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VIMARSINI
ANNUAL RESEARCH JOURNAL
NUMBER TWO
SDITOR
Dr. K. V. RAMAKOTI SASTRY HEAD DEPARTMENT OF TELUGU
KAKATIYA UNIVERSITY
vMyaranyapuri, WARANGAL-SOS 009 INDIA,
CHARYA
DEADER IN TELUGU,
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VIMARSINI
ANNUAL RESEARCH JOURMAL
NUMBER TWO
EDITOR
Dr. K. V. RAMAKOTI SASTRY HEAD DEPARTMENT OF TELUGU
KAKATJYA UNIVERSITY
vidyaranyapuri,
WARANGAL-506 009
INDIA,
ASSOCIATE EDITOR:
Dr. K.
SUPRASANNA CHARYA
Hard Bound
This has been published with the aid of the Research grant and Special grant sanctioned to the Telugu Department, K. U., for the year 1976-77.
27
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49
My
Self -
My work
59
Viswanatha
t
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Patrician
Among
Telugu Poets
112
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For it Is the combination of inand eognition that makes for evasive thrust from the unconscious and evasive mastery by the conscious.... The tree evasive man. to use Friend's
tution
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evasive
and cognition* and evasive mastery this is the quality and quantity - the sum and substance - of true genious
Intution
thrust
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and, to the degree that one possesses these one is a greater or a lesser evasive worker DANIEL SCHNEI-
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1959]
[Questionnaire
addressed
for
to
DR.
the
VISWANATHA
SATYANARAYANA,
the
year 1971,
Managing Editor,
Question:
May
a brief
I,
Sir,
request
you
to
life
give
me
with a direct bearing on the enges, etc. evolution of your vision and technique? I mean the influences such as your owe
forbears
grandparents and other the impact of literary ancestors), gurus, classics on your young, impressionable rnind, pulls and pressures from economic, environmental, Ideological and other factors.
(parents,
Answer:
Born
District,
in
a family of
rich
land-lords
in
at
a small village,
named Nandamur
Pradesh.
Krishna
a
Andhra
in
I
Father,
good
a
the
scholar
Telugu
ten.
language.
He was
Pauranika.
before
time.
learnt
at
him
my
ends
by that
scribbling
Before
was thirteen
being
I
was
left
poetry.
it
My
father
very
beneficient,
pennyless deprived of the small estate. Later, I was put in an English School at Masulipatam, where the great Sri Challapilla Venkatasastri, one of the Couple I passed poets, was working as a Pandit. S.S.L.C. from that school. Because of my the great scholar's presence, not only the atmosphere of the high school even the whole atmosphere of the town was surcharged with literary enthusiasm. I grew up in that
in
may be
course
being
tradition.
teens I
I
was
in
the
latter
lacal poets.
studied in the
Noble College
of that
place
and
Sri Venkatasastri's
influence ran
was growing
college
as a poet.
My
in
my
classes
Before, when in the high school under the direct influence of that great poet and off from the high
were I was
upon my own Then the Satyagraha movement resources. came. I gave up college education. By that time my parental estate was gone. I was obliged to seek some jobs here and there.
school
I
wa* obliged
to
lean
was born
tossed
in 1895
and by
there
I
1922
to
was
being
here
and
earn
in
my
the
bread,^but by
that time
was
one
of
whole
Telugu
country
poet
some
standing reputation.
I
was obliged to
sit
exami-
Before
this,
for five
years
worked
in
K. Ramakotiswara Rao, I edited aJTelugu high class literary monthly magazineJayantL During that time Le before 1927 Andhra Prasasts, some I wrote many books
named
Shri
Andhra History poetised, Kinnerasani Patalu, a ballad which brought me very great fame. Even today my enemies
notable incidents in
poet, accept that ballad contribution to Telugu liteas a very great a drama wrote I rature. Nartanasala,
who
say
am no
during
period and had written many things and by 1921 I was acknowledged as one of the foremost poets of the age.
that
who
wife
child
and two
book
me
to
a level of
my
job
at
Guntur
in
1933
and
then for five years I simply roamed the whole of Telugu country seeking for a job, but ever and everywhere, during that period, huge gatherings, addressing speaking on classics, literature, my own poetry and In 1933 I wrote Veyi criticism. literary Padagalu for a prize announced by the This Andfara University. Veyi Padagalu shared the prize with another great Novel in Telugu 'Narayana Rao' written by Mr. Adivi Bapiraju who unfortunately is now no more and who was a great novelist, an artist and a poet. When I was in the National college during 1922 and 1927 he was my colleague and there was in that college an instructor, one of the great artists of Bengal, by name Mr. Pramoda Kumar Chatterjee under whom Mr- Bapiraju studied.
attended the art class for two or three Being a colleague of the artist I days. tolerate his treating me as a could not
I
student and left attending the art classes. I did not become an artist but in those days I had the opportunity of being very well informed about the Bengal school of Art,
otherwise called Oriental
art.
Avanindranath Tagore, I knew about Nandalal Bose and other great artists of that art I was a great admirer of the school.
named
was without a jobMy earnings were very small. I was left with a big farrily, had at least a dozen of mouths to feed. I could not even get the book I have written printed. But I made a
1933 to 1938
I
From
living
critic
by touring.
am known
to be a great
on
all
literature
If at
my
criticism
and
knew something of
Sri
My
was
guru,
Challapilla
Veiikata
known for a particular beautiful attractive way of reading the Telugu verse. It was
63
very popo'
/^ "frl P f anoinci
<8 "fl
and
TlG^' ii
country
aa t>eg
014
I
flw
it
began writing my Ramayana durin V i a vriksba and rod 2 the five years, .,vv, 7X,? anH i9?8 I P 7 uced two or three .V ICm anu y iy or five lyrics, which brought fnu r dramas and 10 Because of the books, fVI YYlltl PflS me 1immeu r]CS an j ballads people jy dramas, po in Te i left literature
l
#^
ugu and {hat everylhin j TlOfni*10 tM mi noiniag U0^ ^his pronou6 ^ mto go d T turfl touched, t ma<j e b y a great Iyr c poet noprnpnl rT* AJw^iiAv-jLAi W^^ MlQ Tlf-StTlft Wd Q j^wtwfM. xro T-O tit WdJ> _D<dLoQ. V cL w.ju*^^ KCICQ L*tt L tVi" cnu ot mis /^ri1tltiy* was ij an(j e{j down to it a0 Even today people say -tieoisn. u
'j
began
to saj
'
A.
'
*-k
O.'-*-'
JlJLtlJUULV
I .x
II
#*
'
the
latter
.f
that of me,
jgot
Coll
in
<5 S.
R B R. R.
!
.
eSe
tlme
1 a
member of a great
Sahiti Samiti.
persojiality
literary
great
Sankara
atronized
association-
S S
many
He wag
m
moulding
!
fl
a great literary
H^
the to th c
fores
T^ll
i
rlG family P
our property later on, we lost I could not was with me. 5ride
by him and me, that I am a very great poet and would grow and also was thinking that my books written before that date were not well understood and appreciated because many beauties I
tolerate being elder brothered also some thing there was in
my books were not understood. My Veyi Padagalu became popular. In thousands of houses of Telugu country it was read and there are people here who read that book for over a hundred
there in
well
times.
knew
that are
My
first
poetry book
is
Andhra
Prasasti
which was kept along with Bhagavad Gita in the desk of a great scholar - Vakil at Parvatipuram by name - Achanta Sarkhyana Sarma. who tested my scholarship two days, when I went to that place to canvas for
subscribers
for
'Jayanti'
and
when
was
leaving his gate thinking him to be a diehard he called me back and told me this secret that there are only two books to which he ran for relief, one is Bhagavad the other being my Andhra Gita,
Prasasti.
man could not tolerate the over-bearing attitude of the President of Sahiti Samiti. I checked it and came out and made nearly half a dozen of enemies who were popular very good poets and influential men. There were people who
thought that I am a very great There were very good friends poet. among them who continue to be my friends even today not only friends and admirers but worshippers also in a sense.
even
then
In spite of
ture,
all
the
good things
in litera-
to anybody. If I could' helped people, but in spirit I was not humble. I was overbearing high heeled and Because of these my qualities high browed.
I
I I
possess,
harm
became very easy for my enemies to speak of me, to attribute to me certain bad words and saying which I never said and so on either side of me, ran two streams, one of pure Ganges water, the other a
it
ill
muddy,
almost
stagnant
canal,
which
is
really a pool.
the first changes change was when I left my boy-hood and began to write which was fit to be published,
that
my
literary life
had
was
in
1917.
From 1922 to 1927 when I was in the National College, that was the second period, the first rich period of my literary productions
when
write
Andhra
Prasasti,
Kinnerasani
Patalu,
Girikumaruni
Prema-
gitalu,
The
of
first
period of boy-hood,
a period
* ^
'
trials 9
a period of study
this
and practice*
During
rich
in
second
my
productions
studied
Sanskrit
The
third
1933 during which I worked in two colleges as a lecturer in Telugu in Hindu College, Masulipatam and A. C. College Guntur. All
these
also
years
was producing
literature
and
Dramas
In 1938 the third period began. I became a lecturer in the S R.R. College, Bezwada.
began writing Ramayana and wrote sixteen hundred verses out of two
thousand.
I
Even
in 1934 I
did not
it.
know how
conscious
to print the
book
I
if
finished
I
think
am
artist.
It is
very rarely
terpret
find a scholar
who could
in-
my books show
are
beauties in
which
unknown
to
meit
was recognised The number of my admirers was partially. not sufficient and if I published my RamaI was afraid the deeper things that
I
17
are
it
there
will
I
go
unacclaimed.
Whatever
ir ay
be,
first
wanted somebody
who
will
come forward
is
the
wanted
if
]
to be read
more
widely.
If people
art,
it
my poetry and my
more,
thought.
that
time my Veyi Padagalu was published In the fore-most Telugu daily in the Telugu country. The editor was a student of mine. He offered to publish Veyi Pada-
By
But
had
my own
doubts
but some
about It being understood mean not the art that is there, I which required sound portions
scholarship in Sanskrit to understand. And so 1 asked the editor that I would write two
more which will raise the standard of the common Telugu reader to the level of understanding Veyi Padagalu.
novels
Then
in very
homely
colloquial Telugu. It caught fire and then I raised the standard and wrote Cheliyaliiatta. Then it created many enemies for
me.
ian
am an
orthodox
and dead
against
the
new wave of
change.
Veyi
Padagalu
followad.
People
who
go deep into the"~meanings of things and pay less attention to the artistic expression and deep artistic ideas in the the expression and in the concoction of the delienation of the characters and story,
could
not
when you
are painting
on
secret knitting together of different ends of the story, began a fresh cry of saying that
I
am
a confirmed
before 1938.
orthodox.
But
all
this
began
Till
then
was not
a novelist.
Princi-
Even my Ekavira was written along before and published in the leading Telugu monthly by name Bharati. Andhra Patrika and Bharati were published by the greate Kasinadhuni Nageswara Rao Panthulu Garu who is one of the builders of the Telugu Nation, more in the literary field. Now I wanted to be read widely.
pally a poet.
Then
began writing
series
of novels.
These thirty years I have produced more without counting the novels fifty previous four already mentioned.
than
I
writing.
was dicta-
ting
my
And now
in
1940
the
Zamindar of
69
Muktyala invited
to print
me
to
his place
and
offered
my Ramayana
it.
did finish
By
that
Balakanda,
being read
And
I
it
caught
me some
fame.
It
was known
I finished
was writing
Balakanda, published it with the assistance of the Rajah of Muktyala. More the Yuvaraja of Muktyala. Then I
Then
As
years
passed,
And
keep in my house any manuscript unpublished for long. I never wrote a book in
my
life
barring
my
earlier
life,
which would
stay in
my
house unpublished.
1940 to 1960 or 1961
this side
I
was wriand writing Ramayana and other poetical works that side.
ting novels
I
From
always
wanted
money.
for
somebody
I
offered
me
to pay
Whenever book I
wrote a book. My enemies began to say am not an inspired author. For I wrote to order. But none of them said the books I wrote are worthless. Some
good scholars
my
novels
literary value.
And
literary
my
work was
it
After 1961., though I wrote many things cannot be said it is another period of mine.
I
five
or six books on
literary criticism
revolutionised
literature.
1934 to 1971
places including Bombay, Calcutta, Lucknow, Madras and other big places of North.
stepped into the shoes of Great Guru Venkata Sastry. Even today my the two streams the pure water one and
the
It is as if I
muddy
are
that
is
my
friends
and
my
running either side of me. Even my enemies though they don't agree with my views, convictions, say I am a and a great author. great poet
Question
2:
enemies
are the different: periods or phases do you distinWhich one guish these from one another? of these would you consider most signifi-
What
How
Sir?
Answer=
third
71
Question
3;
"What are the various innovations you have tried during your long and distinguished literary career and with what results. Sir? What was the motivation behind these, L e. was it technical, or intellectual or emotional? Or, Sir, did you just want to pursue novelty for the sake of novelty? Sir, is it for one to be modernistic and possible traditional at the same time? What precisely is the scope for experimentation within the framework of tradition? In other words,
Sir,
reconcile creativity to
conformity?
Answer:
I
it
form.
and flowers and gave the drama a peculiar My enemies applauded it. Even today, they say I was a poet then and that I am not a poet now, 'Nartana Shala' was written in a Shakesperean way and the drama *Trisulam' was done in a new way. The story of Harishchandra Dramalet was an interpretation of the story. Almost all the books which appear to be written in the old traditional style reveal
innovations at every step and many people know it. My innovations are extending from the word to the final
New
expressions,
new
*Samasas\ new
the
artistic
of
jiew
these
previous
and Mr. Madhavarama Shartna, the one. Sanskrit rhetorician of the present day - I, mean well versed in Alankara Shastra, said from many a platform that I have developed a new style and that is callsd a .Viswanadha style. .My language and expression, they say, are my own. The different artistic and technical machinery I use are always new and different in every book of mine. These things are technical, intellectual, and emotional depending upon the need of the
liour,
"',''
I
"
"
*
'
'
'
make
to
In my opinion an author can be made modernistic a.nd traditional. In my opinion, the traditional makes the book live long and the modernistic makes the author, the author of the times. If he does not breath new things into his works, he may be a chip of the old block but a dead chip. I do not want to be a dead chip, I want to breath life into my books. My books if read with no prejudice
and
deep insight into things reveal the .modernism, the high scientific modernism, I think
9,
73
so. I
Creativity and continuity, in my opinion, are not things divorced from one another,
because
life
is
always retains
some of
great pool which always gets new water always as a remnance of the old water.
and
Question
Sir,
4:
what is your conception of an individualist, committed to a social purpose? Is it possible - Is it desirable at all? for a
creative writer to
be involved in extra-literary problems on which depends the very future of the community to which he belongs? For example, Sir, are you aware of the criticism
that your novels such as the 'Veyipadaealu* and 'Cheliyahkatta' are full of extra-artistic
irrelevances
What
is
assure you,
artistically
that
am
not
among them.
Which of your
What
impeccable and socially significant? was the mam inspiration behind this
Sir?
particular work,
Answer:
author if he runs with the time and also maintains that which is good of the old,
An
he
is
It
is
is
desirable,
for, the
opposite of this
done by cruel
74
adventures and it leads and led In the History to massacres and annihilations of some very good old systems parts of which are always have a salutory effect on humanity.
My Veyipadagalu and Chelialtkatta, as I have previously written, may appear at some places, to be full of extra artistic irrelevances.
When you
field
say this
of literary criticism. There are works of art - I mean poetic art. The great great novels written by Dumas, Victor Hugo, Balzac and Russian authors, some English authors, our Kadambari, our Venisamhara, Valmiki and Vyasa - they will be no exception to this thing- A great book which runs
the
into
to be at
It
some places
is
The author
Why
the
anybody think, he
the author,
details
the better
judge from
artist,
who
the
is
a concisious
who
three
to probe into
minutest
in
of
Many
of my critics, I think, are not well informed, or they do not have the same perception I am be great men, great thinhaving. Therewill kers but their views may not be identical.
Tolstoy
said
Shakespeare
is
not
Shaw
not
with
sucjti
'Ekaveera and 'Veyipadagalu' are artistically complete. In Veyipadagalu, I wanted to show the good things of a society tfcat is now said to be of no value. In my
I
think
my
^pjiiion,
am
must
It is
convinced
rule
also
is
of
this, the
heart that
humanity
t% jnind.
I
a bane.
As
*
for
replaced by 'Ekaveera'
wanted
*
.'
tht
?
'
show the war that is waged in human hearts by the outward circumsto,
\
*
i
tjegaces
of
life.
And Ekaveera
work
in prose.
,_
is
artistically
my
perfeciest
*
.:>',
>
Question
4
.,
5;
Another criticism against you, Sir, is that you .are an obscurantist without any
^ym^pathy for or understanding of anything E In, other words, you are f$at.is modern. T 4 me chaippion of lost causes, the upholder of yalues that are no longer valid today. What
^
>'
'
'
^'
it
i
'
not
'
futile
to
ii
i."
it
'
"I
'^
'
'
'
"
irrepressible
V
and
'
^i
'
ft
irreconcilablGi
*
'tf
*
>t
the avant-grade
i'
trend?
\j
1;
',
.*|
"
Have
-I
you read any modern European or American writers? Who are your favourites, Sir, and wfty? Among the modern Indian writersnot necessarily the ones
who
who write in Teluguare the particularly significant ones and why? Perhaps in passing, you will care to say a few words about the quality of modern
fiction are concerned.
Answer
:
4
If people ttiinkj
modernism,
I standing. Tiie train, Scientific things of utility. the radio, the Ship - I phone, the plane,
have no sympathy for say they are khort of uiideram not an enemy to the modern
I
the
want
'them to be here.
can read between the lines of my writings, I want the type of Government which now people are having in Russia but I want at the same tirrie riot to do away with the metaphysics, the mysticism and the spiritual.
If I
do not want them to be revived, which I know is an But I want the modern impossible thing. people not to call the ancient things which were good in their own way arid from whicfi there are many things to be borrowed by us and preserved, call it a dog arid han? tHem. Many of the modern people were unnecessaa mad emotion for every rily carried by thing that is new. They haVe to wait, to to probe into. Let them not unneexamine,
I
may defend
lost causes.
cessarily follow
the
\Vest
blind y
!
We
are
a race,
whose ancients have thought about some things or about many thines and reached the maximum. Think of them, borrow from the west things which are new and add to the human values and the happiness of man. Do not follow them when and wliere massa*
, i
ores
convulsions
the^e,
of
society,
have read
I am a vast reader of them. H. G. Wells, Aldous Huxley, Sinclair Lewis, Uptor Sinclair., Maupassant, O Henry, Thomas Hardy - all the great English Novelists, all the English Dramatists, many of the
can writers.
I like
European authors, Gardiner, Milney, Forster, Robert Lynd, Blonosky, Bertrand Russell and many translations of Russian and French,
authors.
you do not laugh, I read hundreds of crime stories. Chase, James Bond, Earl StanIs there any real readable ley Gardener.
If
book
I
left
of the novels
of
the West?
And
read the most modern American novels which treat of the slave trade, the occupation of America by the Whiteman.
Tread of the
history
of
Science,
the
have read about Shakespeare, read all his read as much criticism as possidramas, ble about him. To express an idea in the - I as I know of the Telugu way stand,
history
of
English
it is
literature
which often
at.
times
If
you
not a boast,
excepting
mathematics, chemistry, physics and algebra, I have known some thing about every other Read in the west and in the east. thing Brahmanas, Bhashyas, some Upanishads,
thing of every shastra,
and dramas,
a critic as in
the Sanskrit
Nobody
I
is
my
favourite
among
authors.
appreciate everything that is artistic in any dramatist, in any short story writer. I have read many modern dramas that are in English
Read Priestley, Guiles and many language. other Dramatists, of the fifties and sixties of England. I have read some modern
critics.
knew
points-
their
I
short
comings, and
like this for
their best
Yet I know Gogol, Tolstoy, Dostoevieskysome thing of Maxim Gorky, here Somerset Maugham, Ibsen, Noel Coward I have read about Budhism vastily, something of Zoarastrianism, I have read about Chinese Novedo not remember hundreds of I lists and And about all names whom I have read. these sciences, Arts and Religion, I have read, I l^ave discussed in my novels which are more than sixty. I know about hunting-
79
Jim
Lore,
Corbet,
I
made
Rama
woods. I have read kriow seething of capital I know of some or money of K&rl Marx. thing of everybody from Plato, Schopenhauer, Spinoza, Bergson,Sahtyana,Crosni and Dewey and know Somthirig of the History of science. Read about Professor Einstein and RutherIt is more than enough. ford'
^.
'
Cd
Question
6.
is
position vis-a-vis the vyavaharika bhasha vs grandhicontroversy kam? Don't you think, Sir, that the spoken word has serious limitations, where its
What
your
re:
adaptability to concerned? In
the
finer literary
my
view which
is
is
is
nuances is of course
Question
1-
wish
Coming to your magnum opus, Sir, I to know how your version of the Ramayana is different from the other versiBkaskara
etc?
Could
kindly enlighten
me on
work
the distinc-
as well as your great on its particular relevance to the modern world? Also Sir, I wish to know what you
tive features of
owe
and
to the great literary masters of the East the West in regard to the technique.
:
Answer
My Ramayana. It is totally different from any Ramayana either in Telugu or in other languages. Molla Ramayana is a booklet. But for writing verses in a Prabandhik Style what does she know about Ramakatha?
Might have
is
shown a
little
cleverness.
She
a child.
Of Bhaskara Ramayana,
to say
anything will not look nice. It is written by six or seven authors. None of them went into the spirit of our sages and spailt
passages
many
where an insight into the Yoga, Tapas, and Art is needed. They are more composers of verses. Even in versifying they
are
not masters, as Nannayya, Tikkana, Nachana Somana, Peddanna, or Tenali Ramakrishna, Tulsidas
even
Srinatha
are.
have
read
to
have read
him.
Kamban
My Ramayana
is
written
'Advaita Mata'
ancHo disprove
existing
to
Ramayana
Advaita.
written in defence
of Visishta
at the
The then
Darshana
g ,
time of Ramakatha was sankhya and more over side by side with Advaita. I have written about sita, the Lalita Devi, the Sri Devi. It is the Valmiki said it is gfapjf: ^rf^ tfg(
great story of Sita.
The
art
of Valraiki
is
perhaps not known, to all the people who have written Ramayana. There can be no If I want to greater artist than Valmiki. I will have at least to eKplain what I mean, Now write two or three thousands of pages. I am writing a Vyakhyana on my Ramayana
Kalpa Vriksha.
this
am
Even
My
literary
linguistic,
before.
it
From
my
poetry
literature,,
is
not written
an interpretation
or a
5
long drawn alleparism or some peculiar stories woven into it* It is written for 'Rasa I do not know what to It is a big question.
write*
in
my
I have portrayed the real Telugu life book. The Telugu family, their habits
- all these peculiar persons in Telugu society The nobility ia a character, things are there.
I have created different Rakshasas in different ways. There are gentlemen there. Truthful men there, Very great warriors and who are full of love and nobility of people character. Ekapatni Vratas. The social conditions and customs, likes and dislikes that are now seen in this world are there in
82
Ramayana.
Some
of
them
are
secretly
It is not easy positioned, by Valmikl also. to understand Valmiki, And when I have said certain of these things to certain scho-
places in Andhra, thpy wonder. Something of aeronautics expressed is written by valmiki. When Anjaneya was in the Sky with no sign to lead travelling him Valmiki wrote about astronomy, about state craft, about Military craft and about
lars
at
different
expediating
upon
art,
art.
the
I
things
that
Above
his
have created
some thing of
I
my own
a master of a style which is even by the moderners acclaimed to be individualistic. There are not more than six or seven old authors who are known for this distinction.
am
There
are
many
stories
like
in
Ramayana.
that? What is the story is secret behind that story? I have explained in my Ramayana. And I have also written in that Ramayana about different systems of
Why
this
Apart from
six
all
or
seven
literature.
83
Mattebham, Shardulara, Sisapadya and Geeta Padya and our ancient classiscists-the six or seven I mentioned had made every meter a niche of beauty, melody, arapleness. Almost perfected every meter. But I have made my
these meters
their richness
and also
For example,
maximum.
to
My
compete
examples. And there are hundreds of Telugu readers even now who know this and quote them.
I
know
at least
a dozen
of
people
in
this
country
who
my
desciples
and who recite perhaps the whole of my Ramayana. And many people know by heart
many of my
verses in
my
Ratnayana, because
those verses are like the master pieces of the ancient masters. And one more thing to say,
I have introduced into my Ramayana, some dozens of new meters to respond to the different sentiments that are there to bring out the fullest effects of the ideas that are
there.
The descriptions
things that
more
are
can
there are
done not like others copying the anicient authors but written with personal experience. For example, if Rama and Sita travelled in
a plane,
my own
experience in
travelling in
a plane is there. If I desctibe the dawn, the evening, a river, or crossing a river or different seasons, or any thing for the matter of that, they are all my own experiThe similies and other figures of ences. I never borrowed, speech are my own. never barrowed not only in my Ramayana, but in all other books, my figures of speech are my own. This is said by and known to many scholars in the Telugu country. Dr.
Diwakarla Venkata Avadhani, writing an article on 'Veyi Padagalu' which was translated into Hindi and published in some Hindi of paper, has written this "All his figures speech are his own".
As
to
the
I
technique
in
or
the
diffetent
techniques,
particularly
adopted
different
books,
Ramayana, I owe much to Valmiki himself and much to the 'Sanskrit Dramatists. And some things really to some Poe great artists of the West- Alexander Noel Coward, Somerset has a technique.
in
own their have techniques. a techique. Sir Walter has Hemmingway Scott's technique has gone out of fashion long ago. Siclair Lewis has a technique. And
Magb&m
many modern dramatists and short story writers own their name and fame more to As the modern scientists their technique.
are
',
after
Rutherford
and
Einstein
in
the
scientific
field
I
and
yet
have
a separate
techanique.
have my own
technique.
And
examination is required very very Often times, my technique to distinguish it. will be mixed with many other things, with
careful!
linguists truths, truths that are in our Smritis and our Bhashyas and there
vedic truths
so
is
it
very
difficult to
know
it.
That
is
why
My
seen
the
author.
I
created
Somitra
conceive.
in
the
It is
like
nobody can
she
is
there and
many
of our Telugu
Houses - She a non-entity but without her And she is the the house cannot be run. who makes other members of the peron, family brave the tempests of sorrows.
And
a
new
creation.
My
Ravana
is is
Ravana
other Ramayanas.
Goddess Durga.
Devata,
because
He He
Khadga Ravana Mantra. And it is a secret known to very few people. It is a secret that is hidden in the 'Sri Vidya'. One must read 'Kama Kala Vilasa' the Bible of Sri Vidya to know this.
8-6
Question
Sir,
8:
ples
that
govern
the
confirment
the
of
What are awards? guidelines wish to lay down for the future trusts you or foundations entrusted with the task of
literary
What is your rewarding literary efforts? assessment of the, principles and procedures on which the Nobel awards are based? Do you think there is any Indian writer to whom the Nobel award is long overdue?
Answer:
think the Modern Literary standards and standards of criticism havfc deteriorated. Ancient standards laid stress on the word whereas the of it and the perfectness
I
moderns are giving prominence to the; idea. The word and its meaning are the same and one cannot be separated from the other. be completely true of But it may not a sentence because an idea be completely true, of a sentence because an idea can be
Much depends many ways. upon the man who expresses and here comes There are many poets. Till very the poet. recently a poet is a man who writes in verse and there are many styles in a verse. John
expressed
in
the great
Greek Dramatists,
of four
is
He has
written
a preface
translation
and
he said there
it
pages to his one of the beautiful thmgs this - though I cannot quote
or
five
verbatum- "verse is common to the This verse philosopher and to the poet. a philosopher as arphilosopher has not got
but a poet as a poet has."
That
poetry
means
be
anything
which
is
it
not
is
can
written in verse
and
it.
called poetry.
That
all
Is
the pity of
And now
thrown
such
old
standards
are
to the winds and anything is poetry and unfortunately verse also is not needed for poetry. A Milton, a Keats should be a poet dramatist Shakespeare is more and a philosopher. He is not fundamentally a poet. But often times these things overlap and no strict line of difference can be drawn. But there is a reader who is a rarity not often found among these, high brows. He is often times found in a village, in a corner perhaps without a job and not rich. To find him is difficult. Only poets know him, poets find him. There are degrees even among them. The real test of a man
who knows
hears
real
poetry
is
this.
When he
into a transport.
Now-a-days
for.
such
men
are
not sought
who
People who are well placed ift life and think in their own way have become
judges.
real
judge
of
shdtild
The Modern Awards fall short of this ideal. Now books are referred to thirty or forty people who are said to be literateiirs. They are more after of fame and money than bliss or Ananda which poetry - real
"n
poetry blesses the reader if he is sufficient to understand and if he has a heart and if of the he has the required knowledge language and the real poetic expression, our bigwigs do not attach any' value to
those
only
be best judges.
They
socialisms
and
to
otfier
be somethings They portrayed and perhaps they cannot judge a real portryal and so nothing can be dotite, it
things.
want
For the later portion of your question must confess that I know notfiitig of tihe
out knowing
writers
it how can I say of any" Itidiafn who derserve it. If translations of the many big men in India who are called big
poets are put before me I can say soniethitfg, but, Sir, a poet in translation, if the translator has a very good sty 16 and expression
^^
*
*i
(1I
89
his good. But what his style, Poetic expression are, a native language and scholar is competent to say. And so when a
looks very
book
stages.
is
offered
an
Award
is
there
are
two
The
The
first
a native
scholar.
is
man who
a poet
and knows what art is and who can distinguish between poetry and other things
at heart
etc.
Question 9
Do
arts,
interest in the
such as
music,
dancing,
are
painting,
sculpture,
What
your
hobbies, anyway?
Answer:
Previously I have written I know much about the Bengal School of Art. I as a Dramatist my-self and coached two or three theatrical companiesThey say I am a bornactor,
I
know something
was known
to
of music.
In
my
a singer. youth I My Kinnerasani Patalu reveal that I am a singer. I have written a Novel of nearly 600 or
be
more pages by name "Mroyu Tummeda" in which thj history and the development of
the Hindustani music
is
examples,
Music also. As for dancing forty years back I was the first man to write about Kuchipudi dancing in Ekaveera. Later on other people
took
I said
it
up.
in
And many
and
my
Is the standing dancing girl, example of my proficiency in the theory of Kuchipudi Natya. You ask me what my hobbies are? My hoby is attending the Cinema particularly the European Films not the trash of the forest hunting and crime
but pictures of high value. For the last six or seven years because of the cataract I
have grown in my eyes I ceased going. was a great critic of the good films.
Question
10:
What
are your
Sir?
writing
schedules
and
How many
you have
hours a day
Do
;your
first drafts drastically? type of readership do you have in mind when you begin Lowbrow or Middleto write? Highbrow, brow? Judging by the impressive sales of
What
your books I guess your readers are mostly among middlebrows and lowbrows. Do you write frequently for the radio, cinema, etc.? Do you enjoy writing commissioned poetry
or fiction?
i
I
I
have no
am
np
to aUeijd a cineii^ ancj playcar4s with When necessity arises I .engage a jbpfg.
then
| aip
the sajne
it
my
poetry,
write.
is
home
refe-
wd
I
flp it
homp
is
only when
rence to
write
other
bppjcs
mpst
till
needed.
travelling,
poetry
lying
while
that
walking,
eating,
down
comes.
the
After
on a cat I commit
them
sleep to
I
my
I
life
want to add
periods of
something
more
to
the
literary
mine mentioned before. Pleas? add it there. The fourth period of my literary pro^ctipn commenced in 1961 and it continues. I baye wriuen nearly 12 pr 13 novels diiring this
6 novels about K^sJppir hjstory period, and 6 novels about Nepal History. I Ijaye written also some poetry of which three
books must be made speqial ijn^fljtjoned pf One is Krishna Sangeetham of 108 captions. Each poem is of 34 lines in Geetha Pa<Jya.
who
rent
approach
ways.
I
Lord Krishna
have
It is
,
in
8Q
diffe-
Gopikas
^
there.
i
created
80
''*'f'
^^
The second
J30o]<:
H
is
Ruru
'*
'
Charita, ?
^
*#
*
1
$$>$}!>
The story verses. deales with a particular cult. There is a yogi who claimed that be could turn the position of a Graha in the skies, which graha is
Prabandha of nearly 600
responsible
for the death
of
the
mankind
globe. disciples who cured many diseases and claimed more things. It is of lhat cult I have written in this
on
this
He had many
Prabandha. I made Ruru of Bharatha fame who married Pramadvara, born in one family of the great sages of Bhrugu and Chavana. Pramadvara was bitten by a snake;
Ruru went on decimating every serpent that crossed his path. Akasavani told him if he could part with half of his life and give it to her she will live. I made this Ruru that
The whole book is replete with things of Astronomy and of the galaxy, the hard-ties that bind the eanh and the sky which cannot be broken by human [intelliYogi.
gence,
intelligence.
The third book is Pradyumnodaya. Here Lord Krishna marries Rukmini. Pradyumna was born to them and Pradyumna begot
Aniruddha.
vaishnavisna
In
Vishishtadvaita
which
is
Vyuhas
named
and
a Prabandha and
it
reads
of the
93
The
different
style
of
the
book
is
from
my
other
styles.
something Krishna
Sangeetha has its own style. This style is a real innovation from the view point of It is much appreciated by many styles. scholars here like Dr. Avadhani, Gunturu Seshendra Sarma and Dr. Patibanda Madhava
The book has a and highly literary and special style melodious scholarly, but with no samasas.
Sarma and many
others.
I will
in
my mind
and so I neither write for the Highbrow or the lowbrow or the middlebrow.
my
brain
or
am
some asked by somebody other thing. I never think of the plot nor of the style to be employed nor of the art.
to write a novel or
The theme
the plot,
is
there.
I begin.
The language
the poetry there
they
is
all
come of
some thing here to say. I either dictate compose if it is verse, at different times. If meanwhile I think of what I should write But at the actual next, some idea comes.
or
"
!
(i
moment of dictation it chooses its own way. What I thought previously does not come
and so the language,
the plot,
84
much machinery
that
my
books
letter
is I
not
must say is an automatic of the mood in which I will be outburst placed. This is a wonder to me and I am never able to analyse this state of my mind. Some books sell, some books don't. I have nothing to do with it.
Every
I
The major
is
portion of
my
is
not commissioned
fiction
my
I
always
I
wrote when
was
I
money
I
is
for
fiction
and
when
am
writing
There
I
always find myself in a high psychological fit, something like a trance not to be distur-
bed and
particularly
psychological things are being dictated or when a very important question of socialogy or philosophy or Drama is being discussed
I
it
My
j
friends
1C
know
i
it.
My
'
'
""
is
i
broken and
f
*
j,
to
must wait for some days more for the mood come and always I found there is dissothe
It
is
story or
the
rare
very
my
case.
Question
11:
There
used
to
be a modern movement
in the 20s
and
30s
mostly
of Tagore,
called Bhavait
Is it still
exhausted itself? In retrospect, what is your assessment f its literary significance in the context of the rich classical heritage of Telugu literature?
actively?
Answer:
This question is a little bit difficult to answer. I was for a very small time under the influence of Tagore. His influence did
me no
I
good.
[I
under Tagore's
is
influence.
don't think
rich
classical
live force
Telugu literature is much above Tagore's and many western because there are Vedas Upanishads poets, here and there they are absent. For example,
Idiot-a novel written by Dsotoeviesky would not be that if the poet was born in India and
today.
The
would not be that if he was born in India. Because the culture of a nation, the religion, the language, the customs and the Rajyangas will have surely
their
Sheakspeare's Hamlet
own
greatest
poets
Question
12:
What,
Sir, is
generation of writers?
What
type of discipline
do you recommend
Answer:
to
them?
You want me
younger
to'-give a
message to the
generation
and
also
want
some
*Don't you think that discipline prescribed, the modern World has passed the limits of
impossible
now
think.
In the
book "The
Outlook for
Homo sapiens"
by H. G. Wells
you can see bow he wails over many things and also about the social disintegration,
always
breaking the
established
traditional
is
bevailing.
It
is
SPEECH
Dr.
OF
VISHWANATHA SATYANAHAYAM A
numbers
meIt
came
appeared
class
at
that the
I
cradle
upwards,
in
scribbled poetry.
was reading
the
III
Form
off
Machilipatnam,
village.
My
found
miles
to see
my me and
,
native
as
into
usual
me
was
scribbling.
He went
a rage.
My
Telegu.
father
a very
good scholar
tips.
In
the ^Bhagavata in
continued scribbling I would become like one of the many beggar-poets that visited him. He threatened to make me discontinue my English
he
thought,
if
I
study.
to terms with
If
I
him.
my
Telugu.
Perhaps the then existant Ratnayanas Telugu were not to my father's liking.
And
to
if
so
it
my
ever
father,
I
grow equal
1913.
And
began
my Ramayana
passed
Kalpavriksha
in 1934.
There between.
I
twenty
one
years
in
became a very pood student of Telugu the atmosphere at Machiliclassics and patnam was congenial to it, beins surcharged
with
the
electric
presence
of
my
1
Guruji
4
Sri Chellapilla
Venkata Sastry.
i
Telugu literature poets there are in hundreds. But Masters there are only eight
In
or nine.
What
is
become
it?
,
Masters?
,
,.~
In our literature
great, if
But whose
Masters imitate?
if
it
And
so,
my Ramayana
would
my
own.
But
written
this
was
not an easy
affair.
had and
Now
another
thing
shot
up.
Those
Masters
I
were
had
to
.language,
great scholars in Sanskrit; so read that language, master that at least as far as the need of
there in Telugu literature,
Sanskrit
I
is
studied
Sanskrit
and Grammar.
if
had reached
I wrote a particular stage in this long travel poetry profusely and sent may poems to the I found the editors local magazines, them and the readers cherished them*
'liked
Then I wrote some Kavyas. They were welcomed in the country. Even by 1926 and *27, I found myself to be one of the stalwarts
*among
my
I
contemporaries.
in
Am
>In
I
position
I
Ramayana? Then
take
of the great
story,
saw that Valmiki, mainly intended Ramayana to be the story of:Sita, which puzzled me.
Rama and
Sita at
very outset the Ramayana of Valmiki posed before me three big questions.
Firstly,
At
the
Ramayana
is
nothing but
Veda
IftO
Aha, as Ramayana is the story of Rama and Sita both! Ramayana is a Veda and a kavya both. The task is doubled both here and there.
itself.
Secondly, Valmiki went into a trance and a shloka escaped from his lips carrying profound meaning.
j
,
'}
Thirdly, the creator made his appearance and gave him a mandate to write the story of Rama. There are at lea^t three questions
here.
I
approached
many
scholars
enlightened.
into,
The trance
was a
is
state of Rasa.
What
Rasal
hiatus - of the
~
the Jeeva
who
stage of being influenced by passions, is said to be the state of Rasa, first by Bharata and then by Sanskrit Rhetoricians. The final purpose of a Kavya is to send the reader into a state of that
trance.
I
must read
Rhetoricians.
If
I
must
111
of philosophy, Mantra Sastra and Sri Vidya along with it and other Vedangas.
their Bhashyas, the six systems
And
thing in
if it
this
to equip myself? First the world, the creathe human nature, then tion, history, economics, sociology, forest lore,, astronomy
So,
I
knew something of
Later on,
science
theory
state
-
read
comprehensively.
military-craft
if
There
is
craft
and
in
Ramayana
and
is
something of aeronautics
And
lastly the
The Creator and the Gods long gave up coming down to the earth to respond to the wishes of human beings. But Shastras say, that mantra and jap a are sufficient to p ropniate the Gods.
My
too.
father died in
1927.
Before that
It
represented
my
case to him.
was
He
gave
me two
mantras,
me
to them.
10 2
But Valmiki
lap a si
was a tapaswin.
What
is
Not
with
topas,
to utter falsehood
is
tap as,
to part
money
to the
poor
and the
needy
is
is mastery over the internal passions as and also tapas, and reading Vedas is tap of anger is bridling the external outburst And the pity is, with reiterated tap as.
attempts even I could not somewhat I was though, the other things.
bridle the
last,
successful
with
yet of writing Ramayana, one question the remained, that Ramiyana is mainly 1 approached some great history of Sita.
adherents
initiated
Sita.
of the
by them
At every stage it appeared I was fit to write Ramayana. But at every stage I found new blocks thrown across my path.
to
art?
What
is
technique?
to
How
of them?
How
know them
first?
My
Telugu
journey
classics
those things.
'art
in
criticism
are
used
in
a confused
But always
that
it
my
ears
the
artists.
I
read
Greek
authors were very great was a graduate by that time. Then English authors, European authors, and dramatists many others in
English
I
translation-
read profusely.
technique;
let
it
The
In
I
art or
it
be
there.
can
be
it
seen
and
learnt
in
my own way.
I
Ramayana, more puzzled I became. There are many What are they? What stories woven there. is the meaning and the secret of every one Without knowing f them? how can I procced? Apart from the transcendental and religious meanings there are dozens and
the
l
But
then
the
more
read
Why
the
should
a particular thing
happen
only at that particular place. Mere scholarship won't do. The more I read Ramayana,
more
was
afraid.
all
these
it
Why
is
of
them?
Shall
give
up?
There
a sacred
promise
made
to
my
asfcap V
father
sin.
which
if
broken
thing
it
would land
stirred
is
me
in
And
another
I
my
the
heart
like a pang.
found
an urge.
"Write
Life
Ramayana.
Supreme".
You
will
realise
Even before
I
this,
there
of
my
was almost a beggar. My The burden of a big more. upon me. No saying I suffered
not suffer that.
family
this
fell
and did
As a boy and
weak.
also
as
a youth
was
body shook at every The blood would flow very experience. quickly. I hear a bad sound, an inauspicious
My
fragile
done, and
that
would make
my
blood
boil.
These
experiences
They were
with me. Perhaps the Creator, when he moulded me, poured into the mould extra essences of high emotion and also of of the maximum limit. I would imagination think and think of most trivial things. These
things in the course of living brought me excessive sorrow. Nothing drove me crazy
like
word
said with
mischievous intention. People thought worse But this weakness was a boon of me for it.
when
105
I idealised
some of
these traits.
created
Ekaveera and Vasanti in Terachi Raju. and another trait was idealised in Vedavati one of the novels of Parana Vyra Grandhamala and lastly, Bharata of my Ratnayana-I made him the summum bonum of all these traits.
Now
I
one thing
think and
remains
unsaid,
But
this process
of thinking,
higher things,
when
things
would be
revealed to
me
about many
new
characters,
new
pretations.
The Lord
dent
that
Sri
Ramachandra,
made me
sit
he
He
was
pangs of separation.
my Ramiyana.
wrote nearly sixteen hundred verses in Balakanda out of the two thousand, originally
designed for every Kand.
I
had already
in
my box
eight
or nine
unpublished
works which, when literary after four or five years, made me published
106
reap double or triple the fame, I earned before through my contributions to different
magazines.
Adversity
is
a peculiar thing.
I lost
It strikes
where you
hit before.
I
my
job also,
Then
my
poetry,
speeches,
opening new vistas in the minds of my audience ushering them into the secrets of our religion as portrayed in our classics, opening their minds into the fields of the great that was there in the books of the great authors, both in Telugu and in Sanskrit Everywhere I was welcome.
the
to
feed
could
then could
if it
was
In
not
How
found
a gentleman
who
is
my Ramayana.
He
the
son of the Zamindar of Mukhtyala, a small zamindari in the Krishna District of Andhra Pradesh. I finished Balakanda.
i
to me and uniateligible also an unanswerable thing crept into my me, experience. It was this-I could not write Ramayana whenever I wanted to.
Unknown
Co
1-07
By that time
was
the author of
some
dramas, novels, ballads, short stories, essays on criticism and a multitude of things written
in verse.
more than would naturally Then a week or ten days. But habitual obscurity. into retire my Rama this with Ramayana. I could not do so stubborn: never ambled an inch. was
No book
engaged
me
for
It
was 1961,
retired
I
from
service,
but
was!
I served,
of
my
books
and hundreds
through and
hundreds of receptions given to me at almost every place in the Telugu country made the passage between my hand and
mouth
I
free,
was
enemies
seventy and yet I found running the race with me. But
I
my
all
these years
them who
helped anybody.
I
if
belonged to the clan of make vengeance a profession. never did any harm to I could;
never
up"
were heard.
divine
The unseen
mandate
was
there.
The two Yuddhakanda remained unwritten. thousand verses of Yuddhakanda were finished in four or five months.
A
Not
to
to
peculiar
thing
it
mention
Lord.
my own
Bharata was
the funeral
the agreed
on
as
Sri
the
point of
entering
to
Sri
pyre,
if
was promised
Ramachandra,
date.
He was
on the way and so he sent Bharata was in Sri Anjaneya in advance. a trance. The next moment he might step into the fire and only Anjaneya knew how
delayed
to stop
it.
From
about
little
the
return
Hanuman was
distance
Sri
The purport of his song penetrated into of intellectual composure and spiritual out from the Bharata. Then a sound burst
mouth of
like this
Bharata.
was written by me in the Manebha metre. The three lines of the verse were finished. The fourth did not come. It was a travail. It was almost a story of the breaking of my heart. And an almost incessant stream of
109
tears
was flowing.
The fourth
line
did not
come.
was forced to give that attempt up. Because death would not come, it did not
I
happen.
After a long time, I was feeling that the fourth line was there already written. I began reading the verse and the whole verse came, I
was overpowered by this inexplicable experience of mine. There are answers in the Veda for this, I know.
I
have
almost
come
to
the end of
my
speech.
The soul of my father, if it has not already got merged in the supreme soul, may feel satisfied and may also feel the great bliss that Sri Ramachandra will grant him.
So long I was writing his own story, the help Rama gave me was abundant The great work was finished. I thought I was blessed. But inscrutable are the ways of God. He computes
in another fashion.
i-'
Sri Rama as if he paid me the wages for writing it, brought me one lakh of rupees in the form of this Award and half of the
Because
built
the
by
my
father,
is
In ruins
and needs
repairs,
deluxe
edition
of Ramayana
also
and a must be
brought out.
all persons from my boyhood till who have done what they could for to-day this Ramayana Kalpavriksha may rest not
And
only under this Kalpavriksha but also under the cool shade of Sri Garutman, the chariot of the Lord, wing within wing replete with
Atman and
fires
set
carrying
between.
bodies
to
at
turn
spirit-
Improved by our
delivered [ Speech by Sri Viswanatha at the award presentation Satyanarayana, function, Bharartya Jnanpith, New Delhi on
16th
November 1971}
11
VISWANATHA
permitting, are you for moving country giving music and song concerts?
Answer
I
am
not
learning
music.
knew
it
before.
since
Telugu audiences
I find
know
now,
in
I singI
But
giving better
more
leisure
am
to
my
knowledge of music
more and
touches-
At
this stage
my
life.
can-
I want not change my profession. to go about giving music and song concerts. one or I have no objection to take part in two if I find in fruitful to some musicians.
do not
Question
Your
Sastry,
Am
right?
How
can
say whether
you
are
right
or wrong? It is your idea, not mine. It will be presumptuous on my part if I accept your opinion and so I do not do it. Moreover
112
In my opinion the guru passed away. assessment of a poet's worth will be done after he is gone, I am still living. At
real
least
I
my
two or three decades must pass after pass away to estimate my poetry. Then
people
will
who
are
not
it
prejudiced
bias
against
me
no
bias
its
appreciate
In the
and*
will
have
the
place
.estimate.
Not
but
it
that
shall
have
clearance.
a
Question:I*,
'Arasanf (AbhyudayaRachayithalaSangham-Progressive
Writers' Association)
What
do
you.
think.,
of
Association)?
Answer
f
:
i
thought
in
traditional
ways
first
discussed the
meanings
they came
of words,
the, roots
from whieh
,
the changes they have undergone. This process enables man to reach at the meaning of the words. Some modern critics
opine that it is splitting of words. I do not consider so as probably I belong to the old
stock.
Question:1
, i
']'*,'
the role of intellectuals'
What should be
in nation
building and
politics?
To what
do you
attribute
Mr.
P. V.
Narasimha Roa's
failure as Cfaie
Minister?
Answer
too.
fee
This
question
One may be
an intellectual.
perhaps includes poets a poet and he may not All intellectuals are not
politics are poles some politics in
apart.
poetry
great
and
some poetry
in politics.
When
politicians speak, they are always poetical when they pull at the strings of the hearts of their audience. Often people misunder-
stand
that
authors
create
revolutions.
It
happened perhaps in France. Persons Voltaire and others did it, they say.
like
came in anywhere in came because disbanded soldiers and disgruntled military men with arms and ammunitions were there
great revolutions the world, they
at their back.
When
We
see
many
This
the
is
the
reason
why Government
Usually people are semithinkers. They do not think clearly being carried away by emotions. Emotions by
itself is
upperband.
helpless.
aH
things
is
that
are
almost
world.
is
Politics
one
tshould
deal
poetry the
who have
their
own
to the latter part of your question. I have nothing to say. People cone and
And
Rivers flow and dry. One man today comes up next day he is over - thrown. The man who wins is a hero and the man
go.
is a revolutionary. Much depends the fate of things, if you believe in upon it. Many young people today are off the
who
loses
track of good
and sound
ment and
thinking.
anarchy are aboard cannot correctly probe our vedas and sastras.
Question:
kind because
traditional
have you resigned the poet Government of Andhra laureateship of Do you feel that bifurcation of Pradesh?
Why
many
sided interests
of
the
regions does?
Answer
This
is
a peculiar
question.
is
Whey
the
only poet-laureateship thing can answer. So many people under duress bow to the wishes of people with
resigned the
not agree.
know
all
115
are here.
are
Ard
every-
body knows
it.
These
'public secrets'.
That thing everybody knows and he should not say it. That is why I was obliged to resign. You do not want your person to be molested. You do not want your house to be burnt and many of your things to be There are certain people who damaged. under certain circumstances hold the
authority in their hands. Trie bows before them. I am n&t
common man
a
politician.
Integration or separation are far and distant from my thoughts. I can stay at home and
think.
But
should
section
I?
Is
it
to
or
to
fraternize
dramas
in Sanskrit;
you are devoting writing poetry and Do you feel from your
personal
more
Answer:
My
a drama
writings
Sanskrit poetry
is
not
of a recent
origin. I have been writing poetry in Sanskrit for the last forty to fifty yearsI wrote
In
Sanskrit
by
name
'Amrita
Sarmishtham'
in
Now
116
want
forty years back. All my Sanskrit are kept in my shelf to bring them into And light.
so
people
may
have
begun
The
think,
is
latter
part
of
your
question,
Any language important thing in certain circumstances. The importance of that language much depends upon the politics of the world. Till recently the French was the world's language, as they language Now English took its position. During say. the time of predominance of Buddhism in
expatiation.
needs
the
most
country and els where. Pali was very well-read language in the whole of India. Telugu for some centuries was the most
this
important
language.
Today,
his
because
followers,
of Hindi
perhaps has become one. If India become one of the biggest powers in the world, Hindi may occupy the same position as Eng'ish does today. And so the expressiveness of a language depends much upon the culture
people living
at
that
You cannot
find
names
for
bombs.
telegrams, telepathy, prudism rocket etc., in Sanskrit. So also hundreds of words are there in Sanskrit the synonyms of which are
An
American, writing
a preface
to
his
English book 'Neethi Chandrika' wrote that the word 'Neethi' has no synonym in English,
117
to express your thoughts That a language. If many thoughts can be expressed in a language you call it expressiveness of the language. The thoughts are
is
You want
same all over the world times. Times change, in all circumstances change. New ideas come and new thoughts arise. Man invents new words. Because of this, you cannot find fault with
there.
They and
are not
the
language
that
flourished
in
For example the words like 'Brahman Athman* etc,, are used by English
authors
9
themselves
is
'nephew
the son of
as they are. The word He may be there in English. your brother or sister. On that
account we cannot say English is a poor language. Richness of English language lies elsewhere. And richness of Sanskrit also is
elsewhere.
is
Regarding Telugu and Sanskrit. Telugu 90 per cent Sanskrit. As the language of other States of India, Telugu also adopted
many
of
'Englishisms'.
What
is
the
richness
are
a language?
Ip a language
there
groups of, words relating to different customs, The and faiths, many others. politics
greatness of Sanskrit is thorough as far as the soul, the development of the soul and
the emancipation of the soul are concerned. in the world. It is the richest language
TJiere
is
no hope of
any
other
language
\.
beating
is
it
out.
It
deficient
of
life.
branches of
many
phases
much more rich in of life than many of the modern There is much more to say
a language.
potentialities
But
not now.
Queston
In
Tamil Nadu,
Sanskrit
is
regrarded
and that the Sanskrit words 'mukhain' Vakthram' and 'vadanam' mean the face and they are extended to mean the mouth also. What do you say?
as mouthless language
Answer
I
things
know
anything
of
who
two words in Sanskrit mean exactly the mouth. They are 'ashyam' and 'mukham\
Kararaviitdena padaravindam
Mukharavinde vinivesay^Etham
Here "mukha' means mouth.
taking his foot with
his
The Lord
puts
in his
hands
mouth.
'
. i
people do not know exactly the meaning of this word and use it in other
If
senses also, no-body is responsible. Sanskrit is a derivative language and as such it must
known.
People
who
are farflung from the correct usage of words And this Is no fault use them otherwise.
of the language.
Question
:
How
Answer: There
countries.
does
literature
f
influence
the
them?
are
literatures
in
all
civil sed
And
by
get
inspired
languages.
The
impression
of
literature
the tempara-
ment and proclivity of certain men. Every where and in every civilised country we come across men why quote copiously from
their
classics
and
we need not
think their
love for
literature does
Question:
Do
some
you
feel that
to
extent the
Answer
Many of my readers and listeners come to me and say that my books have inspired them. And also they say they have corrected
their previous customs and habits because of what they have read in books. my
-120
Question
Can
be universal
in its benefits though not in its appeal and appreciation? The Republic of Science does Einstein's thenot have national frontiers.
all.
Does
literature
Answer:
This question tries to compare literature
with
science.
If
you say
that
all I
Einstein's
say
it
does
great science
the
man who
put them
to proper
said
that
when
the
first
theory of relativity, only four or five people We carry peculiar really under-stood it notions in our heads that a certain thing
benefits
all.
To
no
are
the best of
is
my knowledge
for
no
all.
science,
literature
They
I
for
intellectuals
calibre.
am
not
speaking of people
who
Question Should
:
literature
and
other
arts
If so,
rooted in religion and philosophy? they not partly lose their values?
be do
I2f
Answer
Literature
and
art
Their main import religion and philosophy. If religion and to the artistic minds. Is and parcel of an artistic philosophy are part
Ttie artistic value mind, nobody can help. of good art and poetry is always there. They do not lose their values.
Question:
Rabindranath Tagore said once that his was essentially the religion of religion a poet. you say what he must have
,.,
On
it?
meant by
Answer
I do not know nor do I understand what Rabindranath exactly meant by religion of a poet. Milton was a Christian by religion and a great poet. Dante, Virgil, Homer and Valmiki have their own religions and they
ate great poets. If there are people who feel elated at the unascertained highly
'the religion of a
poet
Question:
You must have heard of the concept of permissive society. Does permissiveness lead to social betterment or degeneration?
,:
Answer
is
new
122
>
creation.
9
And
.
English
language
is
so
'permissive
When
"
personal behaviour and character are ,pot taken care of here by the Government; or the people, not only permissive society, but If one accepts anything may crawl in. that the character of an individual the strict adherence to the high morals, ^leads (an individual to a better birth, tb a higher birth! old morals go alright A belter birth Js.on the way to" the realisation of the soul. It, is a step ahead. If one accepts this theory, he will be obliged to ascertain that permissive society does not stop the progress.
Question:
compulsory enforcement of family limitation? How do you view legislation in favour of divorce and
abortion?
How
do you
react
to the
Answer
This question
is
out of
my
domain.
Queston:
It is generally
accepted
that sex
should
have a place in
Reforms have suggested to the Government that hugging can be allowed, not kissing. What do you say?
films.
Answer
affair.
It is totally
a persona
like
some
things.
The
legislate according of a certain section of the out of place to it is not I thick people. say that our great poet Kalidasa in his great drama 'Abhignyana Shakuntalam" wrote that a kiss was avoided and hugging did not
to the
make more
kiss
kissing is k?ss is a
different
of
thing a European
in
different
countries.
The
covers
whole
mouth.
And
only.
is
as reported
publiby K.
of
Hyderabad
dated:
22-5-1973)
Sjotf
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been highly prized atleast since pope collected, improved and printed his. Before that, they tended to be preserved not because the writer was a poet but -because he was distinguished in
letters
The
of
poets have
some other
In this century every field. of paper wrtten on by Poets-and by scrap what swift called Poetito's-is carefully sought after. The collection of poets, correspondence by Universities and private individuals has
become a
1
cult.
considered my material less as correspondence than as a means of elucidaIf ting the poetry of those who wrote it. We are interested in poetry, then we study the personalities of poets not in order to
have
129
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appreciate
their epistolary skill but in order to understand their poems more fully.
Martin
to
Seymour-Smith
in
his
preface
Letters.
their
Coleridge
1969.
130
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My
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I
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shall
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must
tell
you,
am
feeling
Yours
(So)
Karimnagar
To
10-2-1961
dear Adinarayana garu
My
19
19 th
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7
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etc.
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100-0-
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2.1
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16-0-0
25
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18-0-0
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27
30
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^S^
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20-0
AJ.R.
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12-15
i
C'oJJ/
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5
6
Hyderabads.
(^5
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11
rl
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22
25-0-0
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23
24
25
26
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9
58-0-0
22
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^^^orv^-
25^0,4.
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Car
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^^ S^o'o
I ()
Academy
10
^o^o^to) 127^0-0
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to
from
Hyderabad.
12
13
182
24
28
29
Raiahmandry
.
3
ss>oa
13
21
29
(4j
'fad
31
Govt
Ele.
Texts
Meeting
Ele. Texts
Board
A. Jagannadha
Rao
40.0-0.
IS
Hyderabad.
24
Hyderabad^*
^
^^^
April 27
Note:
^a
^&
o^c?
866s5
standard Book sent to Mr. B. L. Narayana by Reg. Parcel 380-0-0. Salary for Dec. 57.
1st
21
Starting to Delhi
to
attend Sahitya
7(L(LO
18
23
*tfcSS>S
10.0^0
1
53
300^0^0
20
Press
28.
27.
2.
3.
Vizag Kakinada(j
Went
to
28
s&tf^oA
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7^8-0.
17
went to Hyderabad
22.
2L
23
Karimnagar.
379-
59
Ellore.
Nuzvid.
Return to Ellore.
Ellore.
8
Hyderabad
Hyderabap to
20
11
58
186
6JLO
5JLO
12
Akadami
13
2?
13
Went
to Delhi
19
In the train
2D
Reached Delhi
Delhi
Started from Delhi
In the train
21, 22
2S
24
25
Vijayawada
27
o*^
Df
28
Petrol 39-0-0.
187
2Sr5j
Hyderabad
25-OJ.
To^sirS
car
?^tf
Petrol
Hyderabad
from
Hyderabad
Petrol
43-0-0S
!6
Hyderabad Sessions
-30
07
KI
Hyderabad,
"
a^ 5
Went
to
No
meeting
Akademi
at 5 P.
M.
Hyderabad,
50-froni
*~
Uma
Publishers
to give to
+~-
P.
20JLO.
etc.
15JLO
Paid
to
P.
Ramasastry
for
writing
27
Hyderabad ^.s^.
Petrol 20-0-0^
tfo^tfo s*ab
28
'
Hyderabad.
-da'E?<3>
Petrol 9-0-0
a^Acr^ Petrol 21-0-0
30
^o^
a
3
'
f>
450.0.0
189
Hyderabad Hyderabad
Return from Hyderabad
1. 11
12
17
Hyderabad 3r^s>.
Vijayawada
3o*;&.
petrol 20-0-G
ib\&*tn
21
2LOJL
23
2T
sStforteo
S^%&.
*^>\ 25-.0-0.
21
Hyderabad
CJ
U-0JL
30-0-1
8 P.M.S
838^0 Salary
oa
for
Augues
100-lJL
Hyderabad.
190
Karininagar
9
College &*
Karimnagar
Vijayawada
Starting to
Karimoagar
<x/
Reached Karimnagar,
Rs, 40JLO
33-0-0
OH
21-0-fl
II
P. R.
Sons
20JLO
)
.
,
Akademi peon
> S
Iw^.lf-.i
Block
Start to
0-0-0
Karimnagar
19
14
To Hyderabad
Hyd. Meeting of
Delhi, at
18
18,
19
Hyderabad Conference of
Principals.
20
23
24
Hyderabad
l(LU)
Exhibition 8-0-0
27
Petrol 36-0-0
Waltair for meeting - Setters Board Tirupati Paper 3 & Bus 8-0-0
Started
to
28
of
Vijayawada
Waltair
cr-a^s
s^io "BCD
10
12
i&
to
Return to Karirnnagar
83
24
*s5cr33
JLO from
aotfo
tf&Qroa>
1La
8
On CP&S&P
26
sSj^
Hyderabad
S3
-/
19
Bezawada
15
Went
CPCO
ssS
to
c?^o
Guntur
Rs. 25JLO
25.0-8
82-0^.0
19
CO
2 JLfl
193
94
25
2fi
"So
Went
to
Karimnagar
13
from Karimnagar to Hyderabad by Deluxe by 4 P.M.. from Andfara 76-0-0 (T A. & D.A
\
Went
to
Hyderabad
85-0-0
from
Academy
15
28
2500JUI
Academy
2
^^
rC>
602 JJ>
10
^oea^cS^
tftf^Sa
IftfJ-O-O
11
tO
12
13
to
Vijayawada 50-0-0
from
Uma
Publishers
for
Writing
"3
7th novel of
21
28,
^v&
3n
"^|io3^
29
Went
to
Rajamundry
Rajamundry
30
RS
1116/-
ss
Start
to
Karimnagar by
night
by
Going
to
Hyderabad
to attend the
A
8
P. Sahitya
8,
10,11,12
Hyderabad
13
18
15-0-0
'-
Reading
Hyderabad T.A.
With
chij
21
IJ^^CPCT^
Sr-jiSa.
Koteswara
Rao.
23
Sahitya
Academy
'Executive meeting.
12
P. 6
Narayana
&
Sampath
2 P.
M.
26
2-0^0
12
()
Rs. 58/-
& MO. 6
0-0-0
cm
1961
"3
r>& *
w
&
Readings
G.
the
J.
Somayajl
unable
Vizag.
to
attend
meeting*[at
A
s'o^o
fco^se
H1 ^^^
&^
60JL0
Meeting
^S
d.
20
SSpStfoS^tfefco J E3
1<L(LO
2LILO.
11
sSr-
Rs. 20
A
23d3bgo
*J
etc.
20-0-0
Went
12
to
Bodban
19
Hyderabad
Rs. 300-0-0
Went
23
to
Is5coes?^
116^0^0
Went
to ^p^r'to
35.0.0
Bezwada o-5
25,28.27
28
31
Hyderabad
Hyderabad
V
Return to Karimnagar
^Octfeo
rr>
tffiO.S'ffS
&C5
cc^^tg:
"S
28
4>
8
.
6-30 A.M.
Paid to
for
L.
Chandra
&
K. A. Sarma
19
500-0-0
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"IbsSfib
200.0.0.
12
sSr*
n*es
375-0-0.
18
Hyderabad
I
Went
to
Hyderabad by 4 P M.
9~1S
Hyderabad
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to
it
Karimnagar
rS55^*
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Madras woi
Madras
116-0-0
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1-4
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V **.
198
20
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25
15
ed
28
25
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to
Guntur by 9A,rvl.
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to give
^3
to Chy*
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my
10
12
S3
15
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50JLO.
4
Guotur
sj
)&:5tfo a<3d&
s?
1X4
fl-fl
S.
15
>>
Going
to
Hyderabad
to
attend the
Akadcmi meeting.
Rs.
58
Ufl
*^
**%
(OKT^^O.
US
College
rf^
going to Madras 3
\~
'
286
IT
Madras
19
fib.
fib.
32-lU
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29
1
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30
Congress
58-0.^0
17
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to
116^8
25
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to
IVtasuh
Services
to
address
Life
insurance
anniversary
and
returned
5
home
by 12-30.
"3
01
'
10
')eep&
6^JT^D
Collees*
17
tfcw|;s$$.
Hyderabad.
S-
Akademi meeting.
IS
Akademi
general
Body meeting.
19
24
On
^^^
&e;a
went
58-0-0
to
Amalapuram by
^jpj^ Money
*
3 P.
M.
College
Sto^o.
High
Ssho.-)!
_0_0
ga>.;s
T.A.
to
Went
to
Khammam
ceremony
attend
the
dedication
of
returned
to
Vijayawada.
with
Went
Sri
to
Vizainagaram along
&c*a
Came
to
Vizag
Telngii Association
8
15
A.M.5
Hyderabad
45 D.A. from A,P. Academi
b,
116-8-8
25
26
^^-e^^^o 300-O
tfs
29
16-0-0
"3
(i;
P.
came
go to Ongoie
for music,
ifi
Went
to
Ongoie.
20
Hyderabad
Si
Vizalnagaram - Vizag.
at
,7
Hyderabad,
IT
Hyderabad
to
Vemulawada
201
18-23
Hyderabad.
&
Went
to
Masulipatam
to attend the
Went
136-OJ)
to
tfs
e&i&
for
28
20-0-0 from
e95$y cjO^SSa
300^0.
10^0.,0.
Rs,
6
"S"
for
script
12
83&S
essS
700^0.
7.13 erfsb
Hyderabad
Warangal
14
24
27
Delhi.
meeting.
Body
cy
13
e9^a^
()
2^op8
^eTg^crcxScea
Scribe
82-0-0.
14
Started to Hyderabad.
15
2i5
17
(2000
from
Krishna
Patrika
for
25
27
Hyderabad Akademi
SSo.
meeting 30(ULd
28
Hyderabad
a
Akademi
constitution
e
r{
.
&J&QQ
31
^p<5^ir6^?vaoto c^a^o.
by 8 A. M.
Tea Party*
if.
21
^^oo^>
10
X^tro
Printing .l.OO_O
f<r
<?
12
13
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Sri
15
c7
as73
20JLO
1
College^
28
3^s55
from
A.
P.
Bool
(116)
eo
G.
S.
Raju
15
Guntur
2OT
17
Went
58-0
to
sr
E'ore
*
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<>7 t
11)0-0-0
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to
<
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Rs.
6
II
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to
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28
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5&
58-0-0
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Guntur
12
5>0.0
<r>
208
SO
ID
SI
a&;S
11
"SoSlbtfjjtf^Sto 3-8
by
22
3<5"
A.M.
26
ft^3775
g^srOS Printing
May
28
Rs.
100^0.0
j?
ICXD^^^CD Printings
from
Kota
Padinanabhain
23
lflfl.Ov.0
for
25
<T>
209
14
toa.sstfrte
3s$oa
Rs 1001-0-0
10
p.
[I
63
E3
13
Went
to
Mahaboob nagar
Rs.
Rs. 116-0-0
Printing '50-0-0.
Rs. 390-0-0.
25
^aa^rto
506
^^co
CO
Bindin
Hyderabad
Rs.
ttl
4--
e^p^s'o^
LO.
Print 200-0-0,
211
27
Went
to
Guntur
28
1966
12
aSa'a
e^po
Printing
Rs. 4ILILJ
23
2fl
Hyderabad
Meeting.
A.
P. S,
E. B,
&
G.
13
^05^5 Went
to
Guntur to
"*oi$e>s&
Speak
at the
anniversary of
College.
Sanskrit
27
cpas
So5skrC3
School Anniversary
"\ 9,
j
oJo*J
IF"
9\
XJ
It
CO
18
2000 - for
S o
sS
tf
froro
Publications,
212
SocrSstfd satfodfcg)
e5""
100-00.
18
Went
to
Kankipadu
to register the
Rs.
136-0-0
(*)
11
&^_
meeting.
10 P.
Went
to
M.
^8A
cr
meeting Hyderabad.
13
Came
to Suryapet
Rs. 88-00
U
80
&>$
Rs. 2000-00
from
^eSrro^
o\J^ 105
125
sM?ve)& adiiGs^o'^.
.
116 ^
^D^r?a
High School
H.
31
S.
^pcrc^tgb
^^CS^PESO.
116-00
50^00.
tfer'tftftfsgb
16-00.
15 <ytf&>
03
Went
1200-00
from
Gayatri
Publications
213
for
21
14-QO.
22
10JO.
24
went to Agiripalli
Sanskrit College.
to
Speak
in
the
6 C9"^)5b
a
;S$ii
03^0
printing
700-00.
19
25
went
60th
o
birthday
.
functions.
116-00
printing 800-00,
14
tftfjtf^o
printing 30-00.
21
300-00.
A
N-*'
printing 100-00,
went to Guntur
Exhibition Club
$30 ed&S
A
db.
yd 3-^ 30
40.
M.
Jtv.
O. from Warangal.
over
at
J,
went to Guntur.
On
rr
eaAa-o
HUM.
Culture
iL 2Dff
paid to S^ao
ss}^
Rs. 100-00
Hyderabad.
meeting,
A. P. Sahitya Acadeini
Byd.
Went
APS Academi
to
executive Board.
16
53^^*
ea&er'c&C>'o
19
20-22
400JO SRTSO.
2?
Returned to Bezwada,
58^-00
s5
went to
acad3pe>rrcr,
30
went
to
ae&rfa
lo
o,
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^3-e3^.
BUS
2-4
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^&,^S)
0^5 ^cs^o by
sfc
16
26
Cy
ttU
^_j
(1200).
12
17
Sia
27
10.00.
29
eSoCb
(j
'^^0^ OO^^^^n-dj.
to
50^00
30
went
Rs.
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>
11OO
Rs. 118-00
217
*oi2>
2
CT>
r&$ Rs
25
JO
25
10
asSS"
*>rfo*a
10-00
100-00
27
o?^S aD57n
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31
0*058
^i
116.4)0
sS^S)
went to >B^o Rs
Taxi s-ep^
4
116
JO
6^00
^^
petrol
&
Bata
12MO.
Culture Club
Sej 0*^55 by 2 p. m.
215
a.
CD
Rs.
KB JO
CJ
IT
Rs.
116-00.
22
40.00.
Rs.
HOfl
n
2?
there
16-00
53-00.
Lecturers
116-00.
sSc
Sa.
Rs
School 3-
Going
to Bhiniavaram.
(I;
Bhimavaram Taxi
70-00
Rs. 1116-00
Temple Endowments
&a. a*&) 1J50
Board
oo*3fi
s?
A NO
$SA
Taxi 75-00.
12
SsisStfo.
(4)
P.M.S
CO
t)^sSe5o,
Rs.
558^-00.
o sr o cs& 5
2 P.M.S
aan
sessr
2G
^e=o^b
Rs. 116-00
160*5
fountain pen
penciles cls. y
Ream
white paper
M.R. Appa
P
V.
S \jaff
went
P.
to
Guntur
G. Centre
by 8-30.
went to rjl^Bo.
Secondary school
SF
Rs.
116
Rs*
118-
li
Going
58-flfl.
27
Rs
10.00
M. O. from
Madras,
13
to
Rs*
21
*>
23
Night
StfoKeo
Taxi
24
from
.
CO
Taxi
180
30
fi^
16
+S
OvX
, "^
^~
^)
ft VJ
A 3
21
221
27
LJ
22
"^ioo^ KLakirnda
Rs. 118^08
?5
Rs, 58JB
Rs.
IB-
Rs.50
24
Rs. 501-03
from
advance for
Went
CJ
to Tcnali for
lecture
Rs.
24
116
Rs
118-
to "Stxja
&o$tfo&^
the
money
he gave
ms
to advance for
100JO.
R.5.
UC-flO
il
Rs.
2510 FfJKti
for
18
222
22
$<>^
sffi
8
a.
Rs.
116-
e^OS
15
'Sff^cTS).
^^btoogi^n8 Taxi
{!)"
oo
^s\
Rs. 1118"other
3
$j a^a-tfo-si,
auditor
^
and
auditors
a
and some
others.
marrage.
3
A. M.
10 S
Reached Agra.
Agra*
'
20
Reached Allahabad,
21
223
22
S*l SsSOorto
S-OOrfoSsres
4~
23
25
26 sip5\
flb.
To
Ejgftf
[0.00.
Started by 8 A. IVL
10P.M.
26
2T
goimg to Ongole to attend the marriage of the daugther of Dr. b%>&v^ by Taxi. Ongole by 9 P. M. by 10-40 QB> Rs.
SSC&^P^C^^
Rs.
12
er^
3
n-sSa
f^>
.*>
30
Sets
5.
Went
to
Information
&ibo>co
To
etc.,
tf^
for'
writiBg
Rs. 100-00.
25 sajS^a
announcement.
30
Starting to
500.00 for
criticism.
C. Koteswara
Rao
225
"io
^^KCB
-
printing
sS
<*&&
Rs
by 4 P.M. Rs
18
Sf
Rs. 58-H8
sessr^
Oriental
College
21
Bombay
Society
Andhra
Educational
22
Bombay A,
E, Society
Went
Rs.
to Palakollu.
116-00
^^>^r6
oi S3" 2
Rs. 116-00
SsrjSo.
Rs
60.00
Xu *
Went
to
Guotur
Saritfa
to
Preside over
Going
t
to Delhi
to
receive
Padma
BhiisttaB.
20
New
Delhi
ceremony for
Padma Bhushan.
226
21
New
Delhi
Investiture
ceremony
for
Padma
Bhushan.
5 la
Went
to
Hyderabad
to
attend
the
by 10 A. M:
Reached Hyd
by
3-40 P.
M.
Payed to
Rs. 290Ellore
(4) v>-/
d3&sa
press for
-s^oa^Weat e
to
^s^
w^.
Rs.
24
Printing
charges
s^a5"
Went
to
Rajahmundry
21
o-
28
Rajahmundry.
116
^,
Tobacco
Institute
1118
Went
to
WarangaL
8*
Went
to
Karimnagar
to
&
to
JagityaL
Started
Madras
address
the
Rs.
15
SOO
s-jrto-*
College SR
SKT^jSo.
Rs. 116.00
s?^s?a
Started to
by Howrah
25
Mail.
16
d^oD^Went
,
to
fcsbsStfo.
Rs. 200^00
Taxi
CO
15
tojfid
So.
Rs
116.00
d'ctfos'esJa
o.
S.
170
V. Sanskrit
College^
T.A.
Doctorates*^.
14
On &SS>
^ofi
-'SfccS
A.
M.
27
20.00
22
^-5^
Rs.
60.00
rro6
remuneration.
e
_
_ ,
__
T^^-.
^^,
^u,
%w
qy^r
^^
^t^"
^^
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l^/
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i^
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MF' ^^^^a
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N*P*W *
j,
i^*-
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J^P
M y
17
?3^
55
^^ os^o&e.
Announcement..
^<5"
28 w/tta
Went
to Guntur.
College
29
16 "2
23
Rs.
116J10
jlj
Rs. 116-00
actress
Bhanumati
21
229
Rs. U6
13
from
Went
Sf
to Delhi
16
17
o,5r>^o
3^0-
4oO
Banks
Transfer
Weat
23
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27
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