DR
B. RAMA RAJU
Professor and Head, Department of Telugu,
Osmania University, Hyderabad .
Viswanatha
Satyanarayana, the Poet Laureate of Andhra Pradesh and winner of Jnan Pith
Award, is undoubtedly one of the greatest scholar-poets of Andhra. An
octogenerian with continuous and untiring literary activity extending over six
decades, Viswanatha Satyanarayana has had the good fortune of living with and
excelling writers of three generations.
The
first generation of elders are his seniors in age at least by 20 years. They
include his Gurus also. The second generation consists of contemporaries mostly
of his age with a few others. The third generation consists of writers who are
juniors to him by 20 to 40 years. These three generations represent writers of
Puranic and Prabandhic style, moderns who wrote in the same style and those of
the Bhavakavita school of poetry, and all the rest who tried to improve upon it
or revolt against it. All these writers, whether they agree or disagree with
Viswanatha, respect his unquestioned authority.
In
scholarship and learning he can be classed with ancient scholar-poets. In
tradition he is in line with Nannaya, Tikkana and Srinatha, the great masters
of Telugu poetry. The ideal of his poetry is the nearest approximation to the
prayer “Lokaah Samastaah Sukhino Bhavantu.” I may also add that it does not
confine itself only to man but includes all living creatures. It reminds us of
the Sanskrit benediction, “Samno astu dwipade sam tuahpade.” It can be stated
without exaggeration that he tried very literary form and excelled in it in a
unique fashion.
Born
in 1895 at Nandamuru in Krishna District, Viswanatha had his primary education
in his native place and nearby villages. He came over to Machilipatnam, the
centre of literary activity in those days, for collegiate education and became
a disciple of the great Chellapilla Venkata Sastri. Pingali and Katuri, the
twins, were senior to him by one year. He too had his own poet companion in Kodali
Anjaneyulu and some of the earlier compositions came out with the two in one
name “Satyanjaneyakavulu” and the pen-name ‘Girikumara.’ He composed ‘Andhra
paurushamu’ in 1916.
By
1920 Viswanatha’s fame began to take wings and gradually spread all over Andhra.
During the Non-Co-operation Movement, Viswanatha Satyanarayana gave up his
studies. He later joined the staff of the National College, Machilipatnam, and
worked there during 1921-1926. He was also closely connected with Sahiti
Samiti. Most of his lyrical works, patriotic poems and dramas, i.e., Kinnerasani Patalu, Girikumaruni
Premagitalu, Kokilamma Pendli, Sringara Veethi, Andhra Prasasti, Nartanasala,
Anarkali were composed during this period and Viswanatha by this time
established a secure place by his own right in contemporary literature.
During
his stay at Machilipatnam he came under the influence of Swami Vimalananda
Bharati and steeped himself in the study of ancient Indian learning and
tradition. He also joined hands with the late K. Ramakotiswara Rau in starting
“Triveni” in English and he himself started “Jayanti” in Telugu. He completed
his B. A. in 1927. He served for an year in the Hindu College, Machilipatnam,
and two years at Guntur in the A. C. College. During his stay at Guntur he had
an opportunity to study important Vedantic works under Swami Kalyanananda
Bharati. He also acquainted himself with some foreign literature. In 1932 he
lost his wife and job too. The agony and pain made him delve into the depths of
his own self and he became an introvert. As a consequence he recouped all his
talents and powers and surged forth as one committed to the art of sacred
poetry.
During
1933 he wrote his famous novel Veyipadagalu
and started his magnum opus, Ramayana
Kalpavrikshamu. Varalakshmi Trisati, an elegy in lamentation of his wife’s
death, is one of the best works of its kind in modern literature. Venaraju, Sasi Dutamu, Cheliyalikatta, Ma
Babu, Veeravalladu, Jebudongalu, Trisulamu and similar novels came out in
quick succession.
Ritusamharamu describing
all the six Indian seasons was also composed during this period. These works
earned for him popularity in the Telugu literary world. During the
felicitations at Machilipatnam in connection with the best novel award for his Veyipadagalu the covetous title
“Kavisamraat” was conferred on him. It was during 1938 that he settled in
Vijayawada and became the Head of the Department of Telugu in S. R. R. and C.
V. R. College. He also obtained his M. A. by this time. He completed the
Balakanda of his Ramayana Kalpavrikshamu.
Along
with that scores of novels, radio plays and features critical and inflammatory
speeches that he delivered wherever invited, roused jealousy as well as
admiration in the Telugu literary world. His “Nannayagari Prasanna Katha
Kalitartha Yukti” struck a new path in the realm of literary criticism. By this
time Ayodhyakanda was also completed. As a result he stood aloft as a pillar of
traditional poetry. Many writers, young and old, earnestly solicited his
opinion on and forewords to their much-Cherished literary compositions. The
opinions he expressed and the forewords he wrote stand out as masterpieces of
criticism.
By
1950 “Jhansirani”, “Baddanria Senani”, “Dharma Chakramu”, “Pulula
Satyagrahamu”, “Swarganiki Nicchenalu”, “Kadimi Chettu”, etc., were published.
By 1956, Aranya, Kishkindha and Sundara Kandas of the “Ramayana Kalpavrikshamu”
were published. In 1956, his Shashtipurti was celebrated. In 1958 he became a
member of the A. P. Legislative Council. He served as the Principal of the
Karimnagar College during 1959-’61. During 1960-’62 he not only completed
Yuddhakanda but also composed ten Satakas in a rare metre, Madhyakkara. He
wrote a dozen novels in the series “Puranavaira Granthamala” and many more
critical appreciations like “Allasanivani allika jigibigi”, etc. During
1960-’62 a storm broke out vehemently criticising his magnum opus. As a result of this a group of fans, followers and
admirers of Viswanatha also came into prominence. There were regular seminars
and discussions conducted for the study of Viswanatha’s works in general and Ramayana Kalpavrikshamu in particular.
He won the Central
Sahitya Akademi Award in 1963. The Andhra University conferred on him the title
of “Kalaprapurna” in 1965. During his literary tours of North India he was
honoured at many places. The title of “Padmabhushan” was conferred on him in
1970 and the Central Sahitya Akademi honoured him with a fellowship. By the
translation of his “Veyipadagalu” into Hindi by Mr. P. V. Narasimha Rao, the
Indian literary world was able to get a real glimpse of this literary giant. In
1971 his Ramayana Kalpavrikshamu won
the Jnan Pith Award and during the tame year the Andhra Pradesh Government
appointed him Poet Laureate. Some of the works which he wrote during this
period are “Srikrishna Sangitamu”, “Bhramara Gitalu” and novels in the series
of the History of Nepal and Kashmir, and a drama “Gupta Pasupatamu” in
Sanskrit.
Viswanatha’s
literary output in variety and quality is immense. He has written nearly 30
poems, 20 dramas, 60 novels, 10 critical estimates, 200 Khanda Kavyas, 35
short-stories, 3 playlets, 70 essays, 50 radio plays, 30 radio talks, 10 essays
in English, 10 works in Sanskrit, 3 translations, 100 introductions and
forewords and edited half a dozen works. Some of his poems, and novels in
particular, were translated into English, Hindi, Tamil, Kannada, Malayalam,
Urdu and Sanskrit.
Viswanatha
studied under eminent scholars. If Chellapilla was his Guru in the art of
poetry, he found his preceptors in Kambhampati Ramamurthi Sastri for Tarka and
Vyakarana, Parimi Narasimha Sastri for Brahmasutra Bhashya, Swami Kalyanananda
Bharati for Upanishad Bhashyas, Swami Vimalananda Bharati for Vedanta
Pancadasi, Sanskrit Kavyas and dramas, Jandhyala Subrahmanya Sastri for
Dhvanyaloka and other rhetorical works. He also studied the Vedas under Kuppa
Lakshmaavadhani. Under such eminent preceptors and teachers he learnt the
ancient Indian lore and realised his brilliant self which formed the bedrock for
all his creative works. Worldly wisdom, Western literature and modern political
thought created in him a new outlook of socialism with a deep and devout faith
in God. This is the undercurrent of thought in all his works.
An
Advaitin by birth, a devotee of Siva by faith, Viswanatha firmly believed that
the manifestation of the Universe is nothing but the Vaishnavitejas. And with
this kind of conviction he upheld and promoted the multi-faceted Indian
heritage and tradition in all his writings. The native culture and tradition
almost shaken to its foundations as a result of the onslaught of Western ideas
have been regenerated, commented upon in
extenso and explained at length by his literary genius, thus presenting a
correct image of Indian culture. It is an accident that he wrote in Telugu. But
his genius is essentially Indian.
To
a superficial observer some of his important works smack of obsolescence as
they are based on religion, tradition and superstition. Some say his works are
devoid of modern social awareness and progressive outlook. It is true, if
modernism means atheism and political opportunism. Whether old or modern, his
works stand for eternal truths and godliness clothed in various literary forms.
He
is sometimes sharp, pungent, frank and very strong in his literary outbursts.
It is this quality which has made him lose many friends. And it is this quality
also which helped gather round him staunch followers and disciples. But in
general his friends and foes alike agree on one point, that he has some
superhuman, tempestuous and titanic poetic genius. In his own words he is a
“Yogabhrashta.”
“Kinnerasani
Patalu” among his lyrics, “Veyipadagalu” among his novels, “Madhyakkaralu”
among his Satakas, “Varalakshmi Trisati” as a great elegy and his magnum opus “Ramayana Kalpavrikshamu” among Kavyas will survive and adorn
Telugu literature for ages. Particular mention must however be made of his
great novel “Veyipadagalu.” It is a rare experiment in structure, choice of
theme and philosophy. Though a fiction, it may prove to be an authentic record
of the change over in Indian society from Varnashramadharma to modern
competitive existence as a consequence of the impact of Western ideas.
Viswanatha
Satyanarayana has his own style and diction. Sometimes it is grand and robust
like the flow of the Ganges. Sometimes it is sharp and vigorous like the
Sivasamudram falls.
Viswanatha
Satyanarayana who left his mortal coil on Oct. 18, 1977, has immortalised
Telugu literature by his mighty contribution in all its vibrant branches. It is
very difficult to assess his output and achievements qualitatively and
quantitatively in a brief essay like this. Any literary critic gets wrapped in
awe and amazement to find that the mastermind poet and great writer Viswanatha
could bequeath such vast literature in one span of life which is beyond the
comprehension of many a calculated critic of pure academics. It seems
Viswanatha had some superhuman and divine qualities without which such marvels
are impossible.
The
immense literary treasures which Viswanatha left for the posterity may be
divided into certain main branches as lyrical poetry, poetry in verse, drama,
novel, short-story and criticism. Kinnerasani Paatalu, Kokilamma Pendli, Paamu Paata may be grouped under
lyrical poetry. Poetry in verse has its variegated and kaleidoscopic forms as
Khandakavya, Sataka, Song, Kavya and Mahakavya. Andhra Paurusham, Andhra Prasasti, Ritusamharam, Sringaraveedhi,
Sasidutam, Bhrashtayogi, Kedaragaula, etc., are his Khandakavyas. Maswami, Varalakshmi trisati, Viswanatha
Panchasati, Viswanatha Madhyakkaralu are his Satakas. Giri kumaruni Premagitalu, Bhramaragitalu, Gopikagitalu, Srikrishna
Sangitam, etc., are his songs. Jhansirani,
Sivarpanam, Kumarabhyudayam, Pradyumnodayam, Rurucharitram, Gopalodaharanam, etc.,
are his Kavyas. Srimadramayana
Kalpavriksham is the singular Mahakavya that Viswanatha produced.
Under
Drama, Duryodhanudu, Kiritamani, Nagamani
and the like are his playlets. Venaraju,
Nartanasala, Kavyaveda Harischandramu, Sauptika pralayamu, etc., are
mythological plays. Trisulamu, Anarkali are
historical plays. Dhanyakailasamu, Lopala
boyata, Satyagrahamu, Antanatakame, Pravahamu, Tallileni pilla, Akasaraju are
social plays. Avatara parivartanamu,
Bhasmasura chayanamu are plays with political tinges.
Viswanatha
has to his credit nearly sixty novels. I am told, he never wrote down his
works. He used to simply dictate. Sometimes he used to engage three to four
scribes for writing down while he narrated three to four novels at a sitting.
What a rare feat! It seems Srimadramayana
Kalpavriksham is the only Mahakavya which he literally wrote. As far as his
novels are concerned, Antaratma, Aru
Nadulu, Moodutaralu, Mroyutummeda, Veyipadagalu, Haha Huhu, etc., are his
cultural novels. Devatala yuddhamu,
Viravalladu, Mababu, Cheliyalikatta, Swarganiki nicchenalu, Punarjanma,
Terachiraju, Nila Pendli, Pariksha, Sarvarinundi Sarvaridaka, Banavati,
Kunalunisapamu, Ganguli premakatha, Jebudongalu, etc., are his social
novels. Virapuja, Chandavolurani,
Dharmachakramu, Kadimichettu, Pralayanayudu, Baddanna Senani, etc., are
based on Andhra history. While Ekavira and
Snehaphalamu are created from South
Indian history, Bhagavantunimida paga,
Nastikadhumamu, Dhumarekha, Pulimruggu, Chandraguptuni Swapnamu, Nando raja
bhavishyati, Aswamedhamu, Nivedita, Helina, Vedavati, Nagasenudu, Amritavalli,
Yasovati, Mihirakuludu, Kavalalu, Patipettina nanemulu, Bhramaravasini,
Sanjivakarani, Dindukinda pokachekka, Chitlichitlani gajulu, Saudamini,
Dutameghamu, Lalitapattanapurani, Dantapu duvvena, etc., are created out of
history of Northern India. Pulula
Satyagrahamu, Samudrapudibba, Vallabhamantri, Damayanti Swayamvaramu, etc.,
fall under the category of political novels. Vishnusarma inglishu chaduvu is ironical fiction.
Viswanatha
wrote more than thirty short-stories, out of which Allake fakir, Kapardi, Jamindaruni Koduku, Mugguru bichchagallu,
Kalidasuni apakirti, Doragaru–Diwanji, Makli durgamlo kukka, Velugumetlu are
the best specimens of his skill in this field.
Viswanatha
is as deft a critic as he is a creative genius. He is a great Kavyamimamsaka. Nannayagari prasannalathakalitarthayukti,
Allasanivani allika jigibigi, Okadu Nachana Somanna, Sahityasurabhi,
Kavyaparimalamu, Srimadramayanamu-Silpadrishti, Viswanatha Sahityopanyasamulu,
Sakuntalamuyokka abhijnanata, Kavyanandamu, What is Ramayana to me (English) have laid foundations for altogether a new
outlook in the field of literary criticism.
Poems
like Sivapanchasati, Devitrisati, Guruprasadam,
Saradachandramauli Suprabhatam, and dramas like Amrita Sarmishtham, Guptapasupatam, Asaninivasam highly speak of
his mastery over Sanskrit.
I
should like to close this epilogue with a few remarks on his magnum opus, Srimadramayana Kalpavrikshamu–a
fruit of great penance. A fallen Yogi (Bhrashtayogi) and an ornament of the
Goddess of Muse (Brahmibhushana) was born for this sole purpose. He did his severe penance, obtained its fruit,
dedicated it to the posterity and finally became one with the Satchidananda.
Tough yet delicate, stiff yet mellifluous, artistic and replete with Rasa and
Dhwani, this Mahakavya is a rare work of art not only in Telugu but also in
many languages. It will last as long as mountains stand and rivers flow. And it
will last as long as there are enlightened elite who can comprehend and rejoice
the grandeur of a language and the highlights in its poetry. As the poet
himself has said, “It is full of ambrosial pourings with many an artistic trend
of story-telling, fragrant with pious and aesthetic thoughts. It is a piece of
art that rubbed my heart with Srirama and Siva.” This Mahakavya alone is
suffice to place Viswanatha among the galaxy of world poets and it has already
served for the attainment of his salvation. This was the chosen path for great
poets like Tikkana and Potana for the attainment of their salvation also.
In
the envoy to his Mahakavya Viswanatha says, “O Lord Ramachandra, I have made
this offering of all spontaneous and concerted poetic talents to you. Believe
me, my Lord. Put an end to the eternal cyclic recurrence of the Life Monad.
Shed Thy heartening light on me!” This was his last prayer. Amen!