How do you write about the life of a man who was “all his life… patiently learning how not to live at all”?
Poet, critic, translator, and teacher — Ayyappa Paniker was a towering figure in the Malayalam literary scene. Even almost two decades after his death, his influence remains profound. The man behind the poet, however, has remained a mystery to many.
His former student, Priyadas G Mangalath, embarks on a quest to unravel this mystery in Ayyappa Paniker: The Man Behind the Litterateur (Konark Publishers), translated from Malayalam by Radhika P Menon.
Priyadas’s work is more than just an exploration of a literary persona — it is a heartfelt tribute to his mentor, and friend. Infused with admiration and deep affection, the book is a largely subjective account, enriched by anecdotes from poets, peers, students, and others who were close to Paniker.
A perfect balance of humility and humour
Priyadas portrays Paniker as the embodiment of humility, a remarkable individual who never took himself too seriously and always made space for others. Never one to crave the limelight, Paniker preferred to celebrate his peers rather than receive appreciation for his own work.
“He believed that his place was not on the stage but either behind it or among the audience… In short, he was a colossus who towered above positions of power and tokens of recognition,” writes Priyadas.
Paniker’s dedication to nurturing students and budding poets is reflected in their praise for him, many of which Priyadas recounts in this book. Through initiatives such as the Sankramana Kavitha Vedi, he provided a platform for three generations of poets, ranging from well-established writers to those just beginning their journey. Notably, he actively published the works of young poets.
Paniker’s humour was another defining trait that endeared him to those around him. Priyadas dedicates three chapters to highlighting the poet’s wit, detailing numerous examples of his clever wordplay and satirical quips.
Whether in poetry or everyday conversation, Paniker’s sharp humour was widely appreciated. Importantly, he wielded humour with “corrective intent”, never wounding the target of his criticism.
“The humour in his poetry assumed a different dimension. His poems… contained paradoxes that triggered not an immediate burst of laughter but carried potential for thought-provoking enjoyment,” observes Priyadas.
Among the many works he cites is Kaala Vishesham (News of the Hour):
“If I had a thousand gold sovereigns, I would have grown into a leader.
If my tongue had been four miles long, I would have become a scholar.”
Paving pew paths
At a time when Malayalam poetry was largely confined to traditional metre and rhythm, Paniker’s work stood apart. They appealed to the masses as well as the intellectuals. One of the pioneers of modernist poetry in Malayalam, his vast oeuvre is a testament to his creative genius.
As a professor of English literature, Paniker played a key role in introducing Western literature to Malayalam readers through his translations. His most notable work, Tharishubhoomi, is a translation of T S Eliot’s The Waste Land. He also encouraged his contemporaries and students to translate world literature, entrusting poets such as Kadammanitta Ramakrishnan, O N V Kurup, and Satchidanandan with the works of Octavio Paz, Federico García Lorca, and Chairil Anwar.
Though celebrated for his contributions, Paniker was not without his critics. A measured but effective critic himself, he welcomed criticism and appreciated even his fiercest detractors, notes Priyadas.
A man of multitudes
Priyadas describes Paniker as a versatile poet who resisted categorisation. Equally adept at writing humorous verses and serious poetry, he was not an easy figure to pigeonhole. He frequently explored the concept of opposites, as seen in works like Pakalukal Ratrikal (Days and Nights), Shatrumitram (Enemy/Friend), and Sheriyum Thettum (Right and Wrong).
Priyadas remarks, “We do not have another poet in Malayalam who has celebrated opposites with so much gusto… he also showed their confluence and complementarity in our lives.”
His poetry ranged from the hopeful (Agnipuja / Fire Worship, Martyapuja / Hymn to Man) to the sombre and pessimistic (Mrityupuja / Hymn to Death). When poet Vishnu Narayanan Namboothiri questioned this contrast, Paniker replied, “I too am in search of the real face.” This echoes Walt Whitman’s famous lines:
“Very well then, I contradict myself,
(I am large, I contain multitudes).”
An ascetic at heart
“Ayyappa Paniker,” Priyadas notes, “wore the garb of an ordinary man, without any trappings of rituals or customs, and dedicated his life to selfless work like a renunciate. It does not require any special courage to be a part of the crowd, but it calls for formidable inner strength to stand alone.”
Despite being an influential and well-connected figure, Paniker remained detached from power. He rarely focused on himself — even in his poetry, he seldom used personal pronouns except in satirical works or for self-ridicule. He also had an aversion to flattery. Priyadas attempts to dissect Paniker’s political and religious views as well, only to conclude that he was, above all, a humanist.
As Prof. M K Sanoo states in his introduction, Priyadas’ detailed portrayal of Paniker’s unique qualities convinces readers that “the extraordinariness of Ayyappa Paniker lay in his very ordinariness.”