<html> <head> <title>Telugu Literature</title> <meta name="Description" content="The reign of Raja Raja Narendra (11th century A.D.) is very important event in history, for Vyasa s Mahabharata was translated into Telugu during his reign. The king Telugu literature ......... 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The Age of puranas and Ithihasa </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The reign of Raja Raja Narendra (11th century A.D.) is very important event in history, for Vyasa s Mahabharata was translated into Telugu during his reign. The king Rajarajanarendra invited his court poet Nannaya Bhattu, who belonged to the same lunar dynasty of Pandavas and asked him to translate Vyasa s <i>Mahabharat</i> into Telugu. Nannaya composed 4000 versus and few prose pieces. He adopted an independent way of translation. The qualities mentioned by him are achieved in his poetry. The following qualities can be found abundantly in his poetry:</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> (1) Pleasing, delightful and plain way of narration or story telling (2) Composition of words and letters which produce pleasing and delightful charm. (3) Wise and good sayings with multiple meanings. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Nannaya was honored with the titles  Adi Kavi (first poet) and  Vaganusasana or  Sabdasasana (one who controlled the words). </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Tikkanna Somajaji stood second among the three poets (Kavitrayam) who translated Mahabharata into Telugu. He took up the task of translating the incomplete <i>Mahabharata,</i> which was abruptly stopped by Nannaya Bhattu. Tikkana translated fifteen parvas i.e., from Virata parva to Swargarohana Parva. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Tikkana got the titles  Ubhaya Kavimitra (skilled in both languages or a friend to the scholars of both languages, Sanskrit and Telugu) and  Kavi Brahma (creator of poetry). Tikkana was the court poet and chief minister of Manumasiddi of Nellore. He lived upto 1288 A.D.</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The poetic excellence of Tikkana Kavi can be seen in his description style. He gave cultural touch to his poetry. He followed the dramatic style while narrating the story. He used native Telugu words than Sanskrit words. He expressed his maser craftsmanship in writing poems. A contemporary poet namely Ketana dedicated his book <i>Dasa-Kumara Charitra</i> to Tikkana. Ketana gives details about Tikkana s family and his character. Tikkanna s source writing is <i>Nirvachanothara Ramayanam</i> (Utter Ramayana without prose). </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Ketana s <i>Dasakumara Charitra</i> has ten stories which deal with adventures and love affairs of ten princes. The other books of Ketana are  Andhrabhasha Bhoosham (Telugu grammar) and  Vignaneswariyam (A book of law). </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Another poet of this period is Marana. He wrote <i>Markandeya Puranam,</i> a translation from Sanskrit. Marana faithfully followed the original Sanskrit epic of Markandeya puranam. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Erra Pragada was the last among the three poets who translated <i>Mahabharata.</i> He was the court poet of Pralaya Vemareddy (14th century). Erra Pragada wrote four books <i>Mahabharata, Ramayana, Harivamsa,</i> and <i>Narsimha Puranam.</i> Among these works <i>Ramayana</i> is not available now. Harivamsa deals with the story of Sri Krishna. <i>Narasimha Puranam</i> deals with the story of Prahlada who was a great devotee of Vishnu. Errana completed the translation of <i>Mahabharata,</i> which was left incomplete by Nannaya and Tikkana. He got the titles  Sambhudasa (Devotee of Siva) and  Prabandha Parameswara (Supreme God in poetic composition). </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Nachana Somana also translated the second part of <i>Harivamsa</i> under the title <i>Uttaraharivamsa.</i> He himself mentioned about his scholarship. He was praised by the contemporary scholars as  Naveena Guna Sanatha means <i>master of new qualities.</i> He was the first court poet of Vijayanagara empire (1355-77 A.D.) under the reign of King Harihara Raya. Nachana Somana selected six beautiful stories from Sanskrit <i>Harivamsa</i> and translated them into Telugu, in six chapters. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In 13th century A.D. Gona Budda Reddy wrote a <i>Ramayana</i> which is popular as <i>Ranganatha Ramayana.</i> He dedicated this book to his father Vithal Raju. <i>Ranganatha Ramayana</i> was composed in Dwipada, a desi metre which can be sung easily. This book is not a true translation of Valmiki s <i>Ramayana.</i> Many folk stories were introduced in this Ramayana. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In 14th century <i>Bhaskara Ramayana</i> was written by four poets namely Bhaskara, Mallikarjuna Bhattu, Ayyalarya and Kumara Rudradeva. This book is a true translation of Valmiki <i>Ramayana.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> At the time of Kakatiya King, Pratapa Rudra (1294-1323 A.D.) a poet and devotee of Vishnu namely Krishnamacharya had written four lakh prose pieces in praise of Lord Vishnu. The style of Krishnamacharya is lucid and it attracted the common people widely. </p> <h2>2. The Age of Saiva Poets</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> During the 12th and 13th century A.D. Veerasaivas became very dominant. They started using poetry to propagate their religion. They adopted the native themes, metre, words etc., in their literature to influence the native people into Veera Saiva cult. Nannechoda, the author of <i>Kumarasambhavam</i> is the first Saiva poet. He composed <i>Kumarasambhavam</i> to highlight the glory of Siva. He stated a few qualities named <i>Janu Tenugu</i> (Telugu in Lucid form),  Desi (native style).  Vastu Kavita (Descriptive poetry) of poetry, which are even applicable to his poetry. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The next poet who comes in the line of Saiva poets is Mallikarjuna Panditaradhya (1100-1170 A.D.). He wrote <i>Sivatatvasaram</i> in praise of Lord Siva. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Palkuriki Somanatha, a Saiva poet wrote many books. He composed a poem titled <i>Panditaradhya Charitra,</i> based on the life of Mallikarjuna Panditaradhya. He also wrote <i>Vrishadahipa Satakam,</i> a literary form containing hundred poems of same metre. Besides these books, Palkuriki Somanatha wrote about 20, small sized books. <i>Anubhava Saram, Astottarasatanama gadya, Aksharanka gadya, Gangotpatti Ragada, Chaturvedasaram</i> etc are some amongst them. </p> <h2>3. The Age of Kavyas</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The poets of this age did not pay much heed to the epics and Ithihasas. They gave more attention to descriptions and stress, which adds to the beauty of poetry. Srinatha is the first among the Kavya poets, who flourished in the Reddy dynasty (1324-1353 A.D.) Srinatha was the court poet of Pedakomati Vema Reddy of Kondaveedu. He has written many books out of which <i>Sringara naishadham, Bheemakhandam, Kasikhandam, Haravilasam, Kreedabhiramam, Sivaratrimahatmyam, Palnativeera Charitra</i> are available now and the other <i>Marutaratcharitra, Gadhasaptasati, panditaaradhya Charitra</i> are unavailable. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Sringara Naishadham is a true translation of <i>Harsha Naishadham.</i> Srinatha wrote this book at a very young age. He followed the word  beauty of Nannaya, phraseology of Tikkana and lucidity of Errana, in his poetry. Inspite of above all qualities he adopted his own style of creation which can be seen in his <i>Haravilasam Kavyam.</i> Srinatha was praised by the contemporary and latter poets as  Kavi Sarvabhouma . He visited Karnataka and defeated  Goudadindima Bhattu , the court poet of Proudhadevaraya, in literary arguments. He was honoured by the king with  Kanakabhishekam . (Showering with Gold). </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Potana (15th century A.D.) was a poet who by his <i>Andhra Mahabhagavatam</i> won the hearts of Telugu people. He also wrote two other books namely <i>Veerabhadravijayam</i> and <i>Bhogini Dandakam. Andhra Mahabhagavatam</i> was a translation of Bhagavatam of Vyasa and was written in twelve chapters. It is rightly said that Potana is a household name in Telugu land, as almost every literate knows how to recite at least one or two versus of this poet. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Pillalamarri pinnaveerana (1485-1493 A.D.) was the court poet of Saluva Narasimharaya of Vijayanagara Empire. He composed two books namely <i>Sringara Sakuntalam</i> and <i>Jaimini Bharatam.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Ananthamatya, a contemporary of Srinatha wrote three books, the first being <i>Bhojaraajeeyam,</i> the second <i>Chandodarpanam</i> and the third <i>Rasabharanam.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Daggupalli Duggana wrote a philosophical work titled <i>Nachiketopakhyanam.</i> This book deals with Brahmavidya or knowledge of Supreme Spirit. This book was dedicated to Gangayametya who was a minister of king Basavaraju of Udayagiri in 15th century A.D.</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Koravi Goparaju lived at the end of 15th century A.D. He wrote a book <i>Simhasanadwatrimsika,</i> the story of Vikramaditya of Ujjaini. It has eleven chapters which deal with the adventures of Vikramarka. He dedicated this book to Hari Haranatha, an embodiment of Lord Siva and Vishnu. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Madiki Singana was a court poet of Muppa Bhupai of Ramagiri (1345-1361). His first book was an anthology titled <i>Sakalaneeti Sammatam. </i> He collected poems by different poets dealing with political and social wisdom and ethics. He wrote <i>Bhagavata Dasamaskandam,</i> (Story of Krishna) <i>Padmapuranottara Khandam</i> and <i>Vasistaramayanam.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Jakkana has authored <i>Vikramarka Charitra</i> (1473-1447 A.D.). This is the story of Vikramarka, a great warrior king of Ujjain. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Gourana who belongs to the same period wrote <i>Navanatha Charitra</i> (stories of nine saints) and <i>Harischandrapakhyanam.</i> Both these works were composed in Dwipada metre. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Nandi Mallaya and Ghanta Singana are the twin poets who wrote <i>Prabodha Chandrodayam</i> and <i>Varaha Puranam.</i> Prabodha Chandrodayam was a translation of Sanskrit <i>Prabodha Chandrodaya,</i> a drama by Krishnamisra. It is a spiritual and philosophical work. </p> <h2>4. The Age of Prabandhas </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Telugu literature took a new turn in 16th century A.D. which was also called as the age of Prabandhas. Many scholars tried to define the word Prabandha and attributed certain qualities to this particular form of expression. The subject matter of Prabandha was taken from Purana and was extended by the poet in his own imagination. It contained eighteen descriptive references and the primary importance was given to sentiments. It had to be adorned by Alankaras (alliterations), which is also called as Telugu Prabandha. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Sri Krishnadevaraya s court poets were called  Astadiggaja poets. They wrote Prabandhas. Sri Krishna Devaraya also had written a Prabhandham titled <i>Amukta Malyada,</i> a story of Sri Ranganayaka and Godadevi. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Allasani Peddana was a prominent poet in the court of Sri Krishnadevaraya. He wrote <i>Manucharitram</i> or <i>Swarochishamenusambhavam.</i> The original story of <i>Manucharitram</i> was obtained from <i>Markandeyapuranam.</i> This book was dedicated to Sri Krishnadevaraya. The king honoured the poet with the title  Andhra Kavita Pitamaha (grandfather of poetry). </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Nandi Timmana wrote <i>Parijathapaharanam,</i> a story based on the romantic sentiment Sri Krishna. Madayyagari Mallana wrote <i>Rajasekhara Charitra.</i> This is a love story of king Rajasekhara and Princess Kantimati. Ayyalaraju Ramabhadrudu wrote <i>Ramabhyudayam,</i> the story of Sri Rama. The poet highlighted the story with the sentiment of love and pathos. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Dhoorjati, Saiva poet in Krishnadevaraja s court earned a deserving place by the elegance of his poetry. He wrote <i>Kalahasti Mahatmyam,</i> a Saiva Prabandham and Kalahasteeswara Satakam. Both these works compete with each other in their poetic excellence.</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Tenali Ramakrishna wrote two Prabandhams namely <i>Panduranga Mahatmyam</i> and <i>Udbhataradhya Charitra.</i> Ramakrishna has narrated the story of <i>Panduranga Mahatmyam</i> as a master craftsman with adequate descriptions, skillful charactersation, reflections of social disorders with portrayal of human emotions, which attracted the readers. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Pingali Suranna wrote three books namely <i>Kalapoornodayam, Raghava Pandaveeyam</i> and <i>Prabhavati Pradyumnam.</i> Among the above three books the first one placed him in a prestigious place in the history of Prabandha literature. The novelty of theme, its treatment and poetic splendour are the main causes responsible for the fame of the author. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Bhattumurthy made a distinct contribution to Telugu literature. His works are <i>Kavyalankarasangraham</i> or <i>NarasaBhoopaliyam, Vasucharitra</i> and <i>Harischandranalopakhyanam.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Narasabhoopaliyam</i> is a work on rhetoric in Telugu and it is considered as a standard book on Telugu poetics. <i>Vasucharitra</i> was dedicated to Aliya Ramaraya. The poems of Vasucharitra can suitably be played on the Veena. The author has shown his knowledge of music through the verses of <i>Vasu Charitra. Harischandropakhyanam</i> is a work that deals with two stories simultaneously. Bhattumurthy was honored with the title  Ramaraja Bhooshana means an ornament to the king Ramaraya. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Kandukuri Rudrakavi wrote <i>Nirankusopakhyanam</i> (Prabandham), <i>Sugreeva Vijayam</i> and <i>Yakshaganam.</i> Sugreeva Vijayam was the first Yakshaganam available in Telugu literature. This poet deviated himself from traditional literary form of Prabandha to folk form of Yakshagana. </p> <h2>5. The Age of Nayaka Kings </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> After the fall of Vijayanagara empire, the literary activities of Telugu were shifted from Telugu region to Tamil area in South India. The salient features of this are as follows:</h2> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> 1. Telugu Prabandha, which came into existence during Rayala period, had shown further development. 2. The main subject matter of poetry were historical important events. Achyutabhyudayam, Raghunathabhyudayam etc., are examples for this category. 3. The poets gave importance to the  Desi forms i.e.,  Dwipada metre, Yakshaganas etc. 4. Previously literary activities were limited to men only, but in this period, a number of women came forward to compose various types of poetry. The kings honoured the women writers with  Kanakabhishekam (Showering with gold). Ramabhadramba and Rangayamma were honoured with Kanakabhishekam. 5. Music along with devotion played an eminent role in compositions of this period Kshetrayya, Tyagayya are famous for their musical compositions. 6. All these trends of literature became very popular in this period because of the simple language and style they used in their works.</pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Raghunatha Nayaka of Tanjore patronised poets and artistes. He himself was a poet and artiste. He wrote <i>Nalacharitra</i> in Dwipada metre, <i>Raghunatha Ramayanam</i> which was translated into Sanskrit by Madhuravani, <i>Sringara Savitri</i> and <i>Valmiki Charitra.</i> Inspite of these books Rabhunaha also wrote yakshaganas. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Chemakura Venkata Kavi wrote <i>Vijaya Vilasam,</i> the story of Arjuna. He dedicated this book to Raghunatha Nayaka, his king and patroniser. His second work is <i>Sarangadhara Charitra.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Vijayaraghava Nayaka, the son of Raghunatha Nayaka was also a poet. He wrote many Yakshaganas. He wrote the dairy of his father <i>Raghunadhabhyudayam</i> which has historical importance. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Chengalva Kalakavi was patronised by Vijayaraghava Nayaka. He composed a Prabandha called <i>Raja Gopala Vilasam</i> and it was dedicated to Vijayaraghava Nayaka. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In Madhura, in south, Viswantha Nayaka and his successors followed the tradition of Sri Krishnadevaraya and thus lead a helping hand to the development of Telugu literature. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Rayavachakam</i> written by Stanapati of Viswanathanayaka is in prose form having the history of Sri Krishnadevaraya. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Lingana Makhi Kameswara Kavi wrote <i>Dhenuka Mahatmyam</i> and <i>Satyabhama Santvanam.</i> Vijaya Ranga Chokkanatha wrote prose works namely <i>Sri Ranga Mahatmyam</i> and <i>Maghamahatmyam.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Samukham Venkata Krishnappanayudu wrote <i>Jaimini Bharatam</i> in a beautiful prose. The other books of him are <i>Ahalya Sankrandanam, Sarangadhara Charitra</i> and <i>Radhika Santvanam.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Sasanka Vijayam</i> of Seshamu Venkatapati Kavi and <i>Mitravinda Parinayam</i> of Kundurti Venkata Chelapati Kavi are famous books of this period. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Madhuranayakas encouraged the prose in Telugu which was even read and understood by the common people. </p> <h2>6. The Age of Kutub Shahi Kings </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Kutub Shahi kings who ruled Golconda region in Telangana also patronised Telugu literature. Among the poets of this time, (17th century A.D.) Kandukuri Rudra Kavi is to be mentioned first. His work <i>Nirankusopakhyanam</i> was written during the reign of Malik Ibrahim. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Maringanti Singaracharya composed two works. The first one is <i>Dasaratharajanandana Charitra</i> and the second one is <i>Suddhandra Nirosthya Sita Kalyanam.</i> The labial sounds were not used in these books. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Ponnaganti Telangana wrote <i>Yayati Charitra,</i> which has a special place in Telugu literature. This book is composed in pure Telugu, which is called  Acha Tenugu . The absence of Sanskrit words is the main characteristic of Acha Tenugu. This was the first book in this form. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Sarangu Tammayya was an important poet of this age. He wrote a Prabandham namely <i>Vijayanti Vilasam.</i> This is the story of Vipranarayana, a devotee of Vishnu. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Addanki Gangadhara Kavi had composed <i>Tapati Samvaranopakhyanam.</i> This story can be found in Adiparva of Mahabharata. This poet composed a beautiful Prabandha in his own imagination by taking the story from <i>Bharatam.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Katta Varadaraju who belonged to the royal family wrote  Ramayana ,  Parama Bhagavata Charitra and  Sriranga Mahotmyam . </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Kancherla Gopanna known as Ramadasu wrote many devotional songs on Rama and Sataka <i>Dasarathi Sataka.</i> Due to his composition of sweet songs and poems he got the place not only in Telugu literature but also in the hearts of Telugu people.</p> <h2>Pre Nannaya Period </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> As in other languages, even in Telugu, Oral Literature gains popularity as the most ancient literature. Telugu is considered as the language of people, since 1st Century A.D. Telugu words and songs are traced in some stone inscriptions and in Hala s Gatha Sapta Sati. Pieces of poetry and prose are evident in the inscriptions of Pandu Ranga of Addanki (848 A.D), Vijayaditya of Kandukuru (848) and Yuddha Malla of Bejwada (885). A well-established style of poetry is witnessed in Viriyala Kama Sani Gudur inscription of 1000 A.D.</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The mention of oral and folk forms of literature by Nannaya (11th century) <i>(Nager Geetas),</i> Nannechoda (12th Century) (Uyela songs), Palkuriki Somana (13th Century) (Tummeda, Gobbi, Vennela, Shankara padas) proves the existence of oral and folk literature in those centuries. Sreepati Panditha, Ayyana Bhatta, Chetana Bhatta, Gajankusha were present even before <i>Adikavi</i> Nannaya contributed to the classical or <i> Marga </i> poetry. It is a phase of spoken Desi Telugu language acquiring suitable form in a befitting manner for classical poetry. The literature and writings in Telugu upto the 11th Century was considered as the literature of pre-Nannayan era.</p> <h2>The Age of Nannaya (11th Century A.D.)</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Nannaya is considered <i> Adikavi </i> or the first poet of Telugu literature. He was the court-laureate of the Chalukya King, Raja Raja Narendra of Rajamahendri (11th Century). Mahabharata, translation of Vedavyasa s Sanskrit Mahabharata, is the first literary work in Telugu poetry, written in <i>Marga</i> form. Nannaya initiated this form and the others followed him. He was honored with the title of <i>Adikavi</i> for his enormous contribution to Telugu literature. <i>Vaganusasana</i> and <i>Andhra Sabha Chintanamani,</i> grammar books in Telugu are believed to be his works. He is the first poet of  Kavithraya . </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Telugu <i>Mahabharata,</i> translation of Vedavyasa s Sanskrit Mahabharata by Nannaya, is considered an exemplary or literary masterpiece of profound beauty and poetic skills. It paved way for the forthcoming great Telugu poets like Tikkana, Errana, Somana, Sreenadha and Peddana. The principles he had adopted for <i>translation</i> were obliged and taken as guidelines by the next generation of poets for their literary works. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Nannaya, in his work, states <i>Bharatha</i> as an encyclopedic work containing seeds of all poetic genres, composed in Telugu literature. His poetic qualities and style, which contains Sanskrit and Telugu lexifications, represent both <i>Marga</i> and <i>Desi</i> ways. </p> <h2>The Age of Siva Kavis (1100-1225) </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The period, which comes before Nannaya and after Tikkana Kavi, is called the Age of Siva Kavis. Nanne Choda, Palkuriki, Somana, Mallikarjuna Pandita are the Siva Kavi triples. The other remarkable poets of this period are Siva Lanka Manchana and Yadha Vakkula Annamaiah. Nannechoda, a king-poet, has questioned two poetic styles, namely, <i>Marga</i> and <i>Desi</i> in his work <i>Kumara sambhava</i> and proclaimed that his poetry follows the style of sweet (native) <i>Desi</i> indigenous poetry. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Palkuriki Somanadha (1160-1230) wrote a good number of masterpieces, the best of which is <i>Basava Puranam. Vrishadhipa Shataka, Panditharadhya Charitra</i> and <i>Amebhava Sara</i> are his other works. The beauty of the then existing Telugu oral and folk literary styles have been imbibed by his Dwipada poetry. </p> <h2>The Age of Tikkana (1210-1290) </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The second in <i> Kavithraya ,</i> but a genius in poetic excellence, Tikkana was not only a poet laureate but also a Minister in the Court of Manumasiddhi of Nellore. Translation of the complete Mahabharata, except the first three <i>parvas,</i> is his great literary contribution. His work <i>Nirvachanothara Ramayana</i> is dedicated to his king, whereas his  Mahabharata is dedicated to  Hari Hara Nadha , the God. <i> Kavi Brahma </i> and <i> Ubhaya Kavi Mitra </i> are the titles honored on him. He possessed great narrative skill, dramatic style, characterization, irony and nativity. </p> <h2>The Age of Errana (1290-1350)</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Errana was the poet laureate of Prolaya Vema Reddy who ruled the Addanki region. He is the last of  Kavithraya poets. He imitated Nannaya s style and completed the <i>Aranyaparva,</i> which was left incomplete by him. <i>Harivamsha,</i> and <i>Nrisimha Purana</i> are his other works. <i>Sambhu Dasa</i> and <i>Prabandha Parameshwara</i> are the titles honored on him. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;">  Prabandha is a literary form of Telugu literature that appeared after 16th Century.  Prabandha Parameshwara title shows subtle qualities of Errana s poetic accents. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Hulakki Bhaskara, the poet of <i>Bhaskara Ramayana,</i> in association with his son Mallikarjuna Bhattu [<i>Bala, Kishkindha</i> and <i>Sundarakandasa</i>], his friend Ayyalarya [a part of <i>Yuddhakanda</i>], his disciple Rudra Devi [<i>Ayodhyakanda</i>] completed the task of transcreating valmiki s work. His other works include <i>Aranyakanda</i> and the first part of <i>Yuddhakanda.</i> They follow the puranic style and in these works, much prominence is given to the description of story. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Gona Buddha Reddy (1300 1305) is the author of <i>Ranga Nadha Ramayana.</i> It is in Dwipada style i.e., in two-line stanza meter. It was most popular among the common people and was played and sung in puppet shows. </p> <h2>Age of Sreenadha (1350-1500) </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The Age of Sreenadha, also known as <i> Kavya yuga </i> or  the age of poetic works was adorned with poets like Sreenadha, Pothana, Jakkana, Ananthamatya, Gourana, Modikisingana and Pillalamatri. Pina Veera Bhandrana translated several Sanskrit <i>puranas</i> into Telugu. Sreenadha was the shining star of the age. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Sreenadha, who was honored with the title of <i>Kavi Sarva bhouma</i> or the emperor of poets, was a scholarly poet having vast knowledge of <i>Kavyas, Shastras</i> and <i>Puranas</i> of Sanskrit lore. His grand style and creative talent made him a prominent poet in Telugu literature. His poetry represents all the noble qualities of ancient poets and is a model for the <i>Prabhanda</i> poets. <i>Sringara naishadha, Kasi Khanda</i> of <i>Bheema khanda, Haravilasa</i> are some of his master pieces. <i>Palanati Veera Charitra</i> is a Dwipada metric kavya, appreciated by both scholars and folks for being a literary work, dealing with the historical events that took place in the lives of Telugu heroes. It is a heroic-ballad written in classical style. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Pothana, who is well known as <i>Sahaja Kavi</i> or born-poet, is the translator of Vedavyasa s Sanskrit <i>Bhagavatha,</i> one of the most revered texts of Indians, into Telugu (the other two being <i>Ramayana</i> and <i>Bharatha</i>). <i>Bhagavatha</i> is famous for its melodious rendering of Telugu verses, which are appealing even to common man. The great deeds of Sri Krishna and Vishnu are narrated in a lucid way in this great work and the whole narration is in <i>Purana style.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The adventures of great emperor Vikramaditya are narrated beautifully in Jakkana s <i>Vikramarka Charitha.</i> Veerabhadrana wrote <i>Jaimini Bharatha</i> and <i>Sringara Shakuntala.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Koravi Gopa Raju s <i> Simhasana Dwithrimsika </i> is a narrative poetry, with stories of ethical value. Gourana s Harishchandropakhyana, Anantha s <i>Bhoja Rajiyam,</i> Madiki Singana s <i>Padmapuranothara Khanda, Vasistha Ramayana</i> and <i>Bhagvatha</i> (in Dwipada meter 10th <i>skanda</i> only) and Dubagunta Narayana s <i>Pancha Tantra Stories</i> are some of the famous poetic works of the age. </p> <h2>The Age of Prabandha (1500-1600) </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The period between 1500-1600 i.e., the age of <i>king-poet</i> Krishnadevaraya is acclaimed as the Golden Period for Telugu literature. A genre named <i>Prabandha</i> that flourished in this era influenced a great number of poets and thus empowered the reign of literature. Krishnadevaraya, who himself was a poet, encouraged eight eminent poets who were popular as <i>Ashta Diggajas</i> in his <i> Bhuvana Vijaya ,</i>  a court hall of literary excellence . Krishnadevaraya s <i>Amukta Malyada,</i> Ramaraja Bhushana s <i>Vasucharitra,</i> and Pingali Surana s <i>Kalapurnodayam</i> are the eminent works of the age. Dhurjati wrote <i>Sreekalahastheeshwara Mahatmyam</i> and the most famous <i>Shataka  100 poems </i> on Kalahastheeswara. Molla the poetess of Ramayana belonged to this age. Tenali Ramakrishna s <i>Panduranga Mahatmyam</i> is a noteworthy <i>Prabandha</i> of this age. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Thallapaka poets, the famous <i>Pada Sahitya</i> or  lyrical poetry writers and Vaggeyakaras belong to the 15th and the 16th centuries. <i>Padakavitha Pithamaha</i> Annamacharya and Peda Thirumalacharyulu were famous lyricists of the age. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Sugreeva Vijayam,</i> the first work in Yakshagana genre was written by Kandukuri Rudra kavi. One of his other works is <i>Nirankushopakhyana.</i> Ponniganti Telangana s <i>Yayathicharitra</i> is unique for its <i>Achcha Tenugu</i> or pure or native telugu application. Sarangu Tammayya s <i>Vaijayanthee Vilasam,</i> Dharma Reddy s <i>Shatchakravarthi Charitram</i> and <i>Padmapuram</i> are noteworthy poets of Telangana region. </p> <h2>Characteristics of Prabandha </h2> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> 1. <i>Narration:</i> The main characteristic of <i>Prabhandha</i> is to have 18 varieties of narrations i.e. <i>Ashtadasha varnanas.</i> Sometimes the number exceeds even 18. 2. <i>Unity of theme:</i> The theme must be focused towards a particular direction. For e.g., may be towards the hero, interlink etc. 3. <i>Characterization:</i> The hero and heroine play the role of main characters, whereas the other characters help in the development of theme. In <i>Prabandha,</i> characterisation has a prominent place. It should be lively, attractive and properly picturized. Dramatic nature is reflected in it. 4. <i>Contents:</i> Beginning, ending, chapterization, introduction, variety in metre, figure of speeches and lucid style are enriching qualities of <i>Prabandha. Prabandhas</i> contain 5 to 10 Ashwasas or chapters. <i>Prabandhas,</i> like champoo are mixed way of poetry and prose. 5. <i>Managing the  Rasa :</i> Chief quality of <i>Prabandha</i> is to have <i>Sringara</i> (romance) and <i>Veera</i> (valour) as main <i>rasas</i> or elements, leading towards literary enjoyments. There are nine types of <i>Rasas</i>  but the above two are the chief <i>rasas,</i> which are exhibited in <i>Prabandha</i> whenever it is necessary. </pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Though the name <i>Prabandha</i> refers to the ancient works of Nannechoda, Erranna, Sreenadha and Somana, it gained popularity as a genre only during the reign of Krishnadevaraya. <i>Prabandha</i> refers to the skill of narrating a story in beautiful way and composing the theme in a befitting style. Allasani Peddana is considered the father of <i>Prabandha</i> poetry. <i>Manucharithra, Vasucharitra, Parijathapaharana, Amukta Malyada, Kalapurnodaya</i> and <i>Pandu Ranga Mahatmyam</i> are the most famous <i>Prabandhas.</i> The replicas of the noted <i>Prabandhas</i> that came forth in later periods were of poor quality and gradually <i>Prabandha</i> diminished because of its poor quality and loose composition. </p> <h2>Age of Dakshinandhra Dynasty (1600  1800 A.D.)</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The love, encouragement and affection of the southern kings of Tanjavore, Mysore and Madhurai towards Telugu poets and literature is responsible to term this dynasty as Dakshinandhra Dynasty. Inspite of demerits like blind imitations of the old <i>Prabandha</i> genre and baseful descriptions of love which polluted the sublimity of Telugu literary excellence, there are merits of multifacial development of literature in different genre like prose, <i>yakshaganam, dwipada, padakavitha of Madhura Bhakti and Sringara Keerthanas.</i> Keeping the above demerits in view, the age is called as <i>Ksheena yuga</i> or the age of diminishing values, whereas in view of its place of origin, it is called as <i>Dakshinandhra or Nayaka Raja yuga.</i> The drastic change that occurred in the political scenario of India, especially in South India and the cultural invasion of foreign rulers, especially British, Dutch, and Muslim kings made it an age of mixed values with poor representation of literary talents. However, <i>Vemana,</i> who is famous as <i>peoples poet</i> belonged to this age.</p> <h2>Tanjavore</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Raghunadha Bhupala (1614  33 A.D.) was a king poet. His works include <i>Ramayana</i> (incomplete), <i>Nalacharitram (Dwipada Kavya). Parijathapaharana Prabandha, Achyutabhyudaya (Dwipada) and Rukmini Parinaya (Yakshaganam).</i> Chemakura Venkata Kavi wrote <i>Vijayavilasa Prabandham and Sarangadhanacharitam.</i> Madhuravani, the poetess belonged to his school of poetry. Vijaya Raghava, son of Raghunadha has written many books out of which 20 are <i>Yakshaganas, Dwipada kavyas, Dandaka, Sangathya and Ragadas.</i> Famous poetess Rangajamma belonged to his court. Maratha kings who ruled Tanjavore in the after years were the great lovers of Telugu poetry and they wrote many literary books. Famous lyrical poets, Tyagaraja and Kshetrayya rendered great services through their Madhura Bhakti <i>Keertanas.</i> </p> <h2>Madhura</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> After the decline of the Maratha power in Tanjavore, the literature migrated to Madhurai. The Nayaka Kings of Madhura were great fans of literature and they loved and honored it. Prose works like <i>Jaimini Bharatham</i> by Samukham Venkata Krishnappa, <i>Vishnupurana, Bhagavadgeeta,</i> and <i>Sundara Kanda</i> by Tupakula Anantha Bhupati and <i>Kameshwara Kavi</i> by Acharya Vijaya are the important works of this period. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Satyabhama Santhvanam</i> by Kamesha <i>Ahalyasankrandanam</i> by Venkata Krishnappa, <i>Tara Shashankavijaya</i> Sesham Venkatapati, <i>Radhika Santhvanam</i> by Muddu Palani are some of the poetry works of the age. Works on history like <i>Rayavachaka</i> in prose is a noteworthy contribution of this age. </p> <h2>Padukkota</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The rulers of Padukkota, being the non-native speakers of Telugu, learnt the language, honored Telugu poets and wrote some literary works in it. Nudurupati Venkana s <i>Bhaskarnava</i> (a dictionary) and <i>Mallu Puranam</i> (1730-70); Raya Raghu Madhu s <i>Parvathi Parinaya</i> (1709-89) are noteworthy works of this period. </p> <h2>Mysore</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Palaveri Kadiripalli s Suka Sapthathi (1660) Kaluve Veera Raju s <i>Vachana Bharatha</i> (1750) and Thupakula Anantha Bhupala s <i>Naiyaraju</i> are the famous poetic works of this region. </p> <h2>Andhra Region</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> This period witnessed great poets in Andhra region. Damerla Vengala Nayaka s <i>Bahulashwa Charitra</i> (1650-80), Kuchimanchi Timmakavi s <i>Rukmini Parinayam, Rasikajana Manobhi Ramam, Neela Sundari Parinayam and Ramayana</i> (both in <i>Achcha Telugu</i>) and <i>Sarva Lekslan, Sara Sangraham</i> (poetics) are well known pieces of literature. Kuchimanchi Timmakavi was honored with the title of <i>Kavi Sarva Bhouma</i> (1700  1756). Kase Sarvappa s <i>Siddheshwara Charitra,</i> Enugu Laxmana Kavi s <i>Subhashitha Ratnavali</i> (Translation of Bharathri Hari), and <i>Vishveshodaharana</i> are other literary works of this period. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The popular works of Adidam Surakavi (1730-80) are <i>Kavijana Rajanam</i> (imitation of Vasucharitra), <i>Andhra Chandralokam,</i> and <i>Ramalingeshwara Shatakam.</i> Ramalingeshwara Shataka is a social satire. Kanaparthi Abbayamatya s <i>Aniruddhacharitram</i> and <i>Kaviraja Manoranjanam, Kankati</i> Papa Raju s (1750-1800) <i>Uthara Ramayana Champookavya,</i> Pushpagiri Timmana s <i>Sameera Kumara Vijayam</i> and <i>Neethi Sathaka</i> are good Stylistic works of this period. Vemana who wrote <i>Shataka</i> is the most popular poets of this age. Tharigonda Vengamamba s <i>Venkata Chala Mahatmya and Gyana Vashistai</i> are remarkable works of this age. </p> <h2>Telengana Region</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The well-known poets of Telangana region were Surabhi Madhava Raya, Parashu Rama Panthulu Linga Murthy and Maringoli. <i>Chandrikaparinayam</i> by Surabhi Madhava Raya, <i>Seetha Ramanjaneya Samvadam,</i> a philosophical poetry by Linga Murthy, <i>Dasharatha raja Nandana charitram</i> by Maijanti singara charyulu are good works of the age. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Veeresha Lingam Panthulu in his satire, <i>Saraswathi-Narada Samvadam</i> criticizes the poets of Nayaka Raja era, who diluted the poetic talents and demoralized their themes. As the fashion of routine writings and style of Telugu poetry came to a saturated and declining stage, a new way of thinking evolved among Telugu poets. The English literature and foreign rule provided the much needed track for Telugu literature. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;">  Modern is defined in two ways: One pertaining to time and the other pertaining to nature. Modern age and modern literature can be interpreted in two ways. English and other foreign literatures influence modern Telugu literature, to some extent. The scientific innovations, social, philosophical, literary theories and forms, independence  struggle and attaining independence has made the literature more fruitful and complicated. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The main streams of Modern Literature are: (i) Traditional poetry, (ii) Romantic poetry, (iii) Neo-classical method, (iv) Nationalistic poetry, (v) Modern Poetry.</p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Modern age is characterized by - (1) Presence of theme and short in size (unlike Prabandha or Purana) (2) Subjective and especially objective poetry, (3) Novelty in theme and form. (4) Novel imagination (5) New style and new metrical diversities and (6) Complex genre. </pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Chinnaya Suri s contribution to Telugu literature is unparallel. His <i>Balavyakarana</i> (A grammar of Telugu) and <i>Neethichandrika</i> (Prose work  classical in nature) are noteworthy. The services of English officers like C.P. Brown is memorable. Brown s dictionary and his research on Vemana and other old poets and their poetry are landmarks in the history of Telugu literature. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Veereshalingam Panthulu, a great personality, changed the direction of Telugu literature towards modernity through his various literary works. Apart from short story, his works are available in all genres like novel, drama, essay, criticism, prose etc. Thirupathi Venkata Kavyalu, in mutual combination with Veereshalingam Panthulu created a deal of craze and affection towards literature through their <i>Ashukavitha, Ardhanas </i> and other writings. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The British system of education made English literature familiar to Indians and opened new chapters in Telugu literature. Romanticism and other movements like mysticism, pastoral poetry, free verse, prose values, entered the Telugu literature. Gurajada Appa Rao and Rayaprolu Subba Rao are the two great personalities who changed the shape of Telugu. <i>Mutyalasaram</i> of Gurujada represented the new era and Rayaprolu s works inspired many writers who in turn followed his style and theme. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Establishment of Navya Sahithi Samithi and Spoken Telugu Movement of Gidugu created new dimensions. Almost all  isms of English and Foreign literature entered the Telugu literature. Many Telugu poets have represented Romanticism, Existentialism, Symbolism, Imagism, Surrealism, Rationalism, Stream of Consciousness, Impressionism, Marxism, Humanism, Neo-Classicism, Feminism and Revolutionarism powerfully in their poetry. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Khanda Kavya, Mutyala Saram, Lyrical poetry, Free verse, Gajal, Huku, Novel, Short story, Criticism, Folk-literature movement, Research, Publication and Institutions are the landmarks of the changes that the Telugu literature has undergone. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Great personalities like Vishwanadha Satyanarayana and Srirangam Srinivasarao (Sri Sri) represented traditionalism and modernity throughout their literary lives. Krishna Sastry impressed Telugu poets through his lyrical beauties. Modern poets like C. Narayana Reddy, Arudra and others have provided new imagination and direction to Telugu literature. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Telugu literature has undergone a rapid change, which was not seen in a long run of past thousand years. It was only during and after 20th Century that Telugu literature imbibed all the changes and movements of world literature and continues to exist in its own style. Certain beginning, continuity and ending are unique in short story. Limited characters, perfect characterization, art of dealing the theme, establishment of a particular and value of life and unity of theme, and important amusement enlightenment are its purposes. Short story generally possesses the following characteristics.</p> <h2>SHORT STORY</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Certain beginning, continuity and ending are unique in short story. Limited characters, perfect characterization, art of dealing the theme, establishment of a particular value of life, unity of theme, amusement and enlightenment are its goal and purpose. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Short story should generally possesses the following characteristics: 1. <i>Brevity:</i> Description, dialogue and explanation should be limited and relevant. Brevity in theme, incidents and characters is important. Everything must be relevant to the main theme. 2. <i>Single centered:</i> The story should have a single objective. It should not lead to sidetracks. 3. <i>Gripping:</i> Writer and reader should possess concentration. Story must be gripping. Reader s attention must be maintained throughout the story. 4. <i>Self-sufficiency:</i> Story should give some sort of satisfaction and sense of completion at the end. 5. <i>Skill of writing dialogues:</i> Dialogues must be organized in a systematic way. Timeliness, fitting manner and necessity should be maintained. They have to qualify the theme and main story. </pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Modern story started in 1910 with Gurajada s <i>Diddubatu.</i> He wrote many stories like <i>Kamalini, Pedda Maseedu,</i> etc. Stories of Karuna Kumara deals with the life of suppressed people. Nativity and language plays a prominent role here. </p> <table class=tbltagU style="border-collapse: collapse" bordercolor="#111111" width="80%" border="1" AutoNumber12"align="center"> <tr><td><b>Some of the Telugu Story Writers</td><td ><b>Stories</td></tr> <tr><td >Chilaka Marthy</td><td >Rajasthara Kathavali</td></tr> <tr><td >Vishwanadha Satyanarayana and Siva Sankara Sastry</td><td>Mahakali Durga mahotsavam, Kukka, Emi Sambandham</td></tr> <tr><td >Chalam</td><td>100 stories  O Puvvu Pusindi, A Ratri etc.</td></tr> <tr><td >Adavi Bapi Raju</td><td >Anjali, Tarangini, Vindhyachalam</td></tr> <tr><td >Sripada Subrahmanya Sastry</td><td >Kalupu Mokkalu, Vadlaginjalu etc.</td></tr> <tr><td >Kodavatiganti Kutumba Rao</td><td >Dattaputrudu, Adajanma, Fallout etc.</td></tr> <tr><td >Chinta Deekshitulu</td><td >Dasari pata, Pedda media etc. </td></tr> <tr><td >Malladi Ramakrishna</td><td >120 stories, 12 volumes</td></tr> <tr><td >Gopichandu</td><td > Bharyallone Undi, Devuni Jeevitha"</td></tr> <tr><td >Buchi Babu</td><td >Medametlu, Adavigachina Vennela</td></tr> <tr><td >Mokkapati Narsimha Sastry</td><td >Boristaru Parvatisam</td></tr> <tr><td >Muni Manikyam Narsimha Rao</td><td >Kantham Kathalu</td></tr> <tr><td >Palagumi Padma Raju</td><td >Galivana, Padavaprayanam etc.</td></tr> <tr><td >Illindala Saraswathi</td><td >Panduga Bahumanam, Eshwaragnya</td></tr> <tr><td >Vasi Reddy Seetha Devi</td><td >Four volumes of stories</td></tr> <tr><td >Madhuranthakam Raja Rao</td><td >Kamma temmera, Vakragathulu, Repati Prapancham etc.</td></tr> <tr><td >Chaso </td><td >Vayuleenam, Chinnaji, Bandapatu, Parabrahman</td></tr> <tr><td >Ravi Sastry</td><td >Arusara Kathalu, Bakikathalu, Rikkulu</td></tr> <tr><td >Mullapudi Venkata Ramana</td><td >Veta, Janata express, Akali</td></tr> <tr><td >Kalipatnam Rama Rao and many modern writers</td><td >Yajnam, Teerpu, Kutra, etc.</td></tr> </table> <h2>AUTOBIOGRAPHIES AND BIOGRAPHIES</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Biography is life history in prose and autobiography is the analysis of one s own life. A man s life history analyses and picturizises the contemporary society and thus becomes a novel of contemporary life. Sincerity and commitment play serious role in biographies and autobiographies. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Telugulo sweeya charitralu</i> is an outcome of Yuva Bharathi Publications. There are more than hundred life histories in Telugu. They can be classified as: </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> 1. Literary (Kandukuri, Chilaka marthy, Sreepada, Sree Sree, Vishwanadha etc. 2. Political (Tangutoori, Konda Venkatappaiah, Ravi Narayana Reddy). 3. Social (Darisi Chenchaiah, Mandumula Narsinga Rao, Mamidipuri Venkata Rangaiah etc.) 4. Art (Akkineni, Sthanam Narsimha Rao etc.) </pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The first Autobiography of Telugu personality is in English language. (Life and Journey of Vennelakanti Subba Rao  1893. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Maho Mahopadhyaya Paravasthu Venkata Rangacharya s <i>Sweeyodanta</i> Mandapaka Parvatheeshwara Sastry s <i>Atma Paryaya Saparyacharya,</i> Kokkonda Venkataratnam Panthulu s <i>Bilveshwareeyam, Nakatha</i> of Jashuwa, <i>Nakathalu</i> of T. Seetha Ram Murthy Chowdhary are autobiographies in poetic form. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The first autobiography that is considered perfect is Veereshalingam s <i>Sweeyacharitra.</i> Chilakamarti followed the manner (Sweeya-Charitra).  Pragnya Prabhakaram is an incomplete autobiography of Veturi Prabhakara Sastry. <i>Sree Krishna Sweeya Charitram</i> (1959) is the life history of Sreepada Krishna Murthy Sastry. </p> <h2>Biographies </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Picturizing biography of great personalities is a very difficult task, as it needs keen observation, sincere efforts and pleasant presentation. Chilakamarthy has written many Biographies. Biographies of Ramakrishna Paramahamsa, Vivekananda by Chirantananda Swamy are most appreciable works. <i>Ramatheertha Charitra</i> by Bulusu Venkateshwarlu, <i>Nayana-</i> life history of Ganapathi Muni by Utukuri Laxmi Kantham, Kanchi Paramacharya s life description <i>Nadiche Devudu</i> by Neelam Raju are the model biographies of Telugu literature. </p> <h2>FEMINIST LITERATURE</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Raja Ram Mohan Roy, Eshwara Chandra Vidya Sagar, Kandukuri, Raghupathi Venkata Ratnam Naidu had worked for the betterment of women. They have fought for Women s education and thus have worked for her better position in society. Feminism, as a movement started in foreign land and it migrated to India as some revolutionists and intellectuals reacted to the same. Feminism as a movement started in 1980. The movement got accelerated in 1990 when Tripuraneni Sreenivas published his collection of feminist songs. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Neeli Meghalu</i> by Olga is a collection of feminist poems representing the objectives of feminism in a perfect way. Feminism is not restricted to poetry alone rather it is extended into novel, short story and critical appreciation. The first poem based on feminist thought is <i>Prathi Stree O Nirmala Kavall</i> by Olda. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Nadiche gayalu</i>  Badha Shaptapadi , <i>Sandigdha sandhya</i> and Multinational muddu are the poetic works of Kondepudi Nirmala. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Vamanudi mudopadam, Ikkada kurisina varsham ekkadi and meghamidi? Yashodhara Vagapenduku</i> are the poetic works of Jaya Prabha. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Janaki Vimukti</i> of Muppala Ranga Nayakamma, <i>Ahalya</i> of Kuppilipadma and <i>Swechcha</i> of Olga are powerful novels on feminism. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Illalukagane by Satyavati , <i>Mukta</i> and <i>Manasuko-daham</i> (collections of short stories) by Kuppili Padma and Komali Gandharam by Mrinalini are the short stories . Olga K. Padma, Mrinilini and Katyayani Vidmahe, have written essays on feminism. A controversy is going on regarding the feminist writings of literary figures like Chera and Soum. Jayaram supported this movement whereas Jwala Mukhi, Addepalli and others criticised it bitterly. </p> <h2>LIGHT ESSAY</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The light essay in Telugu has a great impact on English literature and also it has an integral link with the periodicals. Publication of periodicals in Telugu began in 1840. The development and popularity of Telugu journals lead in the growth of the genre-essay. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The Telugu essay, in its early stage was called as  Prameyamu ,  Sangrahamu ,  Upanyasamu and  Vyasamu . Later  Vyasamu gained popularity, and the other equivalents disappeared. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Hita Suchni</i> (1862) a compilation of essays, is written by Samineni Muddu Narasimha Nayanigaru and this is considered the first book in Telugu which deals with essays. The writer called his essays  Prameyam . This book has eight essays on education, medicine, finance, living creatures, defence, vedic hymns, knowledge and marriage. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Paravastu Venkata Rangacharyulu who was a great scholar wrote essays which were thought provoking and interesting. He called his essays as  Sangrahams . </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Kandukuri Veerasalingam made use of his essays to support his views in the social reforms. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Kokkond Venkata Ratnam Panthulu, Vavilala Vasudeva Sastri, Panuganti Laxmi Narasimha Rao, Manavalli Ramakrishna Kavi, Kommaraju Laxman Rao, Vanguri Subba Rao, Chilukuri Veerabhadra Rao, Mallam Palli Somasekhara Sarma, Nelaturi Venkata Ramanaiah, Pingali Laxmi Kantham, Rallapalli Anantha Krishna Sarma, Viswanatha Satyanarayana, Kattamanchi Rama Linga Reddy are some of the stalwarts among Telugu essay writers. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Sakshi</i> essays by Panugati Narasimharao have a tinge of humour in them. The author composed the articles on social, educational and literary subjects. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Korada Ramakrishnayya and Tirumala Ramachandra produced essays on philology and language.</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Nidadavolu Venkat Rao and Divakarla Venkatavadhani produced essays on literary topics. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Bhavaraju Venkata Krishna Rao, Mallam Palli Somasekhara Sarma, Khandavalli Laxmi Ranjanam wrote essays on historical topics. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Subjects on various social, historical, cultural, educational, scientific and literary topics figured in the essays of Telugu. </p> <h2>FICTION</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The influence of western culture and literature in the second half of the nineteenth century, gave rise to various literary forms in Telugu literature. In this context, novel, a narrative prose form made its appearance. In the year 1864, Kokkonda Venkataratnam Pantulu wrote a novel in Telugu with the title <i>Mahasweta.</i> It was published partially in a literary journal  Vaijayanti , in 1867. Narahari Gopala Krishnamasetti wrote a historical novel <i>Rangaraya Charitra</i> in 1872. Kandukuri Veeresalingam Pantulu wrote a social novel titled <i>Rajasekhara Charitra</i> (1879) following the  Vicar of wakefield of Oliver Goldsmith. Having all the features of the novel form, <i>Rajasekhara Charitra</i> is considered the first novel in Telugu. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Khandavalli Ramachandrudu wrote three novels titled, <i>Dharmavati Vilasamu</i> (1893), <i>Malati Raghaveeyam</i> (1895), <i>Laxmi Sundara Vijayamu</i> (1893). All three novels dealing with social themes won awards from  Chintamani (a journal). </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Ramachandra Vijayamu</i> of Chalakamarti Laxmi Narasimham Pantulu is another award winning novel with a good social theme. He also wrote a number of novels with marked circulation and standard. <i>Karpooramanjari,</i> (1898), <i>Ahalyabai</i> (1897) are also award winning novels. <i>Ganapati</i> is a novel of humour. <i>Sudha Saratchandramu,</i> a translation from Bengali appears as the original. Chalakamarti Laxmi Narasimham Pantulu became famous as the great novelist  Andhra Scott . </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Ketavarapu Venkata Sastri wrote many historical novels like <i>Bobbili Muttadi, Rayachuru Yuddamu, Poornanandamu, Ichanikumari </i> etc. Bhogaraju Narayana Murthi wrote suspense novels which attracted the readers. His novels are <i>Vimala Das, Astamayamu, Angla Samrajya Sthapanamu, Dharanikota and Andhra Rastramu.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Among the historical novels, <i>Tippu Sultan</i> of Akkiraju Umakantam, <i>Vijayanagara Samrajyamu</i> of Duggirala Ramachandraiah, <i>Pramadavanam</i> of Venkata Parvatiswara Kavulu, <i>Rani Samyukta</i> of Velala Subba Rao are famous. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Great poet Viswanatha Satyanarayana entered into the field of novel literature through his historical and love based novel <i>Ekaveera.</i> With the onset of <i>Ekaveera,</i> Telugu Novel literature acquired a significant place. <i>Veyipadagalu</i> of Viswantha is another landmark in the history of Telugu novels. This novel was translated into Hindi and Marati. This is a voluminous work of 1000 pages and it has a significant role in symbolic expression. Viswanatha has written a chain of novels out of which <i>Purana Vyramala Terachiraju, Cehliyala-Katta, Baddanna Senani, Ma Babu, Swarganiki-Nichenalu</i> are famous. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Adivi Bapi Raju was a novelist with artistic bend. His novels <i>Himabindu, Gonaganna Reddy, Adivi Santisri</i> are based on the glorious past of Andhras. Novels like <i>Narayana Rao, Konangi, Tupanu</i> reflects the than contemporary society. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Gudipati Venkata Chalam, popularly known as  chalam was a writer who wrote novels for the liberation of women. His novel <i>Daivamichina Bharya, Amina, Maidanam</i> etc., are influenced by foreign writers like D.H. Lawrence, Walter Scott, Dumas etc. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Asmarthuni Jeevayatra</i> by Gopichand, <i>Chivaraku Migaledi</i> by Buchi Babu, <i>Keelubommalu</i> by G.V. Krishna Rao, <i>Chaduvu</i> by Kodavatiganti Kutumbrao are some of the famous novels and novelists. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Historical novels written by Nori Narasimha Sastri are very famous. <i>Naraya Bhattu, Rudrama Devi, Mallareddy</i> deals with the historical subject of more than thousand years.</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The novels of Mokkapati Narasimha Sastry paved way for the Humour in Telugu novels. His novel <i>Barister Parvateesam</i> has abundant humour throughout the story. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Quite a considerable number of authors made an attempt to write psychological novels. <i>Bedarina Manushulu</i> of Kodavatiganti Kutumba Rao, <i>Santhiniketan</i> and <i>Chakrabhramanam</i> of Koduri Kousalyadevi, <i>Secretary</i> of Yaddanapudi Sulochana Rani are some of the psychological novels. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Many women writers also entered the field of novel literature. Kanapatri Varalaxmamma, Illindala Saraswathi Devi, Muppala Ranganayakamma, Malathi Chandur, Yaddanapudi Sulochana Rani, Madireddy Sulochana, Vasireddi Sita Devi, Parimala Someswar, Dwivedula Visalakshi, Ananda Ramam Ramalaxmi are the famous women novel writers who were favoured by the magazines, publishers and readers. </p> <h2>SHORT STORY</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The short story is called as  Kathanika in Telugu. Brevity, Unity of Plot, Attention, Completeness, Dialogues, Suggestiveness and impact are the main characteristics of a short story. Hundreds of short story writers have enriched the Telugu literature. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Gurajada Appa Rao is the first short story writer in Telugu. His short story <i>Diddubatu</i> was published in the journal  Andhra Bharati in 1910 . It reflected all the qualities of short story. <i>Meeperemiti</i> is another story by the same author. It was written to demonstrate the superstitions in religious traditions. Thus the short story, after its advent in 1910, had an enormous expansion. It was assumed as an attractive and popular literary form. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Chilakamarthi Laxminarasimham was a good storywriter. He wrote and published a book <i>Rajasthani Kathavali,</i> compilation of Short stories. Panugati Laxminarasimham produced two volumes of short stories called <i>Kathavallari</i> and <i>Kathalahari.</i> Balantrapu Venkat Rao came out with a volume of short story titled <i>Chitra Katha Sudhalahari</i> Chintha Deekshitulu wrote many interesting stories in colloquial Telugu. His stories <i>Suri, Seeti</i> and <i>Venki</i> attracted large number of fans. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Sripada Subrahamnya Sastri was a famous short story writer who produced eight volumes of stories like <i>Vadla Ginja, Tapi Mestri, Rama Dikshitulu</i> etc. Veluru Sivarama Sastri wrote many stories out of which some are translations from Bengali. Mokkapati Narasimha Sastri, Gudipati Venkata Chalam, Viswanatha Satyanarayana, Adavi Bapiraju, Suravaram Pratapa Reddy, AbduriRamakrishna Rao, Muni Manikyam Narasimha Rao, Malladi Ramakrishna Sastri, Tripuraneni Gopi Chand, Illindula Saraswathi Devi, Buchi Babu, Rachakonda Viswanatha Sastri, Mullapudi Venkata Ramana, Yasoda Reddy, Bhanumathi Ramakrishna etc contributed to the shortstories of Telugu. </p> <h2>PLAY</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In Telugu literature, from ancient days, there are references about the performing arts by Telugu people. But no Telugu Drama was written since 19th century as the upper class enjoyed Sanskrit Dramas and the people of other class enjoyed folk drama.</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The first play in Telugu, <i>Manjari Madhu-kariyamu</i> by Korada Ramachandra Sastri (1860), is an independent creation. In 1871 Kokonda Venkat Ratnam Panthulu translated a Sanskrit drama into Telugu with a title <i>Narakasura Vijayavyayogamu.</i> In 1875 Vavilla Vasudeva Sastri translated Shakespeare s <i> Julius Ceaser </i> as <i> Ceaser Charitramu .</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In 1841, Veerasalingam Pantulu translated the Sanskrit drama  Ratnavali of Sriharsha and English drama  Comedy of Errors of Shakespeare. In this period many plays were translated from various languages.</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The next generation writers were specialized in drama writing. Dharmavaram Ramakrishnamacharya (1853  1922) was an outstanding Dramatist. He was a dramatist, an actor and also a director. He wrote fourteen dramas. The western impact can be felt in almost all his plays. His plays <i>Chitranalineeyam</i> and <i>Vishada Sarangadhara</i> gained popularity. He won the title  Andhra Nataka Pitamaha . Chilakamarti Laxminarasimham (1867-1946) wrote a drama titled <i>Gayopakhyanam</i> which gained great popularity. The semi mythological story and verses with great potential for musical recitation must have created this popularity. He translated almost all dramas of  Bhasa from Sanskrit into Telugu. His dramas <i>Prasanna Yadavam</i> (1905), <i>Chatura Chandrahasam</i> (1927) also gained popularity. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The theme of <i>Kanyasulkam</i> (1892) by Gurajada Appa Rao is original. In this the dramatist has portrayed the burning problems of the minor girls who are given in second marriage to the bridegrooms. He uses the colloquial Telugu language which is suitable to the situation. This drama attracted the readers and audience a lot. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Vedam Venkataraya Sastri, a scholar, wrote an original drama titled <i>Prataparudreeyam</i> (1986). This is a historical drama. He wrote other dramas like <i>Usha Natakamu, Bobbiliyuddam, Naganandamu, Uttaranama Charitramu,</i> etc. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Keeping the stage in view Kolochalam Srinivasa Rao wrote mythological dramas like <i>Girija Kalyanamu, Rukmangada</i> and historical plays like <i>Ramaraju Charitramu.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> From the beginning of 20th century Panugunti Laxminarasimha Rao delighted the lovers of drama by writing twenty-five dramas. Among his plays <i>Radhakrishna, Paduka Pattibhishekam, Vipranarayana, Kanthabharanam</i> are very popular. He got the title <i>Andhra Shakespeare.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Tirupati Venkata Kavulu translated many Sanskrit dramas into Telugu. They wrote many independent dramas. <i>Pandavodyogam</i> and <i>Pandava Vijayam</i> are very popular among them. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Viswanadha Satyanarayana who was a poet, novelist and also a dramatist wrote dramas like <i>Nartanasala, Venaraju, Trisulam, Anarkali, Harischandriyam</i> etc. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Struggle for independence became the subject after 1920. B. Pundari Kakshudu wrote two dramas namely <i>Gandhi Mahodyamamu</i> and <i>Gandhi Vijayamu.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Social plays dealing with social reforms were also written in 20th century. <i>Chintamani, Varavikrayamu, Madhuseva</i> were written by Kalakuri Narayanarao. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Chalam was a writer who revolted against Hindu traditions, which made women s life miserable. He wrote dramas like Chitrangi, Sasanka, Jayadeva, Pururava and others.</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Dramas with social and human consciousness and realistic approach are very few in Telugu. </p> <h2>Yakshaganam:</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Yakshaganam is a literary form in Telugu language, native in origin and a performing art in nature. This literary form wholly reflects the life and culture of Telugu people. The Yakshaganam s, which have variety in it, are produced not only in Andhra but also in Tamilnadu and Karnataka. The patronization of Telugu literature by the rulers of these areas has made Yakshaganam popular in Tamilnadu and Karnataka. Even non-Telugu kings wrote Yakshaganams in Telugu. Maharashtra king Shahaji who ruled Tanjavore in Tirnal area wrote many Yakshaganams. Acquaintance and mastery of music, dance and prosody is quite necessary for creating an advanced form of Yakshagana literature. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Among the desi forms of Telugu Literature, Yakshaganams are very close to Telugu people. The customs, manners, rituals and habits of Telugu people are very well depicted in yakshaganams. In the beginning yakshaganam was an entertaining medium based on religion and mythology. But later on it developed as an important branch of literature with multiple subjects and literary motives.</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> According to <i>Bheemeswara Purana</i> of Srinatha, Yakshaganam is a laudatory song. <i>Kreedabhiramam</i> depicts Yakshaganam as  a story telling in the form of songs . Ananthamatya says that Yakshaganam contains  Paadams or songs suitable to Tala and it is decorated with the  NavaRasas or Sentiments. The songs accompanied by dancing were being sung by Jakkus. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> It is not known whether Yakshaganam existed in Telugu land before 15th century A.D. <i>Sugreevan Vijayam</i> by Kandukuru Rudrava Kavi of 16th century A.D. is considered the first and significant work in Telugu Yakshagana literature. This was written with a delightful blend of Ragadas, Dwipadas, Ardhachandrikas, Elas, Dhawalas, Sobhanas and Verses. Among the desi forms of Telugu Literature Yakshaganams are very close to the people of Telugu land. The customs, manners, rituals, and habits are very well depicted in Yakshaganams. In the beginning Yakshaganam was an entertaining medium based on religion and mythology. But later on it developed into an important branch of literature with its multiple subjects and literary motives.</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The two yakshaganas namely, <i>Prasanna Venkateswara Vilasam</i> of Timmappa and <i>Mrityunjaya Vilasamu</i> of Gogulapati Kurmanatha Kavi appeared in 18th century A.D. In 19th century A.D., Yakshaganas were written in large number. Tarigonda Venkatamamba authored seven Yakshaganas namely <i>Sivanatakam, Balakrishnanatakam, Parijatapaharanam, Chenchunatakam, Rukmininatakam, Gopikanatakam, Muktikantavilasam.</i> These Yakshaganas were called  natakas . </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Prasanna Venkateswara Vilasam</i> of Timmappa and <i>Mrityunjaya Vilasamu</i> of Gopulapati Kurmanatha Kavi are the two Yakshaganas which appeared in 18th century A.D. In the 19th century A.D. Yakshaganas were written in large number. Tarigonda Venkamamba has authored seven Yakshaganas. They are <i>Sivanatakam, Balakrishnanatakam, Parijatapaharanam, Chenchunatakam, Rukmininatakam, Gopikanatakam, Muktikantavilasam.</i> These Yakshaganas were called natakas. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In Tanjavur, Raghunatha Nayaka composed Yakshagana titled <i>Rukmini Vivaham</i> and <i>Janaki Kalyanam</i> (1600-1631). But these two books are not available now. The age of Ragunathanayaka (1633-1673) was the golden period for Yakshaganas. Raghunathanayaka wrote Yakshaganas namely <i>Rajagopala Vilasam, Ushaparinayam, Kaliamardanam, Raghunathabhyudayam, Mohini Vilasam, Prahlada Charitra, Putanaharanam, Vipranarayanacharitra.</i> He improved Yakshaganas to the status of classical dramas and he gave importance to performance of Yakshaganas. His son also wrote Yakshagana namely <i>Rajagopala Vilasamu.</i></p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Maharashtra kings who succeeded the Nayaka rulers in Tanjavur patronised Telugu literature. Among the Maharashtra kings Shahaji (1684-1712) was the most important person. He wrote twenty Yakshaganas. <i>Vighneswara Kalyanam, Valli Kalyanam, Santha Kalyanam, Krishnaleela Vilasam, Kirata Vilasam, Jalakreedalu</i> are a few to name here. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In Telangana region of Andhra Pradesh, various writers took up Yakshagana writing since 18th century A.D. <i>Dharmapuri Ramayanam</i> of Seshachala Kavi and <i>Manthena Ramayanam</i> of Muddaya Kavi are significant writings of 18th and 19th centuries. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Charvirala Bagaiah was a famous Yakshagana writer in Telangana. Perhaps no other writer in Telangana has written so many Yakshaganas as Bagaiah. Among his writings <i>Sugreevan Vijayam, Alli Arjuna Charitram, Are Marateela Katha, Kambhojaraja Charitram, Kusalava Natakam, Tarakasuravadha, Nagarjuna Charitram, Sri Krishna Parijatam, Krishna Parijatam, Krishna Garadi, Balanagamma Charitra, Sarangadhara Charitra</i> etc., are famous. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> 15th century Akkapati Balapapamba s <i>Akka Mahadevi Charitam, Raghunadha Nayakas,</i> (17th century), <i>Rukmini Krishna Vivaham,</i> Vijaya Raghava Nayakas (17 and 18th century) many Yakshaganas , <i>Manmaru Dasa Vilasam or Gangajamma</i> (17th century), <i>Nudurupati Venkanna, Tirumala kavi, Annadaman Venkatamba</i> (19th and 20th century) are notable works in Yakshagana genre. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In the beginning Tanjavur kingdom had given full vigour to this genre. But later on it was honoured by Shahaji, the king poet of Maharashtra and Tamil and Karnataka rulers. Yakshagana was born in Andhra Pradesh and it extended into other states like Chennai and Karnataka. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Thus people admired Telugu Yakshaganas and have shown variety in subject, style and purpose throughout its development. </p> <h2>Characteristics of Yakshagana are:</h2> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> 1. It is a popular lyrical play for subjective purpose. It is closely related to other forms of folk-literature life Narrative Ballads, Harikatha, Burrakatha, Veedhi Nataka. 2. Literature, Music and Drama are interwoven in it. 3. It is originated through the combination of many  Pada Kavita forms. 4. Different themes giving rise to different emotions or rasas of enjoyment are seen in Yakshaganas. 5. Metrical complexity and closeness with folk language are remarkable in Yakshaganas. 6. Though it has a particular theme, it also improves common sense and awareness of public. 7. It has assimilated the style of street plays and folk plays. It has given raise to the form of Hari katha, Burra kathas and Jangam kathas. </pre> <h2>Metrical Content </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.0in;margin-top:0in;margin-bottom:.2in;"> Yakshagana is a mixed genre of poetry and prose. Bi-ped metre or  Ragada is a mostly used to narration the theme. ( Reku ).</p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> vaanaa naana vallappa ceetulu caacu cellappa tirugu tirugu immappa tiraga leenu narasappa It is the song sung during rainfall. + ++ + + ++ ++ ++ + ++ + + ++ + + ++ ++ ++ + ++ + + ++ + + ++ ++ ++ + ++ + + ++ + + ++ ++ ++ + ++ + + ++ + + ++ ++ ++ + ++ + guDu guDu guncem gunDee raagam okkaa ooceliyaa renDani reeguLLu muuDu mutyaalu naalgu nandannu piTTamma piTTa eemi piTTa cilakapiTTa Eemi cilaka telupu cilaka </pre> <h2>TRANSLATIONS (from and into Telugu)</h2> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> 1. Mahabharatam was translated from Sanskrit to Telugu by Kavitrayam namely Nannaya, Tikkana and Erranna. 2. <i>Dasakumaracharitra,</i> a Sanskrit play of Dandi was translated into Telugu by Ketana. 3. Marana translated <i>Markandeyapuranam</i> from Sanskrit to Telugu. 4. Sanskrit <i>Ramayana</i> was translated into Telugu as  Bhaskaramayana by Bhaskara, Mallikarjuna Bhattu, Rudradeva and Ayyalarya. 5. <i>Viddasala Bhanjika,</i> a Sanskrit work of Rajasekhara was translated as  Keyurabhu Charitra by Manchena. 6. Eranna and Nachana Somana translated <i>Harivamsa,</i> a Sanskrit work into Telugu. 7. Srinatha translated <i>Harsha Naisadham,</i> a Sanskrit work under the title <i> Sringara Naishadham .</i> 8. Bammera Potana translated <i>Mahabhagavatam,</i> a Sanskrit work into Telugu. 9. Madiki Singan translated <i>Yoga Vasistam</i> in brief from Sanskrit to Telugu as <i>Vasistaramayana.</i> 10. Doobagunta Narayana Kavi translated <i>Panchatantram</i> from Sanskrit to Telugu. 11. Nandi Mallaya and Ghanta Singana the twin poets translated <i>Prabodha Chandradayam</i> of Krishnamisra from Sanskrit to Telugu. 12. Haribhatta translated <i>Varaha Puranam</i> from Sanskrit to Telugu. 13. Raghunathanayaka translated Ramayana of Valmiki from Sanskrit and titled it as <i>Raghunatharamayanam.</i> 14. Madhuravani translated <i>Raghunatharamayanam</i> from Telugu to Sanskrit under the tiltle <i>Ramayana Sara Kavya Tilakam.</i> 15. Enugu Laxmana Kavi, Elakuchi Bala Saraswati and Pushpagiri Timmana translated works from Sanskrit to Telugu. 16. Gopinatha Venkatakavi translated <i>Ramayana</i> from Sanskrit to Telugu. 17. Kandukuri Veeresalingam Pantulu translated <i>Abhignan Sakuntalam</i> and <i>Ratnavali</i> of Sriharsha from Sanskrit to Telugu and Comedy of Errors from English to Telugu. 18. Vavilala Vasudeva Sastri translated <i>Julius Ceasur</i> of Shakespeare into Telugu. 19. Tirupati Venkata Kavulu translated <i>Madurarakshasam</i> and <i>Mrichikaghatikam</i> from Sanskrit to Telugu. 20. Dr. Bejawada Gopal Reddy translated Bengali Dramas of Rabindranath Tagore namely <i>Devayani, Chitrangada, Visarjana, Malini, Prakriti, Prateekaram</i> into Telugu. 21. <i>Veyipadagalu,</i> a Telugu work of Viswanatha Satyanarayana was translated to Hindi as <i>Sahasraphan</i> by P.V.Narasimha Rao. 22. Pavuluri Mallana translated Ganita Sarasangraham, a Sanskrit work of Mahaveeracharya to Telugu as <i>Sarasangrahaganitam.</i> 23. In 1797 A.D. Banjeman Hynam translated <i>Sutraganita</i> (from Sarasangrahaganita) of Mallana from Telugu to English. </pre> <h2>WOMEN CLASSICS</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Until the Nayaka period in Tanjore, Telugu poetess were not encouraged and honoured by the kings. Even in such condition, some poetesses came forward and wrote poetry. Among them Tallapaka Timmakka (1424-1503 A.D.) stands first. She wrote <i>Subhadra Kalyanam</i> in Manjari Dwipada metre, which is sweet and musical in form. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Molla was another poetess who wrote <i>Ramayana</i> in brief. Though the Molla Ramayana is in concise version, the beauty of this poetic work is incontestable. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Pasupuleti Rangajamma was a scholar poetess in court of Vijayaraghavanayaka. She wrote three books namely <i>Mannerudasavilasam</i>- a Prabandham, <i>Mannarudasa vilasa natakam</i> - a Yakshaganam and <i>Usha Parinayam</i>- a Prabandham. She gave the description of <i>Ramayan, Bharata</i> and <i>Bhagavatha</i> in brief. But they are not available now. <i>Mannarudasavilasam</i> was the story of Raghunadha nayaka. She was honoured by the king with the  Kanakabhishekam (Showering with gold) (1633-1673). In 18th century, Muddupalani, a poetess in the court of Pratapasimha of Madhura, wrote a Prabandha titled <i>Radhikasantvanam,</i> which is a love story of Radha Krishna. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Tarikunda Venkamamba, a poetess and a devotee of Srikrishna wrote nearly fifteen books. But now we find only four books namely <i>Rajayogasaram</i> (Philosophical work); <i>Venkatachalamahatmyam</i> (story of Sri Venkateswara); <i>Vishnu Parijatam</i> (Yakshaganam and  Bhagavatam ). Her works show that she had written many Yakshaganas. The style of Venkamamba is simple and beautiful. </p> <h2>BIOGRAPHY</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Writers of Biography and Autobiography are less in Telugu. Veeresalingam Pantulu was the first writer who wrote biographies in Telugu. He wrote the biographies of Victoria, Jesus etc. Chilakamarti Laxminarasimham Pantulu wrote the biographies of Goutamabudda Gurunanak and Guru Govind Singh. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Bulusu Venkateswarlu wrote the biographies of Vivekananda and Ramatirdha Swami Charitra. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Sri Puranam Kumara Raghava Sastri wrote the biographies of President Patel and Vijayalaxmi Pandit. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Gunturu Laxmikantam wrote the biography of Sri Kavya Kantha Ganapati Sastri s in his work <i>Nayana.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Maruvada Venkat Chayan wrote the biography of Sri Adibhatla Narayanadasu in his work <i>Jagajjoti.</i> </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Mudigani Jaganna wrote <i>Savarkar Charitra</i> and <i>Nehru Charitra.</i> Gorrepati Venkata Subbayya wrote the biography of Kattamanchi Ramalinga Reddy. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Kottapalli Veerabhadra Rao wrote the biography of C.P. Brown. Sri Nidadavolu Venkata Rao wrote the biography of Paravastu Chinnaya Suri. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Some of the publishers also encouraged the writers to record the life histories of famous personalities. Vignana Grandha Mandali published the biographies of Abraham Lincoln, Asoka, Chandra Gupta, Sivaji which are historically important. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Andhra Bhashabhivardhani Sangham published the biographies of the social reformers like Raja Ram Mohan Roy and Eswara Chandra Vidyasagar. Desi Kavita Mandali published the biographies of Acharya Ranga, Vallabhai Patel, Sarojini Devi, Sarababu who were national figures of political importance. Sri Ramakrishna Matt published the biographies of Ramakrishna Paramahamsa and Saradadevi. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> All the above biographies were written in prose form. But there are some biographies written in poetry. <i>Buddha Charitra</i> of Tirupati Venkata Kavulu, <i>Rana Pratap Charitra</i> of Durbaka Rajasekhara Satavadhani, <i>Siva Bharatam</i> of Gadiyaram Venkata Sesha Sastri, <i>Andhra Kesari</i> of Mudigonda Veerabhadra Murthy, <i>Nehru Charitra</i> of Kondaveedu Kavi, <i>Bapuji</i> of Basavarao, <i>Netaji</i> of Devarakonda Chinni Krishna are some of the important biographies written in poetry form. </p> <h2>AUTOBIOGRAPHY</h2> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Writing autobiography is not an easy task as one cannot say openly or judge his own behaviours. Jatakacharya of Tirupati Venkata Kavulu is the first autobiography in Telugu. In this book the poet concentrated on astrology and the effect of stars on his life. It was written in poetic form. Joshuva a poet wrote his autobiography <i>Na katha</i> in poetic form. Kokkonda Venkata Ratnam Pantulu also wrote his autobiography in poetic way. Veeresalingam Pantulu was the first writer who had written his autobiography in prose form. This book has the social and cultural facts of that period. Sri Rayasam Venkata Sivudu wrote his autobiography. He was a social reformer. Valluri Suryanarayana wrote his autobiography which is competent to the autobiography of V Eeresalingam Pantulu. Chilakamarti Laxmi Narasimham Pantulu wrote his autobiography which has literary and cultural values. Some of the political leaders also wrote their biographies. Andhra Kesari Tangutoori Prakasham Pantulu, Desa Bhakta Konda Venkatappayya, Ayyadevara Kaleswara Rao wrote their biographies which had a great political importance. An autobiography entitled <i>Nenu na Desam</i> of Darsi Chenchaiah shows the contemporary social political financial conditions of India. Dr. Kesari Vadanya wrote his life history <i>Na Chinnanati Muchatlu</i> in two volumes, which has historical importance. Sri Dasari Laxmana Kavi wrote his autobiography <i>Na Jeevita Yatra.</i> The famous linguist, Dr. Gidugu Sitapati wrote his autobiography on the occasion of his birthday. Many men wrote their autobiographies. No woman is reported to have written autobiography in Telugu. </pre> <h2>AWARDS/AWARDEES</h2> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> 1. Literary awards are being given by Potti Sriramulu Telugu University to the best works and best writers in Telugu every year. 2. Government awards are given to the eminent writers in Telugu every year on Ugadi. 3. Saraswata Parishat of Hyderabad is giving awards to the writers and scholars of Telugu, in memory of great people. 4. Every year Central Sahitya Academy is giving awards to the best works in Telugu. 5. Gnanapeeth Award is given to the eminent poets: a. Sri Viswanatha Satyanarayana was awarded Gnanapeeth award in 1970. b. Dr.C. Narayan Reddy got Gnanapeeth award in 1988. </pre> <h2>VIII. TELUGU LITERATURE</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Art is the creation of human mind. It is the hearty response towards the outer world and Nature. It reflects the inner world, as human beings represent innumerable impulsions and emotions. We can classify it into two categories. One is physical art and the other is mental art. Physical art is primarily related to the systematic movement of limbs and other organs of the human body and is also called technical art whereas mental art is the output of the refined activity of human heart and mind, which is known as fine arts. It s only a rough division, because without the involvement of mind and heart, there is no physical or technical art. Both of them are a harmonious output of human body and mind. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Literature is the most beautiful fine art, the other forms being Painting, Sculpture, Dance, Music and so on. Literature is the overt expression of the human thought. Ever since the origin of human race, there has been a strong desire to imitate the Nature. Imitation and response are the two main causes of the revelation of the literature. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> It is very difficult to analyse or decide how and when the power of imagination and creative art evolved. The rhythmic movements embodied and manifested in the universe itself are the catalysts to artistic expressions. The sounds we listen, the movements we see in Nature are beautiful and attractive. Identification of beauty in nature was the first step in the history of literature. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Sudden actions of joy or sorrow either personal or social, as an outburst of emotion in response to the external world, gave rise to poetry and dance in primitive man. The Personal emotion spread over in society or social nature might have precipitated in an individual. Combination of sounds to the movements of body might have taken place. As a result, beautiful movements united with attractive and melodious sounds, either in group or in an individual lead to the evolution of creative art. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> According to Indian mythology dance and literature are one and the same and have been originated at a time in the universe. But according to Hindu Mythology Dance seems to be the foremost and the literature next. An ancient Sanskrit verse runs like this  nritt&#257;vas&#257;ne nata r&#257;ja raj&#246; n&#299;n&#257;da dhakk&#257;m nava pancha varan ... Nata Raja or Siva started his <i> thandava </i> and at the end of it he played his  thandava fourteen times rhythmatically, out of which the alphabet evolved and then literature. It is said that the fourteen Maheshwara Sutras of Sanskrit grammar are the result of <i> Dh&#257;kka .</i> This belief establishes dance as a former form to literature. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> According to psychologists, the hidden desires and impulses of human subconscious, which are obstructed in the external world and day-to-day life, are transformed and modified into artistical expressions like dance and literature. Psychology of man and history of humankind are well furnished through fine arts. Literature particularly Folk-literature is the main source of human history and behaviour.</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> While observing and analysing different ancient cultural groups and process of development  the customs and beliefs, tradition, art and literature  one can come across two types of material and resource. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The first one is oral tradition or folklore and the other booklore </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Folklore is unique in having traditional civilization, different versions and commanality. It is acquired through tradition and Oral-Aural method like listening and recollecting. Folklore depends upon the power of reproduction or creation and observation. Verbal arts like music and literature spread through oral tradition. Dance is a non-verbal art, observation and imitations being its basic nature. Having different versions is the chief characteristic of oral literature. The same person may refer the same version in different times. Different persons carrying tradition may spread different versions of the same literary piece. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Folklore is a lively fossil, which refuses to die. It is one of the most important mediums used for the transmission of thought, values and expectations. It is a precipitate of scientific and cultural log of centuries and millennia of human culture. It conveys beliefs and experiences of its bearers.</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Telugu literature upto Nannaya s period is classified into (1) literature of oral tradition, i.e., folk literature, and (2) Written literature, seen on the inscriptions on stones and copper plates. </p> <a name="oral"> <h2>1. ORAL LITERATURE </h2> <h2>(a) Tradition </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Oral or verbal literature is embodied with a group of words and pieces of song in accordance with rhythmic sounds. Folk narrative and folksongs or poetry are the main branches of oral tradition. Songs, lyrics, ballads, tales, proverbs and riddles are different forms of this expressive literature. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Much prominence is given to group interaction of the folk-life based on customs and usage. Festivals, traditions, celebrations and congregatives are common platforms of folk life. Both in religious and social functions, primitive man is one among the group. Dance, music, action, play, songs and exhibition are indivisible parts of life. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Folk arts generated and got spread on the basis of folk songs and narratives. Folk musical instruments are used either individually or in group dances on various religious and secular occasions of folk life. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Oral Folk Literature Folk Poetry Prose Narration Proverbs Riddles Folk Songs Narrative Folk Songs Social Folk Custom Social Customs Games and Amusement Social Customs Beliefs, Superstitions Festivals Celebrations Sucular Religious Secular Religious </pre> <h2>(a) Individual and (ii) Group Dances of Folk </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Tribal and Folk dances are made for sheer pleasure of the performers. Their main aim is self-satisfaction and self-expression. Entertaining the public is secondary. Self-expression might have started from individual and evolved as group performances. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Dance is an effective and primitive mode of expression. It employs motor behaviour in redundant patterns. It has the combination of musicality. Primitive and aboriginal dancing was nothing but a spontaneous and emotional lyrictic expression, preparatory to a ritual or battle. Primitive dance is the foundation for the refined form. </p> <h2>(b) Types: Tribal Dance  Andhra Pradesh </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Savaras of Srikakulam and Visakhapatnam districts, Gonds of Adilabad hill areas Khonds of Srikakulam, Koyas of Godavari and Visakha areas, Chenchu and Yanadis of Mahaboobnagar are some of the tribal sects of Andhra Pradesh. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Their dances are chiefly related to their ritualistic way of daily life. They perform dances usually in groups and occasionally they perform it individually. They artistically represented and portrayed their profession i.e., hunting in the form of dance. Dance is not an amusement for them rather it is indivisible part of their lives. </p> <h2>Gonds</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> With the help of <i> Kingrey </i>  a musical instrument, Gonds sing the following song, in order to represent their relation with their group and Gods and their traditions. The performers belong to a sect of Gonds called pardhans. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + Siri muuT Siri muuT (cuTTu muTTu, cuTTu muTTu) Siri muuT tiriSi (cuTTu muTTu, tirigi)  Taking rounds and Rounds gangamma pongantara  (gangamma paarutundiraa) Gangamma Flows (Is is customary to call any river ganges) veeDangaaliK guTTaang  O! Long series of mountains are there Teekuavanam masturuta (Teekuvanam mastugunnadi)  Forest of teek trees is fine Veduravanam masturata (Veduravanam mastugunnadi)  Forest of Bamboo trees is fine raajal kooyaturoo (raajulu kooyalu)  The Kings  Koyas bahan manteerettivee (eTlu nnaranTee to say how they appear, And grand (in style) Sookuna manteer (darpangaa unnaaru) And grand (in style). </pre> <h2>Konda Redlu </h2> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> They sing the following group song inviting the Goddess Mutyalamma, and the Goddess of Mountains. .... ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + oo googula puuDi mutyaalamma Oh, the Goddess Mutyalamma of dogalapudi nii koluvu ceestunnaam tallii we are celebrating your worship konDalu konDa deevatalu raavaali tallii Goddesses of mountain you should come bhumiloo unDee neela tallii Oh, Mother-Earth nuvvu daya ceyyaali you should come konDa raaju kuuturaa nuvv raavalammaa Oh, the daughter of kondaraju, you should come. </pre> <h2>Folk Dances </h2> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Group Dances are commonly found in folk dance. </pre> <h2> Asadi Dance </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Asadi is a sect in  Madiga . Men perform Asadi dance on the occasion of Ugadi, the New Year eve in particular. They take alms from the farmers and exhibit lyrical ballad and stories. They perform this dance with the help of musical instruments. Usually three members play it. [Ananthapur district]</p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + meelukonvammma talli meelu konavamma kaapulu vaCCeeru puujalu CeeSeeru ............................. nii maayervaruu kaanaleeru nija ruupula tallivee meelukoo Vammaa... Meanwhile they change the stepping pattern of dance and sing ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + meelukonavee aaditallii meelukonavee aadijananii akkaDaana anni ruculu nandiparasa japamu ceetturu .............. lingaalu peTTinaanu janagaalu palliloo Singaara maayenu yii buudi...... These are the awakening songs of Mother Goddess. They perform sacrifice at the end of the function. </pre> <h2> Urumulolla Dance </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i> Urumulollu </i> is a subject of Mala caste (Anantapur district).  Urumu is the playlet of the dance. Usually five members play it. These dances deal with the narration of mother goddess. They are awakening songs. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + meelukonavee meeluukonavee amma niivu puTTaka mundee naaDuu yigamulu lee Duu jagamuleeDu || meelu || amma maccu maayalavoo gangi niivuu piinigilu tineevu piSaacivoo.............. </pre> <h2>Machine House Dance (Keelu gurram) </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> It is a narration of the folk story of a prince. They prepare a Machine Horse with wood and other raw material and sing the narrative song. It attracts women and children and this dance is commonly exhibited on the occasion of marriage celebrations. </p> <h2>A Play with Wooden Sticks (Kolatamu) </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In this, a team of folk players form a circle and the teacher standing in midst of the group guides them. The group rhythmically strike the wooden sticks and sing the song with beautiful steps. Ringlets of metal are also used in this play. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + Siva Siva muuritivi gananaadaa nuvvu Siruni Kumaaru Da vayya gananaata yidde niide buddi niide gananaata saduvu niide saamu niide gananaata </pre> <h2>Individual Dances </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.0in;margin-top:0in;margin-bottom:.2in;"> <i> Jyothi Dance</i> <br> Weavers caste dancer performs the  Jyoti Dance, bearing a candle on his head; in order to please the  Choudamma goddess.  Jyotula Bonalu is its another name. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + ++++ ++ + ++ + ++ + ++ + paarratii putru Du parameeSvaruni suuDa eluka vaahana mekki veLLe ana vee Dka amaranga benakayyanu aatmaloo talaceeru Santooshamuna kalgu sakalajanulakunu </pre> <h2> Namala Singani Dance </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> A person performs Namala Singani Dance during the festivals like Ugadi, Moharram, Urusus and Jatras. He bears two swords in two hands and dances emotionally according to the rhythm of trumpets. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> It is an imitation of the abandonment of  Namala Singadu a robber, who was finally caught and killed by the villagers. It is played without any song. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;">  Dorav&#275;sham (Landlord),  Puliv&#275;sham ,  Budabukkala ,  Gangireddu (playing an exhibition with a domestic pet bull) are some of the individual dances. </p> <h2>BALLADS </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The evolution of Telugu literature falls into two categories  Marga (classical) and Desi (Indigenous or popular type). The Purana, Mahakavya, Prabandha are treated as Marga. The Dwipada, Udaharana, Shataka, Yakshagana, Arya Kavita are related to Desi. The genre  Desi mentioned above is a written literature. But there is a vast branch of oral literature in Desi. It is encouraged by the rural mass and is remarkable in nature when compared with the written Desi and Marga sahityas. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Ballad is a folk song that narrates a story. A ballad is always narrative and is always sung to a rounded melody. It is passed on from the lips of others rather than through books. A ballad is traditional, objective and impersonal in nature. It tells a definite tale. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Ballad is originated from group folk-dance songs, which have no story. Ballad is called as Narrative folk song. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Ballad is characterised by: 1. Narration of love, heroism, social problem, mythology, historical incident. 2. They are in the form of lyrics. 3. They are mostly related to folk 4. Incident centred (single incident) 5. Impersonal 6. Incremental Repetition (to ask many questions instead of a single question and to repeat the same question frequently) 7. Ballad common places (Repetition of certain Ballad dictions of suitable places) 8. Dramatic element Ballad comprises of (1) an action, (2) character, (3) theme and (4) settings. </pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Ballad easily crosses language barriers and ultimately crosses cultural differences. In such case the narrative pattern may remain same whereas the language music, local details may undergo repeated changes. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Ballads (Narrative Folk Stories) Heroic Ballads Folk stories and Mythological songs Religious (Tales (Veera gathas) songs of Women (Hari Hari padas) of Jagam) * Ballad cycles [Heroic ballads of continuity Traditional women Women at work like  Palnati Veera (indoor) (out door) Charitra ,  Katama Raju Kathalu ] * Of Ramayana * Work oriented and other * Ballads [Heroic tales * Bharatha ballads like  Bobbili katha ] * Bhagavatha * Related to Mythology, * Ballad wings [Short * Other stories History and Social Heroic tales like * Ballad stories of incidents. Sarvaipapadu and i.e. vrathas etc. Kumara Ramuni katha] </pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In Telugu Literature Ballads mostly consists of the narration from  Bharatha ,  Bhagavatha ,  Ramayana , and other mythological stories.  Seetha Kalyanam ,  Seethammavari Alaka ,  Laxmana Devara Navvu ,  Urmila Devi Nidra ,  Ganga Gouri Samvadam , are some of the famous Narrative Ballads. </p> <h2>Heroic Ballads </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> According to Prof. Thangira Subba Rao Ballad is a Heroic Ballad. They are sung and exhibited by minstrels who wander and take alms from the villages. Heroic Ballads are emotional and they consist of  Ve&#275;ra Rasa (Veracious). They are transmitted through oral tradition. Some scholarly people have converted the popular Heroic Ballads into written literature, with some changes here and there for various reasons. <i>Palanati Ve&#275;ra Charitham</i> by Sree N&#257;tha is believed to be an example for the above-mentioned kind. These Heroic Ballads are lyrical in external form and they are epic in internal nature. They are objective lyrical poems. </p> <h2>Heroic Ballad Cycles </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Long Ballads centered to a deity or a Heroic personality of History are Ballad cycles. Minstrels used to sing them continuously for several days. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Parashu Rama Veeragatha, Ankamma Veera Gatha</i> are about Gods and Goddesses. <i>Palanati Veera Katha Chakra</i> and <i>Katama Raju Katha</i> are famous Heroic Ballad cycles in Telugu. </p> <h2>Heroic Ballads </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Unlike Heroic Ballad Cycles, Heroic Ballads are sung for two or three nights. Some are finished in a single night. Usually they are exhibited from 8 p.m. to 3 a.m., in the villages. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Bobbili Katha, Desingu Raju Katha, Balanagamma katha, laxmamma katha, Kamammakatha,</i> etc. </p> <h2>Heroic Ballad Lings </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Heroic Ballad Lings are very short in length and they contain veracious and emotional narrations. <i>Sarvai Papani Katha, Kumara Ramuni Katha, Chinnapa Reddi Katha, Vemana Katha</i> are Ballad Lings. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> There will be a principal person singing the Ballad and one or two companions helping him as chorus. Simple musical instruments and anklets are used. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;">  Burra Kathas resemble Heroic Ballads, but infact they differ in their nature. They are modern in nature and sometimes they serve political purpose. <i>Jamukula Kathas ,  Gollasuddulu ,  Thandanana Kathas ,  Brathukamma songs of Telangana </i> are examples of this kind. </p> <h2>Mythological (Philosophical) Narrative songs:</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> They are based on mythology or puranas. Sometimes they are philosophical in nature.  Hari Hari padas are famous in this branch. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + hari harii naaraaya Naadi naaraaya Naa karu Ninci mammeelu Kamala loocanuDaa </pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.0in;margin-top:0in;margin-bottom:.2in;"> runs like this. They are written by poets like  Ayyagari Kurma Nathudu ,  Panagada Sanyasi ,  Behara narsaiah ,  Mangipuri Surya Narayana ,  Cheruvula Appa Narsimha Dasu , etc. The usual metre found in these Ballads is  Jampe Varusa . </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Laxmana M&#363;rcha, Rama Revana Yuddha, Pathala Homa, Ramasura Yuddha, Shatakunta Ramayana, Miravana Charitra, Sarangadhara Charitra</i> are some of the famous  Hari Hari padas. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Some religious tales are called <i>Jangam Kathalu.</i> They were propagated by Dharwada Drama Company in Andra Pradesh in 19th century and are modern in origin. The Metre used in  Jangam Kathalu is  Ragada Desi. Prose lines and Metrical poems like  Kanda ,  Kandardha ,  Daruvu are also found. They are from the stories of Vaishnava and Siva puranas. As the name indicates, in the beginning  Jangamas used to sing this ballad, but later on it spread over to other caste singers. The Characteristics of oral tradition are less in Jangam Kathalu. They are written by modern poets like  Dhinuva Konde Venkaiah ,  Rupenaguntla Seetha Rama Dasu , etc. </p> <h2>LYRICS</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> These are folk songs without Narration. Normally the original composer is not known at all. Anonymity is the chief character. It is sporadic in nature and spontaneous ness and beauty are its main qualities. They are musical and attractive. Simplicity Directness, Refrain, full of emotion and passion are the chief qualities of lyrics. Lyrics are mirrors of the society in representing culture, history and life style. Commonsense, recreation, amusement and enlightenment are part of it. But chiefly, lyrical folk poetry is subjective in nature. Song of a farmer goes on... </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + VadineloomaradaLLu vaadaa Di naTlu Married women s affection towards parents and native place. + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + kaaDii keDakaamanTe kadalavee kaaLLu Dhillii ke LadaamanTe tiragadee mananu naa raa can puTTinTi keDa daamu ante naa kaaLLu pannina rathamulaina naDacu naa Ceetulu yyaala ceeruvaiyunDu. </pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Lullabies, children songs, songs narrating different stages and occasions of human life, love songs and prayers are different varieties found here. Simplicity, directness, superb melody and applicability are the common features of lyrics. </p> <h2>HYMNS</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Mostly Hymns are sung by the tribals and folk masses of village during the worship of  Amma Devathas or  Shaktis [worship of mother goddess] like Yellamma, Ankalamma, Mutyalamma. These hymns are sung during farming. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + vaanaLLu kuravaali vaanadeevuDoo vari CeelupanDaali vaanadeevuDa + + ++ ++ + + ++ + +++ + yeeTikeetam beTTi yey puTlu panDinci yennaDu metukeruganannaa neenu ganje loo metukeruganannaa while watering his fields, he sings his pitiable conditional. Lyrics of love...... + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + yeeru daaTiyyaroo ChinnaVaaDaa paaleeru daaTiyyaroo CinnaVaaDaa mukkuleeTi mukke Ritta Cinna VaaDaa Neenanaa Vattaanu Cinna VaaDaa naneeru daaTiyyaroo.......... Some lyrics show dignity of labour....... + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + dampu dampaniyeeru adi yenta dampu dhanya raa Sula miida ceyyeeSinaTlu VanTa VanTani yeeru adi yenta VanTa naakubeTTina paSupu cempalakunTe jaalu naa mangal Sutram gaTTigunTe caalu naa nalla buusalu meDaloo un Tee caalu group song of  Naga in the form of blessing in order to beget better sons and daughters, runs like this: + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + digu digu digu naagaa naagayyaa divyaSundara naagaa mudamuloo repalli muddula naagaa andari poeddoo Du dan Dokka poddanTa </pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Brathukamma</i> pata in Telangana is a fine example for festival songs. These songs are sung by women folk in villages for 9 days during the Devi Nava Ratras of Dasara i.e., before the Dasara festival. Songs based on Women are mostly indoor festival songs like  Shravana Mangala Varapupatas . </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Song of Brathukamma: + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + is a song in praise of the god of rain. + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + ganapatayya ganapatayya unDraaLLu niiku pooturaa oo ganapatayya mandaDiga unDa bookuraa mammu epuDu maruva bookuraa </pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Farmers and workers sing it in praise of Ganesha, while cutting the crops in the field. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The following is a ritual song in praise of Pochamma, the goddess of smallpox. It is sung by women in order to gain a long married life. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + -- -- - -- - - -- -- + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + + + ++ ++ + + ++ + +++ + poocamma nii magaDu deeSapatiraaju niilagiru danDu vooyi ninnu vallaaData </pre> <h2>TRAVELOGUES</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The first travelogue in Telugu namely <i>Kasi Yatra Charitra</i> (1830) was written by Enugula Veeraswamaiah. This book reveals the contemporary history of India and life style of Indians. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Vennelakanti Subba Rao wrote another <i>Kasi Yatra Charitra</i> (Travel to kasi (Banaras) in 1882. He recorded the places on his way to Banaras. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Chellapilla Venkat Sastri also wrote <i>Kasi Yatra</i> (1889). He felt his pilgrimage travel to Banaras would lead to salvation. Sri Parabrahma Sastri wrote <i>Kasi Yatra</i> (1913) through which he provides information about the traditions of Hindu Society. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Praturi Venkata Sivarama Sarma wrote <i>Na Yatra</i> (1930) a travel to Banaras. In this book the author gives information about temples and how they were damaged by the Muslims during their invasions. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Brahma Sri Vajapeyayajula Ramasubba Rayudu wrote <i>Kasi Yatra</i> (1934). He felt his travel to Banaras as an excursion. So he wrote in his book the beauty of Banaras. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> These are some of the famous travelogues about Kasi in Banaras. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In 1854 Kolachalam Srinivasa Kavi wrote </i>Travel to Neelagiri</i> in three chapters. Though it was an excursion, he wrote this book as a pilgrimage. He wrote vividly about the life styles of people living there, environment, trees, birds, method of construction of houses etc. It was dedicated to God Jaggarayalu. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Kasmira Yatra</i> by Nayani Krishna Kumari written in 1967 is also about excursion. She recorded the beauty of Kashmir in this book. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> <i>Na Chaina Yatra</i> by Ayyadevara Kaleswara Rao; <i>Na Uttara Desa Yatralu</i> and <i>Na Dakshina Desa Yatralu</i> by Bulusu Venkata Ramanaiah; <i>Na Tirtha Yatra</i> by Adavi Bapi Raju; <i>Suvarna Sundara Malaysia Yatra</i> by Tripuraneni Venkateswara Rao; <i>Prince of Wales</i> by Kokkonda Venkat Ratnam Panthulu, etc., are famous travelogues in Telugu on national and international travel.</p> <h2>NATAK </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Bayalata is popular in Karnataka and Andhra Pradesh. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Lavakusha, Vali Sugreevulu Katha, Veerabhimanyu, Draupadi Vastrapaharanam are played in Rayalseema and Coastal area. Chiratala Ramayana, Sharada Ramayana, Bhagotham, Golla Suddulu are famous performing arts of Telangana. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Songs, Dances, Orchestra are used liberally in the popular dramas while the main performance goes on. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Pichuka guntlas, Sharadagandru, Veera Musti, Bavanulu, Beerannalu, Dasarulu, Jangamulu were the chief performers of the folk plays. </p> <h2>YAKSHAGANAS </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;">  Yakshagana is one of the most popular and vast genres of Telugu literature. Though it started as a narrative song, later it got evoluted into the form of lyrical play. Its musical nature is primitive in nature. Later on it acquired the nature of play, acquiring the qualities of rigid metrical principles and dramatic elements of dialogues, characterization, makeup etc. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> There is the mention of Yakshaganas in classical literature like Palkuniki Somana s <i>Panditharadhyacharitra</i> and Sreenadha s <i>Bheema Khanda,</i> written by ancient Telugu poets.  Yaksha or  Jakkula is a particular spair of ministrels who sings the song of Yakshaganas first. In South Indian Dravidian literature a character called Kuravanji (Erukala Sani) is seen in some of the folk song plays. According to some critics  Yakshagana is the evoluted form of Kuravangi play .</p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The Ballad songs praising Kameshwari Mahalakshmi by  Jakkulu comes under the category of Yakshaganas. These are the transformations of Heroic Ballads. During 13th Century a singer sang it with a little chorus and in 16th century it acquired its written nature and became a musical play. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Though Prohigantu Showri wrote <i>Soubhari Charitam</i> in 15th century, it is not available. <i>Sugreeva Vijayam</i> of Kandukuri Rudra Kavi of 16th century is the first available Yakshaganam</p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Srii lakshmii deeviyu candamaama SruShTi batukammayye candamaama dharma cooLa dee Samuna dharmaangu Danu raaju aa raaju bhaaryayu ati Satyavati yanDru </pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Songs, philosophy and religion are abundant in Telugu folk literature. It is quite parallel to the scholarly readings of written literature, which was based on imagination and search of truth. Shiva, Vaishnava, Saktha, Yoga, Thattva songs fall under this section. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> + + ++ ++ + ++ + ++ + ++ + + ++ ++ + ++ + ++ + ++ + + ++ ++ + ++ + ++ + ++ kooTa laaTi kooTa jagatiloo ee kooTa leedu veyyi burujula koo Tayee unadi egiri pooyee guRRamu nnadi veLLi pooyee baaTa yunnadi konDa na Duma konga yunnadi konga mukkuloo lookamunnadi </pre> <h2>Hymns and Ritual songs: Festival songs </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Hymns are songs of praise, aimed at supernatural powers or Gods and Goddess. Tribals and rural agricultural masses sing innumerable songs for fulfilling the worldly desires like prosperity, welfare of one and all, fertility, motherhood, health and asking favour of nature in carrying on their daily duties and occupations. Ritual songs are sung at different states and situations of religious activities that are customary and traditional. Belief and superstition are part of it. And festival songs are joyful songs sung during festivals of folk culture and celebrations. All these songs are sung either in individual or in group. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Ritual song is folk in nature in having  Elalu (Ardha chandrikas, Dhavala Shobhana) and classical in nature in having Marati metrical forms like Gajal, Dora (Parsi origin), Kandas, Kandardhaseesas, Daruvu and Kirtanas. </p> <h2>Folk Drama </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> The performing art (Folk-Drama or Byalata or Nataka) is a composition of music, dance and action. Folk-drama, popular drama and sophisticated Natak are the gradual advanced stages of the primitive Folk Drama. It primarily relies on dialogue to establish its meaning, tells a story through the combination of characters and their action, and give amusement and enlightenment to public. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In olden days, this performing art was played in tribal and rural areas. They were played either in open air or at common meeting places, by the characters of same community, on occasion of festivals and celebrations. In popular drama which is the offspring of folk drama, characters and audience are not of the same community but of different places, communities and social status. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In the beginning these were exhibited as part of religious or ceremonial cult for the welfare of tribes, for the favour of deities and to placate the spirit of evil. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> In folk-drama, the Director (Sutradhara) plays the main role in selecting the characters and implementing the traditional ways. He is the main person to coincide the unity among the actors and audience. The role of juggler in popular dramas and folk dramas differ from the classical dramas. In classical drama, Juggler or Vidushaka is a character created for humour purpose and is helpful to the main character. But in folk and popular plays the juggler (or Kethigadu) plays not only a humorous role but also establishes rapport with the villagers, as their spokesman on different current topics. Hidden humour is lively and spontaneous. He produces a fellow-felling among the actors and audience by his talent. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Veedhi Natakam, Bayalu Natakam, Kuchipudi Bhagavatha mela, Burra Katha, Paagati Veshagandru, Yakshagana, Puppet show are some of the popular folk performances. Bahurupulu, Velakamu, Golla Suddulu, Bhama Kalapamu, Tandana Katha, Jamukala Katha are some other varieties. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Dasavatara is a performing art of Maharashtra, which has entered Andhra Pradesh some hundred years ago. </p> <h2>LULLABIES </h2> <h2>Children songs </h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Lullaby is the quiet song intended to lull a child to sleep. Songs for waking the child and songs to console them also come under this type. Each and every mother irrespective of social status used to sing lullaby in olden days. Imagery, poetic talent, melody and creativity are unparalleled in these songs Lullabies usually sound devotional and philosophic, revealing the specific nature of Indian culture. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> A culture of lullabies is reveled in Sri Tekumalla Komeshwara Rao s  Patha patalu [old songs] and Sri Nedunuri Gangadharan s  Selayeru . </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Children songs are of two types, songs sung by adults for childrens amusement and the other type is the song sung by children themselves during the playtime and other occasions. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> ++ ++ + ++ ++ + ++ ++ ++ ++ + ++ ++ + ++ ++ joo acyutaananda joo joo mukundaa raa ra paramaananda laaligoovindaa joo joo is famous lullaby in A.P. ++ ++ + ++ ++ + ++ ++ ++ ++ + ++ ++ + ++ ++ ++ ++ + ++ ++ + ++ ++ ++ ++ + ++ ++ + ++ ++ ammaNNi kannullu tammi puvvullu tammi puvvula looni kamma tee nellu cinnaari kaLLalloo kanniiTi jallu kanniiru juu pakee karugu neDadallu vaanaa naana vallappa ceetulu caacu cellappa tirugu tirugu immappa tiraga leenu narasappa It is the song sung during rainfall. + ++ + + ++ ++ ++ + ++ + + ++ + + ++ ++ ++ + ++ + + ++ + + ++ ++ ++ + ++ + + ++ + + ++ ++ ++ + ++ + + ++ + + ++ ++ ++ + ++ + guDu guDu guncem gunDee raagam okkaa ooceliyaa renDani reeguLLu muuDu mutyaalu naalgu nandannu piTTamma piTTa eemi piTTa cilakapiTTa Eemi cilaka telupu cilaka </pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Imagery, poetic talent, melody and creativity are unparalleled in these songs Lullabies usually sound devotional and philosophic, revealing the specific nature of Indian culture. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> A culture of lullabies is revealed in  Patha patalu [old songs] by Sri Tekumalla Komeshwara Rao and Sri Nedunuri Gangadharan s  Selayeru . </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> + + ++ + + + + + ++ + + + + + ++ + + + + + ++ + + + taarangam taarangam taanDava krushNaa taarangam veeNuu naathaa taarangam venkaTa ramaNa taarangam Mothers sing the following song while feeding their kids + + ++ + + + + ++ + ++ + + ++ + + + + ++ ++ ++ candamaama raavee jaabilli raavee konDekki raavee googu puulu teevee Children sing songs at their playtime. They are humorous, enthusiastic, thoughtful and educative. </pre> <h2>KIRTAN/BHAJAN*</h2> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Kirtan/Bhajan fall in the division of spiritual and devotional songs. Devotion (Bhakti) is the easiest way to attain the grace of God. Thousands of poets belonging to Bhakti cult have propagated  Bhakti Marga in India. Shiva, Vaishnava and other cults of  Bhakti developed Bhajanas and Kirtanas. Alvarus, Meera, Thukaram, Chaitanya, Bhakta Rama Dasu, Thallapaka poets and thousands of other poets have written Bhajans and Kirtans in their regional languages and Sanskrit. Telugu Devotional Literature is impressed by Marathi, Bengali and other South Indian songs. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Bhajanas and Kirtanas are written by literates and scholars respectively, and so they are differentiated from primitive folk music. Bhajanas are advanced form of padas, where as Kirtanas are more advanced form of Devotional songs. They are sung individually or in group either in dancing style or in sitting position. Sometimes they are accompanied with simple musical instruments. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Thyagaraja, Annamaiah, Kshetraiah, Dasu Sree Ramulu are the most eminent Kirtana writers in Telugu literature. Bhajanas and Kirtanas serve greater part in other genre like Harikatha, Yakshagana and Kolata, Chekka Bojara etc. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> As our style of living is rapidly changing, culture of arts like Bhajanas slowly disappearing, though the universities are taking measures to preserve them. And through TVs and cinemas kirtanas and classical music are sheltered and presumed. Devotional groups were there in villages in olden days. They used to ring Bhajanas in streets or at temples in he early mornings or at early nights. [Chirathas, chittitalas, are the musical instruments] Minstrels, Haridasas, Jangams are individuals who propagated them. Rama Dasa Bhajans, Panduri Bhajans are very famous among the villagers. A very good collection Bhajanas in print has been available since two hundred years. Kancherla Gopanna, Thumu Nrisimha Dasu, Parankusha Dasu are famous Bhajana writers. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Bhajanas possess natural simplicity and the glow of human heart. They are not the product of the most intellectual mind of elite musicians but conveniently framed devotional songs of people. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> Some kirtanas possess the qualities of written classical literature and are sophisticated musical songs. </p> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> However popular Kirtanas of famous writers possess the ease of Bhajanas and are traditionally nurtured by rural masses. Kirtanas require more musical knowledge and more instrumental involvement and are nearer to middle upper and upper class people. It is note worthy to say that Rama Dasa s Bhajanas and Kritanas are a bridge way between the two types of devotional songs. </p> <pre class="pretag" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> + ++ ++ ++ ++ ++ ++ ++ + + ++ ++ ++ ++ ++ ++ ++ + + ++ ++ ++ ++ ++ ++ ++ + + ++ ++ ++ ++ ++ ++ ++ + sriiraama naamamu maruvaam maruvaamu siddhamu yamunikki veruvaam veruvaam takkuveemi manaku raamuDu okka DunDu varaku srii raama nii naamameemi rucciraa eemiruci eemiruci eemiruci raa </pre> <p class="MsoBodyText" style="margin-left:.4in;text-indent:.5in;margin-top:0in;margin-bottom:.2in;"> * Bhaj- a Sanskrit word means to serve and Bhajana means a song, rendering service to God; Kirtan means to praise God in a little musical literary form. </p> <p align="Right"> </p> <a name="bottom"></a> </div> <p align="Right"> </p> <a name="bottom"> </a> </div> <p align="right" ><a href="#top" ><img src="../images/arrT2.gif" border="0" ALT="Top"><br><b>top</a></p> <hr> <p align="center" style="margin-top:.01in;margin-bottom:.2in;"><b><font face="Verdana" size="1" color="#000000"> Copyright CIIL-India Mysore</b></p> <br> </body> </html>