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A history of Telugu literature; - Cristo Raul

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92 A HISTORY OF TELUGU LITERATURE<br />

realism <strong>of</strong> the art ; the latter is, perhaps, the last work <strong>of</strong><br />

real merit in <strong>Telugu</strong> <strong>literature</strong>. It has been described as<br />

a heap <strong>of</strong> precious gems. The polish <strong>of</strong> the language, the<br />

delicacy <strong>of</strong> sentiment, and the melody <strong>of</strong> verse combine in<br />

this poet as in no other. His style is so uniquely his own<br />

that a new name had to be coined to express its quality and<br />

it was called after his surname, '<br />

Chamakurapaka '<br />

Chamakura being also the succulent Indian curry. It is<br />

probable, though not certain, that Kavi Choudappah a<br />

moralist who stands next to Vemana and Sumati, among<br />

Sataka writers belonged to this period.<br />

Later, Muddupalani, a courtesan <strong>of</strong> Pratapa Sinha, <strong>of</strong> Tanjore<br />

(1765), composed in <strong>Telugu</strong> a kavya under the name<br />

Radhika Svantam. Kasturi Ranga Kavi dedicated his Rangara<br />

Chandamu to Ananda Rangapillai. But the greatest<br />

gift <strong>of</strong> Tanjore to the Andhra <strong>literature</strong> is Tyagaraja, the<br />

hymnologist and musician whose songs are sung all over<br />

South India.<br />

2. Madura. But it is in the eighteenth century and in the<br />

court <strong>of</strong> Vijaya Ranga Chokkanatha, the king <strong>of</strong> Madura, a<br />

descendant <strong>of</strong> Nigama Nayak, appointed by Krishnadevaraya,<br />

that we find the Southern school in full bloom. Visvanatha<br />

Nayak, father <strong>of</strong> Chokkanatha, is said to have brought<br />

many learned pandits from the north, and gave them gifts<br />

<strong>of</strong> land, thus inducing them to settle in the south. The<br />

fruits <strong>of</strong> Visvanatha's foresight were reaped by his son,<br />

Chokkanatha, who set a good example by rendering into<br />

prose Sriranga Mahdtya. Of the group <strong>of</strong> poets whose<br />

literary output not only constitutes the bulk <strong>of</strong> Southern<br />

<strong>Telugu</strong> <strong>literature</strong> but also gives the tone to the movement,<br />

Samukha Venkata Krishnappa Nayak has to his credit not<br />

less than four books, <strong>of</strong> which Jaimini Bharata, in prose,<br />

may be taken as an example <strong>of</strong> the high level <strong>of</strong> literary value<br />

attained by the Southern school. Ahalya Samkrandana,<br />

Sdrangadhara Charitra and Radhika Svantam are his<br />

other kavyas. They belong, every one <strong>of</strong> them, to the<br />

erotic type. Sesham Venkatapati's Tarasasanka belongs<br />

to the same order. The other works <strong>of</strong> the period are <strong>of</strong><br />

a religious type. Syatnakavi is the author <strong>of</strong> Rdmdyana<br />

in Vachana, Tupakula Ananta Raju composed Vishnu

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