Kalaaprapoorna Dr. Utukuri Lakshmikantamma

Kalaprapoorna Dr. Utukuri Lakshmikantamma

 

© Malathi Nidadavolu

 

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Dr. Utukuri Lakshmikantamma, (1917-1996) was a rare combination of several talents from reciting poetry extempore in Sanskrit and Telugu to martial arts such as fencing, stick fighting and horse riding.

Lakshmikantamma was born on December 21, 1917, in a sophisticated family of scholars and social activists. Her father Nalam Krishna Rao was a reputable poet, journalist, and active participant in the social reform movements of his time. He was the founder-president of Gautami Granthalayam, one of the oldest and highly acclaimed libraries in the state. Her mother Nalam Suseelamma participated in her husband’s activities and was the founder of Andhra Mahila Gaana sabha [Andhra Music society]. One of her distant aunts, Battula Kamakshamma, was founder of Arya Seva Sadanam, which was converted to Andhra Yuvati Sanskruta Kalasala [Sanskrit College for Women] later. Against this background, it is no surprise that Lakshmikantamma became actively involved in political and social movements at an early age.

In her childhood, she used to play boys’ sports along with her brothers and their friends. At the age of seven, she started learning vocal and veena. By twelve, Lakshmikantamma was already an exhilarating speaker. She used to deliver electrifying speeches and sing patriotic songs. Crowds would hold their breath and listen to her speech or singing.

She was married at thirteen to Utukuri Hayagriva Gupta, a lawyer and six years senior. They had their first child in 1935 but the baby lived only for six months. Of the eleven children the couple had, five children—three boys and two girls—grew up to be well educated and well settled in life.

At eighteen, she graduated from the Sanskrit College run by her aunt Kamakshamma and received the degree, ubhaya bhashaa praveena, an attestation of scholarship in two languages, Sanskrit and Telugu. The same year, she was bestowed with two titles, Telugu molaka [Telugu sprout] and vidwat kavayitri [Poet of excellence]. Lakshmikantamma, who had been named “Sahiti Rudrama” [Queen Rudramadevi in literature] by Devulapalli Ramanuja Rao, President of Andhra Pradesh Sahitya Akademi, was the proud recipient of ten more titles including kalaprapoorna (awarded by Andhra University, 1976), Andhra saraswati, dharma prachaara bharati, and sangeeta sahitya kalanidhi, in addition to honorary doctorate. Mention must be made of two felicitations, kanakabhishekam [being showered with gold] and gajaarohanam [Elephant ride], which are normally associated with royalty of the past and rather unusual in modern times. To my knowledge, Lakshmikantamma was the only author to be honored with these two felicitations.

 

She was actively involved in several literary and social organizations such as Andhra Pradesh Sahitya Academi, Telugu Bhasha Samiti, Andhra University Senate, Viswa Hindu Parishat, Andhra Pradesh Arya Vysya Sabha, Gautami Granthalayam library in Rajahmundry, Stri Hitaishini Mandali [Women’s Welfare organization in Bapatla], Andhra Yuvati Sanskrit College, Guild of Service, Central Sahitya Academi, and and many more. This list is sufficient to emphasize the wide array of her interests and accomplishments.  

Lakshmikantamma possessed a versatile and exhilarating personality. In her autobiography, she stated that she would keep laughing always. Pilaka Ganapati Sastry, who became a famous novelist later, was her teacher for a brief period. At the time, he was still young and shy. Lakshmikantamma was amused while he was teaching Sakuntala, a play, and kept laughing. It was disconcerting to Ganapati Sastry. Later, he told her father, Krishna Rao, that, “I used to pick from her laughter, the indepth meaning and beauty of poetry in Kalidasa’s poetry and bless her in my own mind.” (Sahiti Rudrama, p. 43).

Lakshmikantamma’s father was a follower of Brahma samajam, which rejects polytheism and promotes one god theory. Her mother Suseelamma believed in Hindu tradition. However she changed some of her religious practices to please her husband, she wrote in her article pavitra smruthulu [Pious memories] published in Yugapurushudu Veeresalingam published in Veeresalingam Satajayanti sanchika, Hyderabad.

 

Ever since she was a teen, Lakshmikantamma had been living active public life. She was attending public forums, literary meets and conferences and delivering stimulating and scholarly speeches. Writing and publishing came much later, early 1950’s to be specific.

 

The circumstances surrounding her first book, Andhra kavayitrulu are interesting. In 1953, Telugu Bhasha Samiti [Telugu Literary Guild], Madras, announced a competition and invited writers to write a book on Telugu women poets. Lakshmikantamma’s husband, Mr. Gupta, and several friends suggested she should write the book. Lakshmikantamma however was not interested. She said, “Reputable scholar Veeresalingam compiled the book Telugu kavulu [Telugu poets] in which he had included about six hundred writers. In it, he mentioned only five or six women poets. If you look carefully, you may find only one hundred poets worth mentioning and possibly one of them would be a woman. I do not want to take that one poet and hold up to the world, and thereby expose that we have no women poets worth mentioning.” (sahiti rudrama, p.81.) Then, one of her close friends, Boddupalli Purushottam suggested that she could at least make an effort to see if there were more women poets. Convinced by his argument, she set out to search for women poets. She traveled to famous libraries in other places like Vetapalem, Madras, and Tanjore, and went through thousands of magazines such as gruhalakshmi, Hindusundari and literally unearthed 264 women poets who had produced excellent works. Lakshmikantamma’s very first book was a first prize winner in a competition held by a reputable literary guild, Telugu Bhasha Samiti.

 

In the history of Telugu literature, this book Andhra Kavayitrulu is the only comprehensive work on women poets to date. This is being used as a valuable reference tool by research scholars. Arudra, an established writer and researcher, used it as a source for writing about women poets Molla and Mohanangi in his samagra Andhra sahityam.  

 

The second edition of Andhra kavayitrulu, published in 1980, included only 86 poets. In her preface to the second edition, some of the comments made by the author are worth quoting. Lakshmikantamma stated that she herself was not sure if she could revive the enthusiasm and the style she had evinced while working on the first edition. She was somewhat disappointed by the prevalent perceptions regarding education, language and scholarship in the country. In the past, scholarship was respected. Now (at the time producing the second edition) the shrinking respect for classical poetry in the face of growing interest in fiction is discouraging. Lakshmikantamma also mentioned the cost of paper and printing. Personally, I am sad that money should play such crucial role in publishing the second edition. The second edition included only 86 poets as opposed to more than 200 poets (I have only the second edition on hand for reference). In any case, I sincerely hope that Andhra Pradesh Akademi or some other literary organization would undertake publication of the full version before it is lost totally. At this writing, the book is out of print. And it is too valuable to neglect. 

 

Having said that, I need to address a couple of other comments on some entries in this work, Andhra kavayitrulu. One of them is the authenticity of the claim that Krishnadeva rayalu had a daughter named Mohanangi and she authored a book, marichi parinayam. Lakshmikantamma devoted six pages to Mohanangi and marichi parinayam in her book.  Arudra took this information and incorporated in his book, samagra Andhra sahityam [Complete History of Andhra Literature]. However, while writing about Mohanangi, Arudra wrote, “They say Mohanangi was daughter of Krishnadeva rayalu.” By shifting the speaker to an unverifiable “they”, it would appear, he was not sure if that was authenticated. He did not clearly contradict Lakshmikantamma’s statement though. In 2002, I met with two reputable scholars, Dr. Nayani Krishnakumari and Dr. Kolavennu Malayavasini. They both stated that there was no verifiable evidence to show that Krishnadeva rayalu had a daughter, and that the authorship of marichi parinayam had not been established unequivocally.

 

A second comment on Lakshmikantamma’s work was by Sangidasu Srinivas who commented that Lakshmikantamma had not given full credit to a poet named Kuppambika (Andhra Jyothy September 22, 2008 Vividha page).

My position is scholars usually set parameters for themselves and work within those parameters. Lakshmikantamma went to great lengths, researched all the sources available to her at the time and recorded the data. Other researchers may find more information or different perceptions in course of time. That does not mean that the work done by earlier researcher, whether it is Lakshmikantamma or another scholar, is less significant. It is quite normal for latter researchers to find more evidence or lack thereof and add further to the existing data.

 

Lakshmikantamma’s works fall broadly into four categories. 1. Classical poetry in Telugu and Sanskrit; 2. Modern poetry; 3. Prose – Essays, fiction and biography, and, 4. Plays.

 

In Sanskrit, she authored kanyaka parameswari sthavam, extempore, in praise of the goddess Kanyaka. It is being recited as invocation prayer in the morning in several temples of Kanyaka across the state. (Vijnan Kumar. Personal correspondence, dated September 22, 2008). Another work of her in Sanskrit is Devi sthava taraavali in praise of goddess Devi.

 

In the book, naa Telugu Manchalaa, [My Telugu Manchala], 98 pages, Lakshmikantamma portrays Manchala as a 16-year old, intelligent woman endowed with remarkable beauty and sense of patriotism. The story is popularly known in Andhra Pradesh as that of Balachandrudu, Manchala’s husband.  His mother, Prolama would want her son to go to war and earn her the title hero-mother (veeramaata) on one hand and, on the other, her maternal instinct would want him to stay home. In a strategic move, she sent him to his wife, Manchala, hoping her beauty would prevail and keep him at home. Manchala on the contrary provoked him in a cleverly manipulative language, and sent him to the battlefield. The verses are written in simple Telugu yet powerful in conveying the various rasas as appropriate in different stages. Lakshmikantamma had mentioned in the preface that there might be some stylistic lapses in terms of meter.

Kanthi sikharaalu is a collection of devotional lyrics, imbibing the tenets of Brahma samajam, which she had followed fervently in her teen years. The author stated in her preface that her inspiration for writing these lyrics was the singing by well-known romantic poet, Devulapalli Krishna Sastry. The language is simple and lucid, which appeal to all, scholars and non-scholars alike.

Okka chinna divve [A Small Lamp] is a collection of seventeen long poems, presented as a tribute to Gandhi. In her preface, she stated that she had the opportunity to participate in Gandhi’s non-violence movementi in her teen years (about 13 to 19 years of age), which contributed immensely in defining her values of patriotism and service. Additionally, she chose the title A Small Lamp to accentuate her respect for Gandhi, although not all the lyrics were about Gandhi. It included other topics such as a Telugu New Year day, Diwali, soldiers, and an invitation to youth. Some of them were written in semi-classical style with complex, descriptive phrases, and others in near colloquial style.

To me, this variation in style seems to point to the shift from classical to free verse that has been taking place at the time not only in her writings but in the country in general.

On a slightly different note, I would like to mention Lakshmikantamma’s comments on language as stated in her autobiography. She stated that while she was teaching maha bharata in Bapatla College, prominent linguistics professor, Bhadriraju Krishnamurthy, attended her classes. Impressed by her scholastic excellence, Krishnamurthy invited her to speak at a literary meet in Ongole. There she went out of the way from lecturing on Maha Bharata and introduced a new argument that Telugu language originated from Dravidian languages. Later Professor Krishnamurthy met with her and obtained detailed information about her argument and incorporated in his course content for second year M.A. (Sahiti Rudrama, p. 92-93).

The title of the book, kanyakamma nivaali, literally means a tribute to the goddess Kanyaka. Inside however, it is a collection of short verses, 3 lines and the caption Oh Kanyakamma. Most of the poems are humorous and/or sarcastic comments on contemporary lifestyle and society. A few of them are serious observations. The author writes in her preface that she was inspired by Koonalamma padaalu written by Arudra.

 

Saraswati samraayja vaibhavam, [23 pages], is a one-act play, which incorporated some well-known poems from the published works. It presents on one platform nine women poets, who lived at different times from 13 to 20^th centuries. Additionally, the author introduces two secondary characters partly as comic relief in step with the practice in stage plays. The poets recite poems from their best works both in Telugu and Sanskrit.

 

Lakshmikantamma’s works of history and literary criticism include Andhra kavayitrulu [Andhra female poets], Akhila Bharata Kavayitrulu [All India female poets], Andhrula keertana kalaa seva [Service of the Andhra people to music], naa videsa paryatana anubhavaalu [My Experiences during my tours to other countries], contributions to Vijnana Sarvasvam [articles in Telugu Encyclopedia], and numerous articles published in reputable journals. Unpublished works as of 1993: Story of Chandramati [Children’s book], Sahitya vyasa manjari [Literary essays], and Rutambari [prose ballad].

She also translated Humayun Kabir’s essays in English (Our country’s history and the lessons learned), and Hindi dohas by Kabir, Tulasi Binda and Rahim. She edited classical works, Molla Ramayanam and Vishnu parijata yakshagaanam. She wrote more than one thousand prefaces to books by other writers.

 

In her autobiography, Lakshmikantamma mentioned that at the beginning of her literary career, she published her poems under the pseudonym ‘Krishnakumari’. Soon after, her husband suggested that she should publish her poetry in her own name since they were so good. She did so, although she used yet another pseudonym ‘sukanchana’ for her story, Korala madhya koti swargaalu [Ten million heavens stuck between fangs], included in kathamandaram, an anthology of short stories published in 1968.

I think a brief note on her multifarious involvement in women’s organizations, social movements and public events, is appropriate here. She was a great speaker, fundraiser, organizer of literary meets and associations, active participant in charitable events, and herself a kind and generous individual. She was a driving force in women writers’ conferences at state and national level, had attended international women writers’ conferences, and was a sitting member at legislative council in two universities and various literary organs at the state and national level. She was honored at international women writers meets also. (I had the honor of being on stage with Lakshmikantamma at Andhra Women Writers Conferences in 1968 and 1969 and receive mementoes from her.). Sri Potti Sreeramulu Telugu University, Hyderabad, produced a documentary on her life. University of Toronto, Canada, collected complete works of Lakshmikantamma. Her work had been research topic for doctoral dessertation.

 

I would like to go on a limb here and comment on her activities in her community. In an age when “caste” is considered a bad word, it is pleasing to note Lakshmikantamma’s involvement and contribution to Arya Vysya mahasabha [Business community in the scheme of societal breakdown based on Hindu beliefs]. She made no apology for being part of her community, and showed how the community spirit could be instrumental in bringing people together. This is particularly relevant in the context of her growing up with her father, who was a staunch Brahmo samaj follower.

 

In her autobiography, Lakshmikantamma listed some of her writings as “works unable to succeed”. I went through the list of books Lakshmikantamma had listed as “not successful”.

 

I am not sure what made her come to that conclusion. For instance, in the same list, she stated that Naa Telugu Manchala had received the Telugu University award and had been prescribed as textbook in St. Teresa’s college, Eluru. Her Sanskrit poem, kanyakaa parameswari suprabhatam is being recited in several temples of Kanyaka as daily morning prayers. That being the case, I must assume she was referring to the success as understood in modern times, which would bring me to comment on the definition of success.

In today’s world, success is correlated to sales. A parallel example would be a critically acclaimed movie failing at box office. Probably it is the same with books. Additionally, in Andhra Pradesh, book sales do not always reflect the actual readership. For one thing, buying books is not common in Andhra Pradesh, possibly because of our belief in free dissemination of knowledge, an idea sustained by oral tradition. Secondly, one book bought by one person is read not just by that one person but by other family members and friends also. Thus the number of books sold does not always reflect the number of readers for that one book.

 

At the risk of repetition, I would like to add a note on Lakshmikantamma’s major works. The books, Andhra kavayitrulu, first edition featuring pen portraits of more than 200 female poets from 13^th to 20^th centuries, Andhra sahitya vijnana sarvasam, originally compiled by her father, Krishna Rao, and which she later edited with annotations by her, Akhila Bharata kavayitrulu [All India Women Poets], and sahiti Rudruma (Autobiography) remain landmarks in the history of Telugu literature. 

 

This article is not comprehensive but a modest attempt to provide a brief introduction to the accomplishments of a versatile poet of our times. To present a comprehensive analysis of her accomplishments is beyond the scope of this article. My hope is to motivate readers to go to the original sources and learn more about this remarkable woman and poet. Those who are interested in further study of Lakshmikantamma’s multifarious personality and work may find the list attached as an addendum to her autobiography, Sahiti Rudrama useful.

 

Additionally, I believe that publication of Lakshmikantamma’s complete works with annotations and preserving it for posterity would be a welcome undertaking and service to Telugu literary and cultural service. This is particularly vital in the light of dwindling abilities of the current generation to appreciate classical, semi-classical and modern literature produced by our immediate predecessors.

I was informed by her son, Vijnan Kumar, that most of Lakshmikantamma’s works are available online at http://www.new.dli.ernet.in/.

Once again, I am thankful to Vijnan Kumar, third son of Lakshmikantamma, for kindly lending me the books, which were immensely helpful in writing this article.

(End)

 

Source List (Works by Dr. Utukuri Lakshmikantamma and published by author)

Andhra kavayitrulu. 2d ed. 1980.

Kaanti sikharaalu. 1978.

Kanyakamma nivaali. 1978.

Oka chinna divve. 1980

Naa Telugu Manchala. 1981.

Sahiti Rudrama. 1993.

Saraswati saamrayja vaibhavam. 1988.

Other works:

Samsmruti (In her memory). Bapatla: Smaraka samiti, 1997.

Suseelamma, Nalam. Pavitra smruthulu. Yugapurushudu Veeresalingam. Hyderabad: Kandukuri Veeresalingam smarakotsvamula sangham. n.d. pp. 93-96.

 

(October, 2008.)

 

 

 

Dr. Arudra: A Relentless Researcher and People’s Poet.

 

Bhagavatula Sankara Sastry, best known as Arudra, devoted his life to write for the ordinary people without compromising his integrity.  He proved successfully that poetry in classical meter could be written in colloquial Telugu and produce valuable literature. He did not believe in academic degrees. He researched incessantly and brought valuable information on a wide variety of topics to the public.

Arudra [Bhagavatula Sadasiva Sankara Sastry] was born in Visakhapatnam in 1925. He moved to Vizianagaram in 1941 for college studies. During this period, he met with literary stalwarts Chaganti Somayajulu and Ronanki Appalaswamy who became powerful forces in molding his literary pursuits and helped to define his literary values in the years to come.

Early in life, Arudra became involved in the political movements. He left college and joined the Air Force in 1943. He moved to Madras in 1947, where he served on the editorial board of a popular magazine Anandavani for two years. Then returned to Visakhapatnam where he was a photographer for a short period. In 1949, he returned to Madras. He always believed that journalism had “adventure value.” He tried for a job in journalism and ended with script and lyric writing in the movies.

Arudra did not care for academic degrees but his incessant thirst for knowledge and acquiring it in the traditional method was notable. When he wanted to learn the fundamentals of Telugu grammar, he went to the highly reputable grammarian, Ravuri Doraiswamy Sarma. Interestingly, at the end of three years, however, Arudra changed Doraiswamy Sarma’s perceptions of the importance of colloquial Telugu. He proved to be a rare student who could convert the teacher and a staunch classicist into an advocate of colloquial language.   

Arudra pursued his interest in literature and fine arts on his own and with unusual fervor. He studied not only classics in Telugu literature but also in other languages, and other fields such as dance, music, magic and palmistry. Top ranking artists in music and dance would consult Arudra for interpretation and explanations. He was well versed in the games of chess and bridge. Sri Venkateswara University, Tirupati, conferred an honorary doctorate of letters on Arudra in 1978. Andhra University honored him with Kalaprapoorna title. Arudra’s works
had been subjects for several doctoral dissertations and M. Lit. Degrees. His sixtieth birthday was celebrated on a grand scale in Chennai in 1985. Marking his seventieth birthday, East
and West Godavari districts organized huge literary meets. He was truly a people’s poet in every sense of the term.

Arudra met Ramalakshmi, a well-known writer and critic, while she was working at the Telugu swatantra office as editor of the English section of the magazine. They got married in 1954. They have three daughters and one adopted daughter.

Arudra’s first poem, lohavihangaalu [Metal Eagles] written in 1942 caught the eye of the elitists. During the Second World War, the Japanese airplanes dropped bombs on the Visakhapatnam harbor and people dispersed in panic. Arudra wrote the poem depicting the horrific scene.

Arudra strongly believed in two principles: First, literature must be able to stimulate people, and secondly, it must be written in a language that is intelligible to all the readers, the elite and the ordinary readers. In a personal letter written to me in 1981, Arudra said, “Our ancient poets said people’s tongues are the palm leaves that safeguard the literature. Now the hearts of the people are the tape recorders that preserve literature.”
Arudra had experimented and produced valuable works in every literary genre—several techniques in poetry, literary history, short stories, detective novels, stage and radio plays, essays, lyrics and scripts for movies. Several of his lyrics and poems are still fresh in the hearts of the people.

The two most important works that gave him a permanent place in the history of Telugu literature are Samagra Andhra Sahityam [A Comprehensive Literary History of the Andhra People] and Tvamevaaham, [You are I –an aphorism from Upanishads]. The two works left an indelible mark on the minds and in the hearts of Telugu people.

His voluminous literature may be categorized into three areas: 1. works based on research, 2. creative writings (poetry, fiction, etc), and 3. lyrics and poetry written in a lighter vein. Further, his articles fall into the following categories: articles [1] related to the ancient and modern literature; [2] on fine arts and folk arts; [3] social reformers and others worked in the area; [4] movie industry; and, [5] miscellaneous.  

Arudra mentioned in one of his essays an incident that led to working on his major work, Samagra Andhra Sahityam. It was triggered by a brief conversation the author had with B. N. Reddy, a prominent movie producer. Arudra casually suggested to Reddy to make a movie on the famous poet Tikkana. Reddy asked Arudra to see if there was enough material to make a movie.

Arudra, as his wont, started researching the subject, and was fascinated by the enormous amount of material he had come across in the process. The movie did not happen but his research, which extended over a period of sixteen years, resulted in the said volumes. “The information useful for the race [of the Telugu people] must not be put away,” he told himself, and set out to publish it in a series of volumes. The set of twelve volumes speaks of not only Arudra’s thirst for knowledge and tenacity but also his commitment to the Telugu race.
Arudra’s commitment is evident from his comment that he quit smoking in order to continue his reading in the library uninterrupted.

The history of the publication of his monumental work, Samagra Andhra Sahityam [Comprehensive Literary History of the Andhra people], is worth mentioning here. In the sixties, M. Seshachalam &Company created a project under the banner “intinti granthalayam [Library in every home]. Under the project, subscribers received books on a monthly basis. The company agreed to publish Samagra Andhra Sahityam in 12 volumes between 1965 and 1968. Arudra worked day and night incessantly to meet the publishers’ guidelines, sometimes modifying the content to fit the size. After the 12th volume, the author realized that there was information for one more volume to cover the modern period. His health however held him back for a while. The first edition of 12 volumes sold out quickly. In 1988, Prajasakti publishers, Vijayawada, undertook to reprint the set. This time the author had the opportunity to include the details he had left out the first time and the volume on the modern
period (volume 13). The second edition was published in 1991. Once again, the books were sold out quickly. In 2002, Ramalakshmi approached Andhra Pradesh Sahitya Akademi, and they agreed to publish the entire work in four volumes. At this writing, volume 1 of this set is out of print.

Samagra Andhra Sahityam covering the period from the early Chalukya period (the eighth century to the British rule (the mid-nineteenth century) is not just a laundry list of authors’ names and their works. In his preface, the author mentioned that history of any country encompasses the literary history as well as social history. To that end, Arudra included umpteen particulars about the authors, their works, critiques and the minutiae of daily life
in the period under discussion.

An important characteristic of these volumes is the language. Arudra wrote in colloquial Telugu in accordance with his belief that literature is for the people. kavisamrat Viswanatha Satyanarayana was strongly opposed to this view. It would appear that Satyanarayana was disappointed that Arudra did not write them in classical Telugu.

The second book, tvamevaaham [You are I, an upanishadic axiom] is one of the most widely received poetry volume in the history of modern Telugu literature. It is a powerful statement on the atrocities committed by the Razakars under the Nizam regime in 1948. While the people protested against the Nizam rule, the razakars committed unspeakable crimes. It was a hell let loose.

In his preface, the author stated that he was inspired by a news item published in krishnapatrika, under the banner naakaa siggu, naa stritvam enaaDo poyindi [Me, ashamed? My femininity was long gone]. It narrated the story of a woman who removed her clothes in a third class railway compartment in a leisurely fashion. One of the passengers asked her if she were not ashamed to do so. She replied, “Am I ashamed? How can I be? I was tied to a tree for twelve days in this manner by the razakars, the cronies of the Nizam, and was raped
repeatedly. You did nothing. You should be ashamed”. Several poets of Andhra Pradesh responded to the appalling incident and the atrocities. Arudra’s poem set him apart from the others for his technique and its commanding tone.  

The technique Arudra developed to write his poetry included rhyming couplets and extensive borrowing freely from Sanskrit, English and Urdu to make his point. Unlike other poets, Arudra did not use Sanskrit phraseology to impress the elite. He used them to create a stronger sense of the milieu.  

The book in several cantos using the clock-related terminology such as hours, minutes, seconds, water clock, and sand clock, depicts in analogous meter the atrocities and violence that had occurred during that period.  

In the preface to the book, Arudra said he originally called it Telangana. When he showed it to Sri Sri for his opinion, Sri Sri said he was very pleased with the poem. Regarding the title, Sri Sri said, “Giving the title Telangana to a book on Telangana is like drawing a picture of an elephant and call it elephant. It does not convey the essential message of the poem.” Arudra then changed it to the current title.

Let me digress here for a moment. Possibly the above incident could be the last when Arudra sought Sri Sri’s opinion. In terms of ideologies, Arudra moved away from Sri Sri soon enough. While Sri Sri remained strictly adhered to his Marxist principles, Arudra studied the Marxist and other ideologies and imbibed the spirit of those principles. He then developed his own philosophy and remained a man of his own convictions.

The book, tvamevaaham, was published in a biweekly magazine, Telugu swatantra, in 1949. I read it in the early fifties. I was not aware of the connotation and I did not understand every word of it, yet I was taken by the ambiance. It was one of my favorite readings at the time. The book has become an important part of history for its political and social context. That I came to know much later.

The public reception of the book was not immediate though. Nearly four years later, in a letter to Dasarathi,
Arudra stated that he [Dasarathi] was the first to make constructive comments on the book. Dasarathi praised it as unique for its style and content. The review was published in Bharati monthly in 1953.

Arudra’s second daughter, Lalita, is a writer in her own right. She commented on tvamevaaham and translated one of the poems from the book. I was glad to note that her appreciation of the book was similar to mine. There is a notable difference of course. She is Arudra’s daughter and thus has a better sense of the poetic quality in it. You can find Lalita’s comments and the translation on her blog, http://lalitalarking.blogspot.com. Click on the
October 2007 folder and scroll down to The Train You Intended to Take.

Among his other anthologies of poetry, koonalamma padaalu deserves special mention. In his preface, the author mentioned that he had come across an article by Veturi Prabhakara Sastry on the eight poems with the caption O Koonalammaa! In Bharati monthly in 1930. Arudra stated, “When I first read them, I was excited; the poems moved me and provoked me. The divine skill imbibed in these poems mesmerized me. … I scrutinized them closely and, after understanding the depth of meaning in those poems, decided to write similar poems and bring them to light.”

Arudra researched further and found that the time when these were written could not be established with certainty. He was however certain that they were being sung in the 17th century. Arudra arrived at two premises: 1. they were probably not written by Koonalamma herself but written by someone else as a tribute to Koonalamma, 2. they followed a particular type of meter that included rhyming the first three lines and ending with the caption, O Koonalamma as the 4t line.  He discussed the meter in detail in this preface to this book. (I
would not want to go into that area, since it is all Greek and Latin to me.)

Here are a couple of poems I translated. Of course, the original poems are more fascinating.
     Andhra folks’ passion
     O ghosh, is a load
     That never lives to see the end
     Oh Koonalamma.

     The debt keeps growing
     The shoe keeps stinging
     It is a flame unavailable for viewing
     Oh Koonalamma.

Arudra’s poetry in lighter vein is equally captivating. His poems under titles, intinti pajyaalu and America intinti pajyaalu illustrate the humorous side of events in our daily lives—his comments on the everyday realities and lifestyles. His humorous side is obvious even in the spelling of the title. His spelling was in step with the prevalent pronunciation at a time when it was not common in written texts.

Arudra is a great juggler of words. It is not an exaggeration to state that his rhyme brought him closer to the vast majority of readers. In his preface to the book, he mentioned that he modeled these poems, intinti pajyaalu, on the poetry of Ogden Nashe. Aptly, he stated,

     American poet, Ogden Nashe
     Had made plenty of cash,         
     As for me, all I wish for
     Is a nod of sehbash

Here are a couple of poems from intinti pajyaalu.

     Cricket match
           To tell the truth, I cannot play cricket
           Yet, for every match, I buy the ticket
           Between Umrigar, Bordey and Desai, I cannot tell the difference
           Not even when I’m close by.

          That’s why, when our team is fielding
          I shout aloud, “Milka Singh”
          He wears a turban and a beard
          That’s how I remember him well.

      History on the move:
          The hare and the tortoise made a wager
          I’ll tell you how the tortoise won the race
          He walked the one hundred miles
          While the hare switched two trains

The book, America intinti pajyaalu [Poems in homes in America] depicts similar incidents in the homes of Telugu people in America. Personally, I think the real Telugu humor did not seep through in these poems as well as its precedent. Again, it could be my frame of mind.  

Arudra wrote another book of poems, madhyakkaralu, to prove his argument that writing metrical poetry need not be laden heavily with meandering Sanskrit phraseology. Earlier, Viswanatha Satyanarayana published a volume entitled viswanatha madhyakkaralu, which received Sahitya Akademi award. Arudra called his book suddha madhyakkaralu, highlighting that his technique was the pure form and yet intelligible to all readers. His
intent was to show that the ancient principles of poetics were just as suitable for colloquial Telugu as the classical Telugu.

In addition to his Samagra Andhra Sahityam, Arudra had written numerous essays over a period of fifty years. Most of them were published in anthologies such as mahaneeyulu [Great Personalities], vyaasapeetham [Articles on a wide variety of topics including history, classics, society, journalism, and movies], Ramudiki Sita Emavutundi [How Sita is related to Rama], temple sculpture, and prajakalalu and pragativaadulu [Folk arts and Freethinkers].
The book, Ramudiki Sita emavutundi is one of his works that explains his mode of thinking. In this book, he takes a popular adage, which implies that the question, how is Sita related to Rama, is idiotic since the answer is obvious; a question nobody in his right mind would ask. Arudra however takes the question seriously, and gives numerous examples from various texts in other cultures and other countries to show that the answer is more complex than appears to be. The book clearly gives a lot for the reader to wonder about and think.

In 1999, Ramalakshmi has decided to publish all the works of Arudra. One of them is a collection of critical essays on a wide variety of topics, entitled vyasapeetham the second imprint. The essays range from Vedic times to the beliefs and practices in modern times—legends and facts surrounding various mythological characters such as Krishna, Sita, Draupadi, various issues as described in Vedas, women’s position in society, customs at various times, persons of importance in the movie industry, the state of today’s journalism, and so on. The volume speaks of Arudra’s tenacious pursuit of knowledge on one hand and his ability to present the topics in a language that is appealing to the widest audience. Arudra excels in capturing his audience’s attention.  

In some case, the articles clarify some of the popular notions. Others provide additional information and educate the readers. In his article on what the word putrika meant,  Arudra points out that the word was originally meant to refer to the daughter who had no brothers. He quoted ancient texts such as Manu dharmasastra, Vedas, and modern Vedic authorities (Panchagnula Adinarayana Sastry) and western scholars (Sir Moniere Williams) to support his view. He also quotes from Women in the Vedic Age by Sakuntala rao Sastry, wherein Mrs. Sakuntala rao comments, “After the male domination came into play, the woman without brothers was labeled putrika and declared unfit for marriage. Sayanacharya who had written commentary on Vedas attributed the 14th century A.D. mode of thinking to the Vedic period”. Arudra would append his own views wherever he felt strongly about the issue on hand. For instance, in the above article, he asked why today’ s traditionalists accept the Vedas as authoritative, yet would not allow the same rights to women that had been
allowed in the Vedic period (p.58).

Vemanna Vedam is another valuable work of Arudra. Vemana, a 14th century poet, is highly respected for his keen insights into the customs of society and pungent remarks. Arudra interpreted these poems, quoting extensively from the Vedas and other scholarly works. His commentary adds immensely to the study of Vemana’s poems.

Arudra has written books on palmistry, hand gestures in bharatanatyam, people and folk arts, and on chess among several others.

The book, hastalakshanam, is a small book in which Arudra wrote poems illustrating the hand gestures in classical dance. He worked closely with Padma Subrahmanyam, a famous dancer, to explain the underlying philosophy.

In the early eighties, I started working on Telugu writers for a doctoral dissertation (never finished). In that context, I contacted several writers. Arudra was kind enough to respond to my questions. I am happy I could share his thoughts with you at this late date.

Arudra in his own words:
In a letter dated July 28, 1981, Arudra wrote:

1.        Prior to entering the movie industry, I have gained the knowledge of writing good lyrics from the standpoint of literary technique. After getting into the movies, I understood the technique from the standpoint of music. I understood specifically how to use the rhyme and assonance. My technique improved because of the movies, but not hurt.
2.        The movie industry is only a business in the world of capitalist society. Producers make movies only to make money. If a competent director has good taste, he will be able to create a movie that does not fall below the standard. Writer is a part of this team. This is a collaborative effort.
3.        When a writer writes a lyric and publishes in a magazine, a reader reads it, sitting at home. Between him and a moviegoer, there is a big difference. These differences are inevitable in today’s society. As long as there is a difference between the literature that is read and the one that is heard, there will also be a difference between literary technique and the literature of the movies. For example, once, I read a poem aloud in a literary meet. It opens on the lines, “Is this the country where Gandhi was born?”  Later, there was an occasion where I had to write the same as a lyric for a movie. The views were the same but the way it was expressed had to be changed. I did it myself. One of the trade secrets of the artist is to be able to change the technique according to the medium. The difference between the stage play and the screenplay is the same as the literary technique and the movie technique. It is just as crucial.
4.        I have written numerous movie songs. I was never ashamed of the songs I have written for the movies. On the other hand, I am proud of them. I have been working in the industry for 32 years now (1981) that is about 3200 over the years. On average, I have been writing one hundred songs per year, maybe more. Some of these songs have become very popular. A few dozens of them are still being heard from individual singers, and broadcast on radio and television even now. Our ancient poets said that we might call them lyrics only
those which act as the palm leaves for the tongues of the people. I am content that I have written songs that are tape recorders for the hearts of the people.
5.        I will not be disappointed if a producer or director asks me to change the lines. Movie songs require fixing. The song must be suitable for the episode and the presentation of it in the movie. Without thinking about the episode, the writer might imagine it in a different way. Then one of them would have to change his mode of thinking. It is appropriate for the writer to modify the song. How can a writer satisfy hundreds and thousands of audience, if he cannot satisfy the producer and the director?
6.        There was no occasion I had to write songs that were not consistent with my outlook.
7.        There were occasions when the storyline was changed based on my song. Director Tilak used to change the storyline based on the songs I had written. Once I wrote a song, raayinaina kaaka pothine [Why I have not turned into a rock at least?] for a private recording. Bapu heard it and was so pleased he created a scene in his movie goranta deepam. They do ask for my suggestions as well.
8.        To entertain the public is also one of the functions of literature. I think this can be attained through movie songs to a great extent. I was very pleased when I heard one of my songs from the movie premalekhalu, sung by workers at the railway station by coal lines. Same way, when people, whom I’ve never met before, would approach me on the railway platform or some other place and congratulate me for the song muthemanta pasupu. Where is greater joy than knowing that my song has given them on the spot respite for a few minutes?
[Sadyah eva nivruthi.]
9.        My ideology is scientific equality. I am including this in the movies whenever possible in an easily understandable, colloquial Telugu and using popular adages, but not with stock phrases. Nevertheless, the producer would allow the premise of equality only if it fits today’s business framework. In today’s template movies liberalism is nil. The views in the songs make an impression only when the entire movie resonates with liberalism. Otherwise, it will be like the juice and solids remain separate.  

My [Arudra’s] answer to the question you did not ask:
In the Telugu movie industry, numerous literary stalwarts such as Veluri Sivarama sastry, Viswanatha Satyanarayana, and Viswanatha Kaviraju, have written lyrics. So also progressive writers like Devulapalli, Sri Sri, Dasarathi, Si.Na.Re, and Atreya. Before the formation of Abhyudaya Rachayitala Sangham in 1947, we used to argue that we should write in a language that is intelligible to all the people. Yet we filled our writings with phrases built on Sanskrit phraseology [tatsamabhuuyishtamaina] that was incomprehensible to the people. After joining the movie industry, the language has taken the forms of desyam [native], aicchikam [random], and graameenam [rural]. Nowadays, nobody is writing lyrics filled with Sanskrit phrases, unless it is a purana movie. This is a linguistic revolution.

Second letter dated October 21, 1981:
Writing for the movies is my vocation. Literature is my passion. It is morally untenable to yield to shameful acts in the name of one’s work. For that reason, I will never do anything that is dishonorable voluntarily.

In literature, a disparity between the writer and reader leads to communication gap. That happened at the time of tvamevaaham was published. Even a great poet like Bhartruhari despaired that jeernamange subhashitam. [Good words are lost in oneself for want of receptive audience.]  Kalidasu lost heart and said that puraanamiteva na saadhu sarvam. [Not everything is commendable because it is old]. Bhavabhuti had to tell himself vipulaa ca prithvee [The world is expansive] and be content with it. Chemakura Venkanna was annoyed
that ee gati raciyincireni samakaalikulu meccharu gadaa [Contemporaries do not appreciate regardless in whatever style you write].

For those who introduce innovative trends, this problem is inevitable. For the writers who think that they are right and the people are idiots, there is no problem, none whatsoever, for instance, Viswanatha. I am people’s writer. Real writer is a person of the society he lives in [sanghajeevi]. The purpose of literature is inherent in the society’s activities. The elite may hold the same disrespectful view towards the movie writings as their view towards folk songs. The epics live on paper. Lyrics live on the tongues of the people. Songs sung along with pestle and mortars are the songs. Now I am very happy that my writings are within the reach of the ordinary people.

To conclude, I would like to quote the last lines in the volume 13 of Samagra Andhra Sahityam. Arudra stated that in recording any literary history, the modern period begins but does not end.  … In a continuing tradition, the details of movements and the episodes are only comas and semicolons … but there will be no full stops.”

Arudra left his legacy for Telugu people to continue. As long as the history is in the making, the legacy of Arudra will remain in the hearts and on the minds of Telugu people.

(End)

Source list.

Arudra Abhinandana Sanchika. Madras: Arudra Shashtipurti Celebration Committee, 1985.

Works by Arudra.

1. Poetry.
Sinivaali. Madras: M. Seshachalam &Co., 1960.
Suddha Madhyakkaralu. Chennai: Stri Sakti prachuranalu, 1999
Tvamevaaham. Secunderabad: Chanda Narayana Shreshti, 1962.

2. Critical works (Books and anthologies of essays)
Mahaneeyulu (pen portraits). Chennai: K. Ramalakshmi, 1979
Prajakalalu, Pragativaadulu. Vijayawada: Prajasakti Book House, [1986]
Ramudiki Sita emautundi. Vijayawada: Navodaya publishers, 1978
Samagra Andhra Sahityam. 4 vols. Hyderabad: Sahitya Akademi, 2002.
Vemana Vedam. Vijayawada: New Students Book Center, 1985
Vyasapitham. Vijayawada: New Students Book Center, 1985.

3. Fiction
Arudra kathalu. Vijayawada: Vijayasarathi prachurana. 1966

*Complete list of Arudra’s works is available at http://en.wikipedia.org/wiki/Arudra

 

 

(© Malathi Nidadavolu)

 

Lone Lotus

 

   A MOMENT OF MOODS

The last lotus

standing tall

A lone duck

reminiscing the past

Muddled waters

reflecting the clear skies

Green leaves reluctantly

submitting to the next season

A moment of moods

frozen in time!

 

 

 

Updated 7/29/08 Thulika.net

Hello,

Please visit website, www.thulika.net. Updated today, July 29th. Read new stories and info on our translators team (Click on A Word From Me on the home page.

Thanks,

Malathi N.

Also please visit desijournal.com. The link to my story Two Glass Bubbles is,

http://www.desijournal.com/article.asp?articleid=329

Looking forward to your comments.

Girls’ Voices

 
                HOPES AND DREAMS
  
             Staring into the sky
             Peeking through the stars
             Stretching on tiptoe
             Far beyond 
             Into the unknown and unseen
             Wondering
             what might be 
             Up there
             Wishing and hoping
             That 
             If only I could
             Reach out 
             And move the stars around
             By the tips of my fingernails
             Not just for me
             But 
             For all the daughters
             Mine and others'.
 
 ***                                              
 
    ((Nidadavolu Malathi, 
    July 19, 1999)