Malayalam action song for kids LKG/UKG (Paava kuttykyoru umma.) Kids Songs With Actions Action Songs. It is most commonly used with the present simple tense because it shows.' 'adverbs of frequency, frequency adverbs, adverbs, ESL, ESL grammar, English grammar'. 'Kun Fudooliyan Lyrics Be Curious Lyrics Humood Alkhuder كون طفل. Poetry has reach beyond language and continents, so essence for most Malayalam poems / literature published at “Malayalam poems” are translated to English. This website is our sincere and humble effort to contribute to Malayalam literature.We have tried our level best to translate the essence of literature published in our website with.

Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person.^[1] The term derives from a form of Ancient Greek literature, the lyric, which was defined by its musical accompaniment, usually on a stringed instrument known as a lyre.^[2] The term owes its importance in literary theory to the division developed by Aristotle between three broad categories of poetry: lyrical, dramatic, and epic.

• 2History
  • 2.1Antiquity

Meters[edit]

Much lyric poetry depends on regular meter based either on number of syllables or on stress. The most common meters are as follows:

• Iambic – two syllables, with the short or unstressed syllable followed by the long or stressed syllable.
• Trochaic – two syllables, with the long or stressed syllable followed by the short or unstressed syllable. In English, this metre is found almost entirely in lyric poetry.^[3]
• Pyrrhic – Two unstressed syllables
• Anapestic – three syllables, with the first two short or unstressed and the last long or stressed.
• Dactylic – three syllables, with the first one long or stressed and the other two short or unstressed.
• Spondaic – two syllables, with two successive long or stressed syllables.

Some forms have a combination of meters, often using a different meter for the refrain.

History[edit]

Antiquity[edit]

Greece[edit]

For the ancient Greeks, lyric poetry had a precise technical meaning: verse that was accompanied by a lyre, cithara, or barbitos. Because such works were typically sung, it was also known as melic poetry. The lyric or melic poet was distinguished from the writer of plays (although Athenian drama included choral odes, in lyric form), the writer of trochaic and iambic verses (which were recited), the writer of elegies (accompanied by the flute, rather than the lyre) and the writer of epic.^[5] The scholars of HellenisticAlexandria created a canon of nine lyric poets deemed especially worthy of critical study. These archaic and classical musician-poets included Sappho, Alcaeus, Anacreon and Pindar. Archaic lyric was characterized by strophic composition and live musical performance. Some poets, like Pindar extended the metrical forms to a triad, including strophe, antistrophe (metrically identical to the strophe) and epode (whose form does not match that of the strophe).^[6]

Rome[edit]

Among the major extant Roman poets of the classical period, only Catullus (N° 11, 17, 30, 34, 51, 61) and Horace (Odes) wrote lyric poetry, which however was no longer meant to be sung but instead read or recited. What remained were the forms, the lyric meters of the Greeks adapted to Latin. Catullus was influenced by both archaic and Hellenistic Greek verse and belonged to a group of Roman poets called the Neoteroi ('New Poets') who spurned epic poetry following the lead of Callimachus. Instead, they composed brief, highly polished poems in various thematic and metrical genres. The Roman love elegies of Tibullus, Propertius, and Ovid (Amores, Heroides), with their personal phrasing and feeling, may be the thematic ancestor of much medieval, Renaissance, Romantic, and modern lyric poetry, but these works were composed in elegiac couplets and so were not lyric poetry in the ancient sense.^[7]

China[edit]

During China's Warring States period, the Songs of Chu collected by Qu Yuan and Song Yu defined a new form of poetry that came from the exotic Yangtze Valley, far from the Wei and Yellow River homeland of the traditional four-character verses collected in the Book of Songs. The varying forms of the new Chu ci provided more rhythm and greater latitude of expression.^[9]

Medieval verse[edit]

Originating in 10th-century Persian, a ghazal is a poetic form consisting of couplets that share a rhyme and a refrain. Formally, it consists of a short lyric composed in a single meter with a single rhyme throughout. The central subject is love. Notable authors include Hafiz, Amir Khusro, Auhadi of Maragheh, Alisher Navoi, Obeid e zakani, Khaqani Shirvani, Anvari, Farid al-Din Attar, Omar Khayyam, and Rudaki. The ghazal was introduced to European poetry in the early 19th century by the Germans Schlegel, Von Hammer-Purgstall, and Goethe, who called Hafiz his 'twin'.^[10]

Lyric in European literature of the medieval or Renaissance period means a poem written so that it could be set to music—whether or not it actually was. A poem's particular structure, function, or theme might all vary.^[11] The lyric poetry of Europe in this period was created by the pioneers of courtly poetry and courtly love largely without reference to the classical past.^[12] The troubadors, travelling composers and performers of songs, began to flourish towards the end of the 11th century and were often imitated in successive centuries. Trouvères were poet-composers who were roughly contemporary with and influenced by the troubadours but who composed their works in the northern dialects of France. The first known trouvère was Chrétien de Troyes (fl. 1160s–80s). The dominant form of German lyric poetry in the period was the minnesang, 'a love lyric based essentially on a fictitious relationship between a knight and his high-born lady'.^[13] Initially imitating the lyrics of the French troubadours and trouvères, minnesang soon established a distinctive tradition.^[13] There was also a large body of medieval Galician-Portuguese lyric.^[14]Hebrew singer-poets of the Middle Ages included Yehuda Halevi, Solomon ibn Gabirol, and Abraham ibn Ezra.

In Italy, Petrarch developed the sonnet form pioneered by Giacomo da Lentini and Dante's Vita Nuova. In 1327, according to the poet, the sight of a woman called Laura in the church of Sainte-Claire d'Avignon awoke in him a lasting passion, celebrated in the Rime sparse ('Scattered rhymes'). Later, Renaissance poets who copied Petrarch's style named this collection of 366 poems Il Canzoniere ('The Song Book'). Laura is in many ways both the culmination of medieval courtly love poetry and the beginning of Renaissance love lyric.

A bhajan or kirtan is a Hindudevotional song. Bhajans are often simple songs in lyrical language expressing emotions of love for the Divine. Notable authors include Kabir, Surdas, and Tulsidas.

Chinese Sanqu poetry was a Chinese poetic genre popular from the 12th-century Jin Dynasty through to the early Ming. Early 14th-century playwrights like Ma Zhiyuan and Guan Hanqing were well-established writers of Sanqu. Against the usual tradition of using Classical Chinese, this poetry was composed in the vernacular.^[15]

16th century[edit]

In 16th-century Britain, Thomas Campion wrote lute songs and Sir Philip Sidney, Edmund Spenser, and William Shakespeare popularized the sonnet.

In France, La Pléiade—including Pierre de Ronsard, Joachim du Bellay, and Jean-Antoine de Baïf—aimed to break with earlier traditions of French poetry—particularly Marot and the grands rhétoriqueurs—and began imitating classical Greek and Roman forms such as the odes. Favorite poets of the school were Pindar, Anacreon, Alcaeus, Horace, and Ovid. They also produced Petrarchansonnet cycles.

Spanish devotional poetry adapted the lyric for religious purposes. Notable examples were Teresa of Ávila, John of the Cross, Sor Juana Inés de la Cruz, Garcilaso de la Vega, and Lope de Vega. Although better known for his epic Os Lusíadas, Luís de Camões is also considered the greatest Portuguese lyric poet of the period.

In Japan, the naga-uta ('long song') was a lyric poem popular in this era. It alternated five and seven-syllable lines and ended with an extra seven-syllable line.

17th century[edit]

Lyrical poetry was the dominant form of 17th-century English poetry from John Donne to Andrew Marvell.^[16] The poems of this period were short. Rarely narrative, they tended towards intense expression.^[16] Other notable poets of the era include Ben Jonson, Robert Herrick, George Herbert, Aphra Behn, Thomas Carew, John Suckling, Richard Lovelace, John Milton, Richard Crashaw, and Henry Vaughan. A German lyric poet of the period is Martin Opitz; in Japan, this was the era of the noted haiku-writer Matsuo Bashō.

18th century[edit]

In the 18th century, lyric poetry declined in England and France. The atmosphere of literary discussion in the English coffeehouses and French salons was not congenial to lyric poetry.^[17] Exceptions include the lyrics of Robert Burns, William Cowper, Thomas Gray, and Oliver Goldsmith. German lyric poets of the period include Johann Wolfgang von Goethe, Novalis, Friedrich Schiller, and Johann Heinrich Voß. Kobayashi Issa was a Japanese lyric poet during this period. In Diderot's Encyclopédie, Louis chevalier de Jaucourt described lyric poetry of the time as 'a type of poetry totally devoted to sentiment; that's its substance, its essential object'.^[18]

19th century[edit]

In Europe, the lyric emerged as the principal poetic form of the 19th century and came to be seen as synonymous with poetry.^[19]Romantic lyric poetry consisted of first-person accounts of the thoughts and feelings of a specific moment; the feelings were extreme but personal.^[20]

The traditional sonnet was revived in Britain, with William Wordsworth writing more sonnets than any other British poet.^[19] Other important Romantic lyric writers of the period include Samuel Taylor Coleridge, John Keats, Percy Bysshe Shelley, and Lord Byron. Later in the century, the Victorian lyric was more linguistically self-conscious and defensive than the Romantic forms had been.^[21] Such Victorian lyric poets include Alfred Lord Tennyson and Christina Rossetti.

Lyric poetry was popular with the German reading public between 1830 and 1890, as shown in the number of poetry anthologies published in the period.^[22] According to Georg Lukács, the verse of Joseph von Eichendorff exemplified the German Romantic revival of the folk-song tradition initiated by Goethe, Herder, and Arnim and Bretano's Des Knaben Wunderhorn.^[23]

France also saw a revival of the lyric voice during the 19th century.^[24] The lyric became the dominant mode of French poetry during this period.^[25] For Walter Benjamin, Charles Baudelaire was the last example of lyric poetry 'successful on a mass scale' in Europe.^[26]

In Russia, Aleksandr Pushkin exemplified a rise of lyric poetry during the 18th and early 19th centuries.^[27] The Swedish 'Phosphorists' were influenced by the Romantic movement and their chief poet Per Daniel Amadeus Atterbom produced many lyric poems.^[28] Italian lyric poets of the period include Ugo Foscolo, Giacomo Leopardi, Giovanni Pascoli, and Gabriele D'Annunzio. Spanish lyric poets include Gustavo Adolfo Bécquer, Rosalía de Castro, and José de Espronceda. Japanese lyric poets include Taneda Santoka, Masaoka Shiki, and Ishikawa Takuboku.

20th century[edit]

In the earlier years of the 20th century rhymed lyric poetry, usually expressing the feelings of the poet, was the dominant poetic form in the United States,^[29] Europe, and the British colonies. The English Georgian poets and their contemporaries such as A. E. Housman, Walter de la Mare, and Edmund Blunden used the lyric form. The Bengali poet Rabindranath Tagore was praised by William Butler Yeats for his lyric poetry; Yeats compared him to the troubadour poets when the two met in 1912.^[30]

The relevance and acceptability of the lyric in the modern age was, though, called into question by modernist poets such as Ezra Pound, T. S. Eliot, H.D., and William Carlos Williams, who rejected the English lyric form of the 19th century, feeling that it relied too heavily on melodious language, rather than complexity of thought.^[31] After World War II, the American New Criticism returned to the lyric, advocating a poetry that made conventional use of rhyme, meter and stanzas, and was modestly personal in the lyric tradition.^[32] Lyric poetry dealing with relationships, sex and domestic life constituted the new mainstream of American poetry in the late 20th century following the confessional poets of the 1950s and ’60s such as Sylvia Plath and Anne Sexton.^[33]

References[edit]

1. ^Scott, Clive, Vers libre : the emergence of free verse in France, 1886–1914 Clarendon Press, Oxford ISBN9780198151593
2. ^Miller, Andrew. Greek Lyric: An Anthology in Translation/books?id=80MpjrOfTH8C&pg=PR12 pp. xii ff]. Hackett Publishing (Indianapolis), 1996. ISBN978-0872202917.
3. ^Stephen Adams, Poetic Designs: an introduction to meters, verse forms, and figures of speech, Broadview Press, 1997, p55. ISBN1-55111-129-2
4. ^Staatliche Antikensammlungen (Inv. 2416)
5. ^Bowra, Cecil. Greek Lyric Poetry: From Alcman to Simonides, p. 3. Oxford University Press (Oxford), 1961.
6. ^Halporn, James & al. The Meters of Greek and Latin Poetry, p. 16. Hackett Publishing, 1994. ISBN0-87220-243-7.
7. ^Bing, Peter & al. Games of Venus: An Anthology of Greek and Roman Erotic Verse from Sappho to Ovid. Routledge (New York), 1991.
8. ^ ^ab袁行霈 [Yuán Xíngpèi] & al. 《中国文学史》 [Zhōngguó Wénxué Shǐ, A History of Chinese Literature], Vol. 1, p. 632Archived 4 October 2013 at the Wayback Machine. 高等教育出版社 [Gāoděng Jiàoyù Chūbǎn Shè] (Beijing), 1992. ISBN9787040164794. Accessed 14 July 2013. (in Chinese)
9. ^「《史记·屈原贾生列传》…形成悲愤深沉之风格特征。」^[8]
10. ^Thym, Jurgen & al. Of Poetry and Song: Approaches to the Nineteenth-Century Lied, p. 221. University of Rochester Press (Rochester), 2010.
11. ^Shaw, Mary. The Cambridge Introduction to French Poetry, pp. 39–40. Cambridge University Press (Cambridge), 2003. ISBN0-521-00485-3.
12. ^Kay, Sarah & al. A Short History of French Literature, pp. 15–16. Oxford University Press (Oxford), 2006. ISBN0-19-815931-5.
13. ^ ^abJohnson, Sidney & al. Medieval German Literature: A Companion, p. 224–25. Routledge, 2000. ISBN0-415-92896-6.
14. ^Tavani, Giuseppe. Trovadores e Jograis: Introdução à poesia medieval galego-portuguesa. Caminho (Lisbon), 2002. (in Portuguese)
15. ^「抒情性文学…的创作开创了元代理学家诗文创作的先河。」^[8]
16. ^ ^abCorns, Thomas. The Cambridge Companion to English Poetry, Donne to Marvell, p. xi. Cambridge University Press (Cambridge), 1993. ISBN0-521-42309-0.
17. ^Sir Albert Wilson in J. O. Lindsay's The New Cambridge Modern History, p. 73. Cambridge University Press (Cambridge), 1957. ISBN0-521-04545-2.
18. ^'Lyric Poetry'. University of Michigan Library. Retrieved 1 April 2015.
19. ^ ^abChristopher John Murray, Encyclopedia of the Romantic Era, 1760–1850, Taylor & Francis, 2004, p700. ISBN1-57958-422-5
20. ^Stephen Bygrave, Romantic Writings, Routledge, 1996, pix. ISBN0-415-13577-X
21. ^E. Warwick Slinn in Joseph Bristow, The Cambridge Companion to Victorian Poetry, Cambridge University Press, p56. ISBN0-521-64680-4
22. ^Eda Sagarra and Peter Skrine, A Companion to German Literature: From 1500 to the Present, Blackwell Publishing, 1997, p149. ISBN0-631-21595-6
23. ^Lukács, György. German Realists in the Nineteenth Century, p. 56. MIT Press (Cambridge), 1993. ISBN0-262-62143-6.
24. ^Prendergast, Christopher. Nineteenth-Century French Poetry: Introductions to Close Reading, p. 3. Cambridge University Press (Cambridge), 1990. ISBN0-521-34774-2.
25. ^Prendergast (1990), p. 15.
26. ^Pensky, Max. Melancholy Dialectics: Walter Benjamin and the Play of Mourning, p. 155. University of Massachusetts Press (Boston), 1993. ISBN1-55849-296-8.
27. ^Jakobson, Roman. Selected Writings, p. 282. Walter de Gruyter, 1981. ISBN90-279-7686-4.
28. ^Richardson, William & al. Literature of the World: An Introductory Study, p. 348. Kessinger Publishing, 2005. ISBN1-4179-9433-9.
29. ^MacGowan, Christopher. Twentieth-Century American Poetry, p. 9. Blackwell Publishing, 2004. ISBN0-631-22025-9.
30. ^Foster, Robert. W.B. Yeats: A Life, p. 496. Oxford University Press (Oxford). ISBN0-19-288085-3.
31. ^Beach, Christopher. The Cambridge Introduction to Twentieth-Century American Poetry, p. 49. Cambridge University Press (Cambridge), 2003. ISBN0-521-89149-3.
32. ^Fredman, Stephen. A Concise Companion To Twentieth-Century American Poetry, p. 63. Blackwell Publishing, 2005. ISBN1-4051-2002-9.
33. ^Beach (2003), p. 155.

Further reading[edit]

• Wilhelm, James J., (editor), Lyrics of the Middle Ages : an anthology, New York : Garland Pub., 1990. ISBN0-8240-7049-6

Ottaplakkal Neelakandan Velu Kurup (27 May 1931 – 13 February 2016), popularly known as O. N. V. Kurup or simply and endearingly O. N. V., was a Malayalam poet and lyricist from Kerala, India, who won the Jnanpith Award, the highest literary award in India for the year 2007. He received the awards Padma Shri in 1998 and Padma Vibhushan in 2011, the fourth and second highest civilian honours from the Government of India. In 2007 he was awarded an Honorary Doctorate by University of Kerala, Trivandrum. O. N. V. was known for his leftist leaning. He was a leader of All India Students Federation (AISF).^[1] He died on 13 February 2016 at KIMS hospital in Thiruvananthapuram due to age-related illnesses, aged 84.^[2]

• 2Poetry
• 4Awards

Biography[edit]

O.N.V Kurup was born to O. N. Krishna Kurup and K. Lakshmikutty Amma, on 27 May 1931 at Chavara, Kollam (Quilon) in Kerala.^[3][4] He lost his father when he was eight. His childhood days were spent in Chavara where he attended the government school. After graduating with a bachelor's degree in Economics from SN College, Kollam, he moved to Thiruvananthapuram city (Trivandrum) where he joined Travancore University (now Kerala University) and pursued Master of Arts in Malayalam literature.

O.N.V. was a lecturer at Maharajas College – Ernakulam, University College – Trivandrum, Arts and Science College – Kozhikode, and Brennen College – Thalassery. He joined Government Women's College – Trivandrum as the Head of Malayalam Department. He was also a visiting professor at Calicut University. He retired from service in 1986.^[4]

He received the Jnanpith Award, India's highest literary award, for the year 2007.^[5] He was the fifth Jnanpith laureate from Kerala and the second Malayalam poet to win the prestigious award.^[6] According to a statement by Bharatiya Jnanpith, the trust which presents the award, Kurup began his career as a 'progressive writer and matured into a humanist though he never gave up his commitment to socialist ideology'.^[7]

He was settled at Vazhuthacaud in Thiruvananthapuram, with his wife Sarojini, who was also his student in his early days. His son Rajeev works with the Indian Railways Authority, and daughter Dr. Mayadevi is a noted gynaecologist in Aster Medicity, Cochin. Malayalam playback singer Aparna Rajeev is his granddaughter.^{[citation needed]}

Poetry[edit]

O. N. V.'s first published poem was 'Munnottu' (Forward) which appeared in a local weekly in 1946.^[8] His first poetry collection, Porutunna Soundaryam, came out in 1949. He published a book named Dahikunna Panapatram (The Thirsty Chalice) which was a collection of his early poems during 1946–1956.^[9]

Poetic works[edit]

*Collection of 1500 songs. **Poems for children

Prose list[edit]

Lyricist[edit]

In addition to the valuable contributions he had given to the Malayalam literature, he was one of the leading lyricists in Malayalam film/drama/album industry. He was the part of many dramas by Kerala People's Arts Club (KPAC) which has a major remark in the revolutionary movements of Kerala. Kalam Marunnu (1956) was his first film which was also the first film by the famous Malayalam composer G. Devarajan. Since then he has been active in film until date and was honoured with one national award and fourteen state awards (the most by a Malayalee). He has penned about 1000 songs^[10] in about 232 films and numerous songs for plays and albums. His partnerships with Salil Chowdhury and M. B. Sreenivasan were so popular in Malayalam film industry. He has made many hit songs with popular music directors, including G. Devarajan, Raveendran, V. Dakshinamoorthy, M. S. Baburaj, M. K. Arjunan, K. Raghavan, Shyam, Johnson, Bombay Ravi, Mohan Sithara, M. G. Radhakrishnan, S. P. Venkatesh, Ouseppachan, Vidhyadharan and M. Jayachandran.

Awards[edit]

Civilian honours[edit]

• 2011 – Padma Vibhushan^[11]
• 2007 – Honorary Doctorate (honoris causa) by University of Kerala^[12]
• 1998 – Padma Shri^[13]

Literary awards[edit]

O. N. V. has won numerous awards for his literary works.^[14][15]

• 2015 – Medal of Pushkin (Медаль Пушкина)^[16]
• 2011 – Kamala Surayya Award for Dinantham^[17]
• 2011 – Thoppil Bhasi Award^[18]
• 2010 – COSINE Award
• 2009 – Ramashramam Trust Award
• 2007 – Ezhuthachan Award^[19]
• 2007 – Jnanpith Award for his overall contributions to Malayalam literature (Announced on 24 September 2010)^[20]
• 2006 – Vallathol Award^[21]
• 2003 – Bahrain Keraleeya Samajam Sahitya Award
• 2002 – P. Kunhiraman Nair Award for Ee Purathana Kinnaram
• 1993 – Aasan Prize
• 1990 – Odakkuzhal Award for Mrigaya
• 1982 – Vayalar Award for Uppu *1979-Pandalam Keralavarma Janmasathabdi Smaraka Award(Poetry)
• 1981 – Soviet Land Nehru Award for Uppu<
• 1975 - Kendra Sahitya Academy Award (Malayalam) for Aksharam
• 1971 - Kerala Sahitya Academy Award (Poetry) for Agni Salabhangal

Film awards[edit]

National Film Awards

• 1989 - Best Lyricist – Vaishali

Kerala State Film Awards

ONV won the Kerala State Film Award for the Best Lyricist fourteen times:

• 2016 – Best Lyricist (Film – Kambhoji)
• 2008 – Best Lyricist (Film – Gulmohar)
• 1990 – Best Lyricist (Film – Radha Madhavam)
• 1989 – Best Lyricist (Film – Oru Sayahnathinte Swapnathil, Purappadu)
• 1988 – Best Lyricist (Film – Vaishali)
• 1987 – Best Lyricist (Film – Manivathoorile Ayiram Sivarathrikal)
• 1986 – Best Lyricist (Film – Nakhakshathangal)
• 1984 – Best Lyricist (Film – Aksharangal, Ethiripoove Chuvannapoove)
• 1983 – Best Lyricist (Film – Adaminte Variyellu)
• 1980 – Best Lyricist (Film – Yagam, Ammayum Makkalum)
• 1979 – Best Lyricist (Film – Ulkkadal)
• 1977 – Best Lyricist (Film – Madanolsavam)
• 1976 – Best Lyricist (Film – Survey Kallu)
• 1973 – Best Lyricist (Film – Swapnam)

Filmfare Awards

• 2009 – Best Lyricist Award – Pazhassi Raja
• 2011 – Best Lyricist Award – Paattil Ee Pattil – (Pranayam)^[22]

Asianet Film Awards

• 2001 – Best Lyricist Award -Meghamalhar
• 2002 – Best Lyricist Award -Ente Hridayatinte Udama

Positions held[edit]

Kurup served and headed various office of state and central government organisations. Notably:

• Executive Member, Executive Board of the Sahitya Akademi, New Delhi from 1982–86.
• Chairman, Kerala Kalamandalam – the State Akademi of Classical performing Arts(1996).
• Fellow of the Kerala Sahitya Academy in 1999.

He also has been the part of various delegation at international events. Some of the notable among them being:

• Visited USSR as member of an Indian Writers Delegation to participate in the 150th birth anniversary of Leo Tolstoy.
• Represented India in the Struga Poetry Evenings, Yugoslavia (1987)
• Attended CISAC Asian Conference in Singapore(1990).
• Visited USA to participate in FOKANA Conference(1993).
• Visited USA to inaugurate literary seminar in Kerala Centre, New York (1995).
• Presented poems on Beethoven and Mozart in the Department of German, University of Bonn.
• Indian delegate to the CISAC World Conference held in Berlin (1998).

Death[edit]

ONV Kurup died on 13 February 2016, due to age-related ailments at KIMS Hospital in Thiruvananthapuram. He was 84. He was cremated with full state honours at Thycaud Santhikavadam crematorium, which was named by him. At the time of his cremation, 84 singers representing the 84 years of his life, led by K. J. Yesudas, paid homage to him by singing his poems and songs. He is survived by his wife, children, grandchildren and great-grandchildren.

References[edit]

1. ^https://web.archive.org/web/20070930093720/http://archive.eci.gov.in/GE2004/pollupd/pc/states/s11/partycomp20.htm. Archived from the original on 30 September 2007. Retrieved 3 April 2007.Missing or empty title= (help)
2. ^'Malayalam lyricist ONV Kurup no more; celebs offer condolences'. International Business Times, India Edition. 13 February 2016.
3. ^'ഒ.എന്.വി.കുറുപ്പ്‌ നിറവിന്റെ സൗന്ദര്യം'. Web.archive.org. Archived from the original on 4 November 2010. Retrieved 17 February 2016.
4. ^ ^ab'O.N.V.Kurup'. Kerala Tourism Development Corporation. Retrieved 25 September 2010.
5. ^'Malayalam, Urdu writers claim Jnanpith awards'. The Hindu. 25 September 2010. Retrieved 25 September 2010.
6. ^'Jnanpith goes to Malayalam poet-lyricist Kurup'. The Indian Express. 25 September 2010. Retrieved 25 September 2010.
7. ^'Jnanpith for Malayalam poet Kurup, Urdu scholar Shahryar'. The Times of India. 25 September 2010. Retrieved 25 September 2010.
8. ^https://web.archive.org/web/20050408012601/http://www.deccanherald.com/deccanherald/aug03/at7.asp. Archived from the original on 8 April 2005. Retrieved 3 April 2007.Missing or empty title= (help)
9. ^[1]
10. ^'MSI Malayalam Song Search – Writers = ONV Kurup'. malayalasangeetham.info. Retrieved 26 September 2010.
11. ^'Govt announces Padma Awards'. NDTV.com. 25 January 2011.
12. ^'D.Litt for ONV'(PDF). Keralauniversity.edu. Archived from the original(PDF) on 26 September 2011. Retrieved 17 February 2016.
13. ^'Padma Awards'(PDF). Ministry of Home Affairs, Government of India. 2015. Archived from the original(PDF) on 15 November 2014. Retrieved July 21, 2015.
14. ^https://web.archive.org/web/20070524212356/http://www.prd.kerala.gov.in/awards.htm. Archived from the original on 24 May 2007. Retrieved 3 April 2007.Missing or empty title= (help)
15. ^'Welcome to Kerala Tourism - Official Website of Department of Tourism, Government of Kerala'. Kerala Tourism. Retrieved 17 February 2016.
16. ^'Honour for Wordsmith'. The Hindu. 6 November 2015. Retrieved 9 November 2015.
17. ^'ONV and Mukundan gets Kamala Surayya award'. Mathrubhumi. 2 March 2012. Archived from the original on 19 August 2014. Retrieved 10 June 2013.
18. ^'O N V Kurup wins Thoppil Bhasi Award'. The Times of India. 10 November 2011. Retrieved 10 June 2013.
19. ^'ONV receives Ezhuthachan Puraskaram'. The Hindu. 10 June 2013. Retrieved 2 November 2012.
20. ^'O.N.V. Kurup gets Jnanpith Award'. The Hindu. 12 February 2011. Retrieved 10 June 2013.
21. ^'O.N.V. receives Vallathol Award'. The Hindu. 17 October 2006. Retrieved 10 June 2013.
22. ^'The 59th Idea Filmfare Awards 2011(South)'. Archived from the original on 4 December 2012. Retrieved 8 July 2012.

External links[edit]

• All India Students Federation (AISF)