The Influence of Kalidasa on Telugu Literature. Dr. P. Srirama Murty

The Influence of Kalidasa on Telugu Literature.

Dr. P. Srirama Murty

Professor and Head

Department of Sanskrit

AndhraUniversity

Waltair

(From the Souvenir of International Seminar on “ unresolved problems of Kalidasa –studies’(February 3-8-1983) Organosed by the school of Studies in Sanskrit, Vikram University, Ujjain. (India)

Kalidasa  is  considered the foremost of the poets of Classical Sanskrit Literature.  He has also become the model for later poets—“ Kavikula-guruh”.  Men of letters in the regional languages of India made him too their model, besides Valmiki and Vyasa.  Telugu literature that emerged in its classical style from Nannaya followed the foot-steps of these Sanskrit Poets.  It is interesting to see parallel developments in the Sanskrit literature and the Telugu literature produced in these regions in regard to style and structure, besides the themes.

All the seven well known works of Kalidasa influenced Telugu literature at different stages of its development.  In earlier times, the influence was general and was limited to a few translations that appeared from the pen of illustrious that appeared from the pen of illustrious poets.  The trio of classical Telugu literature – Kavitraya – namely Nannaya, Tikkana and Errapragada were generally influenced by Kalidasa.  Nannecoda’s ‘Kumarasambhava’ seems to be the earliest adaptation of the Kalidasian classic, Kumarasambhava.  He belonged to the 12^th or 13^th century.  It is in the style of a Prabandha, a unique model of Mahakavya evolved in Telugu resembling the Sanskrit Campukavya.  Haravilasa of Srinatha comes next to it, which is again an adaption of the Kumarasambhava.  Nissanku Kommana’s Kandarpadahanalila, a portion of his Sivalila-vilasamu, is yet another adaption of the same work in short, made in the fifteenth century.  The  Sringarasakuntala of Pillalamarri Pinavirabhadrakavi is a highly popular poetic version of the great classical drama of Kalidasa.

In the sixteenth and seventeenth centuries the Aja-Indumati episode of the Raghuvamsa seemed to have attracted the attention of poets.  Ramabhadrakavi and Kumara Dhurjati wrote works by the common name and theme Indumati  parinaya.  About 1660 A.D. Cintalapalli Chayapati translated the 4, 5, 6, 7 sargas of the Raghuvamsa with the title Raghavabhyudayamu.  To the eighteenth century belonged Parvatiparinaya of Raya Raghunathudu, an adaptation of the Kumarasambhava.  Two translations of Meghasandesa appeared during this century from the hands of Kotikalapudi Venkata Krsna Kavi and Matukupalli Nrsimhakavi, which have not come down to us unfortunately.  Avuduri Kiccayya translated the Raghuvamsa in 10 Asvasas during this period.  Kamanuri Krsnavadhani wroteIndumatiparinayam about 1800 A.D.  Puspagiri Timmakavi wrote Indumatikalyana. Some more adaptations of the stories of Indumati , Parvathi and Sakuntala produced in this period are known , but they have not come down to us. Parvati’s marriage story also appeared in the form of Yakshaganas- musical plays- fron the hands of Sahaji Maharaja and Venkatacharya in the 17^th and 18^th centuries respectively. Vajjhala Narasimhakavi and Dupati Seshacharya rendered Sakuntala in to Yakshagana . There are several other translations of the stories of Indumati’s marriage, Parvati’s marriage and Sakuntala , which have gone in to oblivion. From the titles , it is evident that they must have been influenced by Kalidasa. There are some other works which exhibit deep influence of of Kalidasa , though they are not exact translations of Kalidasa’s works. This is clear from their titles and execution.  Sudaksinaparinayam of Annayakavi (1560); Satcakravarticaritra of Kamineni Mallareddi (1600);  Acalatmajaparinaya of Tirumalabukkapattnam Venkatarya (17^th Century);  Pururavacarita of Kanuparti Abbayamatya (1750)  Dilipacaritra of Katikalapudi Venkatakrsnakavi  and Sakuntalaparinaya of Akalankam Krsnakavi deserve mention.

It is evident from the above, that the story of Indumati’s marriage attracted these poets to a large extent.  The motifs and imagery of Kalidasa were largely adopted by these poets while describing similar incidents in their works by several poets.  We may mention here only a few like Srinatha (Srngara-Naisadha, 6, 64-68), Allasani Peddana (Manucaritra), 3, 60-69)  Pingali Surana (Kalapurnodaya, 8, 138-141) and Ramarajabhusana ( Vasucaritra, 6, 11-15 )

The period of the last century and a half is marked with a revival of interest in the classics of Kalidasa.  Poets of both traditional schools and modern schools of literature drew their inspiration from the works of Kalidasa, whom they regarded as a National poet breathing the aspirations of Indian People and holding a mirror not only to the external nature of the Indian sub-continent, but also supplying insights into the minds and hearts of her people.

The Rtusamhara, the description of the Indian seasons, seen through the eyes of a lover found over a score of translations, adaptations and imitations.  The Telugu Rituvulu of Visvanatha Satyanarayana marks itself out as a great masterpiece of conception and execution of great originality, wherein he describes the seasons as they are seen in the land of the Telugu speaking people, describing rivers and mountains, rice-fields and landscape of the country side and the village-life, familiar to the Telugu people.

There have also appeared many works influenced by the Meghasendesa, apart from other Dutakavyas like Cakorasandesa.  It is interesting to note here that there is a work called Meghapratisandesa incorporating the imagined reply of the beloved of Yaksa sent back to him through the cloud-messenger, written by Ravada Venkataramasastri.  The Kumarasambhava was not only translated into verse by different Telugu poets but it has also been dram tised.  The story also appeared with different titles like Umaparinaya, Kumarasvamivijayam, Nagajaata.  The Raghuvamsa was translated into Telugu completely or sometimes only up to the tenth sarga.  Likewise, select portions of it like the story of Aja or Dilipa have been translated.  Dipala Piccayyasastri rendered it into a prose work.

  The Malavikagnimitra was translated into Telugu by about half a dozen poets, starting with Vedam Venkatarayasastri.  Similarly, the Vikramorvasiya was also rendered into Telugu by the above author and by six others.  The Abhijnana-Sakuntala has been translated by about twenty poets.  Among these translations, the one by Kandukuri Viresalingam Pantulu  is the most popular one.  General influence of Sakuntala on the descriptions of love in union or in separation in the Prabandhas in Telugu is quite conspicuous.

General critical works in Telugu on the works of Kalidasa have also appeared.  This tradition is rooted in the great commentaries of Mallinatha on the Mahakavyas of Kalidasa and those of katayavema on the three dramas.  There are, besides, several creative works in Telugu, which bear clear impressions of Kalidasa’s works.  The impressions are sometimes exquisite.  While some of them bear the stamp of borrowings of phraseology, others have borrowed the imagery, expressed in Telugu idiom.