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Subhadr膩hara峁嘺m of K膩rtika Tirun膩岣� are known today as 'Southern stories' to differentiate the first two from those written by K艒峁�峁璦yattu Tampuran and the third from the one written later by Mantre峁璦ttu Namp奴tiripp膩岣�. As regards the literary aspect, his Kathakali works are not on a par with those written by K艒峁�峁璦yattu Tampur膩n. But they are suitable for acting on the stage in accordance with the technique of abhinayas. His Narakasuravadhom is a popular play even today and is very often staged as it presents a few interesting scenes. Like nandi in a Sanskrit drama, in Kathakali also an invocatory part is seen in the beginning. This is called T艒峁璦yam. An actor in a female role comes to the stage and stands behind the curtain facing the musicians and performs the preliminary dance of invocation. The actor resorts to different forms of foot-steps, the rhythm of which is based on the beating of the drum being played. The song technically called the pada extols the greatness of God. In the Kathakali works of Ko峁�峁�膩rakkara Tampur盲n there is no totayam being performed. It was first introduced by K艒峁�峁璦yattu Tampuran. Following him K膩rtika Tirun膩岣� also composed another T艒峁璦yam for his Kathakali works. K膩rtika Tirun膩l Mah膩r膩ja gave generous encouragement not only for the Kathakali performance but also for other forms of art. Tradition says, though not fully substantiated, that once Mah膩r膩ja witnessed the Dasiy膩峁�峁璷m performance which came from Tamilnadu and pleased 102