1 977

3

VIMARSINI
ANNUAL RESEARCH JOURNAL
NUMBER TWO

SDITOR
Dr. K. V. RAMAKOTI SASTRY HEAD DEPARTMENT OF TELUGU

KAKATIYA UNIVERSITY
vMyaranyapuri, WARANGAL-SOS 009 INDIA,

EDITOR: ir. K. SUPRftSAKIU

CHARYA

DEADER IN TELUGU,

PRICE :
Piper back
Rs. 15
Rs. 15

Hard Bound

TOs h
*""*

b*n

pubfefmd with the aid of the
tS7S-77.

Research

Sptcial gp^nt sand"

*e

W

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

READER IN TELUGU, KAKATIYA UNIVERSITY.
PRICE:
Paper back
Rs. IS Rs. IS

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

44

m
49

My

Self -

My work

59

Speach of Dr. Viswanatha
Satyanarayana
98

Viswanatha
t
'
,

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

phrase,
special

has
gifts,

more
which

at

Ms

enable

disposal, him to

adventure beyand the borders of the corridor of transformation - in to the
mysteries and mechanics of the process which impinges upon him the inner

time-space

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from the outer time-space world
of reality. dreams and

He

lives

nearer

to

Ms

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reality

same time he enand routine penetrates
at the

evasive

and cognition* and evasive mastery this is the quality and quantity - the sum and substance - of true genious
Intution
thrust
s

and, to the degree that one possesses these one is a greater or a lesser evasive worker DANIEL SCHNEI-

DER, THE PSYCHO ANALYST
THE' ARTIST, Pages

AND

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-

[Questionnaire

addressed
for

to

DR.
the

VISWANATHA

SATYANARAYANA,
the

Gyanpeeth Award-winner by Shri A. S. Raman,

year 1971,

FEATURE UNIT, Bombay and replies by DR. VISWANATHA SATYANARAYANA.]

Managing Editor,

Question:

1

May
a brief

I,

Sir,

request

you

to
life

give

me

resume of your early emphasis on literary influences,

with the crises, chall-

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

was Puranas were
I

everything from All the stories of
finger's
I

him

my

ends

by that
scribbling

Before

I

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

was feared that
of time,

may be

course

being

tradition.

teens I
I

Even when was one of the

I

was

in

the

latter

lacal poets.

studied in the

Noble College

of that

place

and

Sri Venkatasastri's

influence ran

high even there and

I

was growing
college

as a poet.

My

subjects Telugu and Sanksrit.

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

I

was born
tossed

in 1895

and by
there
I

1922
to

I

was

being

here

and

earn
in

my
the

bread,^but by

that time

was

one
of

whole

Telugu

country

a

poet

some

standing reputation.
I

was obliged to

sit

for the B.Ain 1929

exami-

passed B.A. and went and joined the staff of of Guntur.
nation,
I

my M.A, A.C College
I

Before

this,

for five

years

worked

in

National College at Masulipatam as the a Pandit. la Collaboration with a gentleman

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

I

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

When I was at Guntur I lost my one male left me three children,
girls.

wife
child

and two

I

wrote a book, an elegy of
raised

big size; that the classic poets.
I lost

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.

and Mr. Pramoda Kumar Chatterjee, on the
eve of leaving the institution presented me with a great artistic piece of his own working,

named

That picture gave me inspiration to write a drama named Trisala.
Trisala.

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.

I

am known

to be a great

on
all

literature

If at

my

and on Telugu classics. criticism was original, that

criticism

came when Ijwas addressing the
music
too.
Sastri

audiences. I was a popular forcible speaker,

and

I

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

t

and

TlG^' ii

country

aa t>eg
014
I

seemed, I developed in p eO pi e j n tj^ Telugu mutate me too. JQ
an(i
*j.

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

'

d

^

A.

'

-

j

*-k

O.'-*-'

1

JlJLtlJUULV

v

I .x

I

II

#*

'

the

latter

.f

that of me,

jgot
Coll

in

<5 S.

R B R. R.
!
.

eSe

ones again a lecturer's job viJ avawada Before that
-

tlme
1 a

member of a great
Sahiti Samiti.
persojiality

literary

^tv name association W
S??, x ? Siva Tallavajhala architect oi

A

great

Sankara
atronized

whose name is Sastri was the
-

association-

a

P

S S

many

.

He wag

m
moulding

!
fl

v

a great literary

H^

the to th c

fores

^

figure, rather of the younger people &nd &

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

I

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

This proud man, this famous

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

say a good man. never did any

I

I I

possess,

personally I was not never spoke a lie in my life,

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

Hitherto I must say, witnessed two or three

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

I

write

Andhra

Prasasti,

Kinnerasani

Patalu,

Girikumaruni

Prema-

gitalu,

Nartanasala and Ekavira.
v
,

1

The
of

first

period of boy-hood,

a period
* ^
'

trials 9

a period of study
this

and practice*

During
rich
in

second

period which was
I

my

productions

studied

Sanskrit

and English much.

The

third

period extends from 1927 to

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

I

was producing

literature

and

studying Sanskrit classics and and English novels and dramas-

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

I

finished
I

think

am

a

artist.

It is

very rarely
terpret

I

find a scholar

who could

in-

my books show
are

beauties in

which

unknown

to

meit

poetry published, though poet in Telugu Country

my books Much of my made me a great

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

to help me publishing it. This thinp, the second thing Is, I

wanted
if
]

to be read

more

widely.

If people
art,
it

could rot understand

my poetry and my

write in prose they could understand
I

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

galu serially in bis daily.

But

I

had

my own

grave very well,

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

I

wrote 'Ma Babu

9

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

People began to say

I

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

a big canvass, the

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

I

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

I

began writing

series

of novels.

These thirty years I have produced more without counting the novels fifty previous four already mentioned.
than
I

was writing and
novels.

writing.

I

was dicta-

ting

my

gest period I dictated things.

Fifteen days was the lontook to write a novel. I

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

Kalpavriksha, If I time my unfinished

at many places in the Telugti country, became popular in the
literary
circles.

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

took up Ayodhya Kanda.
they began print another Kanda.
to delay in

As

years

passed,

And

paying me money to I did not want to

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

a

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

and good critics always praised and poetry as books of high

good scholars

my

novels

literary value.

And
literary

with 1961 the fourth period of
finished.

my

work was

it

After 1961., though I wrote many things cannot be said it is another period of mine.
I

wrote even before

five

or six books on

literary criticism

revolutionised
literature.

which may be said to have critical thought in Telugu

1934 to 1971

During the long period of time from I was honoured at thousands of

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

of your literary career?

How

cant and why,

Sir?

Answer=

The second and
significant.

third

periods are most

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,

how would you

reconcile creativity to

conformity?

Answer:
I
it

I

have written a drama 'Anarkali'. In introduced characters which are birds

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

form of the book.

New

expressions,

new

*Samasas\ new
the

artistic

narration of parts of the story is

blendings of things the story the different a new innovation. Many

of
jiew

,

these

previous

things were never done by our authors. The language I used is

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

use novelty to create more effect, the book an artistic piece.

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

can explain them

and show their locations.

Creativity and continuity, in my opinion, are not things divorced from one another,

because

life

is

a

always retains

some of

perennial stream which the old waters or a

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

resulting in clumsy formlessness? your reply to your critics? Let me
Sir,

assure you,
artistically

that

I

am

not

among them.

Which of your
What

novels would you regard as

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

the real individualist

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

you are entering

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

many pages appears

to be at
It

some places
is

The author

containing irrelevant matter. is the best judge.
is

Why
the

not so. should

anybody think, he
the author,
details

the better

judge from
artist,

who
the

is

a concisious

who
three

tried all his life

to probe into

minutest
in

greatest authors languages-English, Sanskrit and Telugu.

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

dramatist, in all seriousness. the same thing, but, perhaps
earnestness.

Shaw
not

great also said

a

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

5

^pjiiion,

I

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
^
>'
'

1

*

'

,

^'

iour defence, Sir? Is V Resist What is inevitable,
is
* t
i

it
i

*

'

a

not
'

futile

to

\

ii

i."

I

it

'

1

*

"I

\

*

k

-

'^

i

'

V

'

'

"

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.

Telugu writing-particularly where poetry and

Answer

:
4

If people ttiinkj

modernism,

I

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.

I

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

7

ores

pud internal mutual hatred are
I

convulsions
the^e,

of

society,

have read

many European and Ameri-

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

history~of Western philosophy.
I read about Geology, the theory of evolution of Darwin, of Bergsoo, of Dewey the most modern American Philosopher. I

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

makes English professors wonder
think

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

kavyas where perhaps I am as great my own Telugu language.

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.

I

knew
points-

their
I

short

comings, and
like this for

their best

some more pageges

can write but why.

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

Sendeiion and Sin^Ii of this this in my Ramaykna, while
to ihe
I

was going "about Economics.
I

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'

J

(

^.

'

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

con testable,, ihe spoken word

and the written word
Answer:

best spoken best written.

About Grandhikara and Vyavaharika you
holding an identical opinion with me. If I begin to write about it, it will a small book.
are

Question

1-

wish

Coming to your magnum opus, Sir, I to know how your version of the Ramayana is different from the other versiBkaskara

ons by Kaban, Tulsidas, Valmiki,

Ramayanam, Molla Ramayanam
you,
Sir,

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.

I

have

read
to

Ramayana [and cannot claim

have read
him.

Kamban

but heard something of
is

My Ramayana
is

written

'Advaita Mata'

ancHo disprove
existing

establish that Valmiki's

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

I

am

way come up Ramayana has all
artistic innovation,

writing briefly. to a thousand pages.
the
I

Even

My

literary

linguistic,

before.
it

From

have made in the stand point of
as

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

Rama who is God, omnipotent From this point my Ramayana is a commentary, a
Bhashya
are there.

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

philosophy and Mantra Shastra.

Apart from
six

all

these things, there are

or

seven

literature.

accepted meters in Telugu Utpalamala, Champakainala,

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

equal, in different shades of built much above thrm.
in Sisapadya
I

For example,

have done the

maximum.
to

My

compete

techinique there is impossible There are dozens of with.

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

say they are

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.

And how many
write?

The descriptions

things that

more
are

I

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

lam writing a Vyakhyana to my Ramayana characterisation is a thing that can be
no where
in

the

world, in any great

author.
I

created

Somitra
conceive.
in

the
It is

like

nobody can
she
is

which so subtle and
of

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

every character creation of mine.

creation.

My

Ravana

is is

Ramayana is a new is not the Ravana of
in"]

Ravana

other Ramayanas.

Goddess Durga.
Devata,
because

a great Bhakta of is a Mantra - Adhi there is a mentra called

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:

what are your views on the princibest

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

Stewart Blackie of Scotland in
the famous
five

the greatest Greek Scholar the 18th century translated

dramas of Aschylis* one of

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

good poetry he goes
it.

His eves reval

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.

pbetry to the writings of Ruskin. respond

A

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

men who can
are after politics,

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

seems to assess good poetry.
' i

%

I

For the later portion of your question must confess that I know notfiitig of tihe

rules that govern the ]Sfoble prize abd' with-

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

stage second stage is that

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

such as Politics, Socialism

etc.

Question 9

:

Do
arts,

you have any serious
the
theatre,
etc?

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

traced with abundant

examples,

i

know something of Karnatic

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

people copied what Veyipadagalu the devote-

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

the divine Girika

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:

I

What

are your
Sir?

writing

schedules

and

methods like,, do you work?
in

How many
you have

hours a day

Do

longhand? How one day? Do

you dictate or write in many words do you write
to revise

;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

Answer: Dear Sir no methods,

9

I
I

have no

am

writing schedules, nature a lazyman, by

np

to aUeijd a cineii^ ancj playcar4s with When necessity arises I .engage a jbpfg.

and diptatp 4 Novel or a Drama or is shprj; stpry or anything which prose.
I finish the thing in

a

then

| aip

the sajne
it

week or 10 days ap4 pJ4 lazy man. As for
I sit at

my

poetry,
write.

is

very very rarely
at

home
refe-

wd
I

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

All paper. through did this and this only. And

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.

:

In that book there are nearly eighty GopiJcajS

who
rent

approach
ways.
I

Lord Krishna
have
It is
,

in

8Q

diffe-

Gopikas
^

there.
i

types of written in perhaps the
+

created

80

simplest style but poetic.
|iiff

''*'f'

*

^^

The second

J30o]<:
H

is

Ruru
'*
'

Charita, ?
^
*#
*
1

^

a

|

$$>$}!>

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,

whatever may be the height of that

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

there are four

Vyuhas

named
and

Vasudeva, Sankarshana, Pradyumna Aniruddha.
It is

a Prabandha and

it

reads

of the

93

Vaishnava Philosophy and these Vyuhas, the meaning of these Vyuhas.

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

never have a reader

in

my mind

and so I neither write for the Highbrow or the lowbrow or the middlebrow.

A

theme comes into
t
'

i

my

brain

or

I

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

the art, the expression,
their

they
is

all

come of

own accord and

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,

the art and

84

much machinery

that

my

books
letter

is I

not

seen in almost all what I thought about.
is

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

write commissioned poetry.

The major
is

poetry and major portion of commissioned because
offered

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

don't enjoy either fiction or poetry. no question of enjoyment there.

always find myself in a high psychological fit, something like a trance not to be distur-

bed and

particularly

when some very high

psychological things are being dictated or when a very important question of socialogy or philosophy or Drama is being discussed
I

must not be distrubed-

it

My
j

friends
1C

know
i

it.

people know If any such distur-

My
'

'

""

bance occurs the dictation
v

is
i

broken and
f
*
j,

I

to

must wait for some days more for the mood come and always I found there is dissothe
It
is

nance in concoction of continuance of writing.
thing in

story or

the
rare

a

very

my

case.

Question

11:

There

used

to

be a modern movement

in Telugu poetry under the impact

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?

kavithvam. Did you participate in a live force, or has it

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

appreciated his short stories.
less
it

was a Bhava KavL But
I

under Tagore's
is

influence.

don't think
rich
classical

a

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

impression on the of that land.

own

greatest

poets

Question

12:

What,

Sir, is

your message to the younger

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

being given an advice; chaos is abroad, for It discipline to be inclucated or enforced.
is

impossible

now

I

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

standards. He, may appear to be .welcoming it for the formation of a world-nation he

wants, but the bevailing
there.

T

is

bevailing.

It

is

SPEECH
Dr.

OF

VISHWANATHA SATYANAHAYAM A

lisped In numbers as could as well be said of
'I

numbers
meIt

came

9

appeared
class
at

that the
I

cradle

upwards,
in

I

scribbled poetry.

was reading

the

III

Form
off

Machilipatnam,
village.

My
found

forty father came

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 Bharata and were at his finger Telugu,
Perhaps-

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

would continue to scribble poetry aim must bs to write Ranaayana in

Telugu.

Perhaps the then existant Ratnayanas Telugu were not to my father's liking.

And
to
if

so

it

my
ever

father,
I

became a sacred promise made that I should write Ramayana,
to the task. in

grow equal

This was done
writing

1913.

And

I

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

How did they the secret behind
he copies

become
it?
,

Masters?
,

.

M

,.~

In our literature
great, if

a poet is said to be the style of a Master,

But whose

style did the

Masters imitate?
if
it

And

so,

my Ramayana

would

ever be written must be written in a style of

my

own.

But
written

this

was

not an easy

affair.

I

a lakh of verses, tore them off burnt them.

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

Kavyas and Dramas

and Grammar.

Then the question was

if

I

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

a

position
I

Ramayana? Then

up my had a peep into Valmiki.
to

take

the first synopsis

of the great

story,

saw that Valmiki, mainly intended Ramayana to be the story of:Sita, which puzzled me.

So it is the story of the same time. How?

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

r

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

the great sage

and was went

was a
is

state of Rasa.

What

Rasal
hiatus - of the
~

The lightning state of Atman and of the Jeeva surpasses 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

Bharata and other Sanskrit

Rhetoricians.
If
I

must

Ramayana is the essence of Vedas, know the Vedas, the Upanishads,
,

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

Kavya, can there be anyworld which I need not read
is

a

to equip myself? First the world, the creathe human nature, then tion, history, economics, sociology, forest lore,, astronomy

and what not
everything before

So,
I

I

knew something of

began writing Ramayana.

Later on,
science

I read the history of Western and philosophy and of the Darvinian
I

theory
state
-

read

comprehensively.
military-craft
if

There

is

craft

and

in

Ramayana

and
is

cannot say also not there.
I

something of aeronautics

And

lastly the

the great sage.

Creator gave sanction to How could I get it?

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

I

represented

my

case to him.

was

He

gave

me two

mantras,

his case four or five

years back and he referred

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

And now having

settled the requirements

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

'serpent cult' and I was into the secret of Mother

At every stage it appeared I was fit to write Ramayana. But at every stage I found new blocks thrown across my path.

to

What is make use

art?

What

is

technique?
to

How

of them?

How

know them

first?

My
Telugu

journey
classics

through the Sanskrit and gave me also a vision of

those things.

The two words 'technique' and
literary sense,

'art

5

in

criticism

are

used

in

a confused

But always
that

it

was poured into

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-

I

read profusely.
technique;
let
it

The
In
I

art or
it

be

there.

Masters thought I could do

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

:

dozens of implications in the very narration @f that srory.

Why
the

should

a particular thing

happen

only at that particular place. Mere scholarship won't do. The more I read Ramayana,

more

I

was

afraid.
all

Did my predecessors know
things?

these
it

Why
is

of

them?

Shall

I

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

was not a cent

or a bit of land left

of

my

was almost a beggar. My The burden of a big more. upon me. No saying I suffered
not suffer that.

ancestral property. father was no

family
this

fell

and did

As a boy and
weak.

also

as

a youth

I

was

body shook at every The blood would flow very experience. quickly. I hear a bad sound, an inauspicious

My

fragile

tuterance or a twisted truth, a wilful mischief

done, and

that

would make

my

blood

boil.

These

experiences

are not new.

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

a wilful falsehood and a

word

said with

mischievous intention. People thought worse But this weakness was a boon of me for it.

when

I

was creating poetry.

105

I idealised

some of

these traits.

I

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

only think futilely.

remains

unsaid,

But

this process

of thinking,
higher things,

when
things

I

would be

revealed to

me

thinking of hidden secrets

about many

new

characters,

new

and from this emerged stories and new inter-

pretations.

The Lord
dent
that

Sri

Ramachandra,

I

was confito begin

time, by writing his story.

made me

sit

found, a particular experience. the life of my wife, to
Perhaps,
feel the

he

He

lacking in has taken away make me perhaps

I

was

pangs of separation.

Alright! I began writing
I

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

toured the Telugu country reciting
delivering
literary

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

-

come home, every time, mouths waiting for my return!
Well,
I

to

feed

could

then could
if it

was
In

print those books! print the unfinished Balakanda^ to be finished?
I

not

How

I 1940, to print promised

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

I

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

I

It

was 1961,

retired
I

from

service,

but

not the beggar that

was!
I served,

The Andhra Saraswati
the
sale

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

In 1961; one explicitly uttered
it

morning words in the air,, "Write Ramayana,, take

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.

happened meanwhile. would be doing injustice

my own

Bharata was
the funeral
the agreed

on
as
Sri

the

point of

entering
to
Sri

pyre,
if

was promised

Ramachandra,

date.

Rama returned not by Rama could not come.

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

a

little

the

return

Hanuman was

Anjaneya sang Ramachandra. a great musician and a great
of
Sri

distance

Sri

scholar and a greater poet.

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.

That a sound burst out

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

money almost goes to him. temple of Lord Visweswara

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

with eyes of beryl,

carrying

between.

"And may our
last
all

bodies
to

at

turn

spirit-

tap as, and ascend Ethereal as we are. 55

Improved by our

delivered [ Speech by Sri Viswanatha at the award presentation Satyanarayana, function, Bharartya Jnanpith, New Delhi on

16th

November 1971}

11

1

VISWANATHA

:

PATRICIAN AMONG TELDGU POETS

Question I heard you are learning music.
:

permitting, are you for moving country giving music and song concerts?

Health about the

Answer
I

:

am

not

learning

music.

I

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.

I

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,

Sri guru, Chellapilla Venkata created a species of poets. I feel
that.

you too have done
Answer:

Am

I

right?

How

can

I

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

will fee erased totally,

have

clearance.
a

Question:I*,

'Arasanf (AbhyudayaRachayithalaSangham-Progressive
Writers' Association)

What

do

you.

think.,

of

and 'Virasam' (Viplava Rachayithala Sangham-Revolutionary Writers'

Association)?

Answer
f

:
i

*

*

'Arasam' and 'Virasatn' words. Our ancients, and

.

are peculiar scholars who

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

poets. Poetry and But there will be

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

icr s in this country.

A

internal revolubullet always wins.
gets

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

Poetry deals with seen in the

almost
world.
is

Politics

one

tshould

deal

of the many. That mainly with politics

poetry the

*

opinion of some people axes to grind,

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

A

judgof chaos and we do not or into the secrets of

traditional

have you resigned the poet Government of Andhra laureateship of Do you feel that bifurcation of Pradesh?

Why

the State will serve the

many

sided interests

of

the

regions does?

Telugus of Andhra and Telangana better than an integrated State

Answer

:

This

is

a peculiar

question.
is

Whey
the

I

only poet-laureateship thing can answer. So many people under duress bow to the wishes of people with

resigned the

whose ideas they do

not agree.

I

know

all

115

the implications that

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

why antagonize some
another section?

think.

But

should
section

I?

Is

it

to

or

to

fraternize

Question:It, seems, now-a-days, most of your time to

dramas

in Sanskrit;

you are devoting writing poetry and Do you feel from your

personal

experience that Sanskrit is expressive than Telugu in all aspects?

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

1

Sarmishtham'
in

Now
116

I

want

forty years back. All my Sanskrit are kept in my shelf to bring them into And light.

so

think that writing in Sanskrit recently.

people

may

I

have

begun

The
think,
is

latter

part

of

your

question,

I

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

Mahatma Gandhi and

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

and the needs of the
time.

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

not to be found in any modern language.

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

a very great a bygone age.

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.

does not mean that Sanskrit expression regarding other
It is

branches of

many

phases

languages. about the

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

:

do not think people

things

know

anything

of

say these These Sanskrit.

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

:

. 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

be carefully used and

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

character and lives

them?

are

literatures

in

all

civil sed

And
by

get

inspired

certainly there are men who the great poets of their

languages.

The

impression

of

literature

upon men much depends upon

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

not spread into the

secrets of their lives.

Question:

Do
some

you

feel that

you have improved

to

extent the

individual morality of your

readers and listeners?

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

literature, like science,

be universal

in its benefits though not in its appeal and appreciation? The Republic of Science does Einstein's thenot have national frontiers.

ory of relativity benefits have the same effect?

all.

Does

literature

Answer:
This question tries to compare literature

with

science.

If

you say

that
all I

Einstein's

theory of relativity benefits
not.

say

it

does

A

great science

the

man who

and a great art benefit understands them and can
use.
It
is

put them

to proper

said

that

when
the

first

in a big congregation of scientists, for time. Prof. Einstein explained his

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

the good of of a high

calibre.

am

not

speaking of people

who

think they are rich with a few paise in iheir
pockets-

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

are never rooted in

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

meaning of this phrase they are more blessed.
*
i

'the religion of a

9

poet

Question:

You must have heard of the concept of permissive society. Does permissiveness lead to social betterment or degeneration?
,:

.

u

t

Answer

:

This "permissive society' perhaps

is

a

new

122

,

I

I

>

-

T

creation.
9

And
.

English

,

language

is

t

so

'permissive

When
"

vedas, Sastras and., strict
*

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.

:

What can I say? Some people

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

Government often does
wishes

to the

make more
kiss

Perhaps appearance. admissible then hugging.
its

A

kissing is k?ss is a

different

of

thing a European

in

different

countries.

The

covers

whole

mouth.

And
only.

the kiss of an Indian touches the cheek

(This dialogue shed^

is

as reported

publiby K.

Ramachandra Munhy, in Deccan issue the of
Chronicle an English daily

of

Hyderabad

dated:

22-5-1973)

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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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POETS Through From the Tudors to

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Coleridge

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Yours
(So)

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To

10-2-1961
dear Adinarayana garu

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filra

tfotftfS^

"&&>osr&
csr.

>

sS>

sy^c^^^S advance by cheque
script
IT

2000^

20-00

Received

towards

Rly. fare

to Rajamunclry to attend the

Of
2?

Rajamundry,
& &S*3r -J of O

Presided
SaertstoP
J

over
*,&,
^

the
In the

(*jd*tf x f

morning.

J5.0)

24

writing began sSjf^o for Radio to be broadcast on 2 1-6-5 L
finished writing
it in

25

Nartana
P.

sala.

gav e

the A.

I.

R. i^ea-tf 6&S3 Script

fr

Q

j6o$oi?&.

Mr.

Ramasastry

is

the

scribe.
26

20 pages

&&ga 20 Pages s
Ib&sa 20 Pages
8>ss>$a
s

27
28
29

20 Pages

Radio,
Script,
10

30

10

120 Pages
8-30

script

Manager
iO Scenes
,

Driver

Time

script
4

5
8

Madras Radio Talk on

Met

A. Sankara

Reddy morning

Script

Express
12
13
tfco

9-306 a^ipS

Ticket to Berh am pur.
24

From
class

Anskapalli

changed

to

2nd

25

Vizag
Vizag

26

27

30

Cultural tour.

8-535

>

^
"36

i

P.M,
5
9

Tatanagar

pd&oio

2,

3,

4

Tatanagar

5

$>$&&
6-30

>c&e"a?r&D.

g

P.M-3

6,

7,

8, 9

>

152

10

^tfftp-stf)

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^oe3*

^d&o^j

Mail

12

Reached to Berhampur by 4 A. M. 6 P.M.

Berhampur

8

A

-M.

reached
8

aac&iSrttfo

by 2-30P.M.

A.M.
7

15

^2r^J6

A.M.
a

Paid to Sivaram Rs. 30-0-0

^js^o&o ^e^o-sss ^o^o5
ttee

gp.

Commito
16th,

meeting

postponed

16

Vizag

Noon
17

Sp. S

Committee meeting

12

19

Rs, 261-9-0 April
Stf

21

33*0 cn^<

Broad

cost.

22

Rs. 261-10-0

May

Rs. 50

261-8-0 June
11

7-8~0

24

12.-8J]

26

27

a^sStoeao Joint

Board meeting.

sS

OO

28

Pass Board meeting
to 12 A.

from 8 A- ML M. and A.V.N. College & Lecture from 5 P. M- to 6 P.

M

o

25-0^0 ^otfs7oSbtf^x>.

20^0^0

M.

O. for

4

^^or?a)

sS^d^peao

by Express

5

12,30,

154

9

&c?&

$<5&&Q.

o*8<

Mail

10

11

24

Went

to

Madras by Mail along with

Chij. Krishna.
25

At Madras.

Met Mr, A.

Sankara

Reddy Reddy by cheque.
26

Rs. 500-00 from Mr. Sankara

At Madras. Discussed Mr. K. V. Reddy
At Madras.
Justice

Gitanjali with

27

met Hon

5

the Chief

Mr, Rajamannar and Kama Rajo Krishna Murthy garu advocate and consulted ssr ^^ about

^^

5

my
28

Horoscope.

Reached Bezawada.

5 0.0

273.0.0

&s<>

Cheque Cash
^
C>

5

12

14

15,16,17

At Delhi. Meeting Presided by Horf MR. Kala Mr. M. Tirumala Rao, & Anantasayanam Venkata Rao
lyyangar spoke.
19

Saa-tfsb fa>d&o>"cp&.

at 6-30 P.

M.

2,1

Reached Bezwada,

22

23

^J6^s50

2^8^-0

^odisroSb^^ 3o

273^,0^0
18
14
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17

RS- 10-00
273.

27

OJ

^5T

a

Jl

&C35&&, Expre&s
150.0J

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from
2

8

P.M.

to 11.30
g 8

P.M.
to 11 to 12

Madras As-ceO
Madras As-o^s

PM PM

PM PM
Till

Madras
9 P.M.
5
6

As-otsa

the whole

day

MadrasAs-osoS
MadrasAs-osa

PM to 11.30PM 8 PM to 11 PM.

7

Madias addressed the students in The Govt. Arts College by 4 P. M.
1bec:S cocQ^Ca. ^

On

STssoft

ed^
*^

^

Lecturar; went to see

'Lightning strikes twice Directed by ^r&s-tf <r^ king Vidor with Mr,

K.V, Reddy and Mr. M. Linga Murthy, from 9-20 P.M to U^P.M.
fi

Mr

8

Madra s AeroteD from
Madras
AiroesD

8

PM

to 11

P.M.

finished

10,11,12,18,14
15

Madras

Reached Bezwada
Radio Station
$*

22

n AM

record
ft

to

be broad cast

cm

Hyderabad

station in

December.

157

23
24

o*l&3

9.305

Rajamandry

9

A.M.

25

4

PM

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1

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273 O,O s
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22
23

3835b^& o

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Rs,

100.0-0.

Went
273JLO

to

Madras on Express.

10

24
89

28

Sj-tftftf^n-os Stfitf

paper

s

Rs. 100-0-0

29

C5.

280JLO

Press Bill
7

Rs. 100-0-0.

Went
12

to o"Kofld& for

Returned from

Hyderabad.
16

Dt. Hydera-

bad
17
IS

state.

Hyderabad

3o-&.

^jao^o

6

JO

19

^PC^O^^O Express
*sS$n-5
aso.

22

Rs. 17-0-0.

24

10,

11,

12,

13,

u

16

24,

25, 26, 27,
2, 3

28, 29, SO, 31

4

5
8

Ongole 2T3&S 9 A.M. * O
an

a

A.V.M.

X

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Express

S5
3

Radio

<e^

^^^3S
fsr^sSi

a ^s

^

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Programme

(Cheque Rs. 50)
28
rt&cSr'tfo
(sn-S

32-15-0)

27

m_7~0 From c-^a Hyderabad Banks*

SO

Went
in the

to

address to

Ongole to deliver inaugural the Telugu Association
College.

new

$1

10-0-0

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on

&&

o
to

^a^JT'd^esrr^

of Masulipatnam

go there and

Speak

306.0-0

Rs, 50-0-0.
13

24 25

Reached

^tf

a by 2

P.M.

d*d&o*3<>

6.38

Hall

ff*.

160

26

gtfss

crsfcs

Hll*

ASotfo.

100JU)

28

SsS>^srd&&
es^ofib

Rs. 50-0-0.

7

16

(9.20)

26

SfcrtfsS*

^^

19

J

Sent to Kodali AnjaneyuluRs.lQO-0-0

296^0.0
13

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Lo sS&^s-d&rra^.

50^0-0
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ao^Co

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cm

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va sapeo

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11

2p<3S>oef<)o

4

P.

M.

2

3o-S.

RS
15

.

J60/

Kurnool

fr<&o#<)o 5 P.

M.

to 6 P.

M.

Municipal School ^*

ASSO.

8_30

16

383^-^

8 A.

M.

2

Saso.

30

S^s yg^^
9 5

9_30

by cheque
12 A.

75/

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162

21

80

12

va

sroo.

*d&o#o GJOS

IS

via

sfacr^Go

aoo^-Oi

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p,

14

aoos^r^

j^d&Qo 4

M

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15

Kurnool ^s&o^o 5
Municipal School
<5*

P.

M.

to 6 P.

M.

&$&o.

6_30

16

3as?^
>OT>&

8 A.

M.

5

30

y^^^

9-30 A.

M.

9

by cheque
12 A.

75/-

M.

5

162

21

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o*c?^s$s&p&

5^;r oo'S"orf

paper

7

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->o

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KLO-O

10

17

16.0-0.
25
28

a

14

^a ^-diozp^S y -s 7 P.M. 5
25

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2fi

27
28

25-(U from
C

1

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100-00 from
^53-5 A
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3

306-2-0 Salary for June 53.
^,

8

C

High School
323^0^0

<s^

^^^r^^b d^

cr^a 8^30

4

184

15

,

17

3*

&o& e)cx'cr&. Via Kayapur and Nagpur 18 eo\ 19

-

J-(LO.

25

-4to Aa-e

M&M&

Press

-s"

Rs. 125-0-0.

8
.

50.0,0 ssb & .

from A.LR.
Sed^o.
lOOJ

for ^to^o

CSbsS^S

from
Started
oriental

to

Vizag

to

attend

the

Language re-organizition experts committee meetiog.

15

0*8*

Went
30

to

Warangalby

2.30 passenger

Waranga!

2

Started aod

came back

to

B Z A.

by 9 p.m.
Passenger
ifi

s'So^Kcs

3^j^>.

O&2

^0

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6

Waraagal

&

Karirnnagar.

7
13
'

Warangal

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to

2r &&>!& for 3

14

17
29

Sent to Kodall Anjaneyulu
o*a<)

R^

200/-

a^k^a Mss. 'A.V.N. College

3i

Pitthapur

5
6

7
8

166

8

Stfr^oDSaaa.
C

^^o^oOsmania

College

u

by 12- 00 P.M.
18

^0^-3^^

^csW^o High Schools

17
21

sSo
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116-0^0
n*d>

from

for the Script of

25

58-(LO

from Mr.

(.*

i^

167

24

15

16

&&&
5

7 tfo.

P.M.

17

18

College^ 6sS^g^o. 10G.O-0 S ^es-5 oc^co-gS 105 CbsSS 5o*&, 4 P.M.
**i
.

5-30

I95S

5

6

Krishnaiah.
8

""0

11

sSfc'oKeo

&o& cr5
M.O.
SSSf

2.0.0 >5f6"E?^

24

D*e3^sc&

College^

H.S.
27

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L8-0

28

sao*3

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<D

sSOs?

4.0.0

29

A.
CO

V

High School

*

6SS??g^eo.

2r*tfSS

340.0^0 Salary for Jan.

,<r>

6

for

ko

from

a^

ML.A.
Hyderabad
,

2

Hyderabad
109

9

33-12-0.

45

6

High School anniversary A.M.s "SC'j cra<) oo<&

27

Parcel
1

to

Parcel

iUU.

sS^sSaeo
5

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53-2^

Paper

24L2-0.
8

8

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2-30 P.
a*

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co

A.M.

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M.

sSQS>.

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8^0-0

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170

15
& 5.

16

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17

)

50-0-0.

25

26

368-0^0 Salary for
29

Oct.

&1boe>&

o&

9^-20

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Chicacole

SO

Reached

Chicacole

by

1

1

A.

o

Collee^

81

58-0^0

ef)C5to

School^
*

515

*"* g>

*>

*

*

7 p.m. 5

3

e*

go3-ca^rf

4 30

^o^cb

Hindu High
sJ

School centenary celebrations^
o

3.30S

8

ll

s*^^
<0 c3*,2

students
v

&

staff

&

& & ^r

5

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14

15

400_OJ.

from Gudivada.
etfsJ'zcJs;n*ob. o y D

llfi-0-0.

from

/Td^*d
C3

Cloth Stores

800-.OJ.

Paper

200-0.0.

25.0.0.

17

116JLQ,

from
Cultural
t

"TfW

Hindu College ff* Weeks 3r^&. c?di5 ^o*\^) ^
"F
^t

-1

|

^

j^O-fl TO*"V"'"V

53*16 W*

W

368-0-0
18

tfo

for January.

going to Ongole.
116-0-0.

^_eo

>&}

eta

10-0-0.

Ongoles" High School

Ssr

25

250^0-0.

Ongole College
A^srjSo.

26

<9tfo#*

Ongole^ Municipal

High School
Waltair Waltair
Passenger

Rly Charge
10

20^0^0.

20

JJ.
2000)

12

(ij

*Sor;^ra

Co

^

^D*JC

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8 A.

^^^^
M.

Cement

V. V. Giri12 A.

(President)
15

from

M.

17

173

-JC

18

28

Rs. 30-0-0.

from Syam Sundar.
Rs. 50-0-0

.

ro

30
31

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1006.

100 CJ*

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co

Rs
t0-eo 55JJ-0.

200-0-0.

6

6

jS^|5ro*dS:e^^o
180.0-0.

120 0.0.

9

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86-0-0.

ab^

10.0.0

10

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Paper Merchant
Printing

500-0-0.
500-0-0.

Press

200-0-0.

Proof reader 25-0

-0.

174

12

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from

^

Hyderabad.

40.0.0.

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4-0-0.

15

a^S'^ofi' Paper
^er^cx)

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200-0-0

523-6.

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(Total

Rs

575-0-0)

a

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26

31

21)0

JLO from

Sfoflero

cr&sSc&g to

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;5l>jS

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rent of the press 200-0-0.
f

3

8S"5"

iO(L(LO

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50- (LO

from

T

800-0-0

from Venkatrama

&

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11
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125-O^.fl

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a

prooff reader

15
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.

7-0.0

Type

recast Rs.

i

50-00. d&e^os

50-0-0

Salary for April and Laxrni Cloth Stores 400-0-0.

737-6-0.

May

6

*s>3

jS^S-iS-dSSa

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30

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Guntur to address the Students of Hindu College.
to

15

Hyderabad

lie.lLO

17

^co

5-45 A.M.

25

ON

s*^s^^

Lecturer

sSi^^^S^^i ^ Oagole &
rfsSa^o

Telugu
sio^aa.

^

Rs. 400-0-0 w^a

Brook Brond

TeaCompany^
^.

7

77

15-0-0.

8

9

suss*

assrgso.

20-0-0 from

Students.
18

Went
At

to

Hyderabad by

8

P.M.

17

Hyderabad
g*

28

80-0-0

from the Brother of M.S.

Sarma Ongole.
30

lOOOJU

from

Kota Padmanabham Paper Merchant ebtooo

1000-0^0.

12

17

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7 P.

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23

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^asr^rf 4 A.M.
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15-0-0

24

25

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^

7

P.M.

29

30

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Tel.

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23

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26

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Academy
10

H

^o^o^to) 127^0-0

Warangal 100 0-0. the Secretary A. V. H. School.
to
11,

Went

to

from

Hyderabad.

12

13

182

24

28

29

5

C

Raiahmandry
.
3

ss>oa

13

Hyderabad, Sahltya Akademi MeetIng.

21

Hyderabad. Nationalisation of Ele Education meeting.

29

(4j

'fad

31

Govt

Ele.

Texts

3

Meeting

Ele. Texts

Board

5

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A. Jagannadha

Rao

3

40.0-0.

IS

Hyderabad.
24

Hyderabad^*

^
^^^
April 27

Note:

^a

^&

o^c?

866s5

2

v

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

Academy General meeting
15
li

7(L(LO

18

23

*tfcSS>S

10.0^0

1
53

300^0^0
20

Press

o

28.

27.

Hyderabad. Sahitya Akademi

2.

3.

Vizag Kakinada(j

Went

to

28

s&tf^oA

d^sio E?^.

7^8-0.

17

went to Hyderabad
22.

*

2L
23

Karimnagar.

379-

Salary for Dec,

59

Hyderabad Ticket 25-0-0. Going to Ellore,
5

Ellore.

6

Nuzvid.

Return to Ellore.
Ellore.
8

Hyderabad by night 9-30 P.M.
10

Hyderabad
Hyderabap to
20

11

58

186

6JLO

5JLO
12

76JL9 from a*>#j
to Vijayawada

Akadami

13

2?

Tickets to Delhi 100/-

2

t

4QQ Salary for Ian.
9

Tickets to Delhi 36-0-0

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

3

2Sr5j

Hyderabad
25-OJ.

To^sirS

car

?^tf

Petrol

4

Hyderabad

5

Hyderabad Petrol 7-0-0.
Returned
etc.

6

from

Hyderabad

Petrol

43-0-0S

!6

Hyderabad Sessions
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07
KI

Hyderabad,

"

a^ 5

452-0-0 Salary for April
14

Went

to

of script not come.

Hyderabad by Car meeting by 4 p.m. Mr. P,L. Kantam

No

meeting

Hyderabad. meeting of the advisory Board Central

Akademi

at 5 P.

M.

Hyderabad,

meeting of the Executixe Board A. P. Akademi by 9 A. M.
80

50-froni
*~

Uma

Publishers

to give to
+~-

P.

Ramasastri for writing Sera's

6

20JLO.
etc.

15JLO

452 Salary for June
a

Paid

to

P.

Ramasastry

for

writing

9

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>

3

450.0.0

189

I

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

o*3o 4p.m. Warangal

Training College &$

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

5

20JLO
)
.
,

Akademi peon

> S

Iw^.lf-.i

n

1

Block
Start to

1

0-0-0

Karimnagar

19

f

14

To Hyderabad
Hyd. Meeting of
Delhi, at

18

SahityaAcademy A.P S.A. Tilak Road
ilie

18,

19

Hyderabad Conference of

Principals.

20

Return to Karimnagar Visit of the D.P.L to the College.
to

23

Hyderabad Bus charge 5-0-0
"3os>

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

7

^

12

i&

Hyderabad Hyderabad by iO-30 A.M.
22

to

Return to Karirnnagar
83

24

College Annual day celebration.
25

*s5cr33

JLO from

aotfo

tf&Qroa>

1La
8

On CP&S&P
26

5

sSj^

Hyderabad
S3
-/

8

19

^^5^ Going to Hyderabad by 4 P M. Deluxe Tickets Etc. 7-0-0

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

9

"So

Went

to

Karimnagar

13

from Karimnagar to Hyderabad by Deluxe by 4 P.M.. from Andfara 76-0-0 (T A. & D.A
\

Pradesh Sahitya Academy.

Went

to

Hyderabad

85-0-0

from

Academy
15

28

2500JUI

by cheqoe from A.P. Sahitya
for
cs

Academy
2

^^
rC>

602 JJ>

Salary for June.
tfo
.

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

Return from Rajamundry
2

Start

to

Karimnagar by

night

by

Going

to

Hyderabad

to attend the

A
8

P. Sahitya

Academy. 0^ Bus 12-00

8,

Hyderabad Sahitya Academy,

10,11,12

Hyderabad

13

18

15-0-0

'-

G. Ranga Rao for
at

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.

5

26

Hyderabad Senate Meeting.
7j

7

2-0^0

12

()

Rs. 58/-

& MO. 6

0-0-0

cm

1961
"3

r>& *
w
&

Readings

Sent wire to Prof.

G.
the

J.

Somayajl

unable
Vizag.

to

attend

meeting*[at

A
s'o^o

fco^se

H1 ^^^

1

&^
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

Bodhan. Starting by 4 P.M.
58^0^0

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

3

c?& a&oto^ esSbcJ^S
600JLO.

500-0-0

-M**o*
"IbsSfib

200.0.0.

12

sSr*

n*es

375-0-0.

18

a

Hyderabad
I

Went

to

Hyderabad by 4 P M.

9~1S

Hyderabad
Returend
to

it

Karimnagar
rS55^*

U e>^jb

Madras woi

2

Madras

116-0-0

Hyderabad
1-4

rf^oasb

Hyderabad

6

Hyd. to Vijayawada
ar

f
j

/

ii

*

*

.

IV

I

V **.

198

20

trjs&ofl*

^3-sj-o r*Sp&
ae3d&5T<

"3

#

"3

co

o<3

dsaD. 4

A.M

25

Hyderabad attended the ineeting of A. I. R. Joint advisary Board meeting.

15

ed

n

28

25

Went

to

Guntur by 9A,rvl.
Sow.
s's&o

to give

^3

to Chy*

^sbotoooo

Got

eyes examined by Dr. Raghavacharya paid to him Rs. 20-0-0

my

9

k

10

12
S3

15

Went
50JLO.
4

to Narasarao Pet, and

Guotur

^

5

isff Radio Talk
a
.5"

sj

5

)&:5tfo a<3d&

Tutorial Cnllesie ^"
.

s?
1X4

fl-fl

S.

15

>>

3

Going

to

Hyderabad

to

attend the

Akadcmi meeting.

Hyderabad A P. Akademi Executive Board meeting.

Rs.

58

Ufl
*^
**%

(OKT^^O.

u

US

College

rf^

going to Madras 3

\~

w

'

f

286

IT

Madras

19

fib.

fib.

32-lU

5)tfo

s?d^^6
<*>

R3}-Oarges

o

29
1

a^^o CODgFCSS

30

Congress

58-0.^0

5

17

disoDCd

Going

to

Mrs. A.V.N. College
21

116^8

25

3

Went

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

^SP^C Akademi meets.
^en^tfo,
-$>

24

On

^^^

&e;a

went
58-0-0

to

Amalapuram by
^jpj^ Money
*

3 P.

M.

College

Sto^o.

C

High

Ssho.-)!

50-0 M.O. from

_0_0

Q

ga>.;s

T.A.
to

Went

to

Khammam
ceremony

attend

the

dedication

of

8

returned

to

Vijayawada.
with

Went
Sri

to

Vizainagaram along

&c*a

Came

to

Vizag

Telngii Association

8
15

A.M.5

Hyderabad central Akadeini advisary
Board.

Hyderabad
45 D.A. from A,P. Academi
b,
116-8-8

25

26

^^-e^^^o 300-O

tfs

29

16-0-0

"3

8

(i;

P.

Narayana Rao of Karirnnagar
in the night to

came

go to Ongoie

for music,
ifi

Went

to

Ongoie.

20

Hyderabad

Si

Vizalnagaram - Vizag.

Reached Vijayawada by 8-30, Went to Chirala by 10-30 A. M. 16-0-0.
1

at

,7

Hyderabad,
IT

Hyderabad

to

Vemulawada

201

18-23

Hyderabad.

5

&

Went

to

Masulipatam

to attend the

opening of Zilla Parishad Building.
8

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"

100 from ^sSr Publishers
writtets

for

script

12

83&S

essS

700^0.

7.13 erfsb

Hyderabad
Warangal

14

24

-a^ootf going to Delhi by G. T.

27

Delhi.

meeting.

Akademi General Dr. Gopala Reddy
63

Body
cy

13

e9^a^

()

2^op8

^eTg^crcxScea

Scribe

5

82-0-0.

14

Started to Hyderabad.

15

meeting of Sri P. Madhava sarma's Thesis. Doctorate awarded.

2i5

17

(2000

from

Krishna

Patrika

for

25

27

Hyderabad Akademi
SSo.

meeting 30(ULd

28

Hyderabad
a

Akademi

constitution
e
r{
.

Amendment meeting ^J^Q^Q
-0^
tf;

s

Hyderabad Akademi Executive Body
meeting

&J&QQ

6

31

^p<5^ir6^?vaoto c^a^o.

by 8 A. M.

Tea Party*
if.

21

^^oo^>

Hyderabad, meeting of the Advisory Board of the central Academy.
PriotingS 136-0_0.

6

10

X^tro

Printing .l.OO_O

f<r

<?

12

Reached Waltair by 4 P.M

13

Started to
Sri

Rajahmandry along with

Sampat Principal Govt. Arts College Rajahmandry in his car.

15

c7

as73

20JLO
1

College^
28

2

3^s55

2000 Cheque Publishers for

from

A.

P.

Bool

(116)

eo

G.

S.

Raju

15

Guntur

2OT

17

Went
58-0

to
sr

E'ore
*

sS

J

<r>

<>7 t

11)0-0-0

4

*}*

:

Went

to
<

3tf;5ci;$l!>to

Rs.

6
II

C>-

s^^ofiS

so^ Printings Rs.
Guntur
ro

ll)0_(L0,

'2

Went

to

Soi.

Ta-xi 26JLO

28

Sooeitfs-o^

Printing lOflJLU o

8

5&

58-0-0

a^w Century Culb
to

2

"i)

Went

Guntur

12

5>0.0

s

<r>

208

SO

ID

Reached Tlrupatl by 10 A.M. by ? P.M.
jj

SI

a&;S
11

"SoSlbtfjjtf^Sto 3-8

by
22
3<5"

A.M.

Rs. 220 X)r&cx> Dec. remuneration
(}

26

ft^3775

g^srOS Printing

Rs. 230 aaSptf&aO April,
28

May

28

Rs.

100^0.0

6

j?

s

ICXD^^^CD Printings

from

Kota

Padinanabhain

23

lflfl.Ov.0

for

a32rtf&& for June 65

25

<T>

209

14

toa.sstfrte

Printing Rs. 300-0-0.

8

3s$oa

Rs 1001-0-0

10

Reached Warangal by 0-30

p.

m

[I

63

w

w

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

Print Rs, 150-0-0.

Rs.
ttl

4--

e^p^s'o^
LO.

Print 200-0-0,

soSp^^o Remu. for oct. 65

211

Vizag Lecture in Mrs. A-V.V, College
17

&7ocncb Vizag Rs. 101-00 College rSa-^o.

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

O

I

(

4

"\ 9,
j

oJo*J

O

IF"

9\

XJ

It

CO

18

^

2000 - for

S o

sS

g

tf

^

froro

Publications,

212

SocrSstfd satfodfcg)
e5""

100-00.

18

Went

to

Kankipadu

to register the

deed of land sold to Panchayati of Nandamur 2 cents of God Visweswara swamy 9 A. M. to 12 A. M.
29

Rs.

136-0-0

(*)

11

&^_

Hyd. Akademi Nakkarkal by
116-00 SsrcSo.

meeting.
10 P.

Went

to

M.

^8A

cr

meeting Hyderabad.

13

Came

to Suryapet

Rs. 88-00

from High School Rs. llt-00 from local literary club.

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

to Nuzivid to deliver a lecture

in the Victoria Hall.
30

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

to Challapalli to attend Raja's

birthday
.

functions.

116-00

6

printing 800-00,
14

tftfjtf^o

printing 30-00.

21

30<abOtfg printing 400-00.

_

300-00.

went to Masula to attend

A
N-*'

printing 100-00,

2

*

4

went to Guntur

to speak in the Club.
14

Fellowship of the Academi with
others

Exhibition Club

$30 ed&S
A
db.

yd 3-^ 30

40.

M.
Jtv.

O. from Warangal.
over
at

went to Masula to preside
.

J,

went to Guntur.

Reached Warangal by 12 p.m. ^Ss-g^co. 5^3. Night College B. Ed.
College.

On

rr

7

eaAa-o

I

HUM.

^

,

Culture

4

iL 2Dff

paid to S^ao

ss}^

Rs. 100-00

6

Hyderabad.
meeting,

A. P. Sahitya Acadeini

L

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

O

went

to

ae&rfa

lo

o,

O.

c

^3-e3^.

BUS

2-4

8

8

e?^

^&,^S)

0^5 ^cs^o by

sfc

16

26

_

*

Cy

ttU

d

^_j

(1200).
12

"aioa& went to Vijayanagar

17

Sia
27

10.00.

29

She passed a\vay 1k>oD3tftfe> e 200JO

8

eSoCb

(j

'^^0^ OO^^^^n-dj.
to

50^00

30

went
Rs.

Proddutur on Taxi
>

11OO

o

2

Rs. 118-00

217

*oi2>
2
CT>

r&$ Rs

25

JO

25
10

asSS"

6

*>rfo*a

10-00

^"SOD^ tx&tfKv print
O. tftftftfi& J5s5oco

100-00

27

o?^S aD57n

lODJO

31

e5^d Going to Nalgonda, Reached Nalgonda by 12-30

Reached Hyderabad A.P<
meeting.
2

0*058

^i
116.4)0

sS^S)

8

Kurnool by Taxi by 2 P.M
Rs.
sS

4

went to >B^o Rs
Taxi s-ep^
4

116

JO

Reached Vijayawada by 10 P.M.
275.00

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?

Going to Hyderabad and from to Gadwala.
went to Gadwala by Taxi Rs.
.

there

1

16-00

53-00.

Lecturers
116-00.

sSc

Sa.

Rs

School 3-

Going

to Bhiniavaram.
(I;

i.^^^ a* "Sa^S^ 2303*5

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)

o

3

P.M.S

CO

U

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.

3

S \jaff

went
P.

to

Guntur

G. Centre

and spoke in the and returned home

by 8-30.

5

went to rjl^Bo.
Secondary school
SF

Rs.

116

8

Rs*

118-

li

Going
58-flfl.

to Pippara with family

a

27

Rs

10.00

M. O. from

Madras,
13

to

Rs*

21

Rs. 100 from Warangal for

*>

23

Night

S

StfoKeo

Taxi

24

from
.

CO

Taxi

180

30

fi^

S

Rs. 50/- from

16
+S
OvX
, "^

^~
^)

ft VJ

A 3

,

21

221

27

.

O

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

o

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

Printing Bill 310.00.

8
a.

Rs.

116-

e^OS
15

'Sff^cTS).

^^btoogi^n8 Taxi

{!)"

oo

2

^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

p

25

26 sip5\

flb.

To
Ejgftf

Tirupati by Taxi petrol 60-00.

^

[0.00.

Started by 8 A. IVL

Stayed at Oogolswith M.Y.S. Sharma and by 3-30 reached Tirupati by

10P.M.
26

2T

Rs. 100-CO from bco&?^* Dr.

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

Rs, 2052-00 from

n-sSa
f^>

.*>

W

Asst. 3&SS35" ao^'SacS
31

30

Sets

5.

Went

Hyderabad Department Scr

to

Information

3

&ibo>co

To
etc.,

tf^

for'

writiBg

Rs. 100-00.

Rs.2000-03 from Mr. D. L. Narayana

25 sajS^a

going to Nellore with Rs. 116-00 SK

announcement.
30

Starting to

Hyderabad to attend the meeting of A P S Akademi & Board.
asS;yj$S*fc>.

2

0535 Rotary Club &*

500.00 for

writing a book on Leterary

criticism.

C. Koteswara

Rao

225

8

"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

5

8

Went
Rs.

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to

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17

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t

to Delhi

to

receive

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20

New

Delhi

Rehearsal for Investitur

ceremony for

Padma Bhushan.
226

21

New

Delhi

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ceremony

for

Padma

Bhushan.
5 la

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to

Hyderabad

to

attend

the

meeting of Fellowship award stated

by 10 A. M:

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by

3-40 P.

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25-00 for er;odsre
Rs. 1100-00 for icr^

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charges

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to

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15

8

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So.

Rs

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29

16 "2

23

Rs.

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21

Rs. 30-00 from

229

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23

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to Warangil.

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by 6-30 P. M, Dr. Gurimath
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12

Bombay Reserve Bank Telugu
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27

28

29

Music College

5

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30

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116-00

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26

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,

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234

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IS

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200JO.

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