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[[hi:तेलुगू साहित्य]]
[[hi:तेलुगू साहित्य]]
[[sa:तेलुगु साहित्यं]]
[[kn:ತೆಲುಗು ಸಾಹಿತ್ಯ]]
[[kn:ತೆಲುಗು ಸಾಹಿತ್ಯ]]
[[te:తెలుగు సాహిత్యము]]
[[te:తెలుగు సాహిత్యము]]

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The Telugu literature or Telugu Sahityam (Template:Lang-te) is one of the most precious possessions of the literary products of India. Telugu literature is rich reserve of poems, stories, dramas and puranas. It flowered in the early 16th century under the Vijayanagar empire, of which Telugu was the court language.

Telugu separated from proto-dravidian around 1500-1000 BCE along with parji, kolami, nayaki and gadaba languages. Even though it still retains some of the primitive Dravidian characters, it is heavily influenced by Sanskrit and Prakrit.[1] Another school of thought is that Telugu is Vikriti, that is a language formed by modification of Sanskrit and Prakrit. Apparently Andhras adopted a form of Prakrit which, in course of development, became the immediate ancestor of Telugu literature.[2] Literary texts in Telugu may be lexically Sanskrit or Sanskritized to an enormous extent, perhaps seventy percent or more[3] and every Telugu grammatical rule is laboriously deduced from a Sanskrit canon.[4] Hence Sanskrit and its vocabulary influenced Telugu literature a great deal. Sanskrit and Telugu alphabets are similar and exhibit one-one correspondence. Best Sanskrit pronunciation can be heard from scholars residing in the coastal districts of Andhra Pradesh as a result of huge influx of Sanskrit in language and literature and is quite evident in Carnatic music compositions of Telugu songs.

There is no available literature before the eleventh century CE.[2] All the inscriptions before this period are either sanskrit or prakrit.[2]

Alphabets

All the Telugu alphabets are carved out of a circle.

Literary Telugu has complete set of letters which follows scientific system to express sounds.[5] It is highly conducive for Phonetics. It has more letters than any Indian language. Some of them are introduced to express fine shades of difference in sounds.[5]

Telugu has full-Zero or anusvāra( ం ), half-zero or arthanusvāra or Chandrabindu (ఁ) and Visarga to convey various shades of nasal sounds. la and La, ra and Ra are differentiated.[5]

Telugu has CH and JH which are not represented in Sanskrit, and S, SH, and KSH which are not found in Tamil.[5]

Telugu script can reproduce the full range of Sanskrit phonetics without losing any of the text's originality.[5] Telugu has made its letters expressive of all the sounds and hence it has to deal with significant borrowings from Sanskrit, Tamil and Hindustani.[5]

Sources

Poem Prologue

Telugu follows sanskrit model here. It is customary for Telugu poets to give brief description of writer, history of the king to whom the book is dedicated, names of the books he published in a chronological order. This gives valuable historic information.[6]

Inscriptions

From the inscriptions, we can draw detailed information about history and chronology of the events referred in the poems.[6]

Grammars and Anthologies

There are several grammars, treatises and anthologies which give illustrative stanzas from those poets.[6]

Lives of poets

We can also get great deal of historic information from lives of poets and the traditions that they followed.[6]

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The Material of the Literature

The substance of Telugu literature is predominantly religious. Poets and scholars drew most of their material from epics such as Ramayana, Mahabharata, Bhagavata and Puranas which are considered as storehouse for Indian culture.[7]

Scholars spent most of their time and effort on translation of epics.[7]

From sixteenth century onwards, rarely known episodes from puranas are made basis for kavyas. Literary works drawn from episodes of puranas under the name Akhyana or Khanda became popular along with fortunes of single hero under the title of Charitra, Vijaya, Vilasa and Abhyudaya became most common subject matter of poetry.[7]

In eighteenth century, marriages of heroes under the title Parinaya, Kalyana and Vivāha became popular.[7]

Religious literature consisted of biographies of the founders of religion, their teachings (Sara) and commentaries(bhashya).[7]

The sciences such as astrology, law, grammar, ballets, moral aphorisms, devotional psalms are characteristics of most popular literature.[7]

Forms of literature

Below are various forms of literature

A Prabhandam can be of three types, viz., Prakhyatam, Utpadyam, Misramam (famous story, purely fictional story, mixed story). Astadiggajas have written in all the three genres during the Prabhanda yugam.

Telugu literature uses a unique expression in verse called Champu. Champu is mixture of prose and poetry. On a contrary Tikkana composed Uttara Ramayana completely in verse eliminating prose altogether. However, Champu continued to be dominant literary form.[8]

Since Champu Kavyas/Prabhandas were beyond the comprehension of masses, the new vehicles for dissemination of knowledge among the people were found in Dvipada and Shataka literature styles. Dvipada means two feet(Couplet) and Shataka means hundred(a cento of verses).[9] (Popular shatakas: Sarveshvara shataka, Kalahastishvara shataka , Dasarathi Shataka)

There are some Shatakas which are divided in to ten groups of ten verses called Dasaka which is adopted from Prakrit.[10]

Avadhanam is a literary performance popular from the very ancient days in Sanskrit and more so in Telugu (అవధానం)and Kannada languages. It requires immense memory power and tests a person's capability of performing multiple tasks simultaneously. All the tasks are memory intensive and demand an in depth knowledge of literature, and prosody. The number of Prucchakas can be 8 (ashtavadhanam) or 100 (shathavadhanam) or even 1000 (sahasravadhanam)! A person who has successfully performed Ashtavadhanam is called as Ashtavadhani, a shatavadhanam is called a Shatavadhani and sahasravadhanam is called Sahasravadhani.

Author's craft

Praudha Prabandha or Maha Kavya is considered as highest form of verse. The essentials of such a composition according to the Telugu poetic theory are

1) Saili (Style)
The words chosen neither soft nor very musical but dignified(Gambhira), Sweetness(Madhurya), Grace and Delicacy (Sukumara), Fragrance (Saurabhya) and Symphony. In choice of vocabulary, Vulgar language(Gramya) is avoided.[8]

2) Ṕaka (Mould)
Paka refers to encasement of idea in language, and nature and texture of the language employed. There are 3 types of pakas namely
Draksha(wine or grape): Draksha is a crystal clear style where everything is seen through a transparent medium. Mostly Nanniah uses this mould.[8]
Kadali (Plantain): Kadali is complex paka because the soft skin has to peeled in order to reach the core of the subject. Mostly Tikkana uses this mould.[8]
Narikela (coconut): Narikela is the most difficult mould to employ because one has to break the rind to understand the idea. Vishnu Chittiyam or Krishnadevaraya are cast in this paka.[11]

3) Rasa (Sentiment)
Rasa is heart and soul of any Telugu poetry which follows rule (Sutra), "Vakyam Rasathmakam Kavyam".
There is 9 Rasas called Nava Rasas[11] namely
a)śṛṅgāra (love),
b)Hāsya (Comic),
c)Karuṇā (Sympathy),
d)Raudram (Horror),
e)Bhayānaka (Fear),
f)Bībhatsa(Disgust),
g)Vīra(Heroic),
h)Adbhuta (wonder),
i)Shantam (Peace).
A perfect kavya employs all 9 Rasas.

4) Alamkara (Ornamentation)
There are Sabdhalamkaras(Ornaments of Sound) and Arthalamkaras (ornaments of Thoughts).Slsha(double entendre) and Yamaka(alliteration) are Sabdhalamkaras. Upamana(smile) Utpreksha(Hyperbole) are Arthalamkaras.[11] We find usage of Alamkaras in description of events, places and proceedings etc..

General Form of Kavya

Telugu poets begin the poem with short prayer called Prarthana containing initial auspicious letter "Shri" which invokes the blessings of the god.[11] The occasion and circumstances under which the work is undertaken is next stated. This Practice is quite evident in Tikkana's compositions.[11]

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Early'

Nannaya Bhattarakudu’s Andhra Mahabharatamu, produced around the 11th century, is commonly referred to as the first Telugu literary composition (aadi kaavyam). Although there is evidence of Telugu literature before Nannaya, he retains the epithet Aadi Kavi (or, "the first poet"), because he was the first poet to establish a formal grammar of written Telugu. Nannaya meticulously laid down the "ground rules" and semantics of writing in Telugu, by both borrowing from Sanskrit grammar as well as inventing original rules. Telugu literature, until then, was Prakrit-based and without any grammar. Nannaya was only able to finish the first two chapters and a part of the third chapter of the Mahabharata. This work, which is rendered in the Champu style, is so chaste and polished and of such a high literary merit.

It is a myth that the pre-Nannaya literature (probably Jain) was deliberately destroyed by the Bramhical movement called Vaidiki Movement. This argument that the Jain literature was destroyed by Brahminical jealousy doesn't have historical confirmation. Even if true, it is not enough to explain the disappearance of an extensive literature without leaving any traces behind. In the period 500-1100 CE, Telugu was confined to the poetic works and flourished in the courts of kings and among scholars. This period also saw the translation of Ganitasara, a mathematical treatise of Mahivaracharya, into Telugu by Pavuluri Mallana. The real development of Telugu began during the period 1100—1600 CE when the language got stylized and rigid.

Andhra Mahabharatamu was later continued by Tikanna Somayaji (1205–1288) who wrote all the remaining chapters (4 - 18) where Nannaaya left. Yerrapragada (fourteenth century) finished the epic by completing the remaining part of the third chapter. He masterfully[peacock prose] mimics Nannaya's style in the beginning, slowly changes tempo and finishes the chapter in the writing style of Tikkana. Nannaya, Tikanna and Yerrapragada are known as the Kavitraya (or, 'Three Great Poets') of Telugu for this mammoth[peacock prose] effort. Other such translations like Marana’s Markandeya Puranam, Ketana’s Dasakumara Charita, Yerrapragada’s Harivamsam followed. Many scientific[relevant?] works, like Ganitasarasangrahamu by Pavuluri Mallana and Prakirnaganitamu by Eluganti Peddana, were written in the 12th century.[12]

Sumati Shatakam (Telugu: సుమతీ శతకము) is one of the most famous Telugu Shatakam. It is a neeti (moral) Shatakam. shatakam is composed of more than a 100 poems(padyalu). According to many literary critics Sumati Shatakam was reputedly composed by Baddena Bhupaludu (CE 1220-1280). He was also known as Bhadra Bhupala. He was a Chola prince and was a Vassal under the Kakatiya empress Rani Rudrama Devi during the thirteenth century. He was a pupil of Tikkana, the greatest writer in Telugu. If we assume that the Sumatee Shatakam was indeed written by Baddena, it would rank as one of the earliest Shatakams in Telugu along with Vrushadhipa Satakam of Palkuriki Somanatha and Sarveswara Satakam by Yathavakkula Annamayya. The Sumatee Shatakam is also one of the earliest Telugu works to be translated in to European languages. C. P. Brown rendered it in English in the 1840s.

Srinadha (Template:Lang-te) (1365–1441) was a well known 15th century Telugu poet who popularised the Prabandha style of composition.[13] Sirnatha worked as a minister in the court of Pedakomati Vemareddy of Kondaveedu. Srinatha wrote Manucharitra, Salivahana Saptasati, Panditaaradhyacharita, Sivaratri Mahatyam, Harivilasa, Bhimakanda, Kashikhandam, Shringara Naishadham, Palanati Veeracharitra, Dhananjaya Vijayam, Sringaradipika and Kridabhiramam over the subjects of history and mythology. Prabandha can be described as a story in verse form with a tight metrical structure. Srinatha's Srungara Naishadhamu is a well-known example of the form.[14] Srinatha was widely regarded as the Kavi Sarvabhowma (The emperor among poets).

Bammera Potanaamatya (Template:Lang-te) (1450–1510) was an Indian Telugu poet best known for his translation of the Bhagavata Purana from Sanskrit to Telugu. He was a Telugu and Sanskrit Scholar.[15] His work, Andhra Maha Bhagavatamu, is popularly called as Pothana Bhagavatham in Telugu.[16] Bammera Potanamatya was born into a Niyogi Brahmin family in Bammera Village. He was considered to be a natural Poet (sahaja Kavi), needing no teacher. At an early age he wrote Bhogini Dandakam a poem wrote in praise of king Sri Singa Bhoopala’s concubine Bhogini. This was his first poetic venture which had the seeds of his great poetic talents. Bhogini Dandakam is the earliest available Dhandaka (rhapsody which uses the same gana or foot all through) in Telugu.[17] His second work was Virabhadra Vijayamu which describes the adventures of Lord Virabhadhra, son of Lord Shiva. The main theme was the destruction of a yagna performed in absence of Lord Shiva by Daksha Prajapati. As a young man, he was a devotee of Lord Shiva. Later, Potana became a devotee of Lord Rama and more interested in salvation. His conversion from Shaivism to Vaishnavism was triggered by an incident. One early morning during a lunar eclipse, on the banks of river Godavari, Potana was meditating on Lord Shiva. At that auspicious moment, Lord Rama appeared dressed like a king and requested Potana to translate Bhagavatam into Telugu and dedicate it to Him. This inspired him to translate Vyasa’s Sanskrit.

Sri Tallapaka Annamacharya (Telugu: శ్రీ తాళ్ళపాక అన్నమాచార్య) (or Annamayya) (May 9, 1408 – February 23, 1503). He is widely regarded as the Pada-kavita Pitaamaha of the Telugu language.[18] He is born in Vaidiki Velanadu Brahmin family. Annamayya's compositions are considered to have dominated and influenced the structure of Carnatic music compositions. Annamacharya is said to have composed as many as 32,000 sankeertanas (songs) on Bhagwaan Govinda Venkateswara,[19] of which only about 12,000 are available today. His keertana compositions are based on the Vishishtadvaita school of thought. Annamayya was educated in this system of Ramanuja by Sri Sathagopa Yateendra of the Ahobila matham.

Annamacharya's wife, Tallapaka Tirumalamma or Thimmakka (Telugu: తాళ్ళపాక తిరుమలమ్మ) (15th Century),[20] had written Subhadra Kalyanam, and is considered the first female poet in Telugu literature. Timmakka's main work, Subhadra Kalyanam with 1170 poems, is about the marriage of Arjuna and Subhadra, characters in Hindu epic Mahabharata. She presented the Telugu nativity and culture in the story taken from Sanskrit epic.

Kumaragiri Vema Reddy popularly known as Vemana (Template:Lang-te) was a 14th century Telugu poet. His poems were written in the popular vernacular of Telugu, and are known for their use of simple language and native idioms. His poems discuss the subjects of Yoga, wisdom and morality. He is popularly called Yogi Vemana, in recognition of his success in the path of Yoga. There is no consensus among scholars about the period in which Vemana lived. C.P. Brown, known for his research on Vemana, estimates the year of birth to be the year 1352 based on some of his verses. Vemana composed numerous poems in the vernacular of Telugu. His poems are four lines in length. The fourth line is, in majority of the cases, the chorus Viswadabhirama Vinura Vema - he thus conveyed his message with three small lines written in a simple vernacular. He traveled widely across south India, acquiring popularity as a poet and Yogi. People really took to Vemana's poems owing to their simple language and sweet message. So high was the regard for Vemana that a popular Telugu saying goes 'Vemana's word is the word of the Vedas'. He is celebrated for his style of Chaatu padyam, a poem with a hidden meaning. Many lines of Vemana's poems are now colloquial phrases of the Telugu language. They end with the signature line Viswadhaabhi Raama, Vinura Vema, literally Beloved of Vishwadha, listen Vema. There are many interpretations of what the last line signifies.

Allasani Peddana (Template:Lang-te) (15th and 16th centuries CE) was a famous Telugu poet and was ranked as the foremost of the Astadiggajalu the title for the group of eight poets in the court of King Krishnadevaraya, a ruler of the Vijayanagara Empire. Peddana was a native of Somandepalli near Anantapur.[21] Allasani Peddana wrote the first major Prabandha, a form of fictional poetry in Telugu, and for this reason, he is revered as Andhra Kavita Pitamaha (literally the grand father of Telugu poetry). It is believed that he was also a minister in the king's court and is hence sometimes referred as Peddanaamaatya (Etymology: Peddana + Amaatya = Peddana, the minister). His famous work was Swaarochisha Manu Sambhavam (also known as Manu Charitra). This work is the development of an episode in Markandeya Puranam relating to the birth of Svarochishamanu, who is one of the fourteen Manus. Pravarakyudu is a pious Brahmin youth who goes to Himalayas for Tapasya. In Himalayas Varudhini, a Gandarava girl falls in love with him, but Pravarakyudu rejects her love. Knowing this a Gandarava youth who was earlier rejected by Varudhini assumes the form of Pravarakyudu and succeeds to win her love. To them is born Svarochisha, the father of Svarochishamanu.[22] The theme for his Manu Charitra is a short story from Markandeya Purana. It is about second Manu of fourteen manus (fathers of mankind societies according to Hindu mythology), translated into Telugu from Sanskrit by Marana (1291–1323),[23] disciple of Tikkana. The original story was around 150 poems and Peddana extended into six chapters with 600 poems by adding fiction and descriptions. His work was treated as one of the Pancha Kavyas, the five best works in Telugu. Some of his other famous works such as Harikathaasaaramu are untraceable now.

Middle'

Dhurjati or Dhoorjati (Template:Lang-te) (15th and 16th centuries, CE) was a Telugu poet in the court of the king Krishnadevaraya and was one of the astadiggajalu. He was born to Singamma and Narayana in Sri Kalahasti and was the grandson of Jakkayya. He was a great devotee of lord Shiva, also known as Kalahasteeshwara. His works are to the praise of the God Shiva. His famous works include Sri Kalahasteeshwara Mahatyam (The grace/miracles of lord Shiva) and Sri Kalahasteeshwara Shatakam (100+ poems in the praise of lord Shiva). He was known as Pedda Dhurjati (Elder in Telugu) Dhurjati as there were four other people from the same family line who went by the name of Dhurjati during the same period and after him. His grandson Venkataraya Dhurjati wrote Indumati Parinayam(marriage of Indumati), a story from Kalidasa's Raghuvamsam. Like other contemporaries during Prabhanda period, he has taken themes from Puranas and added local stories and myths in his work. Unlike his contemporaries like Peddana and Mallana, who have chosen the stories of kings for their works, he choose devotion as the theme of his fiction. Krishnadevaraya has praised Dhurjati in the following way "Sthuthimathi yaina Andhrakavi Dhurjati palkulakelagalgeno yethulitha madhuri mahima...." (How is Dhurjati's poetry so immeasurably beautiful)[24]

Similarly Nandi Thimmana, Madayyagari Mallana and Ayyalaraju Ramabhadrudu rendered great literary works during this period.

Literary activities flourished during the rule of the Vijayanagara dynasty. Krishnadevaraya’ s time (sixteenth century ) is considered the golden age of Telugu literature. King Krishnadevaraya, a poet himself, introduced the Prabandha (a kind of love poetry) in Telugu literature. Amukta Malyada. Sri Krishna Deva Raya wrote the book Amuktamalyada in Telugu, beautifully describing the pangs of separation suffered by Sri Andal (incarnation of Mother Goddess Sri Mahalakshmi venerated as Sri Bhoomi Devi, the Goddess of Earth and the divine consort of Almighty Sriman Narayana)Andal (one of the twelve bhakti-era alwars) for her lover Lord Vishnu. He describes Andal’s physical beauty in thirty verses; using descriptions of the spring and the monsoon as metaphors. As elsewhere in Indian poetry - see Sringara - the sensual pleasure of union extends beyond the physical level and becomes a path to, and a metaphor for, spirituality and ultimate union with the divine.His court had the Ashtadiggajas (lit. "eight elephants"), who were known to be the greatest of poets of that time. Some critics dismiss the following period, dominated by prabandhas, as a decadent age. Of the dozens of works of the eighteenth- to mid-nineteenth century, Kankanti Paparaju’s Uttara Ramayana in campu style, and the play Vishnumayavilasa stand out. Other genres bloomed at the same time. Yakshaganas, indigenous dramas of song and prose, were also produced.

Garlapati Tenali Ramakrishna(Template:Lang-te) , popularly known as Tenali Rama and Vikata Kavi, was a court-poet of the Vijayanagara Empire in the 16th century . He was one of the Ashtadiggajas who belonged to the court of Krishnadevaraya in Vijayanagar.His family had originally hailed from Tumuluru near Tenali in Guntur District.Scholars treat his famous work Panduranga Mahatyamu as one among the Pancha Kavyas. He has dedicated Panduranga Mahatyam to Viruri Vedadri.[25] This book is about the Pundarika Kshetram on the banks of river Bhaimi and its legend. He also composed Udbhataradhya Charitram on the story of Udbhata, a monk, as well as Ghatikachala Mahatyam about Ghatikachalam, a place of worship for God Narasimha near Vellore. He followed the Prabhanda style. He took the theme for Panduranga Mahatyam from the Skanda Purana and enhanced it with many stories about the devotees of God Vitthala (Panduranga). He is noted for brilliance and wit and for mocking other poets and great personalities. He created a celebrated character called Nigama Sarma akka (sister of Nigama Sarma) and a story around her without giving her a name. He also had written many Chatuvu (extempore poems).

Kshetrayya or Kshetragna (c. 1600–1680 CE) (Template:Lang-te) was a prolific Telugu poet and composer of Carnatic music. He lived in the area of Andhra Pradesh in India. He composed a number of padams and keertanas, the prevalent formats of his time. He is credited with more than 4000 compositions, although only a handful have survived. He composed his songs on his favourite deity Krishna (Gopala) in Telugu.He perfected the padam format that is still being used today. His padams are sung in dance (Bharatanatyam and Kuchipudi) and music recitals. A unique feature of his padams is the practice of singing the anupallavi first then the pallavi (second verse followed by first verse). Most of the padams are of the theme of longing for the coming of the lord Krishna. He wrote with Sringara as a main theme in expressing madhurabhakti (devotion to the supreme). Sringara is a motif where the mundane sexual relationship between a Nayaki (woman) and a Nayaka (man) is used as a metaphor, denoting the yearning of jeeva (usually depicted as the Nayaki) to unite with the divine (usually depicted as the man). In most of his compositions, Kshetrayya has used the mudra (signature) "Muvva Gopala" as a reference to himself, which is also a name for the Lord Krishna in Kshetrayya's village Muvva, now called as Movva. Kshetrayya's work has played a major role in influencing poetry, dance, music of the South Indian tradition. Kshetrayya was intimately connected with the devadasi women of the temples of south India, who were the subject of many of his compositions. The devadasis were traditionally in possession of the musical/poetic interpretations of his work for a long period of time till the devadasi system was abolished and the compositions became more accepted in the musical community as valuable works of art. The musical community also owes a lot to Veena Dhanammal and T. Brinda, who popularized Kshetrayya's songs with their beautiful musical interpretation.Kshetrayya's padams now form an integral part of the dance and musical traditions of South India, where his songs are rendered purely as musical works or as accompaniments to dance.

Kancherla Gopanna (Template:Lang-te) (c 1620 - 1680 CE), popularly known as Bhadradri Ramadasu or Bhadrachala Ramadasu(Template:Lang-te), was a 17th century Indian devotee of Rama and a composer of Carnatic music.[26] He is one among the famous vaggeyakaras (same person being the writer and composer of a song) in the Telugu language. His devotional lyrics to Rama are famous in South Indian classical music as Ramadaasu Keertanalu. Even the doyen of South Indian classical music Saint Thyagaraja learned and later improved the style now considered standard krithi form of music composition.He also written Dasarathi Shatakamu a collection of nearly 100 poems dedicated to the son of Dasaratha (Lord Rama).

Tyagaraja (1767–1847) of Tanjore composed devotional songs in Telugu, which form a big part of the repertoire of Carnatic music.In addition to nearly 600 compositions (kritis), Tyagaraja composed two musical plays in Telugu, the Prahalada Bhakti Vijayam and the Nauka Charitam. Prahlada Bhakti Vijayam is in five acts with 45 kritis set in 28 ragas and 138 verses, in different metres in Telugu. Nauka Charitam is a shorter play in one act with 21 kritis set in 13 ragas and 43 verses. The latter is the most popular of Tyagaraja's operas, and is a creation of the composer's own imagination and has no basis in the Bhagavata Purana. Often overlooked is the fact that Tyagaraja's works are some of the best and most beautiful literary expressions in Telugu language. Valmiki composed the Ramayana, the story of Rama, with 24,000 verses and incidentally Tyagaraja also composed 24,000 kritis in praise of the lord.

Charles Philip Brown (1798–1884), was an employee of the East India Company who, in a quest to understand the basic structure of the Telugu language, embarked upon an exhaustive study of Telugu literature. His pursuit is said to be responsible for bringing to attention what are now considered popular works of Telugu literature but were, until then, neglected. [clarification needed] The first book in Telugu was printed in 1796,[clarification needed] well before the modern period in Telugu literature. Young Telugu speakers of the time, acquainted with English literature and influenced by Shelley, Keats and Wordsworth, would produce a new type of romantic poetry called the Bhavakavithwam.

Paravasthu Chinnayasuri(1807–1861) wrote Baala Vyaakaranamu in a new style after doing extensive research on Andhra Grammar[clarification needed] which is his greatest gift [peacock prose] to Telugu people. Other notable works of Chinnayasuri include Neeti Chandrika, Sootandhra Vyaakaranamu, Andhra Dhatumoola and Neeti Sangrahamu. Chinnayasuri translated Mitra Labham and Mitra Bhedam from the Sanskrit Panchatantra as Neeti Chandrika. Kandukuri Veeresalingam and Kokkonda Venkataratnam followed his style of prose writing and wrote Vigrahamu and Sandhi in a different pattern.[clarification needed]

Modern or Adhunika Sahityam'

Modern Asian literature

Kandukuri Veeresalingam (Telugu: కందుకూరి వీరేశలింగం) (also known as Kandukuri Veeresalingham Pantulu (Telugu: కందుకూరి వీరేశలింగం పంతులు)), (16 April 1848 - 27 May 1919) was a social reformer of Andhra Pradesh. He was born in an orthodox Andhra Brahmin family. He is widely considered as the man who first brought about a renaissance in Telugu people and Telugu literature. He was influenced by the ideals of Brahmo Samaj particularly those of Keshub Chunder Sen. Veeresalingam panthulu is popularly called Gadhya Thikkana.[27] He wrote about 100 books between 1869 and 1919[28] and introduced the essay, biography, autobiography and the novel into Telugu literature[29] His Satyavathi Charitam was the first social novel in Telugu. He wrote Rajasekhara Charitamu inspired by Oliver Goldsmith’s The Vicar of Wakefied. To him literature was an instrument to fight social evils.

Mangalampalli Balamurali Krishna (Template:Lang-te) Audio file "bala.ogg" not found (born July 6, 1930) is a Carnatic vocalist, multi-instrumentalist and a playback singer. He is also acclaimed as a poet, composer and respected for his knowledge of Carnatic Music. Balamuralikrishna was born in Sankaraguptam, East Godavari District, Andhra Pradesh state.[30] Dr Balamuralikrishna has composed over 400 compositions in various languages like Telugu and Sanskrit. His compositions ranges from Devotional to Varnams, Kirthis, Javalis and Thillans. His greatest achievement are the compositions in all the fundamental 72 melakartha ragas.

Aacharya Aatreya ((Template:Lang-te)) or Kilambi Venkata Narasimhacharyulu pronunciationⓘ (7 May 1921 - 13 September 1989) was a playwright, lyrics and story writer of the Telugu film industry.[31] He was born as Kilambi Venkata Narasimhacharyulu on 7 May 1921 in the Mangalampadu village of Sullurpeta Mandalam in the Nellore district of Andhra Pradesh. His pen name is based on their family Gothra. Known for his poetry on the human soul and heart, he was given the title 'Manasu Kavi'(Poet of Heart). His poetry is philosophical and intellectually satisfying. Such can be seen in Aathreya's lyrics has they made people weep due to the deep meaning in his lyrics.

Veturi Sundararama Murthy (Template:Lang-te, 29 January 1936 – 22 May 2010), popularly known as Veturi, was a Telugu writer mostly popular for his film songs. His career in the Telugu film industry spanned more than four decades.[32] Veturi was born in his mother's hometown, Kolluru, near Tenali of Guntur district, in an orthodox Telugu Brahmin's family on 29 January 1936.[33] His native place is Pedakallepalli near Mopidevi, in Diviseema of Krishna district, Andhra Pradesh.[34] His knowledge in classical Telugu poetry is evident from the figures of speech (alankaaraalu). In his songs, it can be observed that the same word is juxtaposed with different meanings. This is a figure of speech in Telugu known as yamakam (Template:Lang-te)). He was known to use a lot of classical objects in fresh similes. Objects like ponnacheTTu (Template:Lang-te), tyaagaraaja keertana (Template:Lang-te) (Tyagaraja's song), Rutuvulu (seasons), raagaalu (raaga-s) have all been used extensively in his songs.

Chembolu SeetaRama Sastry (born 20 May 1955) (popularly known as Sirivennela) is a Telugu poet, very popular for his film songs. He penned thousands of songs in Telugu language and still is a leading lyricist in the Telugu Films. He wrote a variety of songs ranging from classic poetry to the folk, he is famous for writing lyrics which are easy to understand/sing. He got several awards for his inspirational lyrics, most notable ones being Andhra Pradesh State Award for Best Lyrics six times.

Dr. Medasani Mohan. He performed many Astavadhanams, Satavadhanams ,a Sahasravadhanam and a Panchasaharsravadhanam i.e. answering five thousand Prucchakas. Besides being Avadhani he also heads the Annamacharya Project involved in uncovering, compiling, classifying and popularising Annamayya works at Tirumala Tirupati Devasthanam.

Dr. Nagaphani Sarma. He performed many Astavadhanams, Satavadhanams and also Sahasravadhanam. He performed avadhanams in both Telugu and Sanskrit languages. He also lead the Telugu Adhikara Basha Sangham.

Telugu Journalism

The general economic prosperity of the delta region afforded the establishment of schools and colleges, resulted in the spread of education and produced a western educated middle class. This was also coincided with the founding of various socio-religious organizations in the region like Veda Samaj, Deva Samaj, Hindu Sreyobhivardini Sabha and Arsha Mata Sabha (the influence of ongoing socio-religious reform movements in Bengal and Maharastra and the tours of these reformers to South India can be seen in this development). Madras centered Telugu press (originated in 1830s) began to shift to the delta region as the founders of these organizations (most of them were from western educated middle class, who were also founders of socio-religious organizations) attempted to spread the reformist ideas through the press. (Absence of these factors attests the very slow development of press in the dry zone). Thus there was a steady growth of journalism in the deltas from 1858 onwards.

Telugu journalism began with mainly religious, cultural and literary journals. The first Telugu journal was Satyodaya (Dawn of Truth) published in Madras by the Christian Association of Bellary. The early Telugu journals were in Sanskritised, highbrow literary Telugu. Some of them like Tatvabodhini, were started by the Ved Samaj to counteract missionary propaganda. Tatwabodhini became immensely popular after it serialized the Rig Veda. Other journals of this era are Ravi, Shriyakshi, Dina Vartamani and Purusharda Pradayani.

Rai Bahadur K. Veeresalingam Pantulu began the first modern journal in Telugu- Vivekavardhini- dedicated to social and language reform. Pantulu was a prominent social reformer who advocated ending of child marriage, casteism, prostitution. He also propagated rehabilitation of fallen women. Pantulu’s journals are credited with the development of popular Telugu prose. Pantulu also founded 3 journals for women- Sahitabodhini (Women’s Advocate), Haasyavardhini (Promoter of Laughter) and Satyavaadini (Advocate of Truth). Pantulu is considered to be the father of the Renaissance movement of Andhra.

Rajamundry, Cocanada, Bezawada, Machilipatnam, Amalapuram, Narasapuram became centers of journalism. Another early paper was Andhrabhasha Sanjivani, edited by Venkataram Pantulu, another social and religious reformer. The first news weekly in Telugu was Andhra Prakasika, published from Madras by A.P. Parthasarati Naidu. It supported the Congress Party.

Devagupta Seshachalrao started Deshabhimani- first as a fortnightly, then weekly, then bi-weekly and finally it became the first Telugu daily.

With this, foundations for the social and political leadership of delta area and dominance of coastal Telugu were laid. By early twentieth century every caste tried to reform its group by spreading progressive and rational ideas through caste journals. In the process, several caste groups got consolidated across the regions.

In the rise of consciousness of a separate Telugu identity and the demand for a separate Andhra State, Telugu press played a crucial role. Rising education brought about a new interest in modern Telugu literature and culture, which Telugus felt, was being suppressed by Tamilians. Therefore Andhra Brahmans and non-Brahmans together formed a sub-national movement to demand a separate State in which Andhra interests could be expressed.The organization of people on caste lines was also a new phenomenon and print was one of the factors which made it is possible. Thus the print, in the form of Journalism played an enormous role in the construction of identities on the basis of language, region, religion, and caste.

References

  1. ^ Telugu Bhasha charitra. Telugu Academy. p. 51.
  2. ^ a b c Chenchiah, P. (1988). A History of Telugu Literature. Asian Educational Services. p. 16. ISBN 8120603133. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  3. ^ Velcheru Narayana Rao; David Shulman, Classical Telugu Poetry (2 ed.), The Regents of the University of California, p. 3
  4. ^ Charles Philip Brown, A Grammar of the Telugu language, Kessinger Publishing, p. 266
  5. ^ a b c d e f Chenchiah, P. (1988). A History of Telugu Literature. Asian Educational Services. p. 18. ISBN 8120603133. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  6. ^ a b c d Chenchiah, P. (1988). A History of Telugu Literature. Asian Educational Services. p. 19. ISBN 8120603133. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  7. ^ a b c d e f Chenchiah, P. (1988). A History of Telugu Literature. Asian Educational Services. p. 33. ISBN 8120603133. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  8. ^ a b c d Chenchiah, P. (1988). A History of Telugu Literature. Asian Educational Services. p. 34. ISBN 8120603133. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  9. ^ Chenchiah, P. (1988). A History of Telugu Literature. Asian Educational Services. p. 97. ISBN 8120603133. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  10. ^ Chenchiah, P. (1988). A History of Telugu Literature. Asian Educational Services. p. 98. ISBN 8120603133. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  11. ^ a b c d e Chenchiah, P. (1988). A History of Telugu Literature. Asian Educational Services. p. 35. ISBN 8120603133. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  12. ^ P.T, Raju. A Telugu Literature. India: Onal Book House. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  13. ^ Novel on Srinatha's life
  14. ^ "Languages - Literature". aponline.gov.in. Retrieved 2007-01-06.
  15. ^ "A literary colossus". The Hindu. Chennai, India. 7 July 2003.
  16. ^ "TTD to release Potana Bhagavatam". The Hindu. Chennai, India. 20 January 2007.
  17. ^ P.T, Raju. A Telugu Literature. India: Onal Book House. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  18. ^ Source of his history: http://www.svasa.org/annamacharya1.html
  19. ^ "Annamayya preached oneness 600 years ago". The Hindu. Chennai, India. May 4, 2007.
  20. ^ "Annamacharya's 600th birth anniversary celebrated". The Hindu. Chennai, India. April 6, 2009.
  21. ^ Adluri, Seshu Madhava Rao (1998). "aShTadiggajamulu (Introduction)". mun.ca. {{cite web}}: Cite has empty unknown parameter: |coauthors= (help)
  22. ^ P.T, Raju. A Telugu Literature. India: Onal Book House. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  23. ^ Adluri, Seshu Madhava Rao (1998). "allasAni peddana". mun.ca. {{cite web}}: Cite has empty unknown parameter: |coauthors= (help)
  24. ^ Dhurajti
  25. ^ [1]
  26. ^ "Bhakta Ramadas staged". The Hindu. Chennai, India. 2 September 2005.
  27. ^ History of Kandukuri Veeresalingam
  28. ^ Vundavilli at www.vundavilli.com
  29. ^ Natarajan, Nalini and Emmanuel Sampath Nelson, editors, ' 'Handbook of Twentieth-century Literatures of India' ', Chapter 11: "Twentieth-Century Telugu Literature" by G. K. Subbarayudu and C. Vijayasree' ', pp 306-328, retrieved via Google Books, January 4, 20089
  30. ^ Mangalampalli can't wait to come home
  31. ^ "Acharya Athreya". IMDB. Retrieved 2006-08-09.
  32. ^ "Industry pays rich tributes to Veturi". The Hindu. Chennai, India. 24 May 2010.
  33. ^ [2]
  34. ^ [3]
  • P, Chenchiah. A History of Telugu Literature. India: Oxford University press. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
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