essay writing malayalam format

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.

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Simplified Script

The current orthography of Malayalam is a refined variety of the Arya Eluttu that evolved from the Pallava-Grantha writing system. Even after undergoing two reformations, the current writing system of Malayalam incorporates many complexities.

The Malayalam script is an alpha syllabary consisting of 51 letters plus other characters including diacritic marks, and is one of the largest writing systems in India.

Simplified orthography is an extended version of the script used in “Pacha Malayalam” literature. This dissolves the existing aspirate letters and promotes the usage of distinct letters for dental na and alveolar na.

Advantageous

Reduces the complexity of the script, and decreases the total number of characters down to just the necessary ones.

Loan letters are only necessary when representation of foreign loan words or names occur. Hence, the number of base letters in Malayalam can be reduced to 31.

Reduction in the number of conjunct letters.

This simplification does not demand any changes to the existing resources available for Malayalam language, nor does it create any issues to those resources.

The simplification calls for deletion of Sanskrit loans with aspirates and other complexities; this does not require changing their spelling. Instead, native Malayalam words or Tadbhavas will replace them.

The simplified script will reduce the complexity involved in language technology, and thus increase usage and reliability of such resources.

A simplified writing system increases the usability of the script on all platforms. With this reform, keyboard layouts will become much more user-friendly and will drastically increase its popularity among the youth who are accustomed to the ease of using Latin-based keyboard layouts.

The use of language in computers will increase with simplified script, as it reduces the complexity of glyph rendering and long, hard-to-pronounce derivations for computer terminology.

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simplified Malayalam script

The Malayalam Script

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Malayalam Essay Writing for Every Malayalam Student

University life is not only fun for students who have to learn some subjects in English and then in Malayalam. The student has to put on different shoes to write these papers because of the differences between the two languages. At first glance, it may seem easy to write these essays and until you get the assignments, you will never know the difficulties you will face.

One of the biggest hurdles is finding essay topics in Malayalam. Students often wonder if they can write about something in Malayalam like they do in English. But what are the easiest topics to write about in Malayalam?

Since Malayalam is a language mainly spoken by the people of the Kerala region of India, it would be easy to write about the culture of these people. You can discover their traditional beliefs, their way of life, their food and much more.

The secret is to find something interesting to write about. Once you find a topic, follow these tips to write a good quality article that will earn you a good grade. These tips will help you improve your grade point average, which is very important for your career after graduation.

Find many essay topics in Malayalam and then pick one.

The best way to start writing an essay in Malayalam is to find many interesting topics. You can’t just find one topic and solve it all at once, because that can end up having consequences. The problem with one topic at a time is that while it may be interesting, it contains little information.

If you decide to study Malayalam, the language of Kerala, there are many things you may want to write about. As mentioned above, you can develop a topic to explore their beliefs, diet and lifestyle.

Another topic that may be of interest to you is the business culture of the people who speak the language. In this section, you may choose to examine their business beliefs and practices, the strategies they use, and the way they build relationships with customers.

It would also be interesting to develop a topic comparing Malayalam culture with that of other peoples, such as English or any other culture you can think of. Such a topic would be information rich.

The last step is the preliminary research to find the topic for which there is enough information. Research all the topics that come to mind so that you can easily choose the best one. These Malayalam writing tips are very valuable if you follow them while writing. They will make your life at university enjoyable and exciting.

Here is how to write an essay on Vishu in Malayalam.

Suppose you decide to write an essay of Vishu on Malayalam, how would you write your essay? Since Vishu is already a famous festival known all over the world, the Internet is undoubtedly rich with information on the subject.

This is the same as saying you want to write an essay about Malayalam Christmas. You will find out a lot about the traditions that led to the birth of the festival, what it symbolizes, the activities people do during the day and the kind of costumes they wear during the festival.

The first step in writing an article is what you already know. You need an introduction that tells the reader what you are trying to accomplish with the essay. Write it in a way that encourages the reader to read the whole article. You can start by writing something unique about Malayalam that is not typical of other cultures. Such a point can impress the reader and make him or her want to know more fascinating things about the culture.

The next step is to write the text of your essay. You should divide it into sections so that each section covers different ideas. For example, one of the subtopics could be the history of the Vishu festival. How did it get started? Who was involved in making it?

Once you have found a subtopic, make sure you write a new idea in each paragraph. This is the same thing you do with English essays. Each paragraph should stand alone so that the reader is not confused by conflicting ideas. Research and write an in-depth analysis or description of an event, depending on the purpose of your essay. If you are writing an essay in Malayalam, remember to refer to your work. This gives credibility to your research, and if you wrote your essay with the goal of getting a good grade, you will certainly achieve this goal.

How to write a conclusion in Malayalam and how to format the essay.

When you have come to a conclusion, it is good to take a break. Perhaps you have had enough of all the information you have found in books and newspapers. If you have the time, a few hours’ break may be enough if you want to get your work done that day. Even fifteen or forty minutes may be enough to quiet your mind.

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

Next, begin writing the conclusion. This should be very simple because you are not introducing a paragraph. Basically, you are summarizing the work you wrote in the introduction and the main body of the essay. It is advisable to remind the reader why you started writing the essay, and then formulate your conclusions and give your final verdict. In the sentence, you can encourage people to learn more about Malayalam or talk about your conclusions about the culture.

When you have finished your reading and writing test in Malayalam, format it. Your teacher should have informed you of the formatting style in the instructions. If it is not mentioned in the question, it should be mentioned in the notes.

If you have been asked to use the APA format, be sure to include a title page with the current title, page numbers, and references at the end of the document. If the essay contains images or links that you may want to attach, they should be attached. The last thing you should do is run the essay through a grammar checker to make sure you don’t overlook any errors that could lead to a possible loss of grade.

Guarantees for writing essays on Malayalam websites

Sometimes, no matter how hard you try, it is impossible to write an essay. Perhaps you are learning Malayalam for the first time and fear that you have not mastered the fundamentals of the language. Moreover, you may not have enough time to write all the assignments you are given in class. In this case, it can be very helpful to seek help from Malayalam essay-writing websites. This can prevent you from losing points due to late submission of papers.

We are a reliable Malayalam company that will help you in all your missions. We will formulate the topic and write the article for you. Our guarantees include :

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We also commit to be in constant contact with you in case of problems. You have the option to talk to our support team or send a message directly to your author. This increases our efficiency as it reduces time wasted. If you want to provide additional information to the author, you can do so via a message. If you do not know how to do this, our support team is always ready to help you. They will show you every step, how to place your order and how to download your finished document.

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

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Collection of Essays in Malayalam

2018, Open Read

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

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• Press (Ctrl+G) to switch between English and Malayalam.
• Use the backspace or click on any words to get more choices on a drop-down menu.
• Once you have finished typing , email it to your friends and family.
• Simply copy and paste to post content on Facebook, Twitter, or format it on a text editor such as Word Document.

How to type in Malayalam using English Keyboard - QWERTY keyboard?

To start typing in Malayalam, just type a word as it is pronounced in English. This would then be transliterated into Malayalam. For E.g. if you type "nan ninne snehikkunnu" then it would be transliterated into “ഞാൻ നിന്നെ സ്നേഹിക്കുന്നു” .

If the transliterated word is not what you have expected - either click on the word or use the backspace to get more choices on a drop-down menu.

What is difference between Translation and Transliteration?

A translation tells you the meaning of words in another language. For E.g the translation of "India is multicultural country" would be "ഇന്ത്യ ബഹു സാംസ്കാരിക രാഷ്ട്രമാണ്" in Malayalam. You can use various online tool for translating word, sentence and phrase from English to Malayalam for FREE. Some of the popular translation tool are Google Translator , Bing Translator or use our own Malayalam Translation for FREE.

On the other hand, transliteration software works on phonetics. A transliteration doesn't tell you the meaning of the words but it helps you pronounce them. What you type in Roman script is converted in Malayalam script. For E.g. typing "intya oru bahu sanskarika rajyamnṇ" will be converted into "ഇന്ത്യ ഒരു ബഹു സാംസ്കാരിക രാജ്യമാണ്" .

Therefore, we can say, transliteration changes the letters from one alphabet into the similar-sounding characters of another alphabet. This makes it the simplest and fastest method of typing in Malayalam without practising any Malayalam Keyboard . You can either use Google Input Tool for FREE.

Here is How to Write an Excellent Essay in Malayalam!

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

1- Location:

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

2- Agriculture of the area:

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

3- Culture:

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

4- Malayalam Language:

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

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Malayalam: Scripting Tradition and Modernity

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

Malayalam literary culture is marked by a number of contradictions.

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

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

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

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

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

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

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

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

Pre-modern writing in Kerala

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

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

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

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

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

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

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

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

Early printing outside Kerala

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

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

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

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

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

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

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

Benjamin Bailey and early printing in Kerala

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Journalism and periodicals

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

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

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

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

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

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

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

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

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

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

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

20th-century printing and Malayalam font complexities

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

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

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

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

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

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

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

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

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

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

In short, working with metal Malayalam types was challenging.

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

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

Nor were Malayalis unaware of these issues.

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

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

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

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

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

Early script reform and debates: preludes to 1971

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

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

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

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

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

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

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

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

The Committee submitted its recommendations in 1953:

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

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

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

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

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

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

The 1971 Script Reform

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

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

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

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

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

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

Clearly, this was a critical juncture for the language.

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

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

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

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

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

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

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

Script reform principles

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

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

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

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

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

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

Script reform in practice

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

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

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

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

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

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

Digital printing and contextual variation

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

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

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

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

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

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

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

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

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

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

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

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

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

Traditional vs Simplified: a false binary?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The 2022 Script Reform: 1971 revisited

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Malayalam essays

Essay • January 4, 2011

What are your chances of writing a Malayalam essay?

Will any student write a Malayalam essay in US? The Malayali diaspora of nearly 5 Million people is spread far and wide both within and outside India. Malayalis outnumber the immigrants from other Indian states in the Middle Eastern countries.

According to FOKANA (Federation of Kerala Associations in North America), about 300,000 Malayalis reside in the US. Conservative estimates do not count more than 200,000 Malayalis in USA. It is a moot question how many of these are students who may opt to study Malayalam. The interest of non-Malayalis, to study the language appears to be very limited. There may be very small opportunities for writing Malayalam essays in the handful of US universities teaching Malayalam.

I was able to gather limited details of US universities teaching Malayalam as a subject. The University of Texas, Austin offers courses in Asian cultures and languages, where it is possible to specialize in Malayalam or take it as a minor. The Asian studies department of the university of Pennsylvania teaches Malayalam language related subjects under the course descriptions of “Beginning Malayalam:MLYM-408” and “Intermediate Malayalam:MLYM-428”. South Asia Summer Language Institute, University of Wisconsin-Madison offers summer courses in Malayalam. Perhaps one may write Malayalam essays if one opts for any of these courses.

Irrespective of the language, the basics of essay writing are the same. There is no need to change your paper format s or do anything special in essay editing . Clarity of purpose, logical structure and error free language are required in Malayalam essays also.

There is enough to write about Kerala, the land of the Malayalis. Lush with tropical mangroves, rain forests, pristine beaches and idyllic backwaters, Kerala’s landscape inspires bards and artists. The entire state is a tourist paradise and many call it “Gods own country”.

Early literature of Kerala was in Sanskrit and Tamil. Many Malayalis believe that Cheruseri’s Krishna Gatha, written in the 15th Century AD is the first example of “true” Malayalam literature. The famous poet Ezhutachhan of the 16th Century AD was a prolific writer and is believed to be the father of Malayalam literature.

Kerala is one of the two states in India, which elects Marxist governments now and then. Hence Malayalam has a fair share of left oriented contemporary writings. With over 70% literacy rate Kerala offers ample opportunities for good Malayalam writers.

Samedayessay.com is the best resource for essay help , research paper and dissertation help .

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CBSE Sample Papers for Class 10th Malayalam: Syllabus, PDF

Aparna Singh ,

Mar 4, 2024

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Get the sample papers for CBSE Class 10th Malayalam, features, and tips for practicing sample papers.

CBSE sample papers for class 10th Malayalam are designed for helping the 10th standard learners understand the type of questions asked and primarily relieved the students' stress. CBSE sample papers for class 10th Malayalam will push the students to understand the complexities involved in the paper and prepare accordingly. In addition, sample papers enable students to analyze their progress and enhance their time management.

CBSE sample papers for class 10th Malayalam will push the students to understand the complexities involved in the paper and prepare accordingly. In addition, sample papers enable students to analyze their progress and enhance their time management. Moreover, regularly practicing class 10th sample papers will help students aspiring to pursue arts to emphasize the regional languages from a social, political, and cultural perspective.

The CBSE syllabus comprises detailed concepts, learnings, and methods to polish the child's future. The board publishes the CBSE syllabus on the official website. Students must refer to the syllabus before preparing for the exam to create a study timetable accordingly. To simplify and enrich the preparation of students, a few CBSE sample papers and marking schemes of class 10th Malayalam subject are given below. 

Table of Contents

• Download CBSE sample papers for class 10th Malayalam PDF
• Features of CBSE sample papers for class 10th Malayalam
• Tips for writing CBSE exams

Latest News on CBSE 10th

• CBSE Class 10th Results 2022 Released
• CBSE 10th Result 2022 Out: Use CBSE Roll Number Finder to Check Results
• CBSE Class 10th Board Result 2022 on UMANG App
• CBSE Board 10th Results 2022: Region-wise Passing Percentage, Trivandrum Tops the List

Download CBSE Sample Papers for Class 10th Malayalam PDF

CBSE sample papers relieve exam anxiety and stress. In addition, it helps with preparation analysis as CBSE sample papers are based on the board's most recent syllabus, which provides questions on most of the course's major topics. Finally, it improves self-confidence as sample papers assist students in analyzing their strengths and weaknesses to enhance their performance by focusing on poor areas.

Moreover, the marking scheme encourages clear and equal grading, which benefits students by providing students with timely and detailed reviews that they can use. The CBSE sample papers and marking scheme of class 10th Malayalam will help students better understand the pattern of the exam paper and the importance of each chapter/topic. 

Read More on CBSE Board

Features of CBSE Sample Papers for Class 10th Malayali

The following list highlights the features of CBSE sample papers for class 10th Malayalam:

• Subject experts have prepared the sample papers.
• It has objective and subjective questions.
• The paper is set for 80 marks.
• It is divided into two sections- A & B.
• The sections combined have 1, 2 & 5 marks, respectively.

Tips For Writing CBSE Exams  

The exam season can be stressful and pressurizing. Students tend to succumb to this pressure and exam anxiety which affects their performance in the exam. To help students cope with this naturally occurring exam pressure, below are a few tips that’ll help them take control over the situation and ace their performance.   Most schools have introduced the concept of 15 minutes for the board examinations. This 15 minutes is meant for the students to read the question paper completely before attempting it. 

Prioritize your Questions:  Once you have familiarized yourself with the question paper, check for questions you are confident in answering. Start attempting the paper with questions that you are confident about.

Stay on track:  Students often believe that long and elaborate answers will fetch them higher marks. However, this is not true. Writing long answers will make it seem irrelevant and improper. Always stick to the point and answer directly to the question.

Make the right choice:  Students are given certain choice questions in the question paper. It is important to choose questions you are confident about and can answer correctly. Make sure to select the question you want to attempt during the 15 minutes reading time. 

Focus on the matter:  Students often get carried away in beautifying the answer script. This is not just a waste of time but will not help score any additional marks. Therefore, it is important to keep the paper simple and clutter-free.

Related Links

• CBSE Roll Number Finder 2022
• CBSE Revaluation 2022

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Ethics Essay

സമൂഹത്തിനുള്ളിലെ ശരിയും തെറ്റും എന്ന ആശയം നിർവചിക്കുന്ന പെരുമാറ്റത്തിന്റെ ഒരു ശാഖയാണ് എത്തിക്സ്. വ്യത്യസ്ത സമൂഹങ്ങൾ നിർവചിച്ചിരിക്കുന്ന ധാർമ്മികത വളരെ സമാനമാണ്. ഈ ആശയം ലളിതമാണ്, കാരണം എല്ലാ മനുഷ്യരും പരസ്പരം വ്യത്യസ്തരാണ്, അതിനാൽ ചിലപ്പോൾ ഇത് സംഘർഷത്തിന് കാരണമായേക്കാം. സദാചാരവും സൗന്ദര്യശാസ്ത്രവും തത്ത്വചിന്തയുടെ ശാഖയായ ആക്‌സിയോളജിയുടെ ഉപശാഖകളാണ്. ധാർമ്മികത എന്ന ആശയം പ്രധാനമായും ഒരു സമൂഹത്തിന്റെ സംസ്കാരത്തെയും മതത്തെയും അടിസ്ഥാനമാക്കിയുള്ളതാണ്.

മലയാളത്തിലെ നൈതികതയെക്കുറിച്ചുള്ള ഹ്രസ്വവും ദീർഘവുമായ ഉപന്യാസം

ഉപന്യാസം 1 (300 വാക്കുകൾ).

ശീലം, ആചാരം അല്ലെങ്കിൽ സ്വഭാവം എന്നർഥമുള്ള പുരാതന ഗ്രീക്ക് പദമായ അത്തോസിൽ നിന്നാണ് സദാചാരം എന്ന വാക്ക് ഉരുത്തിരിഞ്ഞത്. വാസ്തവത്തിൽ, ഇതാണ് ധാർമ്മികത. ഒരു വ്യക്തിയുടെ ശീലങ്ങളും സ്വഭാവവും അവനുള്ള ധാർമ്മിക മൂല്യങ്ങളെക്കുറിച്ച് പറയുന്നു. മറ്റൊരു വിധത്തിൽ പറഞ്ഞാൽ, ഒരു വ്യക്തിയുടെ ധാർമ്മിക മൂല്യങ്ങൾ അവന്റെ സ്വഭാവത്തെ നിർവചിക്കുന്നു. സമൂഹം നിശ്ചയിച്ചിട്ടുള്ള ധാർമ്മിക മാനദണ്ഡങ്ങളുടെ അടിസ്ഥാനത്തിലാണ് നല്ലതും ചീത്തയും എന്ന് നമ്മളെല്ലാവരും പറയുന്നത്.

തത്ത്വശാസ്ത്രം

യാഥാർത്ഥ്യത്തിൽ ദൃശ്യമാകുന്ന ഉപരിപ്ലവമായ ധാർമ്മിക തത്ത്വശാസ്ത്രം വളരെ ആഴത്തിലുള്ളതാണ്. ഇത് നൈതികതയുടെ മൂന്ന് ഭാഗങ്ങളായി തിരിച്ചിരിക്കുന്നു. ഇവയാണ് മാനദണ്ഡ ധാർമ്മികത, പ്രായോഗിക ധാർമ്മികത, മെറ്റാ-ധാർമ്മികത. ഈ മൂന്ന് വിഭാഗങ്ങളിലേക്കുള്ള ഒരു ഹ്രസ്വ വീക്ഷണം ഇതാ:

• നോർമേറ്റീവ് എത്തിക്സ്: ഇത് ധാർമ്മിക വിധികളുടെ ഉള്ളടക്കം കൈകാര്യം ചെയ്യുന്നു. വ്യത്യസ്ത സാഹചര്യങ്ങളിൽ പ്രവർത്തിക്കാനുള്ള വഴികൾ പരിഗണിക്കുമ്പോൾ ഉണ്ടാകുന്ന ചോദ്യങ്ങൾ ഇത് വിശകലനം ചെയ്യുന്നു.
• അപ്ലൈഡ് എത്തിക്സ്: ഈ തരത്തിലുള്ള ധാർമ്മികത ഒരു വ്യക്തിയെ സംബന്ധിച്ച മാനദണ്ഡങ്ങൾ വിശകലനം ചെയ്യുന്നു, അത് ഒരു പ്രത്യേക സാഹചര്യത്തിൽ ഉചിതമായ രീതിയിൽ പെരുമാറാൻ വ്യക്തിയെ അനുവദിക്കുന്നു. മൃഗങ്ങളുടെ അവകാശങ്ങൾ, ആണവായുധങ്ങൾ തുടങ്ങിയ വിവാദ വിഷയങ്ങൾ ഇത് കൈകാര്യം ചെയ്യുന്നു.
• മെറ്റാ എത്തിക്‌സ്: ശരിയും തെറ്റും സംബന്ധിച്ച ആശയം എങ്ങനെ മനസ്സിലാക്കാമെന്നും അതിനെക്കുറിച്ച് നമുക്കറിയാവുന്നതെന്താണെന്നും ഇത്തരത്തിലുള്ള ധാർമ്മികത പഠിപ്പിക്കുന്നു. ഇത് അടിസ്ഥാനപരമായി ധാർമ്മിക തത്വങ്ങളുടെ ഉത്ഭവവും അടിസ്ഥാനപരമായ അർത്ഥവും നോക്കുന്നു.

വ്യക്തികൾ മുമ്പുള്ള ധാർമ്മിക സത്യങ്ങൾ വിശ്വസിക്കുന്നുവെന്ന് സദാചാര റിയലിസ്റ്റുകൾ വിശ്വസിക്കുമ്പോൾ, മറുവശത്ത്, വ്യക്തികൾ സ്വന്തം ധാർമ്മിക സത്യങ്ങൾ അന്വേഷിക്കുകയും കണ്ടെത്തുകയും ചെയ്യുന്നുവെന്ന് നോൺ-റിയലിസ്‌റ്റുകൾ വിശ്വസിക്കുന്നു. ഇരുവർക്കും തങ്ങളുടെ കാഴ്ചപ്പാടുകൾ ശരിയാണെന്ന് തെളിയിക്കാൻ അവരുടേതായ യുക്തിയുണ്ട്.

സമൂഹം നിർവചിക്കുന്ന ധാർമ്മികതയാണ് മിക്കവരും പിന്തുടരുന്നത്. ധാർമ്മിക മാനദണ്ഡങ്ങൾക്കനുസൃതമായി നല്ലവരായി കണക്കാക്കപ്പെടുന്നവരെ അവർ പരിഗണിക്കുകയും ഈ മാനദണ്ഡങ്ങൾ പാലിക്കാത്തവരിൽ നിന്ന് അകന്നു നിൽക്കാൻ ആഗ്രഹിക്കുന്നു. എന്നിരുന്നാലും, ഈ മൂല്യങ്ങളെ ചോദ്യം ചെയ്യുകയും എന്താണ് ശരിയും തെറ്റും എന്ന് ചിന്തിക്കുകയും ചെയ്യുന്ന ചില ആളുകളുണ്ട്.

ഉപന്യാസം 2 (400 വാക്കുകൾ)

നല്ലതും ചീത്തയും ശരിയും തെറ്റായതുമായ മാനദണ്ഡങ്ങൾ വിവരിക്കുന്ന ധാർമ്മിക തത്ത്വങ്ങളാണ് നൈതികതയെ നിർവചിച്ചിരിക്കുന്നത്. ഫ്രഞ്ച് എഴുത്തുകാരനായ ആൽബർട്ട് കാമുവിന്റെ അഭിപ്രായത്തിൽ, “ഈ ലോകത്ത് ധാർമ്മികതയില്ലാത്ത ഒരു മനുഷ്യൻ ഒരു വന്യമൃഗത്തെപ്പോലെയാണ്”.

ധാർമ്മിക തരങ്ങൾ

ധാർമ്മികതയെ നാല് വ്യത്യസ്ത വിഭാഗങ്ങളായി തരം തിരിച്ചിരിക്കുന്നു. ഇവയെക്കുറിച്ചുള്ള ഒരു ഹ്രസ്വ വീക്ഷണം ഇതാ:

• ഡ്യൂട്ടി നൈതികത: ഈ വിഭാഗം ധാർമ്മികതയെ മത വിശ്വാസങ്ങളുമായി സംയോജിപ്പിക്കുന്നു. ഡിയോന്റോളജിക്കൽ നൈതികത എന്നും ഇത് അറിയപ്പെടുന്നു. ഈ ധാർമ്മികത ശരിയായ പെരുമാറ്റവും ശരിയോ തെറ്റോ പറയുന്നതിൽ നേരിട്ട് ഇടപെടുന്നു. ആളുകൾ അവരുടെ കടമ നിറവേറ്റാൻ അവർക്കനുസരിച്ച് പ്രവർത്തിക്കുമെന്ന് പ്രതീക്ഷിക്കുന്നു. ഈ ധാർമ്മികത ആദ്യം മുതൽ നമ്മെ പഠിപ്പിക്കുന്നു.
• സദാചാര നൈതികത: ഈ വിഭാഗം ഒരു വ്യക്തിയുടെ വ്യക്തിപരമായ പെരുമാറ്റവുമായി ധാർമ്മികതയെ ബന്ധിപ്പിക്കുന്നു. അത് വ്യക്തിയുടെ ധാർമ്മിക മൂല്യങ്ങളിൽ അവൻ ചിന്തിക്കുന്ന രീതിയിലും അവനുള്ള സ്വഭാവത്തിലും ശ്രദ്ധ കേന്ദ്രീകരിക്കുന്നു. യഥാർത്ഥ ധാർമ്മികത നമ്മുടെ കുട്ടിക്കാലം മുതൽ തന്നെ നമ്മിൽ വേരൂന്നിയതാണ്. ഒരു യുക്തിയുമില്ലെങ്കിലും ശരിയും തെറ്റും നമ്മെ പഠിപ്പിക്കുന്നു.
• ആപേക്ഷിക ധാർമ്മികത: ഇതനുസരിച്ച് എല്ലാം തുല്യമാണ്. ഓരോരുത്തർക്കും സാഹചര്യം വിശകലനം ചെയ്യാനും ശരിയും തെറ്റും അവരുടെ സ്വന്തം പതിപ്പ് ഉണ്ടാക്കാനും അവകാശമുണ്ട്. ഈ സിദ്ധാന്തത്തിന്റെ വക്താക്കൾ ഉറച്ചു വിശ്വസിക്കുന്നത് ഒരാൾക്ക് ശരിയായേക്കാവുന്നത് മറ്റൊരാൾക്ക് ശരിയായിരിക്കില്ല എന്നാണ്. ചില സാഹചര്യങ്ങളിൽ ശരിയായത് മറ്റുള്ളവയിൽ സത്യമായിരിക്കണമെന്നില്ല.
• പരിണതഫലമായ നൈതികത: ജ്ഞാനോദയത്തിന്റെ കാലത്ത് യുക്തിവാദം കണ്ടെത്തുകയായിരുന്നു. സദാചാരത്തിന്റെ ഈ വിഭാഗം ആ കണ്ടെത്തലുമായി ബന്ധപ്പെട്ടിരിക്കുന്നു. ഈ ധാർമ്മിക തത്വമനുസരിച്ച്, ഒരു വ്യക്തിയുടെ പെരുമാറ്റത്തിന്റെ ഫലം അവന്റെ പെരുമാറ്റത്തിന്റെ ശരിയോ തെറ്റോ നിർണ്ണയിക്കുന്നു.

വ്യത്യസ്ത സംസ്കാരങ്ങളിൽ നൈതികത വ്യത്യസ്തമാണ്

ചിലരുടെ അഭിപ്രായത്തിൽ, ധാർമ്മികത എന്നത് കുട്ടിക്കാലം മുതൽ പഠിപ്പിക്കേണ്ട മൂല്യങ്ങളാണ്, ആളുകൾ അവ കർശനമായി പാലിക്കണം. ഈ മൂല്യങ്ങൾ പാലിക്കാത്ത ഒരു വ്യക്തിയെ ധാർമ്മികമായി തെറ്റായി കണക്കാക്കുന്നു. ചില ആളുകൾ ധാർമ്മിക നിയമങ്ങൾ പാലിക്കാൻ കണിശക്കാരാണ്. അവരുടെ പെരുമാറ്റത്തെ അടിസ്ഥാനമാക്കി അവർ മറ്റുള്ളവരെ നിരന്തരം അവലോകനം ചെയ്യുന്നു. മറുവശത്ത്, ധാർമ്മികതയോട് അയഞ്ഞ മനോഭാവം പുലർത്തുന്ന ചില ആളുകളുണ്ട്, സാഹചര്യത്തിനനുസരിച്ച് സദാചാരത്തിന്റെ അടിത്തറകൾ ഒരു പരിധിവരെ മാറുമെന്ന് വിശ്വസിക്കുന്നു.

പെരുമാറ്റച്ചട്ടവും ധാർമ്മികതയും വ്യക്തികളെ അപേക്ഷിച്ച് എല്ലാ രാജ്യങ്ങളിലും ഏതാണ്ട് ഒരുപോലെയാണ്. ചില സംസ്കാരങ്ങളിൽ സ്വീകാര്യമായേക്കാവുന്ന ചില ധാർമ്മിക ആചാരങ്ങൾ ഉണ്ടാകാമെങ്കിലും മറ്റുള്ളവയിൽ അവ അംഗീകരിക്കപ്പെടണമെന്നില്ല. ഉദാഹരണത്തിന്, പാശ്ചാത്യ രാജ്യങ്ങളിൽ സ്ത്രീകൾക്ക് ഏത് തരത്തിലുള്ള വസ്ത്രവും ധരിക്കാൻ അനുവാദമുണ്ട്, എന്നാൽ പല കിഴക്കൻ രാജ്യങ്ങളിലും ചെറിയ വസ്ത്രങ്ങൾ ധരിക്കുന്നത് ധാർമ്മികമായി തെറ്റായി കണക്കാക്കപ്പെടുന്നു.

വ്യത്യസ്ത കാഴ്ചപ്പാടുകളും ധാർമ്മികതയുടെ സ്വന്തം പതിപ്പുകളും ഉള്ള വ്യത്യസ്ത സ്കൂളുകളുണ്ട്. മറ്റുള്ളവരുടെ മാനദണ്ഡങ്ങളിൽ നിന്ന് ശരിയും തെറ്റും സംബന്ധിച്ച് പലരും സ്വന്തം പതിപ്പുകൾ സൃഷ്ടിക്കുന്നു.

ഉപന്യാസം 3 (500 വാക്കുകൾ)

ഒരു സാഹചര്യത്തിൽ ഒരു വ്യക്തി എങ്ങനെ പെരുമാറുന്നു എന്നതിനെയാണ് ധാർമ്മികത നിർവചിക്കുന്നത്. അവ നമ്മുടെ കുട്ടിക്കാലം മുതൽ നമ്മിൽ മറഞ്ഞിരിക്കുന്നു, നമ്മുടെ ജീവിതത്തിലെ മിക്കവാറും എല്ലാ തീരുമാനങ്ങളും നമ്മുടെ ധാർമ്മിക മൂല്യങ്ങളാൽ വളരെയധികം സ്വാധീനിക്കപ്പെടുന്നു, ഏതൊരു വ്യക്തിയും അവന്റെ ധാർമ്മിക പെരുമാറ്റത്തെ അടിസ്ഥാനമാക്കി നല്ലതോ ചീത്തയോ ആയി കണക്കാക്കുന്നു.

നമ്മുടെ വ്യക്തിജീവിതത്തിലും ഔദ്യോഗിക ജീവിതത്തിലും നൈതികതയ്ക്ക് വലിയ പ്രാധാന്യമുണ്ട്. ഉയർന്ന ധാർമ്മിക മൂല്യങ്ങളിൽ വിശ്വസിക്കുകയും വിശ്വസിക്കുകയും പിന്തുടരുകയും ചെയ്യുന്ന ഒരു വ്യക്തി, നിർദ്ദിഷ്ട ധാർമ്മിക മാനദണ്ഡങ്ങൾ പിന്തുടരുന്നവരേക്കാൾ കൂടുതൽ സ്ഥിരത പുലർത്തുന്നു, എന്നാൽ യഥാർത്ഥത്തിൽ അവയിൽ വിശ്വസിക്കുന്നില്ല. ഇവരെക്കൂടാതെ, മറ്റൊരു വിഭാഗം ആളുകളുണ്ട് – ധാർമ്മിക മാനദണ്ഡങ്ങളിൽ പോലും വിശ്വസിക്കാത്ത, അത് പാലിക്കാത്തവർ. സമൂഹത്തിൽ സമാധാനം തടസ്സപ്പെടാൻ ഇത് കാരണമാകും.

നമ്മുടെ വ്യക്തിപരമായ ജീവിതത്തിൽ ധാർമ്മികതയുടെ പ്രാധാന്യം

സമൂഹത്തിൽ അംഗീകരിക്കപ്പെട്ട ധാർമ്മികവും ധാർമ്മികവുമായ മൂല്യങ്ങൾക്കനുസൃതമായി ജനങ്ങളുടെ മനസ്സ് വ്യവസ്ഥാപിതമാണ്. ധാർമികതയുടെ പ്രാധാന്യത്തെ തകർക്കാൻ അവർക്ക് കഴിയില്ല. സമൂഹത്തിൽ എന്ത് പെരുമാറ്റമാണ് സ്വീകരിക്കപ്പെടുന്നതെന്നും സമൂഹത്തിന് അനുസരിച്ച് ജീവിക്കുന്നത് ശരിയല്ലെന്നും കുട്ടിക്കാലം മുതൽ തന്നെ പഠിപ്പിക്കണം. ശരിയായ കാര്യം എങ്ങനെ ചെയ്യാമെന്നും സമൂഹത്തിൽ എങ്ങനെ സമാധാനവും ഐക്യവും നിലനിർത്താമെന്നും ആളുകൾക്ക് അറിയാൻ വേണ്ടിയാണ് ഈ സംവിധാനം അടിസ്ഥാനപരമായി സ്ഥാപിച്ചിരിക്കുന്നത്.

അതിനെക്കുറിച്ച് ഇതിനകം നിർവചിച്ചിട്ടുണ്ടെങ്കിൽ ആളുകൾക്ക് ശരിയായതും തെറ്റായതുമായ തീരുമാനങ്ങൾ എടുക്കാൻ എളുപ്പമാണ്. ശരിയും തെറ്റും നിർവചിച്ചിട്ടില്ലെങ്കിൽ, ശരിയും തെറ്റും സംബന്ധിച്ച സ്വന്തം പതിപ്പുകളെ അടിസ്ഥാനമാക്കി എല്ലാവരും സ്വന്തം ഇഷ്ടത്തിനനുസരിച്ച് പ്രവർത്തിക്കുമെന്ന് സങ്കൽപ്പിക്കുക. ഇത് സ്ഥിതിഗതികൾ താറുമാറാക്കുകയും കുറ്റകൃത്യങ്ങൾക്ക് കാരണമാവുകയും ചെയ്യും.

ഞങ്ങളുടെ പ്രൊഫഷണൽ ജീവിതത്തിൽ ധാർമ്മികതയുടെ പ്രാധാന്യം

ജോലിസ്ഥലത്ത് ധാർമ്മിക പെരുമാറ്റം നിലനിർത്തേണ്ടത് വളരെ പ്രധാനമാണ്. സമൂഹം നിർവചിക്കുന്ന അടിസ്ഥാന ധാർമ്മികതയ്ക്കും മൂല്യങ്ങൾക്കും പുറമേ, ഓരോ സ്ഥാപനവും അതിന്റെ ധാർമ്മിക മൂല്യങ്ങളുടെ അതിരുകൾ നിശ്ചയിക്കുന്നു. ആ സ്ഥാപനത്തിൽ പ്രവർത്തിക്കുന്ന ഓരോ വ്യക്തിയും അവരെ നിലനിർത്താൻ പെരുമാറ്റച്ചട്ടം പാലിക്കണം. ഓർഗനൈസേഷനുകൾ നിശ്ചയിച്ചിട്ടുള്ള പൊതുവായ ധാർമ്മിക കോഡുകളുടെ ചില ഉദാഹരണങ്ങൾ ഇവയാണ് – ജീവനക്കാരോട് നീതിപൂർവ്വം പെരുമാറുക, സത്യസന്ധമായി പ്രവർത്തിക്കുക, കമ്പനിക്കുള്ളിലെ വിവരങ്ങൾ ആർക്കും നൽകരുത്, നിങ്ങളുടെ സഹപ്രവർത്തകരെ ബഹുമാനിക്കുക, കമ്പനിയുടെ മാനേജ്മെന്റ് കമ്മിറ്റിയോ ഏതെങ്കിലും ജീവനക്കാരനോ ഉൾപ്പെട്ടിട്ടുണ്ടെങ്കിൽ. അതിൽ എന്തെങ്കിലും തെറ്റ് സംഭവിച്ചാൽ , അനാവശ്യ വിഷയമാക്കുന്നതിനു പകരം മാന്യമായി കൈകാര്യം ചെയ്യുകയാണ് വേണ്ടത്.

ജോലിസ്ഥലത്ത് നൈതികതത്ത്വങ്ങൾ സ്ഥാപിക്കുന്നത് സ്ഥാപനത്തെ സുഗമമായി പ്രവർത്തിക്കാൻ സഹായിക്കുന്നു. ധാർമ്മിക കോഡ് ലംഘിക്കുന്നതായി കണ്ടെത്തിയ ഏതൊരു ജീവനക്കാരനും ഒരു മുന്നറിയിപ്പ് കത്ത് നൽകും അല്ലെങ്കിൽ പ്രശ്നത്തിന്റെ തീവ്രത അനുസരിച്ച് വ്യത്യസ്ത രീതികളിൽ ശിക്ഷിക്കപ്പെടും.

ഒരു ഓർഗനൈസേഷനിൽ നിർദ്ദിഷ്ട ധാർമ്മിക കോഡുകളുടെ അഭാവത്തിൽ, സാഹചര്യം താറുമാറാകാനും സിസ്റ്റം അസൗകര്യമാകാനും സാധ്യതയുണ്ട്. ഈ നിയമങ്ങൾ സ്ഥാപിക്കുന്നതിന്, ഓരോ സ്ഥാപനവും അവ നടപ്പിലാക്കേണ്ടതുണ്ട്. ഒരു ഓർഗനൈസേഷനിലെ നൈതിക കോഡുകൾ ഒരു നല്ല തൊഴിൽ അന്തരീക്ഷം ഉറപ്പാക്കാൻ സഹായിക്കുക മാത്രമല്ല, വ്യത്യസ്ത സാഹചര്യങ്ങളിൽ ബുദ്ധിമുട്ടുകൾ എങ്ങനെ കൈകാര്യം ചെയ്യണമെന്ന് ജീവനക്കാരോട് പറയുകയും ചെയ്യുന്നു.

ഒരു കമ്പനിയുടെ നൈതിക കോഡ് അടിസ്ഥാനപരമായി അതിന്റെ മൂല്യങ്ങളെയും ഉത്തരവാദിത്തങ്ങളെയും പ്രതിഫലിപ്പിക്കുന്നു.

ജോലി സ്ഥലങ്ങൾക്കും മറ്റ് സ്ഥാപനങ്ങൾക്കും സമൂഹത്തിനും ഒരു ധാർമ്മിക നിയമം സ്ഥാപിക്കേണ്ടത് ആവശ്യമാണ്. കാര്യങ്ങൾ ശരിയായ രീതിയിൽ ചെയ്യാൻ ആളുകളെ സഹായിക്കുകയും എന്താണ് തെറ്റും ശരിയും എന്ന് പറയുകയും ശരിയായ രീതിയിൽ പെരുമാറാൻ അവരെ പ്രോത്സാഹിപ്പിക്കുകയും ചെയ്യുന്നു.

ഉപന്യാസം 4 (600 വാക്കുകൾ)

ഏതാണ് ശരിയും തെറ്റും എന്ന് തീരുമാനിക്കുന്ന ഒരു സംവിധാനമാണ് നൈതികത. വ്യക്തികളുടെയും സമൂഹത്തിന്റെയും മൊത്തത്തിലുള്ള ക്ഷേമം ഉറപ്പാക്കാനാണ് ഈ ക്രമീകരണം. ഉയർന്ന ധാർമ്മിക മൂല്യങ്ങളിൽ വിശ്വസിക്കുന്ന ഒരു വ്യക്തി സമൂഹം നിശ്ചയിക്കുന്ന ധാർമ്മിക മാനദണ്ഡങ്ങളെ ചോദ്യം ചെയ്യാതെ ഉറപ്പുനൽകുന്നു.

ധാർമ്മിക മൂല്യങ്ങൾ vs ധാർമ്മികത

ധാർമ്മിക മൂല്യങ്ങളും ധാർമ്മിക മൂല്യങ്ങളും സാധാരണയായി പരസ്പരം മാറ്റി ഉപയോഗിക്കാറുണ്ട്. എന്നിരുന്നാലും രണ്ടും തമ്മിൽ വ്യത്യാസമുണ്ട്. ധാർമ്മികത എന്നാൽ സംസ്കാരം നിശ്ചയിച്ചിട്ടുള്ള മാനദണ്ഡങ്ങൾ പിന്തുടരുക, സമൂഹത്തെ ശരിയായ പാതയിൽ നിലനിർത്തുക, വ്യക്തി ഉചിതമായി പെരുമാറുന്നുവെന്ന് ഉറപ്പാക്കുക, മറുവശത്ത്, ഒരു വ്യക്തിയുടെ പെരുമാറ്റത്തിലും അവന്റെ സ്വഭാവത്തിലും ധാർമ്മിക മൂല്യങ്ങൾ ഉൾക്കൊള്ളുന്നു.

ധാർമ്മികത ബാഹ്യ ഘടകങ്ങളെ അടിസ്ഥാനമാക്കിയുള്ളതാണ്. ഉദാഹരണത്തിന്, മിഡിൽ ഈസ്റ്റേൺ സംസ്കാരത്തിൽ, സ്ത്രീകൾ തല മുതൽ കാൽ വരെ മൂടണം. ചില മിഡിൽ-ഈസ്റ്റേൺ രാജ്യങ്ങളിൽ അവർക്ക് ജോലിക്ക് പോകാനോ പുരുഷനില്ലാതെ പുറത്തിറങ്ങാനോ പോലും അനുവാദമില്ല. ഒരു സ്ത്രീ ഈ മാനദണ്ഡങ്ങളെ വെല്ലുവിളിക്കാൻ ശ്രമിച്ചാൽ, അവൾ ധാർമ്മികമായി തെറ്റായി കണക്കാക്കപ്പെടുന്നു. ഒരു വ്യക്തിയുടെ തൊഴിലിന്റെ അടിസ്ഥാനത്തിലാണ് ധാർമ്മിക സ്വഭാവവും നിർണ്ണയിക്കുന്നത്. ഉദാഹരണത്തിന്, ഡോക്ടർമാരും പോലീസുകാരും അധ്യാപകരും അവരുടെ പ്രൊഫഷണൽ ചുമതലകൾ നിർവഹിക്കുന്നതിന് ഒരു പ്രത്യേക രീതിയിൽ പെരുമാറണമെന്ന് പ്രതീക്ഷിക്കുന്നു. അവർക്കായി നിശ്ചയിച്ചിട്ടുള്ള ധാർമ്മിക മൂല്യങ്ങൾക്കെതിരെ പോകാൻ അവർക്ക് കഴിയില്ല.

ഒരു വ്യക്തിയുടെ ധാർമ്മിക മൂല്യങ്ങൾ പ്രാഥമികമായി സ്വാധീനിക്കുന്നത് അവരുടെ സംസ്കാരവും കുടുംബ അന്തരീക്ഷവുമാണ്. ഈ തത്ത്വങ്ങൾ സ്വയം ഉണ്ടാക്കുന്നവയാണ്. ഈ തത്ത്വങ്ങൾ അവന്റെ സ്വഭാവത്തെ നിർവചിക്കുകയും ഇവയെ അടിസ്ഥാനമാക്കി അവൻ തന്റെ വ്യക്തിപരമായ തീരുമാനങ്ങൾ എടുക്കുകയും ചെയ്യുന്നു. അതേസമയം, ഒരാൾ പിന്തുടരുമെന്ന് പ്രതീക്ഷിക്കുന്ന ധാർമ്മികത, അവൻ അല്ലെങ്കിൽ അവൾ പ്രവർത്തിക്കുന്ന സ്ഥാപനത്തെയോ അവർ ജീവിക്കുന്ന സമൂഹത്തെയോ അനുസരിച്ച് വ്യക്തിയിൽ നിന്ന് വ്യക്തിക്ക് വ്യത്യാസപ്പെടാം. എന്നിരുന്നാലും, ഒരു വ്യക്തിയുടെ ജീവിതത്തിലെ ചില സംഭവങ്ങൾ അവന്റെ വിശ്വാസത്തെ മാറ്റിമറിക്കുകയും ഒരേ അടിസ്ഥാനത്തിൽ വ്യത്യസ്ത മൂല്യങ്ങൾ അടിച്ചേൽപ്പിക്കുകയും ചെയ്യാം.

ധാർമ്മിക മൂല്യങ്ങളും ധാർമ്മിക മൂല്യങ്ങളും പരസ്പരം എങ്ങനെ ബന്ധപ്പെട്ടിരിക്കുന്നു ?

മുകളിൽ സൂചിപ്പിച്ചതുപോലെ, സമൂഹം നമ്മുടെ മേൽ ധാർമ്മികത അടിച്ചേൽപ്പിക്കുന്നു, ധാർമ്മിക മൂല്യങ്ങൾ ശരിയും തെറ്റും സംബന്ധിച്ച നമ്മുടെ ധാരണയാണ്. ഇവ പരസ്പരം അടുത്ത് ബന്ധപ്പെട്ടിരിക്കുന്നു. സമൂഹം നിശ്ചയിച്ചിട്ടുള്ള ധാർമ്മിക നിലവാരങ്ങളുമായി പൊരുത്തപ്പെടുന്ന ധാർമ്മിക മൂല്യങ്ങൾ ഉയർന്ന ധാർമ്മിക മൂല്യങ്ങളുള്ള വ്യക്തിയായി കണക്കാക്കപ്പെടുന്നു. ഉദാഹരണത്തിന്, മാതാപിതാക്കളെ ബഹുമാനിക്കുകയും എല്ലാം അനുസരിക്കുകയും ചെയ്യുന്ന ഒരു വ്യക്തി, ദിവസവും ക്ഷേത്രത്തിൽ പോകുകയും, കൃത്യസമയത്ത് വീട്ടിൽ തിരിച്ചെത്തുകയും കുടുംബത്തോടൊപ്പം സമയം ചെലവഴിക്കുകയും ചെയ്യുന്ന ഒരു വ്യക്തി നല്ല ധാർമ്മിക മൂല്യങ്ങൾ ഉള്ളവനാണ്.

മറുവശത്ത്, മതമൂല്യങ്ങളിൽ ചായ്‌വില്ലാത്ത ഒരു വ്യക്തി മാതാപിതാക്കളോട് യുക്തിയുടെ അടിസ്ഥാനത്തിൽ തർക്കിക്കുകയും സുഹൃത്തുക്കളുമായി പുറത്തുപോകുകയും ഓഫീസിൽ നിന്ന് വൈകി മടങ്ങുകയും ചെയ്തേക്കാം, അവനെ താഴ്ന്ന ധാർമ്മിക മൂല്യങ്ങളുള്ള വ്യക്തിയായി കണക്കാക്കാം. സമൂഹം നിശ്ചയിച്ചിട്ടുള്ള ധാർമ്മിക നിയമങ്ങളുമായി പൊരുത്തപ്പെടാത്തതിനാൽ പരിഗണിക്കപ്പെടുന്നു. ഈ വ്യക്തി ആരെയും ദ്രോഹിക്കുകയോ തെറ്റ് ചെയ്യുകയോ ചെയ്യുന്നില്ലെങ്കിലും അയാൾ അപ്പോഴും താഴ്ന്ന ധാർമ്മികതയുള്ള വ്യക്തിയായി കണക്കാക്കപ്പെടും. എല്ലാ സംസ്കാരങ്ങളിലും ഇത് സംഭവിക്കുന്നില്ലെങ്കിലും ഇന്ത്യയിൽ അത്തരം പെരുമാറ്റങ്ങളുടെ അടിസ്ഥാനത്തിലാണ് ആളുകളെ തരംതിരിച്ചിരിക്കുന്നത്.

ധാർമ്മിക മൂല്യങ്ങളും ധാർമ്മികതയും തമ്മിലുള്ള വൈരുദ്ധ്യം

ചിലപ്പോൾ ആളുകൾ അവരുടെ ധാർമ്മിക മൂല്യങ്ങൾക്കും നിർവചിക്കപ്പെട്ട ധാർമ്മിക നിയമത്തിനും ഇടയിൽ കുടുങ്ങിപ്പോകും. ചിലപ്പോൾ അവരുടെ ധാർമ്മികത അവരെ എന്തെങ്കിലും ചെയ്യുന്നതിൽ നിന്ന് തടയുന്നു, എന്നാൽ അവരുടെ തൊഴിൽ സജ്ജീകരിച്ചിരിക്കുന്ന ധാർമ്മിക മൂല്യങ്ങൾ അവരെ അങ്ങനെ ചെയ്യാൻ അനുവദിക്കുന്നു. ഉദാഹരണത്തിന്, ഇന്നത്തെ കോർപ്പറേറ്റ് സംസ്കാരം, കഴിയുന്നത്ര ആളുകളുമായി പബ്ലിക് റിലേഷൻസ് ഉണ്ടാക്കാൻ അൽപ്പം മദ്യം കുടിക്കേണ്ടി വന്നേക്കാം. എന്നിരുന്നാലും ഓർഗനൈസേഷന്റെ ധാർമ്മിക കോഡ് അനുസരിച്ച് ഇത് നല്ലതാണ്, കൂടാതെ ഉപഭോക്താക്കളുമായുള്ള ബന്ധം നിലനിർത്തേണ്ടത് കാലഘട്ടത്തിന്റെ ആവശ്യമാണ്. ഒരു വ്യക്തിയുടെ ധാർമ്മിക മൂല്യങ്ങളും അങ്ങനെ ചെയ്യാൻ നിർദ്ദേശിച്ചേക്കാം.

സമൂഹത്തിൽ സമാധാനവും ഐക്യവും ഉറപ്പാക്കാൻ ധാർമ്മിക മൂല്യങ്ങൾ സജ്ജീകരിച്ചിരിക്കുന്നു. എന്നിരുന്നാലും, അവ തലമുറകളിലേക്ക് കൈമാറാൻ പാടില്ല. കാരണം, ഒരു യുഗത്തിലോ സംസ്കാരത്തിലോ സംഭവിച്ചത് ഉചിതമായിരിക്കണമെന്നില്ല, അത് മറ്റുള്ളവർക്ക് ബാധകമാകണമെന്നില്ല.

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എന്താണ് വിൽപത്രം: അറിയേണ്ട കാര്യങ്ങൾ മുരളി തുമ്മാരുകുടി എഴുതുന്നു

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