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Thai literature

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The development of Thai classical literature

Origins

As speakers of the Tai language family, the Siamese share literary origins with other Tai speakers in mainland Southeast Asia. It is possible that the early literature of the Thai people may have been written in Chinese. However, no historical record of the Siamese thus far refers to these earlier literature. The Thai poetical tradition was originally based on indigenous poetical forms such as rai (ร่าย), khlong (โคลง), kap (กาพย์), and klon (กลอน). Some of these poetical forms—notably Khlong - have been shared between the speakers of Tai languages since ancient time (before the emergence of Siam). An early representative work of Khlong poetry is the epic poem Thao Hung Thao Cheuang, a shared epic story, about a Tai noble warrior in mainland Southeast Asia.

Indian influence on the Siamese language

Through Buddhism's and Hindu's influence, a variety of Chanda prosodic meters were received via Ceylon. Since the Thai language is mono-syllabic, a huge number of loan words from Sanskrit and Pali are needed to compose in these classical Sanskrit meters. According to B.J. Terwiel, this process occurred with an accelerated pace during the reign of King Boromma-trailokkanat (1448–1488) who reformed Siam's model of governance by turning the Siamese polity into an empire under the mandala feudal system. The new system demanded a new imperial language for the ruling noble classes. This literary influence changed the course of the Thai or Siamese language—setting it apart from other Tai languages—by increasing the number of Sanskrit and Pali words and imposing the demand on the Thai to develop a writing system that preserved the orthography of Sanskrit words for literary purposes. By the 15th century, the Thai language had evolved into a distinctive medium along with a nascent literary identity of a new nation. It allowed Siamese poets to compose in different poetical styles and mood—from playful and humorous rhymed verses, to romantic and elegant khlong and to polished and imperious chan prosodies which were modified from classical Sanskrit meters. Thai poets experimented with these different prosodic forms, producing innovative "hybrid" poems such as Lilit (Thai: ลิลิต—an interleave of khlong and kap or rai verses), or Kap hor Klong (Thai: กาพย์ห่อโคลง - a series of khlong poems each of which is enveloped by kap verses). The Thai thus developed a keen mind and a keen ear for poetry. To maximize this new literary medium, however, a rather intensive classical education in Pali and Sanskrit was required. This made "serious poetry" an occupation of the noble classes. However, B.J. Terwiel notes, citing a 17th-century Thai text book Jindamanee, that scribes and common Siamese men, too, were encouraged to learn basic Pali and Sanskrit terms for career advancement. Thai poetry and literary production came to dominate the learned literature of the Tai-speaking world from the mid-Ayutthaya period until the 20th century. As J. Layden observed, in On the Languages and Literature of the Indo-Chinese Nations (1808):

The Siamese or Thai language contains a great variety of compositions of every species. Their poems and songs are very numerous, as are their Cheritras, or historical and mythological fables. Many of the Siamese princes have been celebrated for their poetical powers, and several of their historical and moral compositions are still preserved. In all their compositions they either affect a plain, simple narrative, or an unconnected and abrupt style of short, pithy sentences, of much meaning. Their books of medicine are reckoned of considerable antiquity. Both in science and poetry those who affect learning and elegance of composition sprinkle their style copiously with Bali. ... The Cheritras or romantic fictions of the Siamese, are very numerous, and the personages introduced, with the exception of Rama and the characters of the Ramayana, have seldom much similarity to those of the Brahmans.

Ramakien

Most countries in Southeast Asia share an Indianised culture. Thai literature was heavily influenced by the Indian culture and Buddhist-Hindu ideology since the time it first appeared in the 13th century. Thailand's national epic is a version of the Ramayana called the Ramakien, received from the Lavo Kingdom. The importance of the Ramayana epic in Thailand is due to the Thai's adoption of the Hindu religio-political ideology of kingship, as embodied by the Lord Rama. The former Siamese capital, Ayutthaya, was named after the holy city of Ayodhya, the city of Lord Rama. All Thai kings have been referred to as "Rama" to the present day.

The mythical tales and epic cycle of Ramakien provide the Siamese with a rich and perennial source for dramatic materials. The royal court of Ayutthaya developed classical dramatic forms of expression called khon and lakhon. Ramakien played a great role in shaping these dramatic arts. During the Ayutthaya period, khon, or a dramatized version of Ramakien, was classified as lakhon nai or a theatrical performance reserved for aristocratic audiences. A French diplomat, Simon de La Loubère, witnessed and documented it in 1687, during a formal diplomatic mission sent by King Louis XIV. The Siamese drama and classical dance later spread throughout mainland Southeast Asia and influenced the art in neighboring countries, including Burma's own version of Ramayana, Cambodia, and Laos.

A number of versions of the Ramakien epic were lost in the destruction of Ayutthaya in 1767. Three versions currently exist. One of these was prepared under the supervision (and partly written by) King Rama I. His son, Rama II, rewrote some parts for khon drama. The main differences from the original are an extended role for the monkey god Hanuman and the addition of a happy ending. Many of popular poems among the Thai nobles are also based on Indian stories. One of the most famous is Anirut Kham Chan which is based on an ancient Indian story of Prince Anirudha.

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