Telugu literature 3

 

Telugu literature uses a unique expression in verse called Champu, which mixes prose and poetry.

Although it is the dominant literary form, there are exceptions: for example, Tikkana composed Uttara Ramayana entirely in verse.[13]

As Champu Kavyas and Prabandhas were beyond the comprehension of masses, new devices for the dissemination of knowledge among the people were developed in the form of the Dvipada and Shataka styles.

Dvipada means two feet (couplet) and Shataka means hundred (a cento of verses).[14] (Popular shatakas:
Sarveshvara shataka,
Kalahastishvara shataka, Dasarathi Shataka)

There are some Shatakas which are divided into ten groups of ten verses called Dasaka which is adopted from Prakrit.[15]

Avadhanam is a literary performance popular from the very ancient days in Sanskrit and more so in Telugu and Kannada languages.[11] It requires a good memory and tests a person's capability of performing multiple tasks simultaneously.[11]

All the tasks are memory intensive and demand an in-depth knowledge of literature, and prosody.

The number of Prucchakas can be 8 (ashtavadhanam) or 100 (shataavadhaanam) or even 1000 (sahasravadhanam).

A person who has successfully performed Ashtavadhanam is called as Ashtavadhani, a shatavadhanam is called a Shatavadhani and sahasraavadhaanam is called Sahasravadhani.[11]

Author's craft
Praudha Prabandha or Maha Kavya is considered as highest form of verse. The essentials of such a composition according to the Telugu poetic theory are

Śaili (Style):
The words chosen neither soft nor very musical but dignified (Gambhira), Sweetness (Madhurya), Grace and Delicacy (Sukumara), Fragrance (Saurabhya) and Symphony.

In choice of vocabulary, Vulgar language (Gramya) is avoided.[13]
Ṕāka (Mould): Refers to the embodiment of ideas in language, and the nature and texture of the language employed.


There are three types of pakas namely
Drāksha (wine or grape): Draksha is a crystal clear style where everything is seen through a transparent medium.

Mostly Nannaiyah uses this mould.[13]
Kadali (Plantain): Kadali is complex paka because the soft skin has to peeled to reach the core of the subject. Mostly Tikkana uses this mould.[13]


Narikela (coconut): Narikela is the most difficult mould to employ because one has to break the rind to understand the idea. Vishnu Chittiyamor Krishnadevaraya are cast in this paka.[10]


Rasa (Sentiment): Rasa is the heart and soul of any Telugu poetry which follows rule or (Sutram) "Vākyam Rasātmakam Kāvyam" which means that the soul of a sentence is Rasa.

There are nine Rasas, known as the Nava Rasas.[10] A perfect kavyam uses all nine of these, namely:

śṛṅgāra (love)

Hāsya (Comic)

Karuṇā (Sympathy)

Raudram (Horror)

Bhayānaka (Fear)

Bībhatsa (Disgust)

Vīra (Heroic)

Adbhuta (wonder)

Shantam (Peace)

Alamkāra (Ornamentation): There are Śabdhalamkāras (ornaments of sound) and Arthalamkāras (ornaments of thoughts).

Slesha (double entendre) and Yamaka (alliteration) are Śabdhalamkāras.

Upamāna (simile) Utpreksha (hyperbole) are Arthalamkāras.[10]

We find usage ofAlamkaras in description of events, places and proceedings etc.[citation needed]