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మా తెలుగు తల్లి కి మల్లె పూదండ, మా తెలుగు తల్లికి మల్లెపూదండ, మా కన్నతల్లికి మంగళారతులు, కడుపులో బంగారు, కనుచూపులో కరుణ, చిరునవ్వులో సిరులు దొరలించు మాతల్లి, గలగలా గోదారి కదలిపోతుంటేను, బిరబిరా కృష్ణమ్మ పరుగులిడుతుంటేను, బంగారు పంటలేపండుతాయి, మురిపాల ముత్యాలు దొరలుతాయి, అమరావతి నగరి అపురూప శిల్పాలు, త్యాగయ్య గొంతులో తారాడునాదాలు, తిక్కయ్య కలములో తియ్యందనాలు, నిత్యమై నిఖిలమై నిలిచియుండేదాక, రుద్రమ్మ భుజశక్తి, మల్లమ్మ పతిభక్తి, తిమ్మరుసు ధీయుక్తి, కృష్ణరాయలకీర్తి, మా చెవుల రింగుమని మారుమ్రోగేదాక, నీ పాటలే పాడుతాం, నీ ఆటలేఆడుతా, జై తెలుగుతల్లీ జై తెలుగుతల్లీ-శంకరంబాడి సుందరాచార్య

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Showing posts with label Legends of Andhra Pradesh. Show all posts
Showing posts with label Legends of Andhra Pradesh. Show all posts

Thursday, December 23, 2010

About BCT and Dr.Parameshwar Rao

 


Newton supposedly said:"If I have seen further, it is only by standing on the shoulders of giants." May be it can be paraphrased to say: if we have walked further, it is only by continuing on the paths
laid out by giants. 

During inception and after of AID(Association for India Development), recall the pointers, guidance and inspiration from BCT (Bhagavatula Charity Trust) together with works and words of Dr.Parameshwar Rao. Gratefully and joyfully remember and cherish it along with others like ILP (India Literacy Project), ASHA etc.,

More can be read at: http://www.eenadu.net/htm/weekpanel1.asp

Monday, December 01, 2008

నార్ల వెంకటేశ్వరరావు

నార్ల వెంకటేశ్వరరావు తెలుగునాట ప్రముఖ పాత్రికేయులు మరియు రచయిత. వీ.ఆర్.నార్ల గా కూడా వీరు ప్రసిద్ధులు. 


ఆంధ్రప్రభ, ఆంధ్రజ్యోతి పత్రికలకు చాలా కాలం సంపాదకులుగా ఉన్నారు. పత్రికా రచనలే కాక వారు పలు నాటికలు, కవితలు మరియు కొన్ని కథలు రాసారు. ఆయన వివిధ దేశాల చరిత్రల రచన చేసినా, ఎందరో మహానుభావుల జీవితాలను చిత్రించి సామాన్య ప్రజానికి పరిచయం చేసినా - మరేది చేసినా జర్నలిజానికి ఎనలేని సేవ చేసారు. 

హేతువాది గా, మానవతావాది గా జీవించారు. వేల సంఖ్యలో వైవిధ్యభరితమైన వ్యాసాలు రాసారు. నార్ల రచనలు అన్నీ కూర్చి ఇటీవలే "నార్ల రచనలు" పేరిట పలుభాగాలుగా వెలువరించారు నార్ల కుటుంబం వారు. వెంకటేశ్వరరావు ఏప్రిల్ 3, 1958 నుండి ఏప్రిల్ 2, 1970 వరకు రెండు పర్యాయములు రాజ్యసభ సభ్యునిగా పనిచేశాడు. ఈయన నార్ల వారి మాట అను శతకాన్ని కూడా రచించాడు.నార్ల వారి సొంత గ్రంధాలయంలో 20000 పుస్తకాలు ఉండేవట.


కవిగా, రచయితగా, నాటకకర్తగా, విమర్శకుడుగా, అనువాదకుడుగా, పాత్రికేయునిగా అనేకులకు నార్ల స్ఫూర్తి ప్రదాత. ఇంగ్లిష్‌లో ఆలోచించి తెలుగులో రాసే మూసలో కొట్టుకుపోతున్న పాత్రికేయాన్ని ప్రజల భాషకు చేరువ చేశారు. తెలుగు పత్రికా రచనకు కొత్త గౌరవాన్ని, మర్యాదను సమకూర్చారు. 'స్వరాజ్య', 'జనవాణి', 'ప్రజామిత్ర' పత్రికల్లో మెరుపులు మెరిపించి 'ఆంధ్రప్రభ', 'ఆంధ్రజ్యోతి' పత్రికల సంపాదక బాధ్యతలను చేపట్టి వాటిని తీర్చిదిద్దారు.ఎడిటర్‌గా పనిచేసిన ముప్ఫై మూడేళ్ల కాలంలో ఛాందస విశ్వాసాలతో రాజీలేని పోరు సాగించి,నిజంపట్ల నిబద్ధత, జనశ్రేయంపట్ల నిజాయతీ, వృత్తిపథంలో తిరుగులేని నిర్భీకతలను పాత్రికేయుడి ప్రధాన లక్షణాలుగా నార్ల విశ్వసించారు. సంపాదకీయాలను పత్రికకు ప్రాణదీపాలుగా మార్చడంతోపాటు, సామాజిక సంస్కరణకు వాహికలుగా వాటిని నార్లవారు ఉపయోగించారు. రాజగోపాలాచారిని కాంగ్రెస్ శాసనసభాపక్ష నేతగా ఎన్నుకోవాలని 1946లో మహాత్ముడు నిర్ణయించినప్పుడు- దానికి నిరసనగా నార్ల పరంపరగా సంపాదకశస్త్రాలను ప్రయోగించారు. 

అదేవిధంగా మహాత్ముడు చనిపోయినప్పుడు ఆయన రాసిన సంపాదకీయం ఆంధ్రదేశాన్ని పట్టి కుదిపింది. వేటూరి ప్రభాకరశాస్త్రి స్థాయి వ్యక్తి 'ఎవరు రాశారో తెలియదుగానీ వారికి సాష్టాంగ నమస్కారం' అన్నారు. ప్రజలకు అర్థమయ్యే జీవభాషలో సంపాదకీయాలను రాశారు. సంస్కృత భాషను విస్తృతంగా ప్రచారం చేస్తే తప్ప మన సంస్కృతి విస్తరించదన్న వాదనను ఆయన తుదికంటా వ్యతిరేకించారు. హేతువాదిగా నిలిచారు. సామాజిక పరిణామాలను భౌతికవాద దృష్టితో పరిశీలించడం నార్ల ప్రత్యేకత. జీవితాన్ని మానవతావాదిగా తరచిచూడటం ఆయన విశిష్టత. సమాజంలో తరాలుగా పాతుకుపోయిన అంధవిశ్వాసాలను, సంప్రదాయాలను ప్రశ్నిస్తూ నార్ల విరచించిన 'సీతజోస్యం' ఛాందసవాదులకు చెంపపెట్టులాంటిది. రామాయణాన్ని; రామ, రావణ యుద్ధాన్ని ఆయన ఆహారోత్పత్తి వ్యవస్థకు, ఆహార సేకరణ వ్యవస్థకు మధ్య సంఘర్షణగా వ్యాఖ్యానించారు. అగ్రకులాధిపత్యానికి, ఆధిపత్యభావజాలానికి సవాలు విసురుతూ ఆయన రాసిన 'శంభూక వధ' అట్టడుగువర్గాల తరఫున పూరించిన సమరశంఖమనే చెప్పాలి. బౌద్ధమతాన్ని మనస్ఫూర్తిగా నమ్మి ఆచరించి; స్వచ్ఛమైన హేతువాదిగా జీవించారు.తాను నమ్మిన విషయాన్ని శక్తిమంతంగా చెప్పడంలో నార్ల అద్వితీయుడు. ఆయన రచనలో సూటిదనం, గడుసుదనం, వ్యంగ్యం, చమత్కారం, లోకజ్ఞత, సమయజ్ఞత సమపాళ్ళలో ఉండేవి. నీళ్ళు నమలడం ఆయనకు చేతకాదు. మర్యాదలు పనికిరావు. ముక్కుమీద గుద్దినట్టు రాయడం ఆయన ప్రత్యేకత. 'బుద్ధి చెప్పువాడు గుద్దితేనేమయా' అన్న వేమన అభిప్రాయాన్ని అక్షరాలా అమలు చేసి పత్రికా రచయిత ఆయన.ఒకానొక సంపాదకుడి కోసం పత్రికను నెలకొల్పిన ఒకే ఒక సందర్భం 'ఆంధ్రజ్యోతి' ఆవిర్భావం. ' ఆంధ్రప్రభ' నుంచి వైదొలిగి సంపాదకత్వం వహించడానికి చేతిలో పత్రిక లేకుండా 'నిరుద్యోగి'గా ఉన్న నార్ల కోసం కొందరు ముఖ్యులు పూనుకొని పెట్టిన పత్రిక అది. గోరాశాస్త్రి మాటల్లో చెప్పాలంటే 'కేవలం సత్వగుణ ప్రధానంగా, అచ్చ తెలుగులో చప్పచప్పగా ఉన్న పత్రికా రచనలో వాడినీ, వేడినీ సృష్టించి, తెలుగు నుడికారంలో ఎంత 'కారం' ఉందో తెలియజెప్పినవాడు' నార్ల. 'కాగడా', 'జనవాణి'తో తాపీ ధర్మారావు ప్రారంభించిన వ్యావహారిక భాషా ఉద్యమాన్ని నార్ల 'ఆంధ్ర ప్రభ', 'ఆంధ్రజ్యోతి' ద్వారా సమర్థంగా కొనసాగించారు.తెలుగులో ఆలోచించి, తెలుగు నుడికారంలో తెలుగుదనం ఉట్టిపడేటట్టు రాయగలిగినప్పుడే తెలుగు వారిలో మనం కదలిక పుట్టించగలం' అని ఆయన తోటి జర్నలిస్టులకు ఉద్బోధించారు. 

తెలుగు పట్ల ఇంతటి మమకారం లేకపోతే కోటంరాజు రామారావు, మానికొండ చలపతిరావు, కుందూరి ఈశ్వరదత్తు, ఖాసా సుబ్బారావులాగా నార్ల కూడా ఢిల్లీకో, లక్నోకో వెళ్ళి ఆంగ్ల పత్రికల సంపాదకుడిగా కీర్తి గడించేవారు.సంపాదకుడు అనే మాట ఉపయోగించేవారు కాదు. ఎడిటర్ అనే రాసుకునే వారు, పిలిపించుకునేవారు. ఎడిటర్ అనే ఇంగ్లీషు మాటకు సంపాదకుడు అనే తెలుగు అనువాదాన్ని ఆయన ఆమోదించలేదు. సంపాదకుడు అంటే ఏమిటో, సంపాదకుడి స్థానం ఏమిటో యాజమాన్యాలకూ, సమాజానికీ తెలియజెప్పడానికి ఆయన శత విధాలుగా ప్రయత్నించారు.ఎడిటరైనవాడు బిడియము చూపుచో ధాటి తగ్గు వృత్తి ధర్మమందు, కడుపుకూటి రాత కక్కుర్తి రాతరా' అంటూ తోటి రచయితలనూ, భావి సంపాదకులనూ హెచ్చరించిన యోధుడు నార్ల.'విరామమెరుగని రాక్షసుడు నార్ల' అని ప్రఖ్యాత సంపాదకుడు ఖాసా సుబ్బారావు అభివర్ణించారు.


నార్ల వారి మాటలు యొక్కలతో తెలుగుభాష డొక్క పొడవొద్దు.ఎంత గొప్పవాడైనా వస్తాడేకాని విచ్చేయడు.సంపాదకుడు అనొద్దు ఎడిటర్ అనండి.బడు వాడేవాడు బడుద్ధాయి.

Sunday, November 30, 2008

telugu Dr Ghazal Srinivas in new Guinness Book


the great Telugu singer Dr Ghazal Srinivas has got a place in Guinness Book of World records . He has set a new record by singing Ghazals on Gandhism in 76 languages. He was also proactive and took initiative in spreading Gandhism across the world crossing the boundaries of sub continent.

Well known Telugu singer Dr Ghazal Srinivas has got a place in Guinness Book of World records today. He has set a new record by singing Ghazals on Gandhism in 76 languages. He was also proactive and took initiative in spreading Gandhism across the world crossing the boundaries of sub continent.

about Ghazal Srinivas

Ghazal Srinivas divinely gifted genius hails from Palakol, West Godavari District, in Andhra Pradesh. He has scaled the heights of International Fame as Prince and Pioneer of singing Telugu Ghazals. Srinivas has been singing and performing Telugu Ghazals since 1986. He has developed a unique style of his own – a care free, effortless and sonorous singing. He makes use of Kanjeera, a common instrument, as his only accompaniment. Characteristically Ghazal Srinivas analyzes each stanga of the Ghazal that he sings and brings out the hidden literary beauty of it as he explains to the audience.


Honorary Doctorate

Dr Ghazal Srinvas conferred Honorary Doctorate from Acharya Nagarjuna University, Andhra Pradesh in the Year 2008 for his contribution to Art of Ghazal singing and world peace.

Tuesday, April 24, 2007

Dr. Cattamanchi Ramalinga Reddy

Educationalist, Founder & Vice-chancellor of AndhraUniversity

Dr. Cattamanchi Ramalinga Reddy (December 10, 1880 - February 24, 1951) also popularly known as Sir C.R. Reddy was an educationist and political thinker, essayist and economist, and poet and literary critic. He wrote his works in Telugu and English, which reveal his deep love and learning of classics as well as modernity of his outlook.

Dr C.R. Reddy was the foremost educationalist who played a major role in shaping the educational policy in India. He was also the recipient of Knighthood by the British crown in honour of his service to the country.

He was the founder of Andhra University and also served as its Vice-Chancellor from 1926 to 1931 and in a further second term from 1936 to 1949.

Life and career:

Cattamanchi Ramalinga Reddy was born in Cattamanchi, a suburb of Chittoor. He was the second son of Subramania Reddy who had built up a lucrative legal practice as a pleader in Chittoor and was known for his high sense of principles and right conduct. C Ramalinga Reddy completed his high school education with distinction in 1896 and joined the Madras Christian College in 1897. Rev Dr Miller was the principal of the college and Dr Skinner was the professor of Philosophy there. Professor Kellet took English classes. All of them were greatly impressed by Reddy's performance as a student and noted the qualities of his sharp and incisive mind. Even while in college, he was noted for his Telugu scholarship. He got a prize for writing a story in Telugu verse, called 'Musalamma Maranamu'. It had some unique features and was viewed as an avant-garde effort in the field of Telugu poetry, quite different from the traditional prabhanda style.

In 1901 he graduated with distinction in philosophy and history securing several University prizes. Soon thereafter, he won a Government of India scholarship to study in University of Cambridge in England. He joined St Johns College at Cambridge in 1902, the college where the great English poet William Wordsworth had studied. His career at St Johns College, Cambridge, was no less distinguished than it had been at Madras Christian College. Apart from being a brilliant student, he made his mark as an outstanding speaker and debater. He was elected Secretary of the Liberal Club and later Vice President of the Union Society. He was the first Indian student to be chosen for that office in the Union Society. When he was the Vice President of the Union Society, John Maynard Keynes (destined to be a world-famous economist later) was the Secretary of the Union Society. On 31 October, 1905, C R Reddy invited Gopal Krishna Gokhale to address the Union Society. When Gokhale met John Maynard Keynes, he instantaneously recognised the genius of Keynes and commented that: 'You are eminently fitted to be a Finance Member in the Viceroy's Executive Council in India'.

Even as a student in Cambridge, Ramalinga Reddy campaigned on behalf of the Liberal Party in the Parliamentary Elections held in 1906 which swept the Liberal Party into power that year. Many British politicians admired Reddy's gifts of intellect and eloquence and predicted a great future for him.On his return to India in 1907, he joined Baroda college at Baroda as Vice-Principal in the place vacated by Sri Aurobindo Gosh. He was a brilliant teacher and some of his students have left memorable records about his wit and wisdom.

His next appointment was at Maharaja's College in Mysore as professor of History in 1913. He was then promoted as principal of the same college in 1916 and simultaneously appointed as Inspector General of Education in Mysore State. It was during this period that C R Reddy with great foresight threw open all the schools to Panchama children much against the local orthodox opposition. This was long before the days of Mahatma Gandhi's programme of temple entry for Harijans. C R Reddy is a revered name in Karnataka even today for this epoch-making step of social reform.

In 1921, he entered politics. He was elected to the Madras Legislative Council as an outstanding educationalist. For a short while he was in the Justice party. The Justice Party (India) found him far too brilliant and individualistic for keeping proper party control over him. In 1926 January, when it was decided to establish Andhra University at Waltaire, C R Reddy was the natural choice for appointment as its first Vice-Chancellor. He made Andhra University a great centre of higher education and outstanding research in both sciences and humanities. Towards the end of 1930, he did the extraordinary thing of resigning his Vice-Chancellorship in protest against the repressive policy of the Government of India in arresting the great leaders of Congress Salt Satyagraha movement. He wrote a classic letter in this context to the Governor of Madras. When he resigned his post as Vice-Chancellor, he was succeeded by Dr Sarvepalli Radhakrishnan.

C R Reddy was back again in the field of politics. He became the president of Chittoor District Board. In 1936 at a Senate meeting of Andhra University, it was decided to invite Dr C R Reddy to return again to Andhra University as its Vice-Chancellor. He came back in 1936 to Waltaire for the second time as Vice-Chancellor and retained this position till 1949. During this period Andhra University became internationally known. Dr S Bhagavantam, Dr T R Seshadri, Dr V K R V Rao and Dr V S Krishna, K R Srinivasa Iyengar and many other great professors made a beeline to Waltaire, inspired by the idealism and unique moral leadership of C R Reddy. In 1949, he became the Vice Chancellor of Mysore University. He passed away in Madras on 24 February, 1951.K.R Srinivasa Iyengar, in his book "Essays and Addresses", describes Reddy as a great educationist, a first-class teacher, humanist, a bold thinker and a reformer. Reddy's lectures on `University reforms' delivered in Madras under the presidency of Dr S. Subrahmania Aiyer, S. Srinivasa Iyengar and T.V. Seshagiri Ayyar had set the tone for university reforms in India.

Quotes:

  • 'The youths of today are more ready to give than to receive advice'.
  • 'If man cannot find a satisfactory axiom, he invents a hypothesis'.
  • 'We may be poor, but we need not be paupers'.
  • 'Applied science is Herculean power'.
  • 'Will without reason, reason without will, either is an unhappy combination. The two must go together balancing each other'.
  • 'Government and parties are agreed in this, they prefer creatures to creators of ideas who are always a troublesome lot'. 'Great Britain next year may give us a self-governing State, but nobody can give us a self-disciplined nation excepting ourselves'.
  • 'Every form of government, especially democracy, rests on two foundations. The first is a strong character and the second a sane and balanced judgement'.
  • 'Brevity is the soul of curfew'.
  • 'Self government implies self-help'.
  • 'Democracy is a means to an end. The end is not partisan party government. The end is good government'.

Monday, March 26, 2007

Duggirala Gopalakrinayya

Gopalakrishnayya Duggirala was one of the famous leaders in the non-violent Indian Freedom Movement. He attracted millions of Andhra people to the movement through his poetry and speeches.


He was born in Penuganchiprolu village in Krishna district on June 2, 1889 into a Brahmin family. His father was Kodandaraamaiah and mother was Seetamma. He studied in high schools in Gunturu and Bapatla cities. While at school, even at that young age, he founded “Jaateeya Naatyamandali (National Dance Group)” to help develop arts such as drama and music.


He went to England for higher studies. After graduating with MA degree from Edinburgh University, he worked with Ananda Kumaraswamy for some time and translated Nandikeswara’s abhinaya darpanamu from Sanskrit into English entitled, “The Mirror of Gesture,” published by Cambridge-Harvard University Press in 1917.


After a brief tenure as a lecturer at Rajamandri Training College and Bandaru National College, he jumped headlong into freedom struggle. In 1919, the British government unified Cheerala and Perala municipalities into one municipality. Gopalakrishnayya called for a non-cooperation movement against this action. This movement became one of the most important milestones in the Andhra freedom struggle. He traveled extensively in Andhra, after the Nagpur Congress Convention in 1920, to propagate the aims of the meeting. He was jailed for one year when he disobeyed a ban on speeches in Barampuram.


He was very much interested in Telugu folk-arts and toiled for the uplift of these arts. Telugu folk arts include toalubommalaata (puppet show), jamukulakatha, burrakatha, veedhinaatakaalu, saamu gaaradeelu, golla kalaapam, butta bommalu, keelu gurraalu, vaalakaalu, gosangi, guravayyalu, saradhakatha, kinnerakatha, kommu boora, jodu maddela, palle suddulu, toorpu bhagotham, chuttukaamudu, pitchikuntlavaalla katha, sadhana soorulu, palanati veera vidyavanthulu, etc. He founded a journal entitled, “saadhana.” He strove for the spread of libraries in Andhra in a movement called grandhalayodyamamu (library movement).


He was very spiritualistic and a Rama worshipper. He formed a volunteer group called ‘Ramadandu,” which was a well-organized, patriotic and spiritual organization. He was awarded the title “Andhra Ratna (Gem of Andhra)’ by the people in 1921 at a meeting in Gunturu. He died at the age of 40 in 1928.


Three episodes during the Civil Disobedience Movement in Andhra attracted the attention of the whole country. The first and major one was the Chirala-Perala episode led by Duggirala Gopalakrishnayya. He served for some time in the Government College at Rajahmundry and the National College at Machilipatnam. He was, however, not satisfied with the kind of education that was imparted there. Moreover, after attending the Calcutta Congress in 1920, he was attracted to the programme of Non-co-operation and resolved to dedicate his life to the achievement of Swaraj. For this purpose he trained thousand disciplined band of warriors and gave them the name `Ramadandu'. He put them to test at the All-India Congress Session in Vijayawada to maintain peace and order and the All-India leaders were immensely pleased with the kind of work they did.



Three episodes during the Civil Disobedience Movement in Andhra attracted the attention of the whole country. The first and major one was the Chirala-Perala episode led by Duggirala Gopalakrishnayya. He served for some time in the Government College at Rajahmundry and the National College at Machilipatnam. He was, however, not satisfied with the kind of education that was imparted there. Moreover, after attending the Calcutta Congress in 1920, he was attracted to the programme of Non-co-operation and resolved to dedicate his life to the achievement of Swaraj. For this purpose he trained thousand disciplined band of warriors and gave them the name `Ramadandu'. He put them to test at the All-India Congress Session in Vijayawada to maintain peace and order and the All-India leaders were immensely pleased with the kind of work they did.


It was an unprecedented step in the history of the country. For eleven months people lived there in thatched huts braving the severity of weather. Gopalakrishnayya and his Ramadandu kept up the morale of the people. Their aim was to establish a parallel government and demonstrate to the outside world how Swarajya, as conceived by him, would be like. He constituted an Assembly comprising members elected from each caste and established an arbitration court. Sankirtans and Bhajans kept up the morale of the people. He, however, faced financial difficulties and he went to Berhampore in 1921, when the Andhra Conference was in session to collect some money. There he was prohibited to address the public meetings but he defied the orders. He was arrested and sentenced to one year's imprisonment and sent to Trichinapally. There was no other person who could occupy his place. The Government also took repressive measures against those who built sheds on government lands. People returned to their homes in the municipality at the end of eleven months and reconciled themselves to its constitution. Though the movement failed, the qualities of courage and fearlessness they developed stood them in good stead in the subsequent stages of the freedom movement.

Pingali Venkayya


Pingali Venkayya was the designer of the indian national flag. He was born in Bhatlapenumarru, near Machilipatnam. Today the Indian Flag is a symbol of freedom and progress. It is a horizontal tricolour which consists of the colours of deep saffron at the top, white in the middle and dark green at the bottom in equal proportions. In the centre of the white band, there is a wheel in navy blue to indicate the "Dharma chankra", or "The Wheel of Law". After high school at Masulipatnam, Pingali Venkayya went to Colombo to complete his Senior Cambridge. On returning to India, he worked as a railway guard, then as a government employee at Bellary, and later moved to lahore to join the Anglo-Vedic college to study urdu and japanese.

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From 1906 to 1911, Pingali spent most of his time researching staple varieties of crops and came up with a study on a special variety called Cambodia Cotton. With the British rulers taking notice of his study, Pingali came to be known as Patti Venkayya (literally 'Cotton Venkayya').Returning to Masulipatnam, he spent 5 years from 1916 to 1921 researching flags of 30 countries and finally came up with the present tricolor. However, the flag of the Vandmataram movement is sometimes thought to be the antecedent of Venkayya's tricolor.

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Gandhian Pingali Venkaiah lived in poverty all his life. And even before his death in 1963 in a hut in Vijayawada, Andhra Pradesh, the family was in tatters with the kin hardly knowing the whereabouts of one another.

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The man who designed the Indian National Flag - Pingali Venkayya


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The man who designed Tiranga Few of us associate the name of Pingali Venkayya with anything else other than as being the original designer of the national flag. But how many of us know that this versatile genius was a prolific writer, a Japanese lecturer and a geophysicist? Born on August 2, 1876 to Hanumantharayudu and Venkataratnamma at Bhatlapennumaru in the Divi taluk in Krishna district, Pingali was a precocious child. After finishing his primary education at Challapalli and school at the Hindu High School, Masulipatnam, he went to Colombo to complete his Senior Cambridge. Enthused by patriotic zeal, he enlisted himself for the Boer war at 19. While in Africa he met Gandhi, and their rapport lasted for more than half a century. On his return to India he worked as a railway guard at Bangalore and Madras and subsequently joined the government service as the plague officer at Bellary. His patriotic zeal, however, did not permit him to stagnate in a permanent job, and his quest for education took him to Lahore where he joined the Anglo-Vedic College, and learnt Japanese and Urdu. He studied Japanese and history under Prof Gote.During his five years? stay in the north, he became active in politics. Pingali met many revolutionaries and planned strategies to overthrow the colonial rule. The 1906 Congress session with Dadabhai Naoroji witnessed Pingali emerging as an activist and a force behind the decision making committee. Here he met the famous philanthropist, the Raja of Munagala, and from 1906-11, he spent his time in Munagala researching on agriculture and the crops. For his pioneering study on the special variety of ?Cambodia cotton?, he came to be called ?Patti Venkayya?. Even the British were taken up by his contributions in the field of agriculture and conferred on him honorary membership of the Royal Agricultural Society of Britain.

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Finally, this man went back to his roots at Masulipatnam and focused his energies on developing the National School (at Masulipatnam), where he taught his students basic military training, horse riding, history and knowledge of agriculture, soil, crops and its relation to nature. Not content with being a theoretician, Pingali's day-to-day activities also reflected a deep commitment to his liberal values. In 1914, he turned his agricultural land into an estate and named it Swetchapuram.


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The prismatic colours of his personality reflected an unusual ray in the years 1916-21. After researching into 30 kinds of flags from all over the world, Pingali conceived the design of a flag which became the forbearer of the Indian national flag. Though all credit goes to Pingali for having conceived the national flag in its present form, its antecedents can be traced back to the Vande Mataram movement.


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For a brief history of the origins of the Indian flag we have to go back to August 1, 1906 to the Parsee Bagan Square (Green Park) at Calcutta where the first national flag of India was hoisted. This flag was composed of horizontal stripes of red, yellow and green. The strip on the top had eight white lotuses embossed in a row. Onthe yellow strip were the words Bande Mataram in deep blueDevanagari script.


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Madame Cama and her group of exiled revolutionaries hoisted the second flag in Paris around 1907. This was similar to the first flag except that the top strip had only one-lotus andseven stars denoting the saptarishis. This was exhibited at a socialist conference in Berlin. By the time the third flag went up in 1917, the political struggle had taken a definite turn. Annie Besant and Tilak hoisted the flag during the Home Rule Movement with an addition in the left hand corner (the pole end), the stamp of the UnionJack.


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There was also a white crescent and star in one corner indicating the aspirations of people of those years. The inclusion of the Union Jack symbolised the goal for dominion status. However, the presence of the Union Jack indicating a political compromise, made the flag unacceptable to many. The call for new leadership brought Gandhi to the fore in 1921 and through him the first tricolour flag.


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The years 1921-31 constitute a heroic chapter in not only Pingali Venkayya's life but also in the history of the freedom struggle of Andhra. The AICC met at a historic two day session at Bezwada (March 31 and April 1, 1921). It was at this session that this frail middle aged gentleman, Pingali, approached Gandhi with the flag he designed for India. Pingali?s flag was made of two colours, red and green representing the two major communities of the country. Thus the Indian flag was born but it was not officially accepted by any resolution of the All India Congress Committee. Gandhi?s approval made it popular and it was hoisted at all Congress sessions. Hansraj of Jallandar suggested the representation of the charkha, symbolising progress and the common man. Gandhi amended, insisting on the addition of a white strip to represent the remaining minority communities of India.


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A consensus could not be reached until 1931. The designing of the colours in the flag ran into rough weather even as communal tension broke out on the issue of its interpretation. The final resolution was passed when the AICC met at Karachi in 1931. The flag was interpreted as saffron for courage, white for truth and peace, and green for faith and prosperity. The dharma chakhra which appears on the abacus of the Sarnath at the capital of Emperor Ashoka was adopted in the place of spindle and string as the emblem onthe national flag.


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Interpreting the colours chosen for the national flag, Dr. Sarvepalli Radhakrishnan explained the saffron colour denoted renunciation or disinterestedness of political leaders towards material gains in life. The white depicted enlightenment, lighting the path of truth to guide our conduct. The green symbolised our relation to the soil, to the plant life here on which all other life depends. The Ashoka wheel in the centre of the white strip represented the law of dharma.


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Speaking philosophically, he remarked that the national flag ought to control the principles of all those who worked under it. The wheel denoted motion and? India should no more resist change as there was death in stagnation?. Pingali Venkayya, the illustrious visionary, the designer of the national flag died, unhonoured on July 4, 1963, in conditions of poverty. It was only a few years ago that his daughter began to receive pension from the government. There is not even a memorial in his hometown Machilipatnam to the man who brought such glory to Andhra. Even the original house has been razed to the ground

Sunday, March 25, 2007

Yogi Vemana


There is no agreement among the scholors regarding the year of birth of the great poet. No definite dates are, therefore, available regarding his birth or death. However, Vemana is believed to have lived in the later half of the seventeenth century and the first decades of the eighteenth century. He had spent the best part of his life in the Cuddapah and Kurnool Districts of Andhra Pradesh.
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Vemana , a Telugu poet, was a farmer by profession, Vemana was not designed to lead an easy life. He had more than an ordinary man's share of trials and tribulations, and they at once toughened and refined him into a remarkable man. His original insight and varied experiences enabled him to propound three trends in philosophy, a social philosophy, an ethical philosophy and a religious philosophy.
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He has composed numerous poems in Telugu in Aata Veladhi metre which consists of four lines; but the fourth line, with some exceptions, is a mere refrain or chorus in these words Viswadabhirama Vinura Vema. Vemana's style is simple and his poems deal with various social problems and they propose some solutions too. He expresses the feelings of a social reformer and many of his poems criticises and awakens the ardent followers of the old traditions.
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Many lines of Vemana's poems managed to become colloquial phrases of the Telugu language. All poems end with the signature line Viswadhaabhi Raama, Vinura Vema. There are also many interpretions of what the last line signifies. It is commonly believed that Viswadha was his lover and neglected other responsibilities in his youth and later realised and became a saint and poet. He is also known as Yogi Vemana.
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Though Vemana Satakam (literally means collection of 100 poems though he actually wrote a couple of thousands) is very famous in Telugu literature relatively very less is known about the actual poet. His poems are of many kinds, social, moral, satirical and mystic nature. All of the vemana poems are in Ataveladi(dancing lady) meter.
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Vemana was a kapu and native of Cuddapah district and believed to have lived in Gandikota area of the district but there is no unanimous agreement among scholars about the period of Vemana. C.P.Brown who did extensive work on Vemana in his preface to English translation Verses of Vemana states that the date of birth Vemana states in verse 707 to be Vemana's date of birth. The cyclical date of Hindu calendar coincides with 1652.
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YOGI VEMANA defies all labels. He is not an atheist but cannot be called a theist either, although a believer. He is part of the daily lives of the Telugu people.
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He did not go about preaching his ideas, but they nevertheless form part of the daily thinking of the people; again, his ideas and logic are unchallengeable but no one follows them. A poet of the people, a philosopher of equality and a fighting saint, Vemana was unique in many ways. His teachings have much contemporary relevance for he was a dreamer of one world and of the universal brotherhood of man.Vemana is a people's poet. Not formally educated, he seems to have acquired some knowledge of poetics. He could not obviously handle Sanskritised Telugu and used pure Telugu, simple and straightforward, and wrote his poetry in one particularly simple metre, Aata Veladhi.
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Vemana's language is chaste and crisp, his diction is limpid and smooth, his analogies fresh and bold. His poetry is a spring, pupae and spontaneous and original in thought and style. The metre chosen by Vemana for his poetry is ataveladi. literal meaning is 'A dancing damsel', and Vemana made it dance exquisitely. In his thought, Vemana is akin to Tiruvalluvar, kabir and Sarvajna. He is a bard of universal man. His conception of oneness of man is indeed so grand, so all inclusive that he urges-Serve food to all all the people of the world in one plate; make them dine together forgetting all their differences; and with uplifted hand bless them live like one.
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Sample poems:
Uppu Kappurambu nokka polika nundu
Chooda chooda ruchulu jaada veru
Purushulandu Punya purushulu veraya
Viswadhaabhiraama, Vinura Vema
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Translation: Although salt and camphor look alike, they can be distinguished easily by taste. So are virtuous people different from the normal run.


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Gangi govu paalu garitadainanu chaalu
Kadivedainanemi kharamu paalu
Bhakti kalugu koodu pattedainanu chaalu
Viswadhaabhiraama, Vinura Vema

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Translation: A spoonful of milk of a holy cow is worth more than a potful of donkey's milk. So is the food that's earned with respect.

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Atmasuddhi leni acharamadi ela
Bhandasuddhi leni pakamadi ela
Chittasuddi leni sivpujalelara
Viswadhaabhiraama, Vinura Vema

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Translation: Even the favorite food not cooked cleanly is of no value. So is the prayer and practices with heart not.

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Alpudeppudu palku adamburamu ganu
Sajjanundu palku challaganu
Kanchu moginatlu kanakammu mroguna
Viswadhaabhiraama, Vinura Vema

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Translation: Brass articles make more sound than gold ones on touch. So is the difference between pompous and good person.
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Anagananaga raga matisayilluchunundu
dhinga dhinga vemu tiyyanundu
sadhanamuna panulu samakuru dharalona
Viswadhaabhiraama, Vinura Vema
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Translation: The more you sing, the more better your voice be. The more you eat, the less you detest sour. Pratice makes things perfect.
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Anuvu gani chota Nadhikulamanaradu
Kochmayina nadiyu kodava gadu
konda addamandu knochami undada
Viswadhaabhiraama, Vinura Vema
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Translation: When it is not your place or time, do not try to dominate. Hill looks like small in mirror, but is lot bigger than mirrer.
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Apadiana velanarasi bandhula judu
bhayamuvela judu bantu tanamu
Pedavela judu pendlamu gunamu
Viswadhaabhuraama, Vinura Vema
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Translation: Relatives who help you in problems are real relatives. Army that is daring even at the time of war is real army. Wife that respects you even when you are poor is real wife.
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Chippalonabadda chinuku mutyambayye
nitabadda chinuku nita galise
Brapti galugu chota phalamela tappura
Viswadhaabhiraama, Vinura Vema
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Translation: The rain drop that fell in the shell becomes a diamond. The one that fell in water becomes water. It is matter of opurtunity and your fortune.
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Veshabhashalerigi Kashayavastramul
gattagane mukti galugabodhu
talalu bodulina talapulu bodula
Viswadhaabhiraama, Vinrua Vema
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Translation: Wearing saintly dress is less important than your actions. Similarly by cutting a widow's hair does not change her thoughts.
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Cheppulona rayi chevilona joriga
kantilona nalusu kali mullu
intilona poru nintinta gadaya
Viswadhaabhiraama, Vinura Vema
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Translation: A stone in shoe, a fly near ear, pollen in eye, a thorn in finger are painful. So is the fighting with wife.
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Tappulennuvaru Tandopatandambu
Lurvi janulakella nundu tappuTappu
lennuvaru tamatappu lerugaru
Viswadhaabhiraama, Vinura Vema
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Translation: There will be lot of people who find faults with others. Every one has faults. The people who show fingers at you do not see their faults.

Gurajada Apparao


Gurajada Venkata Appa Rao panthulu garu [1862-1915] is perhaps the most celebrated modern Telugu writer. There may be controversies and strong sectarian feelings surrounding other great writers like Sree Sree and Viswanatha. But Gurajada is universally respected for heralding the modern era. His epochal writings had far reaching influence and encompassed many aspects of modern Telugu Literature. Sree Sree and several other major figures had almost idolized him. His works have retained their freshness even a century after they were originally written. His Kanyasulkam is billed as one of the greatest works in world literature. Many a literary critic said repeatedly that if one were to collect a list of one hundred indispensable books from all the languages of the world combined, Kanyasulkam would figure prominently in that list. Gurajada was a scholar of classical works as well as European literature. He was one of the earliest to part ways with classical traditions in poetry, drama, and prose. His close associates such as Gidugu Rama Murty and his own initiatives were primarily responsible for what is now known as “Vyavaharika Bhasha Vadam” In more ways than one, his 1910 work Mutyala Saralu (along with Kattamanchi Ramalinga Reddi’s musalamma maraNam, 1898 ) form the earliest works heralding a break with traditional poetry. If one must anoint some one for the title of “father of modern Telugu poetry,” it would be Gurajada. He was the first to write modern short stories in Telugu. He was also the first to write a “fully modern” drama. His works are among the most exceptional examples of a masterly blend of literary brilliance and avowed social purpose.


Brief Life Sketch:

Gurajada lived most of his life in and around Vizianagaram in what was then called as Kalinga Rajyam . He and his father before him were both employed by the princely state of Vizianagaram. Gurajada enjoyed a close relationship with the ruling family during his adult life. Two dates of birth (according to western calendar) have been calculated based on Gurajada’s horoscope, viz., Nov.30, 1861 and Sept. 21, 1862. Apparently, his descendants prefer the second date. Gurajada was born at his maternal uncle’s home in Rayavaram village near Yelamanchili (Visakhapatnam Dt.). His parents were Venkata Rama Dasu and Kausalyamma. He had a younger brother by name Syamala Rao. Gurajada’s ancestors seem to have moved to Kalinga region from Gurajala village in Krishna Dt. (hence the family name?) Venkata Rama Dasu worked as a Peshkar, Revenue Supervisor, and Khiledar in the Vizianagara Samsthanam. He was well educated and had a good command in Sanskrit. He died in an accident while crossing a small river Utagedda near Vizianagaram.

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Gurajada had his initial schooling (till age 10) in Cheepurupalli while his father was working there. His remaining schooling was done at Vizianagaram after his father passed away. During that time, he lived in relative poverty and maintained himself as a varalabbayi. He was generously taken care of by the then M.R. College Principal, C. Chandrasekhara Sastri who provided him free lodging and boarding. He completed his metriculation in 1882 and obtained F.A. in 1884. Soon after, he was employed as a teacher in M.R. High School in 1884 with a salary of Rs.25. He was married to Appala Narasamma in 1885. In the mean time, he continued his studies and graduated with B.A. (Philosophy major and Sanskrit minor) in 1886. For some period during 1886, he worked as Head Clerk in the Deputy Collector’s office. On Vijayadasami day, 1887, he joined as a Lecturer (Level IV) in M.R. College with a salary of Rs.100. Around the same time, he was introduced to Maharaja Ananda Gajapati (1850-1897). This prince had a significant role in encouraging the arts and education in these parts of the country. Gurajada gradually developed a cordial relationship with the prince. This association led to his involvement with the princely family for a long time. In 1887, Gurajada spoke at a Congress Party meeting in Vizianagaram. His daughter Oleti Lakshmee narasamma was born in 1887. He was simultaneously involved in social work and became a member of the Voluntary Service Corps in Visakhapatnam in 1888. He was elected vice-president of the Ananda Gajapati Debating club in 1889. His son Venkata Ramadasu was born in 1890. In 1891 he was promoted to Lecturer (Level III) with a salary of Rs.125. He taught the F.A. and B.A. classes several subjects including English Grammar, Sanskrit Literature, Translation, Greek & Roman Histories. His younger brother Syamala Rao died in 1892 while studying at Madras Law College.

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In the previous ten years, Gurajada Appa Rao (along with brother Syamala Rao) had been writing several English poems. His Sarangadhara, published in “Indian Leisure Hour” was well received. The editor of the Culcutta based “Rees and Riot” Sambhu Chandra Mukherji read it and re-published it in his magazine. He encouraged Gurajada in many ways. While praising Gurajada’s talent, he actually encouraged him to write in Telugu. He told Gurajada that however talented he might become in English, it is still a foreign tongue and that he would scale greater heights if he chose to compose in Telugu. Gurajada too was gradually coming to this conclusion. During this period, it is also said that Gurajada was also in correspondence with a British Journalist and author. Gundukurti Venkata Ramanayya, editor of the “Indian Leisure Hour” encouraged Gurajada greatly during the same period. In 1891, Gurajada was appointed to the post of Epigraphist (samsthana sasana parisodhaka) to the Maharaja of Vizianagaram.

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In 1892, Gurajada’s celebrated drama “Kanyasulkam” was staged for the first time. It became an instant hit. It was the first Telugu drama expressly written in spoken dialect. Prior to that, there were dramas that employed spoken dialect in a few parts of the drama. Vedam Venkata Raya Sastry wrote a very popular drama “Prataparudreeyam,” where he followed the Sanskrit example in allowing the so-called “lower” characters to use spoken dialect while the so-called “upper” characters used chaste literary dialect. Veeresalingam Panthulu wrote some dramas, notably “Brahma Vivaham,” with some spoken dialect content. This drama was written more as an accessory to his crusade against social evils than for literary enjoyment. The Kanyasulkam was the first to achieve both the aims. And an unparalleled achievement it was! The success of kanyasulkam encouraged Gurajada to open up and seek out others with similar views. He came in contact with several contemporary luminaries. The rumbling sounds of movement to support spoken dialect as a platform for literary activity were gathering around that time. Gurajada’s childhood friend and classmate in Chipurupalli, Gidugu Rama Murti (1863-1940) was the leading light of this school of thought. The highly successful staging of Kanyasulkam gave this movement a big boost. It conclusively showed that works that have undisputed literary value and are very popular could be composed in spoken dialects. Even the opponents of the spoken dialect movement such as Kaseebhatla Brahmayya Sastri had to concede that the Kanyasulkam has a significant literary merit. The success made Gurajada a sort of celebrity. He was being sought after for literary events and for reviewing other literary works.

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In 1896, Gurajada tried to establish a magazine by name “Prakasika.” It is not known whether this magazine was ever published. In 1897, Kanyasulkam was published (by Vavilla Ramasastrulu & Sons, Madras) and was dedicated to Maharaja Ananda Gajapati. In the same year, the prince died following a brief illness without leaving a successor. After this, Gurajada was appointed as personal secretary and advisor to the Maharani of Reeva (Appala kondamamba -sister of Anada Gajapati). Gurajada had his second daughter (third child) Puligedda Kondayyamma in 1902. In 1903, a court case was filed challenging the right of Ananda Gajapati’s mother (Alaka Rajeswari) to adopt an heir to the throne of the principality. Gurajada was put in charge of taking care of all the legal proceedings. The case dragged on for many years and ended in an out of court settlement in 1913.

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In 1905, Gurajada’s mother passed away. In 1906, his close friend P.T. Srinivasa Iyyangar, principal of Mrs. A.V.N. College, Visakhapatnam started an association to promote curriculum reform in high schools. One of the chief aims was to introduce spoken dialects. Along with him, J.A. Yates (1874-1951) -a British civil servant, Gidugu and Gurajada were the principal members. Another friend S. Srinivasa Iyengar (1874-1941) also gave a lot of support and encouragement. Incidentally, this Srinivasa Iyengar was a well-known lawyer and was the President of AICC (All India Congress Committee) annual session at Guahati in 1926. Gurajada attended the 1908 Congress session at Madras. Gurajada developed some health problems and took some time off to convalesce at the Nilgiri hills. While taking rest, he got around to preparing the second edition of Kanyasulkam and published it in 1909. This edition was completely revised and greatly expanded compared to the original version. It is this edition that made the drama a truly outstanding work of art. Each character developed a life of its own and they all came together in an unforgettable comedy. The next year, he participated in a community meal at Berhampur where people of various classes and castes shared the same food and ate together. Around this time, Gurajada started writing very prolifically and composed several poems, songs and short stories. These works are among the most famous in Telugu literature.

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In 1911, he was appointed to the Board of Studies by Madras University. The same year, Gurajada and his friends started the Andhra Sahitya Parishat to promote the use of spoken dialects. The next year, he was invited to attend the meeting of the Bangeeya Sahitya Parishat (Bengal Literary Association) at Culcutta. The same year, his second patron, Maharani of Reeva died. Gurajada took retirement in 1913 with a pension of Rs.140. Madras University honored him by making him a “Fellow.” His health started deteriorating slowly. He constructed a new house and moved into it in 1915. After a few months of illness, Gurajada passed away in 1915.

Paravastu Chinnayya Soori (1807-1861)

Who does not know Sri Chinnayasoori among us? He was one of the most famous pandits of the 19th century. He was born in 1807 in Perambur of Chengalpattu distt. and died in 1861. He was a Saivaite. Sri Cninnayasoori was a Telugu pandit in the Govt. college of Madras. He dedicated his entire life to the progress and promotion of Telugu language and literature. Sri Chinnayasoori wrote the baala vyaakaranamu in a new style after doing extensive research on "Andhra Grammar" which is the greatest gift to all of us. One can not come across any one who has not studied his grammar on the entire Andhra soil. Other well-known writings by Chinnayasoori are: (1) Neetichandrika (2) Sootandhra Vyaakaranamu (3) Andhra Dhatumoola and (4) Neeti Sangrahamu.
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Chinnayasoori translated Mitra labham and Mitra Bedham from the sanskrit "panchatantram" as "neeti chandrika". Moonlight of Morals is the English meaning of the Telugu word Neeti Chandrika. Later, Veeresa lingam translated Sandhi and Vigraham . No one translated the fifth tantram, viz., kakolukeyam.
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Chinnayasoori's writing style is the most classical one. Several writers tried to follow his style of writing Telugu but failed desperately. The stylistic elegance in his prose is unparallel to any other known, even today. Sri Kandukuri Viresalingam and Sri Kokkonda Venkataratnam followed Chinnayasoori's style of prose writing and wrote Vigrahamu and Sandhi in a different pattern. But, they were unable to provide the depth of style of Chinnayasoori's prose writing to the readers.
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Many of us might have read the Neetichandrika as the text book at the high school level. Those who do not have good command over the Telugu language will also be enthusiastic to read the Neetichandrika. Chinnayasoori's intention in writing the Neetichandrika was not only to translate the honey of morals into telugu but to enlighten the readers with the cool rays of Telugu language which is ever glowing. Sri T. Balanagayyasetti was fortunate to publish this famous classic, the Neetichandrika, and above all we are more fortunate to read it.

Rayaprolu Subbarao

Rayaprolu Subbarao (1892-1984) is one of the pioneers of modern Telugu literature. Anumati (Permission), Bhajagovindamu (Pray to Govinda), Soundaryalahari (Billow of Beauty), Sundarakanda (Beauty Section), Dootamattebhamu (Messenger Elephant), Lalitha , and Madhukalasamu (Liquor Pitcher) are his translations. Trunakankanamu (Grass Bracelet), Andhravali (Andhra Row), Kashta Kamala, Ramyalokam (Beautiful Sight), Swapnakumaramu, Telugutoata (Telugu Garden), Vanamala (Forest Necklace), Misramanjari (Mixed Bouquet), Kannepatalu (Virgin Songs) and Jadakutchulu (Braid Tassels) are some of his independent works. Subbarao, inspired by the Western literary movement, brought romanticism into Telugu literature by breaking away from the traditional translations of Sanskrit literature.
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Telugu literature by breaking away from the traditional translations of Sanskrit literature. Romanticism is a style (of literature, art and music) characterized by the emphasis on the imagination, emotions, and creativity of the individual artist. By the late 18th century in France and Germany, literary taste began to turn from classical and neoclassical conventions. Inspiration for the romantic approach initially came from two great shapers of thought, French philosopher Jean Jacques Rousseau and German writer Johann Wolfgang von Goethe. Romanticism, as a movement in the literature, of virtually every country of Europe, the United States, and Latin America lasted from about 1750 to about 1870, characterized by reliance on the imagination and subjectivity of approach, freedom of thought and expression, and an idealization of nature. Romantic literature everywhere developed into a vast body of literature of great sensibility and passion, where imagination was praised over reason, emotions over logic, and intuition over science. This literature emphasized a new flexibility of form adapted to varying content, encouraged the development of complex and fast-moving plots, and allowed mixed genres (such as mixing of grotesque and the sublime) and freer style. An increasing demand for spontaneity and lyricism led to a rejection of regular meters, strict forms, and other conventions of the classical tradition.
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Subbarao's literature is a mixture of Telugu Indian culture and Western ideas. He brought Western romanticism especially English lyric style to Telugu literature. However, he followed classical Sanskrit and Telugu meter in his writings and he didn't abandon Sanskrit Telugu form common language. His literature can be distinguished into various kinds: sensual, love of nature, patriotism, spiritual, humanitarianism, social reformation etc. Sensuality, in general, may be divided into two kinds, union and separation. Rayaprolu preferrred separation in his writings. In his first independent poem, Trunakankanamu, Rayaprolu narrates love pangs of separation. The hero's lover marries another man and he remains unmarried to suffer from the memories. By the end of the poem, hero's love transforms into a platonic love and friendship. In this poem, Rayaprolu's heroin continues a platonic relationship with the hero while married to another man. In Kastakamala, Kamala loves (platonic) two men. However, when one of them writes a love letter, she commits suicide. Rayaprolu was a great patriot and Telugu nationalist. He praised the (past) greatness of Telugu warriors to awaken the sleeping Telugu pride. Rayaprolu Subbarao defined Telugu romanticism and began a new era in Telugu literature. His romantic literature is considered as the watershed in Telugu literature for its modernity of themes such as naturalism, rural life, platonic love, a sense of history, libertarianism, patriotism, and fierce nationalism

Srinadhudu

Srinadhudu (1385-1475 AD) was a 14th century poet of immense caliber, a born poet. He began a new era that broke away from the translation era in Telugu literature. Sreenaadhudu had authored several independent and considered to be outstanding pieces of literature in Telugu. Most of his works are very sensual. He worshipped sex and enjoyed life with wine and women. Maruttaratcharitra, Salivaahanasaptasati, Panditaaraadhyacharitra, Sringaaranaishadhamu, Haravilaasamu, Bheemakhanda Kaashikhandamulu, Kreedaabhiraamamu, Sivaraatrimahaatmyamu and Palnaativeeracharitramu are his works. Among these, Maruttaratcharitra, Salivaahanasaptasati, and Panditaaraadhyacharitra are not available. Sringaaranaishadhamu was a translation of Sanskrit Naishadha kaavya written by Sreeharsha. In this work Sreenaadha described the sensual story of marriage of King Nala and Damayanti.
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In Kreedabhiraamamu drama (the authorship of this work is disputed), he described the contemporary society as observed by two Aryan friends, one belonging to the Brahmin tribe and the other belonging to a Komati tribe, during their one-day visit to the Ekasilanagaram (Warangal city) the capital city of Kakatiya kingdom. Their visit includes various parts of the city including the red-light area (township of prostitutes). This drama gives a clear picture of the Telugu society and the culture in 14th century. In this drama, Sreenaadhudu described the vocations, tribes (castes), classes, games, Telugu cuisine and restaurants, and the culture of Telugu people during the reign of Kakatiya dynasty. Similar to modern cities like New York or Mumbai, in which ghettos and slums are common, the capital city of Kakatiya kingdom also had rich neighborhoods and poor neighborhoods with ghettos. Prostitution was a respected vocation with rules and regulations of the art. Brothel courts resolved the disputes among the prostitutes. Gambling, cockfights, ram fights etc., were popular entertainment in theTelugu nation. Heroic stories of Telugu heroes like warriors of Palnadu, stories of Ekaveera goddess, Parasurama, etc were very popular ballads and songs. Popular religions were Ekaveera worship, Mailaradeva worship, Bhairava worship, Chamadeswari worship, Moosanamma worship, Kumaaraswaami worship, Pandava worship, Macherla Chenna worship and so on. Telugus were interested in painting and other arts. Women used to wear red cheeralu (saries) with borders. He also described the Telugu superstitions. For example, Telugus believed that the cry of an owl in the east was auspicious; Early morning was considered auspicious time to start any new venture.
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In Palnaativeeracharitra (the history of warriors of Palnaadu) is the first ballad in Telugu literature. The authorship of this work is also disputed. This is a historical ballad based on the events that happened during 1181-1182 AD. During that time Vaishnavism and Shaivism were dominant rival religions. However, both religions attempted to attract various tribes (castes) and fought against tribalism. This story is popularly known as Palanti Bhaaratam. This ballad has lot of similarities to the North Indian (Aryan) story Mahabharat and is respected by Telugus as much as Mahabharat is respected.
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Sreenaadhudu was the Chief Education Officer in the court of king Pedakomati Vemareddi of Kondaveeti kingdom and enjoyed rich sensual and worldly pleasures for eighteen years. His duties included arranging contests and select poets and writers for awards, authoring king’s decrees and orders, reading and reciting science, literature etc., to king, and so on. He travelled in the Telugu Nation and attained several awards and titles from various kings. Sreenadhudu was certainly the beginner of a new era in the Telugu literature.
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Kavi Sreenaadhudu was the pioneer of the Prabandha style of writing in Telugu.

Madapati Hanumantharao

Maadapaati Hanumantharao (1885-1970) is one of the prominent founding fathers of modern Telugu Nation. He awakened the sleeping Telugu people of Telangana to rise against the autocracy of Nizam rule in the independent state of Hyderabad. He stirred up love and nationalistic feelings for Telugu language and Telugu nation. He played a huge role in the renaissance of Telugu literature and Telugu language. His role in development and spread of movement for libraries and Andhra movement and in the formation of State of Andhra Pradesh is historical. Hanumantharao was born on January 22, 1885 in his maternal grandparents' home in Pokkunuru village of Krishna district. His father was Vekatappayya and mother was Venkatasubbamma. Venkatappayya was karanam (clerk or accountant) of Kasarabad village.
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Hanumantharao finished his primary education in Suryapeta and Warangal. After graduating from high school, he joined the Office of Educational Inspector in Warangal and worked for 8 years as a clerk. Then he went to Hyderabad and worked for 5 years as a Telugu translator in the Nizam’s government. Then, he graduated in law in 1917 to become a lawyer. He became one of the prominent lawyers soon after he started his law practice. He retired after 24 years of successful law practice.
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His first marriage was with his niece Annpurnamma in 1903. Annapurnamma gave birth to a daughter. After his first wife’s death in 1917, he married Manikyamma in 1918 and had a son, Sukumar.
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He founded Andhra Janasangham in 1921 for the benefit of Telugu speaking people in Hyderabad kingdom. He became the secretary of Andhra Janasamgham and spread its branches throughout Telangana. This association became Nizam State Andhra Mahaasabha in 1930 and played a historical role in inspiring Telugu people. Hanumantharao chaired the fourth convention of Nizam State Andhra Mahaasabha.
In addition, Hanumantharao played an important role in establishing Sri Krishnadevaraayaandhra Bhaasha Nilayam, Vemanaandhra Bhaasha Nilayam, Naraayanguda Aandhra Baalikonnatha Paathasala, Mahila Kalaasala etc.
Hanumantharao is also a first rate writer and poet. His writings include Roman Samraajyam, Kshetrakaalapu Hindvaaryulu, Mahabharata Sameeksha, Garibaldi Jeevitacharitra, Mallikaaguccham etc. He wrote several articles in the journals like Sujata, Andhrabharati, Desabandhu, Golaconda etc. He also wrote editorials in Musheer-E-Deccan, an Urdu journal. After Hyderabad kingdom joined the Indian Union in 1948, he was elected as mayor of Hyderabad in 1951. Government of India awarded him “Padma Bhushan,” in 1955 and Osmania University conferred him honorary doctorate in 1956. After the Andhra Pradesh state was formed (in 1956), he served as the first Chairman of Legislative Assembly from 1958 through 1963.

Sri Krishnadevaraya


Sri Krishnadevaraya ruled the Vijayanagara empire for 21 years during the years, 1509 – 1529.

The reign of Krishnadevaraya marks “the grand climax in the development of the empire, and the successful achievement of the objects for which it was actually founded”. He was the greatest ruler of Vijayanagara and one of the most famous kings in the history of India and is considered as the greatest Hindu kuruba king to have ever lived. The present Rayalaseema (The land of Krishnarayalu) of Andhra Pradesh forms the core of Krishnarayalu’s Empire. A lot of information about his reign comes from the accounts of Portuguese travellers Domingos Paes and Nuniz.

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Krishnadevaraya also called Krishnaraya or Srikrishnarayalu was born to King Narasa Nayaka of Tuluva dynasty and is stated to have ascended the throne on the death of his brother Vira-Narasimha in May 1509. An empire-wide exemption of the marriage-tax seems to be almost the first act that the king affected soon after assuming the reins of the kingdom. The daily proceedings in the court took place in Telugu. Krishnadevaraya said about Telugu: “Desabhashalandu Telugu lessa” meaning "Telugu is the best among the national languages”.

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Within six months of his coronation, Krishnadevaraya started out his military campaigns by invading and defeating the sultanate of Bidar and the king of Bidar's ally, Yusuf Adil Khan.By the year 1510, most of northern Karnataka was under his rule. Krishnadevaraya had conquered Raichur, Gulburga and Bidar. Having conquered such vast lands, he built a beautiful city in Seringapatnam and made it the capital of Vijayanagaram. By 1516 Vijayanagar's territory stretched all the way to the Krishna and Godavari rivers. Krishnadevaraya's conquests forced him to continually war with Bijapur and Golconda, both of which he successfully defeated and captured commander of Golconda, Madurul-Mulk. The highlight of his conquests occurred on May 19, 1520 where he secured the fortress of Raichur from Ismail Adil Shah of Bijapur after a difficult seige during which 16,000 Vijaynagari soldiers were killed. During the campaign against Raichur, it is said that 703,000 foot soldiers, 32,600 cavalry and 551 elephants were used. Finally, in his last battle, he razed to the ground the fortress of Gulburga, the early capital of the Bahmani sultanate. His empire extended over wide areas of the present day Andhra Pradesh and Karnataka.

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He utilized his trading skills to obtain Portuguese guns and Arabian horses, in order to strengthen his nation. He also utilized Portuguese expertise in improving water supply to Vijayanagaram City. A traveler to Vijayanagara, Domingo Paes, describes Krishnadevaraya's Vijayanagara as "the best provided city in the world with a population of not less than a half a million." In fact he estimated the size of the city to be around that of Rome. He also described Krishnadevaraya as "the most feared and perfect king that could possibly be, cheerful of disposition and very merry, he is one that seeks to honor foreigners, receives them kindly. He is a great ruler and man of much justice.” The empire was divided into a number of provinces often under members of the royal family and into further subdivisions.

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Emperor Krishnarayalu was not only a great warrior and administrator, but also an accomplished poet. As a patron of art and Telugu literature he was unsurpassed in the history of Telugus. He wrote Amuktamalyada, a ‘prabandhamu.’ Prabandhamu is a variety of Telugu poetry which is mainly a narrative or a continued discourse. Often sensuality (sringaramu) dominates in Prabandhas. In Amuktamalyada, Emperor Krishnaraya beautifully describes the pangs of separation suffered by Godadevi (the human incarnation of mother Earth, the wife of Lord Vishnu) for her lover Lord Vishnu. He describes Godadevi’s physical beauty in thirty verses. Even the descriptions of spring and monsoon seasons add to the strength of sensuality. The sensual pleasure of union extends beyond the physical level and becomes a path to the spirituality and ultimate union with the lord Vishnu leading to Moksha, a state of being unity with God. Here Godadevi represents the humanity and her longing for Lord Vishnu (the Ultimate Supreme God) is the humanity’s search for Moksha and divinity. One of the main characters in this ‘prabandhamu’ is Vishnuchittudu, the father of Godadevi. Lord Vishnu commands Vishnuchittudu to teach King of Pandya Dynasty the path of knowledge to Moksha. There are several short tales described in Amuktamalyada in the course of the main story of Godadevi, e.g., narration of Khandikhya-Kesidvaja, Maladasari, Yamunacharya, Chandala-Brahmarakshasa Vivadamu-the argument between chandala (outcaste) and brahmarakshasa (spirit of a Brahmin), etc. The main purpose of this prabandhamu is to spread the Vaishnavite religion and the path of knowledge. Emperor Krishnarayalu was also well-versed in Sanskrit and Kannada languages. “Jambavati Kalyanamu” is his Sanskrit work.

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As a king, Krishnadevaraya is known to have built many temples in his kingdom, restrengthening Hinduism after its lands had fallen to muslim sultans. Krishnadevaraya did a lot to assist Hinduism in a rather dark era for Hinduism. Krishna Deva Raya respected all sects of Hinduism, although he personally leaned in favour of Vaishnavism. Eight poets known as Astadiggajalu(eight elephants in the eight cardinal points such as North, South etc.) were part of his court (known as Bhuvanavijayamu). According to the Vaishnavite religion there are eight elephants in eight corners in space and hold the earth in its place. Similarly these eight poets were the eight pillars of his literary assembly. These Astadiggajas were: Allasani Peddana, Nandi Thimmana, Madayyagari Mallana, Dhurjati, Ayyalaraju Ramambhadrudu, Pingali Surana, Ramarajabhushanudu, and Tenali Ramakrishnudu. Among these eight poets Allasani Peddana is considered to be the greatest and is given the title of Andhra Kavita Pitamaha (the father of Telugu poetry). The period of the Empire is known as “Prabandha Period,” because of the quality of the prabandha literature produced during this time.

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Sri Krishnadevaraya lavished on the Tirupati temple numerous objects of priceless value, ranging from diamond studded crowns to golden swords. He is known to have commissioned the making of statutes of himself and his two wives at the temple complex. This can be seen in a mandapam at Tirupathi temple and is called Sri Krishna Deva Raya Mandapam or Pratima Mandapam. It hosts the bronze portrait icons of the Vijayanagara emperor Krishnadevaraya and his two consorts, Tirumaladevi to his left, and Chinnadevi to his right.

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Sri krishnadevaraya’s own son Tirumala having predeceased him, Achyuta succeeded the throne after the natural death of the Sri Krishnadevaraya at the end of 1529.

"navayuga kavi chakravarti" gurram jaashuvaa

"navayuga kavi chakravarti" gurraM jaashuvaa (G. Joshua) was one of the great telugu poets of this century. With a profound sense of social consciousness, he wrote many "khaMDa kaavyaalu" filled with moving poetry. Though his chosen style of poetry is one of the strict metre, the content of his poetry reflects modern progressive thought.
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Jashuva was born in 1895 in Katragaddapadu to Virayya and Lingamma. Because of the intercaste alliance of his parents, their poverty and their caste, Jashuva's child-hood was spent in alienation from close relatives, undergoing severe hardships and being subjected to inhuman treatment from the society which considered his caste untouchable. Inspite of these enormous hurdles Jashuva's parents raised him and his brother, Israel, as good Christians. Jashuva persevered against these hardships and graduated with Ubhaya Bhasha Praveena (scholar of Telugu and Sanskrit languages).
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Inspite of being raised a Christian, Jashuva often drew his inspiration from Hinduism and Hindu mythological epics. This angered his Christian society, which was quick to proscribe Jashuva's family from their community. This did not deter Jashuva who continued to write excellent poetry in telugu. He was a school teacher initially, but lost his first job. During this period of unemployment, he continued to put out wonderfulpoetry. It pained his sensitive heart however that, scholars of "high caste" would appreciatehis poetry and sing praises of it, then come to know of his caste and leave in disgust. But the brilliance of his poetry, shone through the feeble attempts of society to cover it. He was recognized by literature and poetry lovers.
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He was employed again. Publishers came forward to publish his works. He received great acclaim and many accolades from far and near. His shining glory (he says) was when the eminent poet and scholar Chellapilla Venkata Sastry (half of the "tirupati vEMkaTa kavulu" duo), a Brahmin, touchedhis ("an untouchable's") feet to adorn his ankle with the "Ganda Penderam" and proclaimed: "I am honoured to have touched the feet of this great poet". Jashuva's many works include "Gabbilam", arguably his most famous work, fashioned after Kalidasa's Megha Sandesam. In "Gabbilam", however, it is not a yaksha using the cloud as a messenger to convey his longing to his loved one; instead it is a hunger and poverty stricken "daridra naaraayaNuDu" requesting a "bat" visiting him from a nearby Siva temple, on a sleepless night, to convey his prayers to "kaaSee viSvanaatha" and "viSaalaakshi annapoorNa". As Arudra comments, "the yaksha suffered for only one year, but the protagonist of gabbilaM is carrying on the curse from his previous lives - the curse of untouchability". And Jashuva's hero in gabbilam remains a bachelor so as not to pass on this curse to his offspring! He muses at the irony of his situation, where a bat is allowed inside a temple but not a human being! He cautions the bat to convey his message to Siva as it hangs from the roof close to his ear, at a time when the "poojaari" is not around, because often "dEvuDu varamiccinaa -- poojaari varamiyyaDu". Thus in several entreaties, he begs the "sage bird" to fly over the various landmarks of Indiato Kashi to convey his anguish to the Lord Siva. This remarkable work, supposedly the favorite of even Jashuva, overflows with pathos(which appears to be the predominant emotion in many of Jashuva's works).
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Even in such a work, Jashuva weaves in his other favorite emotion, "patriotism" as he describes the various historic places the bird will fly over enroute to Lord Siva in Kashi. He even takes the bird on detours, on occasion, to visit some historic place of pride for Indians. Pathos, again, is the driving emotion in another major work of Jashuva, "piradousi".This story is about the poet Firdousi, in the court of the persian king Mohammed Ghazni.The king, the legend goes, promises the poet, a gold mohur for every word in a work he commissions the poet to write. After the poet spends ten years of his life, toiling day and night to create a master piece, the king, coming under the influence of jealous courtiers, reneges on his promise and offers only silver coins. The poet heartbroken at this breach of trust commits suicide. Jashuva's depiction of the anguish of the poet is superb and moves the readers to tears. Consider his outpourings of anguish on hearing of the assasination of Mahatma Gandhi,in his work "baapoojee".
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His enormous love and respect for Gandhiji, almost bordering on devotion, is poignantly expressed in these 15 odd poems eulogising Bapuji's life and workand lamenting his death as this country's misfortune. To all lovers of telugu poetry, particularly the metrical variety, Jashuva will always remain a "kavi chakravarti" !!

Satyanarayana Vishwanadha (1895-1976)

Satyanarayana was born on October 10, 1895 in a Shaivite Brahmin family to Shobhanadri and Parvatamma in Nandamuri village. His wife was Varalakshmamma. He had his primary education in Nandamuri, Indupalli and Pedapadu villages and higher education in Bandaru City. He was lucky to have Venkatashastri Chellapilla as Telugu teacher in Bandaru High School.
After finishing his BA, he joined Bandaru High School as a teacher. He continued his studies part time in the pursuit of MA and graduated from Madras University. He resigned from his teaching position to paticipate in Mahatma Gandhi’s Non-cooperation Movement.
Later he took up various teaching positions at Bandaru National College (1928), Gunturu Christian College (till 1933), a private college in Vijayawada (1933-1959), and Karimnagar Arts and Science College (1959). Satyanarayana started his writing career in 1916 with “Visweswara Satakam,” a devotional poetic composition as a tribute to his family God, Lord Visweswara (the God of the entire World).
At the same time, he wrote “andhra pourusham,” a patriotic poetical composition. A drama “dhanya kailaasam” and a novel “antaraatma’ include his devotional works composed by his at that time. He wrote kinnerasaani song, girikumaara geetaalu, nartanasaala, sringaaraveedhi, and anaarkali in 1921-23. He wrote his famous composition “veyipadagalu” in 1933-34 for which he was awarded with titles and awards, such as “kavisaamraat (emperor of poets)’ and an award by Andhra University. Later he wrote ramaayana kalpavriksham, paamupaata, terichiraaju, pillala ramaayanamu etc.
For his contributions the Andhra nation felicitated him with various awards and festivals. Telugu People felicitated him in 1942, during Sankraanti festival with an elephant ride and celebrated his 60th birthday festival in 1956 in Gudiwada. He served as vice president of Andhra Pradesh Sahitya Academy in 1957 and as a nominated member of Legislative Council in 1958. Andhra University celebrated his achievements by awarding him with “kalaaprapoorna” title in 1964. The federal government of the Indian Union honored him “gnyaanapeeth” award for his ramaayana kalpavriksham in 1971 and the Andhra Pradesh government honored him by hiring him as the State Poet.
Satyanarayana is considered one of the greatest Andhra poets and writers. He was the first Telugu to receive the federal gnyaanpeeth award. He died in 1976 leaving behind more than one hundred works that include poetic compositions (~15), satakas (6), song collections (13), dramas (20), novels (60), Sanskrit dramas (10), literary cricisms (10), and many essays and radio speeches.

Female writers/poetess' from ANDHRA

Gangadevi
Gangadevi (14th Century) was the daughter of Kakatiyas and the daughter-in-law of the Vijayanagara Dynasti founded by Bukkarayalu and Harihara Rayalu. She was the wife of Kamaparayalu, the third son of Bukkarayalu. The rulers of both Kaktiya and Vijayanagar dynasties are indigenous Telugu communities. She wrote the true story of her husband's victory over Muslims in Madhura, entitled "Madhura Vijayamu." This Kavyamu (poem) is also known as "Veerakamparaya Charitramu," and contains 8 chapters.
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Tallapaka Timmakka
Tallapaka Timmakka (15th Century) was the first woman to write in Telugu. She was the first wife of Tallapaka Annamacharya. Tallapaka family was a Brahmin family. She wrote Subhadhraklyaanamu in Telugu, a poem of 1170 verses. Although Arjuna of Mahabharat of North India was the hero of the story, she reenacted the story with Telugu culture, customs, sensuality and Telugu places.
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Atukuri Molla
Molla (16th Century) was born into Atukuri family, a Kummari (potter) caste/tribe family. She wrote Ramayanamu in Telugu. This work is also known as Molla Ramayanamu. She used simple Telugu instead of Sanskrit.
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Tirumalamba
Tirumalamba wrote "varadambica parinayamu," the story of marrriage of Achyuta Devarayalu, in Sanskrit language.
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Leelavati
She was the daughter of a Brahmin mathematics professor Bhaskaracharya. She wrote a text of mathematics called "leelavati ganitamu' in Sanskrit.
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Triveni
Triveni is the daughter of Udayendrapuram Anatacharyulu and the wife of Prativadibhayankaram Venkatacharyulu. Her contributions include unpublished Lakshminadha Sahasramu, Ranganadha Sahasramu, Srirangabhydayamu, Tatvamudra bhadrodayamu, Sukasandesamu, Bhrungasandesamu etc. in Sanskrit language.
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Madhuravani
Madhuravani's original name was Sukavani. She was a court poetess of King Raghunadha. She translated Raghunadha's Telugu Ramayanamu into Sanksrit. However, only part of this Sanskrit "Ramayana sarakavya tilakamu" is available.
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Rangajamma
Ranagajamma, also known as Rangaji, was the daughter of Pasupuleti Mangamamba and Venkatadri. She is a wife (or concubine) and a court poetess of King Vijayaraghava (17th century). She is considered to belong to a Vesya (concubine) community. However, these Vesyas were highly respected and weilded lot of power and social status in the Telugu country. Her contributions include Mannaru Dasavilasamau.
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Muddupalani
Muddupalani was a court poetess and a concubine of Marathi King Pratapasimha (18th century). Her father was Mutyalu and mother was Potiboti. She wrote sensual poetry called 'Radhika Santvanamu' to prove that women can write lust and sex as well as or even better than men! Being a Vesya (concubine or prostitute) it was notdifficult for her to write about lust and sex. Her poetry is considered sweet, in which she uses a lot of popular sayings and proverbs effectively.
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Tarigonda Venkamamba
Tarigonda Venkamamba (19th century) has a special place in Telugu women writers. She was a child widow. Child marriages (with old men ready to die) were common in 19th century. She was born into a family of Nandavareeks sect of Brahmin tribe/caste. Her father was Krishnayamatya and mother was Mangamamba. Her teacher was Prof.
Subrahmnayudu. Her poetic contributions include Venkatachala Mahatmyamu, Vasista Ramamyanamu, Rajayogasaramu, Bhagavatamu, Krishnamanjari. Almost all of her writings are devotional, religious and philosophical.
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Kotikalapudi Seetamma
Kotikalapudi Seetamma (late 19th and early 20th century) was a follower of Kandukuri Veeresalingamu Pantulu. Her contributions include Ahalyabai, Sadhuraksha Satakamu, Bhaktimargamu, Satidharmamu etc. She presided over the first Telugu Women Writer's meeting called Pradhamandhra Mahilasabha in Bapatla in 1913.
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Other Women Writers
Some other famous 19th century women are: Bhandaru Achchamamba, Burra Suramamba, emuri Saradamba, Mamidanna Subhadhramma, Seeramu Subhadhrayamma, Avadhoota Gnanamaba, Jooloori Tulasamma, etc.
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Later writers include:
Chilakapati Seetamba, Chebrolu Saraswatidevi, Chilakapati Seetamba, Gudipudi Indumatidevi, Burra Kamaladevi,Sthanapati Rukminamma, Ganti Krishnavenamma, Dronamraju Lakshmibayamma, Kanaparti Varalakshmamma, Somaraju Indumatidevi, Chavaqli Bangaramma, Pallapragada Viswasundaramma, KrottapalliLalita, Utukuri Lakshmikantamma, etc.
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In the contemporary time (later part of the 20th century), a number of women novelists became popular: Jayanti Suramma, Pulugurti Laksjminaramamba, Seeramu Subhadramba, Kanaparti lakshminaramma,Illindala Saraswatidevi, Malati Chandoor, Lata, Muppalla Ranganayakamma, Vasireddi Seetadevi, Koddori Kousalyadevi,Yaddanapudi Sulochanarani, Binadevi, P. Anandaramam, Dvivedula Visalalkshi, D. Kameswari, Madireddi Sulochana, Ramalakshmi,Asalata, Parimala Someswar, etc.

C. P. Brown, the Savior of Telugu Culture


British rule in Andhra had both positive and negative aspects. On the positive side of the coin, we have eminent people like Charles Philip Brown who rejuvenated the Telugu literature.


Charles Phillip Brown’s father Reverend David Brown, a Christian missionary, came to Calcutta in 1786. Reverend Brown learned several Indian languages to understand the culture and religion. Charles was the second son of Browns, born on November 10, 1798. The family went back to England after the death of Reverend Brown. Charles studied Sanskrit in college with an aim to work for East India Company and obtained a gold medal in Sanskrit Studies. East India Company sent him to Chennai (Madras).


Charles arrived in Chennai on 4th August 1817. At that time he didn’t even know that there existed a language and nationality called Telugu or Andhra, just like anybody outside India even today. He joined St. George College to learn Telugu from Kodandarama Pantulu. He became proficient in Telugu within sixteen months at the time when Telugu Pundits didn’t know any English at all.


In 1820 Sir Thomas Monroe came to Chennai as governor and ordered that every official in the Company should be proficient in the local language and perform their duties in the local national language. (Compare the situation today: Many officials feel shy to speak in Telugu in State government offices. Central government officials have a right not to speak Telugu. Even the kirana merchant in Hyderabad looks at you like an idiot villager if you speak in Telugu. English or Hindi or Urdu works wonders in Hyderabad, the Capital City of Telugus).


Charles started his career in Kadapa (Cuddapa) as an assistant to the Collector, Mr. Han Bury. The collector used to speak very fluent Telugu. (Many collectors in Andhra Pradesh today are non-Telugus and don’t speak Telugu at all.) Mr. Bury became the role model for Charles. Charles tried to emulate him. Charles Brown established two schools in Kadapa and arranged for free education in Telugu and Hindi with Indian teachers. He arranged for free meals to the school children. He also started two more schools in Machilipattanam, with free food for students.


He got interested in Vemana's literature in 1824. He studied Vemana's and other Telugu literature, and Telugu meter and grammar under the guidance of Venkatasivasastri Tippabhatla and Advaitabrahmasastri Vatthyam. Charles Brown was transferred to Rajamundri in 1825. He continued his study of Telugu literature. He collected the written scripts of Telugu Kavyas (poems) that were on the verge of extinction. He hired some copyists/writers (raayasagaallu) to prepare fresh copies. He reprinted Andhra Mahabharatamu and Andhra Mahabhagavatamu. He found a shelter for the destitute Goddess Telugu Saraswati and was able to redecorate her like a married Indian woman.

He went to London on vacation (during 1835-38) and collected 2,106 hand written books in South Indian Languages from the India House Library and sent them back to Chennai Library. He edited and published several Telugu and Sanskrit books after he came back from London. He collected sayings, stories, poems etc. that were popular at that time among common population. He also wrote several grammar books and learning materials for English people who were interested in learning Telugu. Madras Oriental Library hoards several of C. P. Brown works.


Charles Brown spent his own money for the development of Telugu and even took loans for the same. He saved every penny for the development of Telugu. Even in the tough financial times he didn’t give up his Telugu development programs. He retired in 1854 and settled in London. He worked at London University as Telugu Professor for some time. He died in 1884 on December 12 at the age of eighty-seven. His selfless service to Telugus and their culture and literature is unparalleled even among Telugus. Every Telugu Indian should remember his services to Telugu culture and its preservation.


Hanumachchastri Janamaddi says, “మినుకు మినుకు మంతున్న ఠెలుగు వాంగ్మయదీపాన్ని స్నెహసిక్తం చేసి ప్రజ్వలింపచెసిన ఆంధ్రభాషొధ్ధారకుదు సి.పి.బ్రౌన్ ” (C. P. Brown, the savior of Telugu Culture and Literature, rekindled the dying lamp of Telugu literature with his friendship and service.)

Lakshmikantamu Pingali (1894-1972)

Lakshmikantamu was born into a Brahmin family on January 10, 1894 in his maternal grandparents’ home in Artamuru. His father was Venkataratnamu. His mother was Kutumbamma. Ancestors of Pingali family were Tikkana and Suranna who belonged to Goutama gotram (lineage of sage Goutama).
Lakshmikantamu studied up to fifth grade in Guduru, 6th and 7th grades in Repalle, and from 8th grade through his BA in Bandaru. After finishing SSLC, Lakshmikantam worked as a copyist for 2.5 years in the sub-court of Vijayawada. After finishing BA, he taught at Bandaru Noble School and later at Bandaru Noble College until 1926. After a brief stint at Madras Oriental Manuscript Library as a researcher in 1927, Laksmikantam served as the president of Andhrasakha, a division of Andhraviswa Kalaparishat from 1931 through 1949. He began this new career by preparing syllabus for Telugu and Sanskrit literature courses. He taught history and criticism of Telugu literature to BA (honors) and MA students.
Later, he served as a literary adviser to All India Radio and directed several Sanskrit rupakas (dramas). He was appointed in 1954 as a member of working committee of Central Academy of Literature. In 1961, he was appointed as a professor at Venkateswara University, Tirupati. From 1968 till his death, he served as a member of Board of Governers of Telugu Academy and Chairman of Academic Council.
In the beginning of 20th century drama was very popular in Andhra. Lakshmikantam played proficiently several roles together with his brother Narsayya. His roles included Arjuna in “Gayopakhayanam,” Krishna in “Narakasuravadha,” Rakshasa in “Mudrarakshasam”, and Dharmaraju in “Pandavodyogavijayalu.” He also participated in another popular literary tradition called Avadhanam.
It was a fashion to write poetry as a pair. Pingali Lakshmikantam paired up with Katuri Venkateswarrao and became famous as Pingali- Katuri Poets. Their joint ventures are tolakari and soundaranandnam. Laksmikantamu’s independent writings include Madhurapanditarajamu, gangalahari, tejolahari, atmalahari, andhravajnmayacharitra etc. He translated “All Men are Brothers,” a history of Mahatma Gandhi from English. His radio speeches were compiled and published as “Na Radio Prasangalu” and his literary essays were compiled and published as “Goutama Vyasalu.”
Professor Pingali Laksmikantamu was a unique and rare personality with diverse interests like poetry, drama, literary criticism, history, teaching, administration, oration etc. He brought the Telugu literature to it s new heights and became eternal in the minds of his students and Telugu people.

Tikkana Somayaji

Tikkana (1205-1288) was born into a family of Shaivite Brahmin litterateurs during the Golden Age of Kakatiya Empire. He was the second poet of “Trinity of Poets (Kavi Trayamu)” that translated “Mahabharamtamu” into Telugu over a period of several centuries. Nannaya Bhattaraka was the first one and was also known as the First Poet (Aadi Kavi) who translated only 2.5 chapters- Aadi, Sabha and half of Aranya Parvams (chapters or books). Tikkana translated last 15 chapters, but didn’t touch the half-finished Aranya Parvamu. Telugu people had to wait for more than a century for the remaining half of the third chapter to be translated by Errana. During the Shiva Kavi Period (see Shivakavi Trayamu, the Trinity of Shaivite Poets), new religions- Shaivism and Vaishnavism spread in Andhra, resulting in conflict among the two growing major religions and also the two major old religions- Budhism and Jainism. At this juncture, Tikkana attempted to bring piece between warring Shaivism and Vaishnavism.
Although most of the northern India came under Muslim rule, strong Chola, Chalukya and Kakatiya empires in the South prevented the Northern Indian Muslim onslaught. Emperor Ganapatideva (1199-1261 AD) of Kakatiya Dynasty brought all the Telugu kingdoms under his rule for the first time. With the strong Kakatiya Empire, the clashes between smaller kingdoms came under control making way for the prosperity and development of art and literature.
Tikkana was the Prime Minister of Manumasidhdhi, the King of Nellore and a tributary of Kakatiya Empire. When Manumasidhdhi was dethroned by his cousins, Tikkana visited Oarugallu (the capital of Kakatiya Empire and today’s Warangal) to request the help of the Emperor Ganapatideva. The Emperor gave him a grand welcome in Warangal and restored the Nellore throne to Manumasidhdhi.
Tikkana dedicated his first literary work “Nirvachanottara Ramayanamu,” to the king Manumasiddhi. In this work he narrated the later part of Ramayanamu, the story of Sita’s banishment to forests and the birth of Lava and Kusa to Sita in the forest. Later, Tikkana translated Mhabharatamu.
The specialty of his style of writing is that it is mostly Telugu, unlike Nannayya. Nannayya’s work was mostly sanskritized, with difficult Sanskrit words. Tikkana used Telugu words even to express very difficult expressions and ideas. He Telugized the Sankrit sayings and used them in his work. He extensively used Telugu proverbs and parables. He even modified and used the informal and slang Telugu.
The flavor of Telugu national similes spice up his poetry, e.g., madugu jeerayandu masi daakintlu- as if pure white cheera (sari) is touched by soot, paalalo badina balli vidhambuna-like the lizard in the milk, neyvosina yagni bhangi- like the fire in which neyyi (clarified butter) was poured, mantalo midutalu chochchinatlayina- fate of locusts flew into the fire, kantikin reppayu bole- like the eyelid for the eye, nooti kappa vidhambuna- like a frog in the well, etc.
During the reign of Emperor Ganapatideva, Shaivites, Vaishnvites, Jains and Buddhists were fighting among themselves. The emperor arranged for religious meetings to control this religious intolerance. Tikkana participated in those religious meetings and defeated the Budhist and Jain participants and established Brahminism. During this time he proposed the unity of God. He preached that Lord Shiva (Hara) and Lord Vishnu (Hari) were one and that the apparent differences in names were made up and were untrue. This philosophy is known as “Hariharaadvaitamu (the Unity of Hari and Hara).” To firmly establish this principle, Tikkana translated Mahabharatamu into Telugu. This was a great contribution to the peace and unity of Telugus, who were fighting bloody religious wars among themselves.
Thanks to such great philosophers and their hard work, the Indian religions are synthesized into one Indian complex religion, called Hinduism today in which respect for each and every distinct and diverse component religions of the Indian Continent such as Vaishnavism, Shaivism, Buddhism, Jainism, Shaktism, etc. and even outside religions like Christianity, Islam, Judaism etc. are equally respected. Telugus don’t fight among themselves on these grounds anymore. Today, Telugus visit both Shivaite and Vaishnavite and other temples. In North America, Indians went a step further and built modern temple complexes where they pray to Shiva, Vishnu and many more Gods together, representing the indigenous religions of the vast Indian Continent.
Tikkana’s other literary contributions include Vijayasenamu, Kavivaagbandhamu, Krishnasatakamu, etc. Though he was second to Nannayya in attempting to translate Mahabharatamu and second poet among the Trinity of Poets, he is second to none in his political, religious and literary accomplishments