6 References to chapter (vr.ttam) and verse numbers follow the edition of Kr.s.n.an
Na ̄ yar (1979).
7 For instance, one might compare the whole tenor of Dhavamony (1971) with
that of Hudson (1989) and the more historically situated sense of south Indian
“devotion” in Bayly (1989).
8 See Freeman (1998) for the importance of this text in terms of the history and
ideology of language in Kerala of that time. For a descriptive analysis of the
text’s content and historical context, see Gopala Pillai (1985).
9 Cited from the S ́ivara ̄trima ̄ha ̄tmyam, vs. 149, in S ́. Kuññan Pil.l.a (1970: 256).
10 From the Uttaraka ̄n.d.am of the Kan.n.as ́s ́a Ra ̄ma ̄yan.am,cited in Warrior (1977: 106,
n. 5).
11 From the S ́ivra ̄trima ̄ha ̄tmyam, vs. 134, cited in S ́. Kuññan Pil.l.a (1979: 104).
12 For an example of such a Kerala play and its staging with an overview of the
tradition, see Jones (1984). A more comprehensive treatment of the tradition of
Sanskrit plays in Kerala is in Richmond (forthcoming).
13 Lines 5131–2 in Haris ́arma (1980 [1969]: 498).
14 These works are Ra ̄jara ̄ javarma (1968), Nı ̄lakan.t.hakavi (1990), and Ra ̄ macandra
Pil.l.a (1987).
15 My reading of Kuñcan Nambya ̄ r’s work is deeply indebted to the fine historical and
discursive analysis by K. N. Gan.e ̄s ́ (1996).
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