത്തിലുടെ പലതും സ്വീകരിക്കുകയും ഉപേക്ഷിക്കുകയും ചെയ്യുന്നു അങ്ങനെ മനുഷ്യനെ യഥാർത്ഥ  മനുഷ്യനാക്കുകയാണ് വിദ്യാഭ്യാസം എന്ന പ്രക്രിയയിലൂടെയാണ്.

സംസാരിച്ചു തുടങ്ങുന്ന പിഞ്ചുകുഞ്ഞിന്റെ നാവിൽ ആദ്യം തത്തി കളിക്കുന്നത് മാതൃഭാഷയാണ്. മാതൃഭാഷ കുട്ടിക്ക് ലഭിക്കുന്ന സഹജഭാഷയാണ്. അമ്മയും മാതൃഭാഷയും കുഞ്ഞിന്റെ രണ്ട് അമ്മമാരായി നിലകൊള്ളുന്നു. –

“മറ്റുള്ള ഭാഷകൾ കേവലം ധാത്രിമാർ – മർത്യനു പെറ്റമ്മ തൻ ഭാഷ താൻ എന്നാ മഹാ കവി വള്ളത്തോളിന്റെ വരികൾ മാതൃഭാഷയുടെ പ്രാധാന്യത്തെയാണ് വിളിച്ചറിയിക്കുന്നത്. മനുഷ്യ ജീവിതത്തിൽ ഏറ്റവും പ്രാധാന്യമുള്ള ഘടകങ്ങളിൽ ചിലതാണ് മാതാവ്, മാതൃഭൂമി, മാതൃഭാഷ എന്നിവ. അന്തർദേശീയ ഭാഷയായ ഇംഗ്ലീഷ് ലോകഭാഷ എന്ന നിലയിൽ അതുല്യ സ്ഥാനം വഹിക്കുന്നു. – ഭാഷാടിസ്ഥാനത്തിൽ സംസ്ഥാനങ്ങൾ പുനർവിഭജനം ചെയ്തത് മാതൃഭാഷയെ പ്രോത്സാഹിപ്പിക്കുവാനാണ്. വിദേശ ഭാഷയിലൂടെ വിദ്യാഭ്യാസം ചെയ്യുന്നത് വിദ്യാർഥികൾക്ക് തുലോം വിഷമമാണ്. വിദേശ ഭാഷ പഠിക്കാൻ തന്നെ നാം കൂടുതൽ സമയം ചെലവഴിക്ക ണം. ഭാരതീയർക്ക് ദേശീയബോധം കുറയുവാനുള്ള പ്രധാനകാരണം വിദ്യാഭ്യാസത്തിൽ ഇംഗ്ലീഷിന് അമിത പ്രാധാന്യം കൊടുത്തത് കൊണ്ടാണെന്ന് ഒരു ചിന്താഗതിയുണ്ട്.

പരീക്ഷ വിജയവും ഉദ്യോഗലബ്ധിയും മാത്രമല്ല വിദ്യാഭ്യാസത്തിന് പ്രധാന ഉദ്ദേശങ്ങൾ. നാം മാതൃഭാഷാഭിമാനികളും, സ്വരാജ്യ സ്നേഹികളും ആയിത്തീരുന്നതിന് വിദ്യാഭ്യാസത്തിൽ  പ്രമുഖസ്ഥാനം മാതൃഭാഷയ്ക്ക് നൽകണം. – ഇന്ന് നാം സ്വതന്ത്രരാണ്. നമ്മുടെ പുരാതന സംസ്കാരത്തെയും ആദർശത്തെയും സംരക്ഷിക്കുവാൻ മാതൃഭാഷ വിജ്ഞാനം അത്യന്താപേക്ഷിതമാണ്. മാതൃഭാഷയായ മലയാളത്തിന് മറ്റു ഭാഷകളോട് ഒപ്പം നിൽക്കാൻ ഉള്ള എല്ലാ ഗുണവിശേഷങ്ങളും ഉണ്ട്.

ആശയ പ്രകടനത്തിനും ശാസ്ത്രീയ കാര്യങ്ങളെ പ്രതിപാദിക്കാനു മുള്ള എല്ലാ ഗുണവിശേഷങ്ങളുമുള്ള നാം എത്ര ഭാഷകൾ കൈവശ മാക്കിയാലും മാതൃഭാഷയിലൂടെ മാത്രമേ സ്വന്തം ഹൃദയവികാരങ്ങൾ ശക്തമായും വ്യക്തമായും മറ്റുള്ളവരെ ധരിപ്പിക്കാൻ കഴിയൂ. വിശ്വസാഹിത്യങ്ങളും ശാസ്ത്രീയ കാര്യങ്ങളും നമ്മിൽ വേരുറക്കുന്നത് മാതൃഭാഷയിലൂടെയാണ്. അതുകൊണ്ടാണ് “ഏതൊരു വേദവുമേതൊരു ശാസ്ത്രവുമേതൊരു കാവ്യവുമേതൊരാൾക്കും ഹൃത്തിൽ പതിയേണമെങ്കിൽ സ്വഭാഷതൻ വക്തത്തിൽ നിന്നു താൻ കേൾക്ക വേണം” എന്ന് മഹാകവി വള്ളത്തോൾ പാടിയത്.

വീടും നാടും അന്യമായി കാണുന്ന ഇളം തലമുറയുടെ മാതൃഭാഷാ വൈമുഖ്യം നാം ശ്രദ്ധിക്കാതിരുന്നിട്ട് കാര്യമില്ല. ” ജനിക്കും മുമ്പൻ മകനിംഗ്ലീഷ് പഠിക്കണമതിനാൽ ഭാര്യതൻ പേറങ്ങിഴുണ്ടിൽ തന്നെയാക്കിനേൻ എന്ന കുഞ്ഞുണ്ണി മാഷിന്റെ പരിഹാസം കേരളീയരുടെ പൊങ്ങച്ച ത്തെയും മിഥ്യബോധത്തെയുമാണ് സൂചിപ്പിക്കുന്നത്. തന്നോടു തന്നെയുള്ള ഈ യുദ്ധം മലയാളികളുടെ ശാപമാണ്. മാതൃ ഭാഷാവ ബോധം ജനകീയതയുടെ സിരാ രക്തം ആണെന്ന കാര്യം ഇനിയും മറന്നാൽ നമ്മുടെ ഭാവി പുകയാൽ മൂടിപ്പോകും എന്നതിൽ സംശയം വേണ്ട. ഈ അവസരത്തിൽ “എന്നുടെ ഭാഷ താനെൻ തറവാട്ടമ്മ അന്യയാം ഭാഷ വിരുന്നുകാരി” എന്ന കവി വാക്യം മറക്കാതിരിക്കുക.

Leave a Comment Cancel reply

Save my name, email, and website in this browser for the next time I comment.

case study ke charan

Revised on November 20, 2023. A case study is a detailed study of a specific subject, such as a person, group, place, event, organization, or phenomenon. Case studies are commonly used in social, educational, clinical, and business research. A case study research design usually involves qualitative methods, but quantitative methods are ...

A case study is one of the most commonly used methodologies of social research. This article attempts to look into the various dimensions of a case study research strategy, the different epistemological strands which determine the particular case study type and approach adopted in the field, discusses the factors which can enhance the effectiveness of a case study research, and the debate ...

WowEssays.com paper writer service proudly presents to you a free database of Charan Case Studies intended to help struggling students deal with their writing challenges. In a practical sense, each Charan Case Study sample presented here may be a guide that walks you through the critical stages of the writing procedure and showcases how to develop an academic work that hits the mark.

Although case studies have been discussed extensively in the literature, little has been written about the specific steps one may use to conduct case study research effectively (Gagnon, 2010; Hancock & Algozzine, 2016).Baskarada (2014) also emphasized the need to have a succinct guideline that can be practically followed as it is actually tough to execute a case study well in practice.

Trauma can take many forms, including but not limited to physical or sexual abuse, neglect, living in a home with others suffering from mental illness or substance abuse, experiencing parental separation or incarceration, and witnessing the violent treatment of others (1, 2).Nearly 70% of adults report experiencing one or more traumatic events in their lifetimes (), suggesting that many of our ...

The Kakori Train action (prapt of Kakori conspiracy) was a train robbery that took place at Kakori, a village near Lucknow, on 9 August 1925, during the Indian independence movement against the British rule in India.It was organized by the Indian revolutionaries of Hindustan Republican Association (HRA).. Photo of German-made Mauser pistol. Four Mausers were used by the Indian revolutionaries.

Here is an in-depth explanation of each line of the Hanuman Chalisa: 1. "Shri Guru Charan Saroj Raj, Nij Manu Mukuru Sudhari Barnau Raghubar Bimal Jasu, Jo Dayaku Phal Chari". Meaning: I clean my mind with the remembrance of the lotus feet of my revered Guru.

Divers recovered the remains of two of the six missing workers more than a day after a cargo ship smashed into Baltimore's Francis Scott Key Bridge. The bodies of two men were found in a red ...

Customary land and climate change induced relocation—A case study of Vunidogoloa Village, Vanua Levu, Fiji. D Charan, M Kaur, P Singh. ... N Shiiba, P Singh, D Charan, K Raj, J Stuart, A Pratap, M Maekawa. Mitigation and Adaptation Strategies for Global Change 28 (2), 9, 2023. 6: 2023:

Trade policy has moved from the wings onto center stage. Between 1992 and 2000, US exports rose by 55 percent. By the year 2000, trade summed to 26 percent of US GDP, and the United States imported almost two-thirds of its oil and was the world's largest host country for foreign investors. America's interest in a more open and prosperous foreign market is now squarely economic.

Case Study Ke Charan, Sample Masters Thesis Proposal, Doc Gabrie Tarde College Paper, Pass Dissertation Defense, Write Me Custom Best Essay On Donald Trump, Dissertation Conclusion Ghostwriter Services Gb, Sample Resume Graduate College Application ...

Case Study Ke Charan - 4.8/5. Order now Login. Professional Essay Writer at Your Disposal! Quality over quantity is a motto we at Essay Service support. We might not have as many paper writers as any other legitimate essay writer service, but our team is the cream-of-the-crop. On top of that, we hire writers based on their degrees, allowing us ...

12 Customer reviews. Login. Meet Eveline! Her commitment to quality surprises both the students and fellow team members. Eveline never stops until you're 100% satisfied with the result. She believes essay writing to be her specialty. Level: Master's, University, College, PHD, High School, Undergraduate. ID 11550.

1035 Natoma Street, San Francisco. This exquisite Edwardian single-family house has a 1344 Sqft main…. Bedrooms. 3. 100% Success rate. Essay on Public Relations. Computer Sciences. Perfect Essay. #5 in Global Rating.

Case Study Ke Charan, Top Papers Editing Websites Uk, Sap Pp Pi Resume, My Long-term Career Goal Essay, Homework Should Be Given To School Students, Introduction To Interview Essay, Write Definition Terms Research Paper Write an essay from varied domains with us!

Case Study Ke Charan. Lowest Prices. 1514Orders prepared. 4078. 24/7 Customer support. Support team is ready to answer any questions at any time of day and night. About Writer. 591. Finished Papers.

Case Study Ke Charan. High School College University Master's PHD. 2646. Customer Reviews. 4.7/5. Viola V. Madsen. #20 in Global Rating. 848. Finished Papers.

At Essayswriting, it all depends on the timeline you put in it. Professional authors can write an essay in 3 hours, if there is a certain volume, but it must be borne in mind that with such a service the price will be the highest. The cheapest estimate is the work that needs to be done in 14 days. Then 275 words will cost you $ 10, while 3 ...

Case Study Ke Charan, Cheap Biography Ghostwriting For Hire For School, What Is An Effective Project Plan Essay, Esl Papers Writer Site For University, Dissertation Monographie Zitieren, Cheap Bibliography Ghostwriter Service For School, What Is An Explanation Analysis In An Essay

Case Study Ke Charan - Shopping through online platforms is a highly controversial issue. Naturally, you cannot be completely sure when placing an order through an unfamiliar site, with which you have never cooperated.

Case Study Ke Charan, Best Example For Application Letter, Research Paper On Peace Education, Ozone Depletion Essay Introduction, Essay On Student, Assistant Portfolio Manager Cover Letter, Sample Cover Letter For Sales Advisor 724 . Finished Papers ...

Case Study Ke Charan, Cheap Cv Ghostwriter Site For University, Overcoming Adversity Essay, Phd Thesis Behavioral Economics, Explaining Concepts Essay Topics, Higher Education In Pakistan Thesis Pdf, Ielts Essay Sample Answer Sheet ...

Case Study Ke Charan, American Desert Argumentative Essay, Narrative Essay Serious Choice Decision, Medical Research Paper Writing Services, A Lucky Escape Creative Writing, Statistical Process Control Thesis, How Is The Lord Of The Flies A Political Allegory Essay

Case Study Ke Charan: 14550 + Yes, all of our papers are completely free from any type of errors and plagiarism. is a "rare breed" among custom essay writing services today. All the papers delivers are completely original as we check every single work for plagiarism via advanced plagiarism detection software. As a double check of the paper ...