Professional Documents
Culture Documents
It imbibes the elements of culture in the form of literature and hands over to future generations.
Similarly no culture can hand over its characteristics to future generations sans language.
It is the richness of literature that defines the greatness of a language, not its acoustics.
If communication is the elementary purpose of language, the ultimate destination is the creation of rich
body of literature.
Language and literature, in addition to handing over culture as heritage to future generations, it also
preserves culture alive
.
The words language and literature may sound the same for an average reader.
But, readers who read this material with a specific aim are expected to discern the difference between the
two.
What we use for communication in our day to day life is language while, what we adopt to compose a
poem, or write a story or play or any other literary form is literature.
Though language is the base for literature, it is the literature that stands out as the ultimate realisation for
language.
Telugu language existed atleast thousand years prior to the age of Nannaya, the first (known) poet in
Telugu language.
Language takes time to flower into an instrument, fit for the creation of literature.
This way the changes a language undergoes are part and parcel in the gruadual evolution of language.
Evolution
The first known Telugu word is NAGABU as found in an inscription at Amaravati. This gradual
evolution of Telugu language can be divided into certain parts for the convenience of learning.
1. The Telugu, which existed prior to the age of Nannaya, called Pre Nannayan Period.
2. The structure of language used in literary forms.
3. The structure of modern Telugu language
a. Classical and coloquial forms
b. Dialects
c. Role of Telugu as the official language
If all these parts are read religiously ,you will, no doubt cover all the aspects of the evolution of Telugu
language.
(And now the evolution of Telugu literature. The changes that had taken places in the literature from
Nannayan period to modern times are dealt with, in this pdf . The student is advised to
study various poets, writers and playwrights and understand the influence of their writings on the
literature. )
1. Nannaya
Nannaya belonged to 1100 A.D.
He was awarded the titles of First poet and Vaganusasana (one who commanded word).
He was called the First poet as he brought out the first monumental Telugu poetical work The
Mahabharata.
Ramaraja Bhushana, the court poet of Sri Krishnadevaraya, eulogised Nannaya as Vaganusasana
while another poet of repute Marana praised him as the Father of Telugu Literature.
There was no manumental Telugu poetical work worth its name before Nannaya.
It was Nannaya who refined the crude form of the Telugu language and moulded it into a fine instrument
into which Mahabharata, the Panchama Veda was later to be translated by him from Sanskrit.
Nannaya begins his Himalayan work with the Sanksrit sloka Sri Vani Girijaschirayadadhato.
He freely adopted Sankrit words, along with chaste Telugu words in his translation.
It was a translation yet it was as original as Sage Vyasa's great work, reflecting his poetic talent.
Nannaya goes down in the history of prosody as he was also the first poet to adopt the less known
Sanskrit metres Utpalamala, Champakamala, Matthebha and Sardula, called Vruttas in Telugu.
The Nannayan and Pre Nannayan period witnessed translations of Sanskrit Mahabharata into Kannada.
They generally reflected Jain thought as Jainism was patronised by the contemporary kings.
Hence it can safely be concluded that again it was Nannaya who first mirrored the Vedic thought in its
entirety in his work.
He wrote preface to his work in the third person which reflects his character and the help of Narayana
Bhat whose cooperation he sought in preparing his work.
This preface also tells us something about King Raja Raja Narendra who inspired Nannaya to
translate the epic into Telugu.
Nannaya's Works
Nannaya in his Andhra Mahabharata translated Adi and Sabha cantos (parvas) and 142 poems in the
Aranya (Pandavas exile into forest) Parva from the Sanskrit Mahabharata.
He was also credited with the works - Chamundica Vilasam, Indra Vijayam (3 cantos - 120 poems) and
Andhra Sabda Chintamani, an elaborate treatise in Sanskrit on Telugu grammar.
But scholars' opinion is divided about the authorship of these three works.
1. Readability: Nannaya's Mahabharata is noted for its easy readability. Not only a scholar, but a man in
the street also can easily understand and appreciate the poetic beauty of Nannya. It is one of the reasons
for the smooth flow of language in the Telugu translation of the Sanskrit Mahabharata.
2. Musical quality: Nannaya writes music to words. Hence his words attain a peculiar beauty and
musical quality. This quality brings sweetness to the words he writes.
3. Variety: Nannaya is noted for his varied qualities in narration. If a person narrates an incident as it is,
he is called a commentator. But when he tells about an incident in an interesting and beautiful way, he is
regarded a great poet.
Moveover the poets of Jainism translated the Sanskrit Mahabharata into Kannada according to Jain
thought, which Nannaya described as hotch potch.
King Raja Raja wanted the Maha Bharata to be rendered into Telugu according to Vedic thought.
* Nannaya was the first poet of Telugu literature and translation literature as well.
* Nannaya told about himself in the third person in his preface (Avatarica or peethika) to his
manumental work as Nannaya rendered the Mahabharata in Telugu for the welfare of the world.
* As Krishna helped Arjuna during the Mahabharata war, Narayana Bhat helped Nannaya in the
rendering of Bharata.
Tikkana
Tikkana was the court poet of King Manumasiddhi who ruled over Nellore region in the 13th century.
He translated the 15 cantos of the Mahabharata (left by Nannaya) into Telugu from Sanskrit in an
inimitable style.
He assumed the title Kavi Brahma as he rendered the work acceptable to both Saivas and Vaishnavas as
Hari Hara tatva; and the title Ubhaya Kavimitra as he was a great poet in both Telugu and Sanskrit.
Tikkana's first poetical work was Nirvachanotthara Ramayana (poetry without a single sentence
in prose).
He dedicated this work to King Manumasiddhi and his Mahabharata to God Hari Hara as He inspired
him to translate the epic.
Nannaya accorded top priority to Sanskrit words and filled them with music.
But Tikkana elevated chaste Telugu words to a great, new literary height.
No Poet thought of completing the Telugu rendering of the Bharata even after two hundred years of
Nannaya's death.
Tikkana appeared on the horizon of Telugu literary sky and undertook the stupendous task of completing
the rendering of the Bharata and propounded the Oneness of Lord Siva and Vishnu (Hari Haradwaita
tatva).
He also handed down to the future generations of Telugus a chaste Telugu tongue, they could be proud
about. His characterisation and dramatisation were to be emulated by the poets later.
His works
It was baffling that Tikkana had not touched the remaining part of the Aranya parva (the canto of
Pandavas' exile into the forest).
In fact, for Tikkna, who could complete the rendering of the 15 cantos with great ease, it was a child's
play to finish the Aranya parva.
May be, it was destined to be completed by Errana later and the grand epic to be acclaimed a great work
by the trio.
Bayyana pleased Tikkana with his poetic talent and was awarded the title Bhavya Bharati by the latter.
Errana
He was a great devotee of Lord Siva and was known as Sambhudas or Sivadas.
He was rewarded with the title of Prabandha Parameswara in recognition of his poetic capabilities in
rendering the remaining canto of Mahabharata (Aranya parva).
Among the trio of Nannaya, Tikkana and Errana, Nannaya adopted narrative style and Tikkana dramatic
style while Errana followed descriptive style.
Again Nannaya's style was Sanskritic and Tikkana's was chaste Telugu.
While rendering the left over part of Aranya parva of the Bharata, Errana began with the style of Nannaya
and ended with that of Tikkana.
This way he bridged the gulf between Nannaya and Tikkana which was indeed a great poetic engineering.
He dedicated his Harivamsa to king Prolaya Vema Reddy, the founder of Reddy kingdom.
He dedicated his Nrusimha Purana, also known as Lakshmi Narasimhavatara, to the God Ahobila
Nrusimha Swamy.
Though this work exclusively deals about Ahobila, where the lion incarnation of Vishnu (Narasimha
Swamy) dwells, it has all the literary merits which a great poetical work should have.
Nannechoda
Nannechoda appeared like a meteor in the sky of Telugu literature for a brief period.
Though poems from his poetical work Kumara Sambhava appeared in anthologies during the middle
ages, his entire work came to light only in 1910.
Sri Manavalli Ramakrishna Kavi published the first seven cantos of the work in 1910 and the rest of the
five cantos in 1911.
Manavalli tried to establish that Nannechoda lived around 940 AD, which means that he was born prior to
Nannaya and hence the first poet in Telugu.
Ramayya Pantulu and Veturi Prabhakara Sastri proved that Nannechoda lived around 1120 AD.
Nannechoda belonged to Kandukuri Chola dynasty who ruled over Pakanadu as vassal to the western
Chalukyas.
His guru was Jangama Mallikarjuna of Sri Sailam by whose benediction he was endowed with the
talent of composing poems.
But the welcome difference is - while Nannaya's approach was Sanskritic, Nannechoda's was chaste
Telugu.
Not only that, he was very critical about Nannaya's Sanskritic (Marga) poetics.
Another major difference between the two was - while Nannaya chose a single work (Vyasa's
Mahabharata) to be translated, Nannechoda chose his theme from many works and moulded into a single
whole in Telugu.
He eulogised Valmiki and Bharavi (who wrote Kiratarjuniya) as his guiding spirits.
It was Nannechoda who first introduced uniformity like a string in a garland in narration throughout the
work.
Palkuruki Somana
Palkuriki Somana introduced himself in his Anubhavasara.
Jainism was the prevalent religion in Andhra and Karnataka during his time.
Hence Somana was called the first poet of Veer Saivism in Andhra, as Basava was in Karnataka.
They were Guru Lingacharya, Kattakuri Poti Devara, a sion of Belidevi Vemanaradhya and Karasthali
Viswanadhayya.
The first three gurus moulded him into a greate and understanding Veer Saivist while the fourth one
shaped his poetic talents.
While Nannechoda introduced desi kavita trend in Telugu, Somana developed it to a great extent.
Somana's works
Pidaparthi Somanatha mentioned in his Basava Purana that Palkuriki Somana wrote 21 poetical works;
in fact he wrote more.
* Basava Purana: The tales about Basaveswara and the devotees of Lord Siva form the theme of this
work.
Also this is the first independent Veer Saiva purana in Telugu.
Pidaparthi Somanadha wrote Basava Purana (poetry without prose) and dedicated it to Palkuriki
Somanatha.
Bheema kavi also translated Basava Purana into Kannada in the metre Bhamini Shatpadi.
Singaraju translated it as Maha Basavaraja Charitra and Shadakshara Kavi as Vrushabhendra Vijaya.
Another poet Sankaracharya kavi also rendered the same into Sanskrit under the title Basavesa Vijayam.
* Chaturveda Saram: There are 357 poems in Seesa metre with the refrain of Basavalinga.
This work has also been acclaimed to be the first encyclopaedia of the Telugu people.
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This trio spread the Saivaite Telugu literature and religion in the period between Nannaya and Tikkana.
Other Saivaite poets who deserve mention are Sripati Pandita, Sivalenka Manchana, Yathavakkula
Annamayya.
Among these poets Sripati Pandita, Mallikarjuna Pandita and Sivalenka Manchana were also called the
trio of Panditas in Saivaite Telugu literature.
________________________________________________________
Basing the Parvata (Mountain) chapter in this work, Nagaluri Sesharadhya wrote Parvata Purana.
Marana
Manchana's father and teacher bear the same name.
His father was Tikkanamatya and his preceptor was none but Tikkana Somayaji, the second in the trio of
the Telugu Mahabharatha.
Marana said in his Markandeya Purana that he was endowed with the faculty of composing poems with
the blessing of Tikkana Somayaji.
As Prataparudra lived between 1295AD-1323AD, it is presumed that Marana also lived in the same
period.
Marana still improved it by perfecting the ambiguous stories, called Markandeya Purana.
With Marana's Markandeya purana, Telugu Mahabharata attained fullness and completion.
This purana was told by Sage Markandeya to saint Kroshnuki; in turn it was narrated to Jaimini by the
birds of dharma.
Mulaghatika Ketana
While some write poetical works, some others show keen interest in writing about poetics and again few
of them write about jurisprudence.
But it was Ketana who not only wrote these three but also excelled in them.
He wrote the first story work, first book on Grammar and first legal code in Telugu.
As Tikkana was his Guru, he came all the way from Vengi region to Nellore and dedicated his
Dasakumara Charitra to him.
* Dasakumara Charitra: Ketana translated this from the Sanskrit prose work by Dandi, which bears
the same title. Ketana went on record as this is the first rendering of a story work in Telugu. The romantic
escapades and adventures of ten princes (dasakumara) form the theme of the work.
* Andhra Bhasha Bhushanam: Though Nannaya wrote the first Telugu grammar titled Andhra Sabda
Chintamani, it was written in Sanskrit. Hence, Ketana should be credited with writing the first Telugu
grammar in Telugu.
It was written in 196 poems, in which Ketana used the words Telugu and Tenugu.
Varma titled his Kannada grammar work as Karnata Bhasha Bhushanam. Ketana must have adopted this
in naming his work as Andhra Bhasha Bhushanam.
* Vijnaneswariyam: Again it was Ketana's record to write the first jurisprudence in Telugu. He wrote
this in 433 poems.
Sage Yajnavalkya wrote Dharma Sastras in three cantos. Vijnaneswara, a legal expert wrote a
commentary on the Dharma Sastras with the title Mitakshara which is still in vogue in the courts of
Bengal, when woman's property (Stree Dhana) and succession issues are to be interpreted.
Manchana
Manchana rendered the Viddhasalabhanjika, a Sanskrit romantic play in four acts by Rajasekhara.
As Manchana had not revealed anything about himself either in the prologue or in the epilogue of his
work, his personal details are not known.
As he dedicated his work to Nanduri Gundana Mantri who lived around 1300AD, it can be concluded
that he belonged to the same period.
Manchana in his Telugu rendering included stories from Panchatantra hitopadesa and moral stories
popular among the people.
Keyurabahu and Mrugankavali are the hero and heroine of the work in four cantos.
Nachana Somana
Nachana Somana was a contemporary of Errana and was a court poet of Bukkaraya, king of Vijayanagar
(1356AD-1377AD).
Penchukala Dinne inscription ((1344AD) reveals that the king donated him an agrahara (an hamlet
inhabited by brahmins) by the same name.
He was eulogised as a deep erudite of Agama sastras and 18 puranas and a scholar of eight languages, in
the inscription.
Somana was credited with the authorship of Vasanta Vilasam and Hara Vilasam, which were not found
till date.
He is ranked a great poet with his Uttara Harivamsa, a beautiful poetical work in six cantos.
Gonabuddha Reddy
Ranganadha Ramayana is most famous among many versions of the epic in Telugu.
He was the vassal of Kakatiya emperors and ruled over Raichur area.
Noted Telugu scholar Acharya Pingali Lakshmi Kantham proved that Gonabuddha Reddy was born
around 1210 AD and rendered the Ramayana around 1240 AD.
As Saivaite literature gave importance to things in vogue in the folklore, Ranganatha Ramayana also
accorded importance to many things, not found in the Valmiki Ramayana.
The author followed the Saivaite poets even in metre and indegenous trends in rendering the epic.
This work towers over many other Saivaite works as it did not indulge in hatred campaign as the Saivaite
poets did.
It was not right to assume that Gona Buddha Reddy rendered this manumental epic single handed.
His sons Kaacha Vibha, Vittalanatha assisted their father and rendered the Uttara Ramayana (From Sita's
exile into the forest to Rama's ascension to Vaikunta).
The sons emulated their father's style in the rendering of the epic.
Hulakki Bhaskara
It was also rendered by more than one poet as were the Mahabharata and Ranganatha Ramayana.
At last it was unanimously accepted by the scholars that Hulakki Bhaskara, Mallikarjunabhat, Kumara
Rudradeva and Ayyalarya rendered this work.
But the work was named after Hullaki Bhaskara as he was the main pillar of the work.
It was believed that the poets in question lived around 12th or 13th century AD.
Mallikarjuna Bhat: He is Hulakki Bhaskara's son, who rendered most of the Ramayana. He wrote
Balakanda, Sundarakanda and Kishkindha kanda.
He rendered Ayodhyakanda.
Ayyalarya: He is Hulakki Bhaskara's friend and completed the Yuddhakanda left unfinished by
Bhaskara.
Molla
Kummari Molla rendered Ramayana in a most beautiful way.
She was born into a potter's family and her father was Athukuru Ketana Setti.
Though she said that God Srikanta Malleswara endowed her with poetic faculties, she dedicated her
Ramayana to Sri Rama only.
Though she modelled her work after Valmiki Ramayana, she briefed it.
She incorporated certain incidents into her work from other versions of the Ramayana.
For instance, she adopted an incident from Adhyatma Ramayana, in which the boatman Guha washes
Rama's feet.
Though controversy still rages whether she was the first woman poet or not, undoubtedly she was one
of the best poetesses who wrote in high flown but simple and idiomatic Telugu.
Kankanti Paparaju
He also wrote an yakshagana titled Vishnumaya Vilasam and dedicated both his works to God Madana
Gopala Swamy.
Koravi Goparaju
His paternal uncles Bachana and Singana were ministers in the court of Recherla Kumara Singama
Nayaka, King of Rachakonda.
As this king ascended the throne in 1387 AD, Koravi Goparaju is believed to have lived around that age.
It is an account of king Bhojaraja who tries to climb the throne of Emperor Vikramaditya.
In that process, the 32 figurines on either side of the steps that lead to the throne, narrate a story each, for
32 days, about the glory of Vikramaditya.
Ananthamatya
He belonged to Krishna region.
As he said that he completed the work on poetics Rasabharanam in 1434 AD, he is believed to have been
a contemporary of Srinatha. His mother was Mallikamba and father Tikkanamatya.
His ancestor Bayyana mantri pleased Tikkana, the second of the trio who rendered Mahabharata, and was
rewarded with the title of Bhavyabharati.
Anantamatya dedicated his three works to God, not to any patron king.
His works
Bhojarajiyam: It is a work in 2092 poems. Many sub stories in this work revolve around three core
stories. The work begins with god Dattatreya narrating to Maha, king of Lata kingdom about pilgrim
centres like Prayaga.
Most of the story works in Telugu were the renderings from Sanskrit.
Chhandodarpana: This is a great work on prosody in four cantos in which various metres were
discussed in detail. Grammar was also dealt with, in this work.
Opinion was divided between scholars for a long time as to his place of birth.
Vavikolanu Subba Rao argued that Pothana was born at Omtimitta in Rayalaseema.
Later on poets Seshadri and Ramana proved beyond a shadow of doubt that Pothana was born at
Ekasilanagar (Warrangal today).
His argument was accepted by Kandukuri Veeresalingam pantulu and Komarraju Lakshmana Rao Pantulu
as well.
Though Pothana was a contemporary of poet Srinatha, certain arguments that he was a brother-in-law of
Srinatha and gave his son in marriage to Srinatha's daughter do not hold water.
Alhough Pothana kept himself away from Royal courts and was against dedicating poetical works to
Kings and nobles, there was evidence that he visited Rachakonda Sarvagna Singama Nayaka.
Pothana was a Saivaite but he said that he undertook the rendering of Maha Bhagavatha as ordained by
Lord Sri Rama.
Although Maha Bhagavatha was Pothana's magnum opus, he also wrote Veerabhadra Vijayam,
Narayana Satakam and Bhogini Dandakam etc.,
Veerabhadra Vijayamu: It is a work modelled on Vayu purana in four cantos. The influence of
Nannechoda and Panditaradhya were seen in this work.
Bhogini Dandakam: Bhogini was a courtsan in the court of Sarvajna Singa Bhupala who loved Pothana
and got him write a dandakam in praise of her. Though Nannaya, Errana and Srinatha composed
dandakas, they were part and parcel of their poetical works. Hence Pothana's was the first independent
Telugu dandakam.
There are 97 poems in this Sataka and the last poem ends with the incantation Dharmapuri Lakshminatha
Narayana.
Maha Bhagavatham: It is not an exaggeration to say that no literate Telugu household exists that is not
familiar with atleast a single poem of the Bhagavatham.
Bhagavatha Purana is one of the Ashtadasa (18) puranas written by Sage Vyasa.
It is important to know that the entire Bhagavatha was not penned by Pothana alone.
The 5th skanda was rendered by Ganganna, the 6th by Erchuri Singaya and 11th and 12th by
Veligandala Naraya.
The divine pranks of Balakrishna were the central theme of the work.
This work also contains the stories of devotees like Bhakta Prahlada, Dhruva and Ambarisha. Gajendrak
Moksham in which Lord Vishnu gives salvation to an elephant, Rukmini Kalyanam, in which Rukmini,
an incarnation of Lakshmi wed Lord Sri Krishna are the household stories of the Telugus till date.
He said that Goddess Jaganmatha appeared in his dream and ordained him to contribute his share to the
work.
Though it is said that three others helped him in writing the 6th skandha, only the work of Haribhat is
available.
Among the co-poets of Bhagavatha, he only deserves mention after Pothana, the main architect.
Veligandala Naraya: He rendered the 11th and 12th skandhas of Bhagavatha and said that he was
Pothana's favourate disciple. He was the only poet who had direct association with Pothana.
Srinatha: He was a saivaite and believed to have lived between 1360AD and 1445 AD.
He proved himself a great poet whom none excelled during his lifetime.
He summed up his poetic talent thus; it is as fiery and high flown as Vemulavada Bheema kavi's, is
equally great in both Telugu and Sanskrit as Nannaya and is as high as Tikkana in being vivid.
Srungara Naishadham was his magnum opus, acclaimed to be the elixir of scholars.
His other great poetical works were kasikhandam, Haravilasam, Palnati Veera Charitra and Sri
Maruttaratcharitra.
Kamalanabhamatya who rendered geat puranas like Padma Purana, was his grand father, which means he
hails from a family of great scholars.
Here are a few examples which show his wit and humour. 1. A richman (Lord Krishna) can can afford
sixteen thousand wives, but why two wives for a mendicant (Siva)? Leave Ganga. Parvati is enough for
you (Srinatha addresses Lord Siva this way when his throat is parched for water).
Even the divine damsel Rambha has to weave cotton for her livelihood. Even Manmatha, the god of love
has to eat only jowar.
The title All knower is fit for only Singama Bhupala. To address somebody else by that title is like
calling a dog an elephant.
His speciality was that he did not take his theme from any single poetical work.
This way he introduced the trend of adapting compound story elements in penning a poetical work. This
trend became a model for later prabandha poets.
He also wrote Jaimini Bharatam. He was believed to have written Avatara Darpana and Naradiya Grantha
but were not found till date.
Scholars think that based on his surname Pillalamarri, he was a native of the village Pillalamarri in
Nalgonda district. He first migrated to Nellore and then to Vijayanagar. The king of Vijayanagar Salva
Narasimharaya was also his contemporary.
In ancient and medieval Telugu literature, poet duos were very rare.
The above menioned was such a duo, perhaps the first in Telugu.
The last one was found in the 6th Skanda of the Bhagavatha.
The poet duo was noted for its philosophical bent of mind while the prevailing trend was kavya literature.
They were believed to have lived around 1456AD-1520AD.
Ghanta Singana had the title of Malaya Maruta Kavi (A poet whose poetry is as soft as breeze.
He was also maternal uncle to Mukku Timmana one among the eight court poets of Sri Krishnadevaraya.
The duo were contemporaries of Tuluva Narasa Nayaka, king of Vijayanagar, who praised the duo as one
is the body and other is the life of it.
Vinukonda Vallabharaya:
Vinukonda Vallabharaya or Vallabhamatya was the author of the street play Kridabhiramam.
Some scholars think that the play was written by Srinatha as the style was largely similar to that of the
latter.
Though he was said to have penned thirty two thousand sankirtanas in praise of Lord Venkeswara, very
few of them exist today.
It is said that Lord Vishnu's sword Nandaka entered the womb of his mother and the result was the birth
of Annamayya.
The core of Annamacharya's sankirtanas was the union of the individual soul with the
universal soul.
If two cousins tease each other in a romantic padam, the girl was the individual soul and the boy was the
universal soul - Lord Venkateswara.
When a mother sings lullaby to her infant, the child was none but the God himself. He also wrote
Venkatachala Mahatmyam, Sankirtana Lakshanam and Valmiki Ramayana, but the last two are not found.
He also wrote two satakas, but only one of the two - Venkateswara sataka was found.
Tallapaka Timmakka:
She was Annamacharya's first wife. She wrote Subhadra Kalyanam in Manjari couplet. Opinion was
divided as to who was the first woman poet in Telugu.
While some scholars argue that Kummari Molla was the first woman poet, someothers credit Timmakka
with that honour.
He is the son of Annamayya's second wife Akkalamba. He had titles of Sri Madveda Marga
Pratishtapanacharya, Sri Ramanuja Siddhanta Sthapanacharya, Vedantacharya, Kavitarkika Kesari and
Saranagatha Vajra Panjara.
As his father Annamayya, he also wrote romantic and vedantic sankirtanas in praise of Lord
Venkateswara. He wrote Vairagya Vanamalika lyrics, Sataka in Seesa metre, Venkateswarodaharanam
and commentary on Bhagavadgita.
His other two works Harivamsa in couplets and Sankirtana Lakshana Vyakhya are not found.
He penned Ashtamahishi Kalyanam, Parama Yogi Vilasam, Usha kalyanam and Annamacharya Charitra.
He has an enviable place in the evolution of the couplet form of prosody.
Allasani Peddana
Allasani Peddana towers over all other prabandha poets in the royal court of Sri Krishnadevaraya.
Though Manucharitra was his Magnum Opus, he wrote Harikathasara also, which is not yet found.
Some poems from this minor poetical work were cited in Ananda Rangaratchandam by Kasturi Ranga
Kavi.
Manucharitra was the greatest poetical work produced during the prabandha age.
The story element for this work was found in the Markandeya purana in Sanskrit. Peddana drew some
material from Marana's Markandeya Purana also.
This work has three titles - Manucharitra, Swarochisha Manucharitramu and Swarochisha
Manusambhavam.
Some scholars think that Peddana hailed from Doralaya or Dorala in Ballary district.
But someother scholars are of the opinion that his birth place was village Kokata in Kadapa district or
Pedapadu, a nearby village.
Nandi Timmana: He was said to have been one of the eight court poets of Sri Krishnadevaraya,
emperor of Vijayanagar kingdom.
Lord Sri Krishna pleasing his loving consort Satyabhama by bringing the celestial plant Parijatha Vriksha
from Indraloka after defeating Indra forms the story of this poetical work.
Timmana's greatness lies in his portraying of the character of Satyabhama in flesh and blood as if she
were a coquettish wife of a Telugu household.
Critics acclaim that his work is as fragrant as the Parijata flower of the celestial plant by the same name.
His parents were Nandi Singanna and Timmamba.
It was believed that he accompanied Sri Krishnadevaraya's wife Tirumaladevi when she married the king
and settled there as a court poet.
Sri Krishnadevaraya: A great warrior, even greater strategist, Sri Krishnaderaya was also a good poet
and musician at heart.
In splendour and in the enrichment of literature and language, his golden rule was rightly compared with
that of Elizabethan and Augustus.
He patronised a number of poets of many languages though he had a special liking for Telugu and praised
that Telugu is the best of all the Indian languages (desa bhashalandu Telugu lessa).
Except Amuktamalyada, no other work is available. Recently Jambavati Parinayam, a Sanskrit play has
come to light, the authorship of which has been cridited with Sri Krishnadevaraya
Dhurjati: He was a Saivaite poet and the intensity of his Saivaite devotional feelings were reflected in
his two works - Sri Kalahastiswara Mahatmyam and Sri Kalahastiswara Satakam.
Sri Kalahastiswara Mahatmyam deals with the pilgrim centre of Sri Kalahasti.
Sri Kalahastiswara Satakam is poet's deep urge for the union of his individual soul with that of the
universal soul - Lord Siva.
His grandson or great grandson Venkatacharya who had the title of Kumara Dhurjati mentioned in his
Krishnaraya Vijayam that Dhurjati was one of the eight court poets (Ashta Diggaja) of Sri
Krishnadevaraya.
Venkatacharya's son Lingaraja Kavi also mentions the same in his Peda Kalahasti Mahatmyam.
Madayagari Mallana:
He said he belonged to Ayyankipuram agraharam, which is in the Krishna district of Andhra Pradesh.
But it was said that he was a disciple of Aghora Sivacharya, native of Pushpagiri, Kadapa district.
Puttheti Ramabhadra: He is one of the eight court poets in the court of Sri Krishnadevaraya.
Earlier many scholars were led to think erraneously that Puttheti Ramabhadra was Ayyalaraju
Ramabhadra, who wrote Ramabhyudaya.
But the noted historian Nidadavolu Venkata Rao proved that the two were different from each other.
He wrote Sakala Kathasara Sangraham at the behest of Sri Krishnadevaraya but dedicated it to Lord
Krishna.
Kandukuri Rudrakavi: One among the eight court poets (Ashta diggajas) of Sri Krishnadevaraya, he
wrote Sugriva Vijayam, Nirankusopakhyanam and Janardhanashtakam.
Lord Rama's slaying of Vali and the coronation of Sugriva form the story of this yakshagana.
Nirankusopakhyanam: The theme of the work is that Nirankusa, a gambler and brahmin by birth defeats
Lord Siva in gambling and is blessed by the union with Rambha, the celestial damsel.
This work elicits any mention because it is the first social prabandha.
Though Palkuriki Somana wrote Basavashtakam, Vrushabhashtakam and Trividha Lingashtakam, they
were Sanskrit Ashtakas only. Mallikarjuna Pandita also wrote Amareswarashtakam in high flown
Sanskrit.
Hence Rudrakavi was the first poet to have written an ashtaka in Telugu.
Chintalapudi Ellana: Allasani Peddana, one the eitht great poets in Sri Krishnadevaraya's court, tested
Ellana's poetic talents and facilitated his entry into the kings court as a poet.
Radhamadhavam was the first poetical work which united Lord Krishna and Radha in the wedlock.
Vishnumaya Natakam: Though the title of the work is play (Natakamu), it is in fact a prabandha in five
cantos and not a play. The poet describes Lord Vishnu's maya (illusion) which he sometimes manifests to
test his devotees, in this work.
Tarakabrahma Rajiyam: This is the Telugu rendering of Tarakabrahma Rajiyam by Narayana Misra,
an yatindra, lived in Prayaga.
Tenali Ramakrishna: He was a legendary in Sri Krishnadevaraya's court and one among the eight great
poets in the court. He was the wittiest of the poets in the court and was known to have saved the king's
life by his sagacity.
His pranks were very popular as his poetical works. Panduranga Mahatmyam was his greatest work.
He was said to have authored Lingapuranam, Hari Lila Vilasam, Kandarpakethu Vilasam and Panduranga
Vijayam but were not found till date.
Scholars believe that he was a Saivaite first and later converted to Vaishnavism. His Saivaite guru was
Palagummi Eleswara and Vaishnavaite preceptor was Bhattaru Chikkacharya.
Pandits also think that he was Tenali Ramalinga when he was a Saivaite and Tenali Ramakrishna after
being converted to Vaishnavism.
Perhaps he derived that surname as his ancestors used to sing prabandhas as ballads. It was their chosen
profession and for this, they were donated an agraharam (brahmin hamlet).
The origin for this work was Vidyanatha's Prataparudra Yasobhushanam in Sanskrit.
Pingali Surana: Folklore has it that he was one of the eight great poets in Sri Krishnadevaraya's court.
But scholars are unanimous in their opinion that he must have been a child during Sri Krishnadevaraya's
closing years.
Kalapurnodayam and Raghava Pandaviyam have been ranked great among the poeticcal works of the
prabandha age.
There are certain clear cut para meters in Sanskrit to judge the five gems or pancha kavyas.
The following table will give a list of such pancha kavyas in Telugu.
1. Sringara Naishadham Srinatha
2. Manu Charitra Allasani Peddana
3. Amuktamalyada Sri Krishnadevaraya
4. Vasucharitra Ramarajabhushana
5. Panduranga Mahatmyam Tenali Ramakrishna
(Noted writer and historian of Telugu language and literature Arudra incorporated Pingali Surana's
Raghava Pandaviyam in place of Panduranga Mahatmyam, as one of the Telugu Pancha Kavyas)
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Raghuntha Naika: He carves a special and enviable place for himself among the rulers of Tanjore. He
himself was a great poet, scholar and musician.
He patronised many poets and scholars and earned the title of Abhinava Bhoja (as great as king Bhoja
who patronised Kalidasa).
His age was like that of the Elizabethan which patronised Shakespeare.
He wrote Bharata Kathasangraha, Ramayana Kathasaram and Sangita Sudha in Sanskrit. He authored
Parijatapaharanam, Ramayanam and Valmiki Charitra (prabandhas) in Telugu.
Thyagaraja:
Saint composer Thyagaraja was one of the greatest composers India has ever produced.
His father's name was Ramabrahmam and Sonthi Venkatara Ramanayya was his guru.
He rejected an enviable place in the royal court, saying that riches were temporary.
He preached that spledour will vanish sooner or later but the presence of Lord Rama was everlasting.
All his kritis reflect his yearning to be established in the Consciousness of the God - Lord Sri Rama.
His compositions Nidhi chaala sukhamaa Ramuni sannidhi seva sukhamaa (Treasures or the presence of
Lord Rama? which of the two bring more happiness?), Endaro Mahanubhavulu, Andariki vandanamulu (
I salute sages as Narada, Thumbura etc, established in the Concious of the Lord) and Bantu reethi koluvu
eeyavayya Rama (O Lord Rama, bless me with the job of an attendant in your court) and Ksheerasagara
Sayanaa (the Lord who reclines on the ocean of milk) will reveal his heart that was always in communion
with the God.
Though he wrote many pancharatna kirtanas on many presiding deities as Ammaravaru (the mother
Goddess) Lord Subrahmanya (the elder son of Siva), his Ghanaraga Pancharatna kirtanas won critical
acclaim. They satisfy all the parameters of a grand composition.
It was said that when Thyagaraja's flow of language and emotion touched its lowest ebb and he was
unable to compose any symphony, Sage Narada appeared before him in disguise and presented him with
Swarnarnawa, a grand treatise on music.
He also wrote three yakshaganas Nauka Charitamu or Naukavijayamu, Prahlada Bhakti Vijayamu and
Sitarama Vijayamu. But only Nauka Charitamu is available among the three.
The art of his padams are they are perfectly suited to the abhinaya part of dance especially Kuchipudi.
Folklore has it that the anklet of Lord Krishna fell from heaven and took the birth of Kshetrayya.
Chemakura Venkata Kavi: Poetry was such an intoxicating tonic during 17th century that even
scholars, who generally confine themselves to comment on poetical works, were tempted to write poetry.
But the great works of such poets were lost in the passage of time.
Yet the one that survived was Vijaya Vilasamu by Chemakura Venkata Kavi. He was such a great poet
that won the critical acclaim of the fastidious literary critic king Raghunatha Nayaka.
The writer and critic Tapi Dharma Rao wrote a standard commentary on this work.
Ramabhadramba: She wrote Raghunathabhyudayam in Sanskrit which run into 12 sargas (cantos).
She was the disciple of Chengalva Kala Kavi and a scholar of eight languages.
She was also endowded with the gift of saying poems extempore.
Madhuravani:
Her former name was Sukavani. She rendered Ramayana upto 12 sargas (cantos) titled Ramayana Sara
Kavya Tilaka. She could complete the work upto Sundara kanda only.
King Raghunatha Naika was so pleased with her work that he personally showered gold coins on her in a
felicitation - Swarnabhishekam.
She was instrumental in the establishment of the great library in Tanjore - Saraswati Mahal.
She wrote Mannarudasa Vilasa Prabandham, Mannarudasa Vilasa Natakam, Usha Parinayam, a
prabandha and short poetical works Ramayana and Bharata. She told about herself that she was an astute
politician also.
Krishnaji: She was Rangajamma's elder sister and a disciple of Chengalva Kala Kavi.
It was unfortunate that none of her poetical works have been found so far.
Chandrarekha: She was a court poet of King Vijayaraghava Naika of Tanjore. She was also gifted with
the faculty of saying poems extempore.
Saundari: She wrote Allada Vijaya Simha Bhupati Simha Vilasamu. She adopted Rangajamma's
Mannarudasa Vilasamu in theme and style.