Books and Authors

Has the language problem of India been solved by the formation of linguistic States? Maybe some advantages had accrued to those not only waiting for the encouragement of the regional languages but have a vested interest in their glorification. But there is no noticeable interest in the knowledge of, even curiosity about the neighbouring languages. Intellectually, we still remain self-satisfied islands, John Donne and others not withstanding.

But, something worse, indifference has increased; growing into hostility in some states and regions towards some languages, Sanskrit in particular, apart from English and Hindi. “It is a dead language”, assert some Indians, with an obvious glee, based on ignorance and prejudice. True, it is of course, not spoken in the market place; nor meant to be. It is a learned, literary language. It is very much in use, in everyday life, without our realising it. It has a rich vocabulary and comes in hand in evoking ‘word compounds’ (‘Samaasas’) in different disciplines, including modern science, comparative philology and linguistics.

It is not for nothing that American, European and other foreign scholars specialise in the study of Sanskrit, which remains a window to India’s ancient heritage and an avenue for coining new technical terms.

Only a genuine scholar in one cultural sphere can fully appreciate the value of classical scholarship in another. Dr. Judith Krabbe is an American scholar of Greek and Latin, teaching English, who has been in Madras, off and on, during the last few years to learn Sanskrit well enough to read and understand the Bhagavad Gita in the original, philosophy, poetry and all.

She has since done it with conspicuous success. Not only that, she has prepared ‘An Introduction to Sanskrit’, (in collaboration with Prof. R. Ramakrishna Iyer). It is a substantial guide to learn Sanskrit through English. It is planned on modern pedagogic lines in thirty -odd lessons, in vocabulary, grammar and translation, with the examples drawn mainly from the Bhagavad Gita

(Comprising over 260 pages, the book, neatly got up, is brought out by the author, Dr. Judith Krabbe herself, now home at 2625, Belvedere Division, 224, Jackson, M.S. - 39212, USA. Her Madras address used to be: - 60 MGR Road, Kalakshetra Colony, Besant Nagar, Chennai - 600090).

To those who might be curious about her passion for Sanskrit, Dr. Krabbe quotes the Latin playwright, Terence, who said: ‘I am a human being. I do not consider anything human as foreign or irrelevant to me”. She also recalls the saying of Charlemagne; “So many languages, so much knowledge”.

Among the older generation of Telugu poets and scholars, a sound knowledge of Sanskrit was considered obligatory. Even their successors who sought to revolt against the classical literary traditions and metrical forms were quite well versed in Sanskrit poetry and aesthetics. If remained a point of reference, be it positive or negative.

Devulapall Krishna Sastri (b. 1897) and Gurram Joshua (b. 1895), who were near contemporaries were both influenced by the Sanskrit tradition, though there was little else in common between them. Their grounds were very different; so were their styles and schools of thought. One was a Romantic - mystic lyricist (Bhava Kavi); the other was a social realist, simple in style but classical in form. Both made a mark on Telugu literature, broadly in the years between 1925 and 1950.

It is good that Sahitya Akademi had brought out monographs on the poetry and personality of these two poets in the ‘Makers of Indian Literature’ series. These are in Telugu, authored by two research scholars closely familiar with the subjects concerned.

Krishna Sastri was not only a gifted poet, but a charismatic personality. His varied achievement covers a wide range from the romantic pathos of ‘Krishna Paksham’, ‘Kanneeru’, ‘Pravaasam’, the mysticism of “Oorvasi”, through the devotional drama of “Dhanurdasu’, to the poetic translation of “Thiruppavai”. Worth special mention is “Rigveedhi”, the collection of moving tributes in verse to his ‘Gurudev’, the source of his inspiration (R. Venkataratnam Naidu, who was his Principal at P.R. College, Kakinada).

While his film songs (geyas) play on the heart strings of his listeners, his prose pieces, subtle, sensitive and satirical, can hardly be forgotten. Dr. Venkateswarlu had done justice to all of them.

Joshua was a born poet, who could not be suppressed. Otherwise, he would not have survived the obstacles of social prejudice and the hostility of man towards man; and prevailed to put his message across. His life was a struggle; his poetry was a protest. But his innate sense of decency never let him cross the boundaries of decorum and dignity. He was a stickler for propriety (auchitya).

Finding himself between the Devil (of Hindu casteism) and the deep sea (of Christian ecclesiasticism) Joshuva had to find his poetic identity by educating himself somehow. In ‘Gabbilam’ (The bat), he uses a much-neglected creature as a messenger to God (Shiva) in a Sandesa Kavya in which clouds and swans and parrots had been conventionally employed by the poets of old. Equally well known is his ‘Piradausi’ (on the tragedy of the Persian poet, Firdausi). His life of Christ is a tribute to the king of kings and the prince of peace.

Joshua was a liberal and a humanist who held no grudge against other religions.

In fact, he composed poetic pieces and short plays on Hindu mythological themes, like ‘Rukmini Kalyanam, Madaalasa, Kusalavopakhyanam etc. Even otherwise, irrespective of the content of the theme, his imagery is influenced by Hindu mythology, with which he was closely familiar.

Dr. Bhaskar Chaudhary’s analysis is not only subtle and sympathetic, but also perceptive and comprehensive, as he had done research on the poetry of Joshua.

While poetry still remains the most prestigious form of literary expression, now there are other forms which have become more popular among readers as well aswriters. Prose fiction, for instance. Although the impact of the novel is more widespread and long lasting, the short story gives greater scope for variety and experimentation. That has been so, for about 50 years.

It was a welcome decision on the part of thTelugu Academy (of AP), with the collaboration and financial assistance of the Sahitya Akademi (Central) to conduct afive-day workshop-Seminar in Hyderabad towards the close of January 1997. The focus was on the trends of Telugu short story writing since Independence. Over 260 writers, translators and critics took part in the proceedings, arranged in ten thematic sessions, apart from the inaugural.

The subjects ranged from a broad survey of the development of the Telugu short story to specific discussions of ‘My Favourite Story’ by different authors, many with special reference to those written after Independence. The main characteristics (of the modern pioneers before Independence) pointed out by Dr. Poranki Dakshinamurti include; variety of theme, skill of craftsmanship and simplicity of style. In the post - Independence period, features like shift of attention to the poor workers and farmers, and realism, with no intellectual pretentions, are mentioned by Mr. Madhurantakam Rajaram.

Prominent among the writers were Messrs. Vakati Panduranga Rao, K. Rama Mohana Roy, P.S. Gopalakrishna, Pothukuchi Sambasiva Rao, Seela Veera Raju, KRK Mohan, K. Enoch, Nikhileshwar, B. Ram Gopalam, and Dr. Nayani Krishna Kumari.

The contributions and reports are compiled in the Special issue of Telugu, the monthly periodical of the Telugu Academy, edited by Mr. Deevi Subba Rao, the Director (Himayat Nagar, Hyderabad (AP) Price Rs. 25/-)

The Vedic tradition, preserved and sanctified by the Rishis from time immemorial, is cherished by most of the ‘believers’ in the Hindu society. But apparently, there are material differences in interpretation and emphasis. These are not generally hostile or mutually exclusivist, as far as the ‘Dwijas’ (the Twice-born) were concerned. There are said to be two broad groups ‘Arsheya’ and ‘Paurusheya’, depending on the different ‘gotras’.

The group descending from Sanaga, Sanatana and such other Rishi gotras comprising the latter, owes its allegiance directly to Viswakarma. It is known as the ‘Pancharshi Sampradaya’ (the tradition of the Five Rishis). Its present descendents are called Viswabrahmanas. The problem arose when the Brahminical status was denied to them by the other (arsheya) group which became more influential in due course.

In layman’s terms, does this status belong only to those who recite the words and can not be claimed by the others engaged in sculpture, architecture, and the plastic and lapidary arts as well? The problem was studied in perspective in the periodical, ‘Prabodha Tarangini’ by scholars like Y. Madhavacharyulu, Konduru Ragava Charyulu, Deriseti Venkata Rama Charyulu and others.

A selection of these articles is compiled and edited by Mr. Deevi Subba Rao (Bharati Publications, Plot No. 143, Dilsukh Nagar, Hyderabad - 500 035).

Telugu literature has a long and rich tradition of didactic compositions in verse from Vemana to Narla - sometimes only aphoristic, at other times spiced with satire and sarcasm as well. Mrs. Deevi Subba Rao’s slim collection of these aphorisms is titled ‘Megha Ranjan’ (Bharati publications, Hyderabad - 500 035), It includes a wide variety of comments on the frailty of human nature, on the beauty and grandeur of Nature, the value of introspection, the need for learning from one’s own mistakes, otherwise known as ‘Experience; and so on. But it is, by and large, free from anything harsh or hurting.