TELUGU LITERATURE : Evolution of Sathaka Form

   

TELUGU LITERATURE :  Evolution of Sathaka Form

INTRODUCTION

The history of Telugu literature is long and illustrious. It started from about 1050 – C.E. Nannayya was the first poet of classics in Telugu literature. He was invited and initiated by ever remembered Rajaraja Narendra (1016-1066) the king of Eastern Chalukya dynasty of Rajamahendravarm, on the eastern bank of the holy river Godavari.

            The king was impressed by the great epics in Sanskrit and episodes of the encyclopedic voluminous theme of the Mahabharata. He requested his poet laureate, priest, sage Nannayya to recreate it in Telugu for the benefit of common people who were not very conversant with the Sanskrit language and Vedic based eternal ‘Dharma’ embedded in it. Nannayya was too glad to undertake the rare and onerous assignment.  He began rendering it, not literally only, making it an independent work; Mahabharata in Telugu for the first time. It was considered to be the fifth Veda and aimed at enlightening all sections of the people, scholars and common people alike. It was the starting point of our Telugu literary treasure. It was very much influenced by the Sanskrit lore, wisdom, diction, prosody, and prose styles as originated in our ancient, timeless, Sanskrit language of India. It is pan-Indian, invaluable heritage of a civilized Indian society.

All our old Indian literature was almost dependent on original Sanskrit works composed by writers and poets patronised, supported by kings of the day and the wealthy people. Lots of ninety percent of the works, poetic themes were, Sanskrit based, in the form of Puranas, classical epics, kavyas, and countless branches of knowledge full of spiritual and secular leanings. It was almost so till 16^th century C.E. There was no single independent original creative work, worth the name in Telugu, save a few exceptions. Then of course began the golden period of the Telugu Literature under the royal patronage of Sri Krishna Deva Rayalu (1509-1530) of the Vijayanagar empire. It’s span was about 50 years, but its influence was far-reaching. Setting models to later generation of poets and writers.

All most all our Telugu poets had begun their endeavour in poetry by first writing 100 stanza sathakas (CENTUMS) as a preliminary experimental launch. They used to rely on devotional, Sanskrit puranic themes which were aimed solely for the common good of the people of different hues high and low. At the same time Ragadas, Dandakams, Stotras, Astakams, folklore forms revived from old literary works of Kavitrayas Poets, Pothana, Srinandha, Tenali Ramalinga Kavi began their appearance as time passed. Chatu Padyalu were used, recited aloud by learned poets. Time had changed. Thousands of the compositions, written mainly on palm leaves, faded into negligence. A period of dull and absence of patronage, resulted in the sorry phase of decadence. Writings degraded to lower taste during (1700-1800) CE. Separate prose works, easy writing using “Pure Telugu” were rare-the field remained within the reach of a few learned circles only.

Later part of 18^th century CE, and first part of 19^th century heralded a new era, semi-modern phase, in the Telugu literature. British rule, English East India Company were laying their strong foot and gradual dominance in the Telugu speaking areas of the Madras Presidency, too. It was followed by Christian Missionaries activities. Printing press, paper brought into the field.

Elementary schools were established and slowly increased their number. Instead of native traditional curricula, of the Hindus, of Muslins, was replaced by themes moral, ethical, scientific, rational aspects were given prominence besides science teaching. They adopted local Telugu medium too besides English Medium in inculcating the core syllabus aspects in tune with local sentiments. They needed easy simple language for the purpose Moral science cannot be injected direct. Some ‘Sathakas in Vogue’ cought their attention their material, secular, spiritual aspects too were taken note of, for inclusion in their lessons. The vacuum was glaring to them. Too much Bhakti material devoid of practical rational life of common people keeps them, like a frogs in the well. Therefore drastic steps were thought of and captured by foreign model Missionary schools. At this juncture, ‘Sathakas’ become handy to them too. But the ‘Sathakas’ till then were kept away into dusty dark rooms. How many were they? How to bring them to light? Was a problem at that time.

A rigorous search by zealous official and missionaries brought to public domain some rare sathakas in Telugu, thanks particularly to Col. Mackenzie and Sir C.P Brown who spent their own salaries for the purpose of detection, search, fair copying on paper duly corrected if needed by Pandits from palm leaf versions. They include Krishna, Dasaradhi, Kalahastiwara, Bhaskara, Sumathi, Barthruhari. They caught the attention of the scholars and teachers, learners, Parents in puranic moral themes, didacticism, easy to get by heart, recite loudly and whole heartedly got general acceptance too by one and all. Printing on paper came into vogue, abundant number of copies came into vogue, Large number of came into circulation all over the Telugu speaking regions, at cheap rates.

Our Sathaka poets were free, independent, some very devotional, critical, in disguise of Bhakhti adoration of their God; their minute, sense of observation of daily human life, lighter and darker sides, family relations, money-minded miserly mentality, social rituals, religious and right customs. Their knowledge of human psychology, sub-conscious mindset, psycho-analysis, satire, sarcasm, humour hatred, out blunt attacks on kings, official men, wealthy people, was astonishing. Superstitions that prevail in upper strata of the society were targetted teared thread-bare. Dislike of materialistic, pompous life styles, pretentions behaviour patters, found place in many sathakas. Erotic tinge is no exception, and conspicuous, beyond sense of decency too. Absence of thematic continuity allowed them scot-free many times.

For no valid reason Vemana Yogi (1661) and his stanzas did not come to spot-light until Sir C.P. Brown, a civil service official, detected this glaring omission and got them copied by learned pandits, at his expense and published them in print in 1839. One of it was quoted in, Kanyasulkam, scenes of Gurajada in 1894. Vemana was outright, direct, fearless, unpretentious, as he was a Sanyasi or Yogi, satirical blunt on the upper segments of our society, of Telugu or Hindu faiths. It could be, it is said to be, the reason for keeping his life and work in dark for centuries/decades. Dr. C.R Reddy too recognised this lecuna and brought Vemana into the main stream. In 1930 or so, by publishing a series of superb lectures by Sri Rallapalli Anantha Krishna Sarma, a renowned scholar of Telugu and Kannada, close to the A.U. Vice-Chancellor Dr. Reddy. Thereafter none could be bold enough to thwart his fame. No doubt his calling a spade a spade, might have hurt some sections of our Hindu society. Even now his extempore out-put, in to-to, appears in restricted, edited form. It may not be as recorded direct by his disciples originally, says experts in the field. Summaries of about 166 of his stanzas are now made available here in our venture as a fore-taste. Vemana sathakam popular is shown separately from Brown’s virgin compilations, leaving mystic stanzas, aside.

Sumathi is another popular one. It is easy to be recited; get by heart; quickly understood; with its singing tunes, occupies pride of place in the homes of Telugu knowing people literate, or not-literate, boys and girls, women. Many simply quoted them from their acquired memory at every appropriate opportunity. It is sad some of them are clipped, changed interpollated later by different scholars, publishers and editors.

Another highly respected, popular Sathaka is in the name-makutam of Bhaskara. What the author had in mind, he composed it in stanzas. He was an expert in doing it in a very convincing manner with allusions, similies, so that they may stick to the mind-showing right humanistic high-way, to tread on. His bio-data is still to be confirmed beyond conjectures.

Bharthruhari wrote three part Subhashitams in Sanskrit in the first century B.C. They are very scholarly, lengthy and full of Indian wisdom, in suitable-erudition. Neethi, Srinagara, Vairagya, moral, amorous, philosophic, that pervade human life are dealt within it elaborately. They are world famous, got translated into European and Persian language too centuries ago, taken away by travellers. They are very faithfully transcreated by Enugu Lakshmana Kavi (1775) into Telugu. Only a few of them find place in this attempt as most of them for highly educated Telugu masters to crack.

Principles of prosody in vogue were adhered to in all these sathakas. Prasa, Yathi, Makutams were continued. Normally a sathaka contains 100+ stanzas. Prasa is doubling second letter in every line in all the four lines. Champakamala, Utpalamala, Ataveladi, Tetageethi stanzas outnumber Seesa forms. Sardoola, Mathebha types also profusely used in Bhaskara, Bharthruhari etc satakam, giving gusto and majesty of their concepts in mind. Enugu, Bhaskara Satakama abound in this trend.

Sathaka are a unique feature in Telugu Literary forms. As with their typical genry which is within the reach of high, and beginner, readers, short, crisp, wise phrases, collocations, aphoristic, abound in them.

The absence of thematic continuity, gave freedom to poets to come out without any he fetters to their thought to high or low, obscene, abusive, hecklings, pleas, prayers, and what not. But underlying moral themes are their solid foundations to survive till to day. Sri Sri Viswanadha, Arudra, Narla etc too continued the mode with their alterations. Psycho-analytic, subconscious mind perception find place in many of these sathakas. Vehement resounding, protests, praises at kings, zamindars and the wealthy lodged in these sathakas without fear.

Let our esteemed readers be in touch with them by having a set to their taste in their home. They make them laugh, contemplate deeply, help to lead a harmonious peaceful worldly life, to be passed on to next generations too.

Your humble Blogger

Buddhavarapu Satyanarayana Murthy M.A.(English)

185 13 Behara Compound, Pothuri Vari Veedhi, Vizianagaram 535 002, 29-07-2020

------------------------Telugu Sathaka Padya Sampada - English Summaries------------------------