SRIMADANDHRA MAHABHARATHAM With Commentary Adiparvamu of Nannaya Bhattarakudu Vol. I. Part-I (Cantos 1,2,3 and 4) Commentary by. Dr. Divakarla. Tirumala Tirupathi Devesthanam Mahabharatham. Need original Mahabharat In 18 parvas Iin TELUGU. Where n when will Late Medieval Andhra Pradesh. ಶ್ರೀಮದಂಧರ ಮಹಭರತಮು: Andhra Mahabharata with Commentary – Set of 15 Publisher: Tirumala Tirupati Devasthanams, Tirupati. Language: Telugu.

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Search the history of over billion web pages on the Internet. Lakshminarayana Rao f Dr. P, Madhava Sarma, Dr.

Shri A- Rajeswara Sarma. List of Donors of palrnleaf manu- scripts and printed editions. Sarvepalle Radhakrishna, former President of India. Jubilee of this Univer- sity. The Andhra Mahabharata, which is a free translation of the Sanskrit original, has special appeal to Telugu scholars, being the first work of literature in Telugu and a masterpiece among the Telugu classics. The present edition is based on a critical study of a large number of palm-leaf manuscripts, collect- ed from different parts of the State and edited by a team of competent scholars in Telugu.

I take this opportunity to thank the Government of India and the Andhra Pradesh Government for having provided funds for the preparation and publication of this work. I congratulate all the editors and their colleagues on their collaborative and successful scholarly Venture. I hope they will strive to bring out the remaining volumes in quick succession, Hyderabad D, S.

Andhra Mahabharatam | Revolvy

Another Telugu poet Ketana seems to say what the wise men smile upon is blessed. What they frown upon is irretrievably lost. Obeisance to the wise who are next only to the Gods. Andhras also feel the same. Future References to Andhra Mahabharata may be understood thus. Witness the great battle of Palnadu of the 12th Century A,D. The heroes of Palnadu Guntur District re- enacted the episodes of Mahabharata in a quaint manner.

The battle of Palnadu is a fight among cousins like the epic war. The Pandavas and Kauravas quarrelled over the dice. The Palnati heroes fell out over an exciting cock-fight. There is manda-potu seizure of the herds in the story of Palnadu to match the Ghoshayatra and Gograhana incidents in the anc ent epic.

Heroes of Palnadu come under this category. The practice to set up stone images called Vira-gallulu hero-stones for mighty fighters, was anchra prevalent in Andhra during the middle ages. The story of Mahabharata became so much an integral art of our national life that numerous Telugu proverbs are ased on it. Uttarakumara prajnalu a derisive term. Do I mahabharatsm know the Pandavas they are four in number like the four legs of the cot ‘ a humorous observation.

Many more can be cited. It is not only the common people that are attached to the Maha- bharata. No less a person than King Rajar a Narendra of the Eastern Ghalukya Dynasty of ajahmundry declared to his learned courtiers cc These five are t e objects of rny veneration and love the respect of Brahmins ; the constant desire to hear the story of Mahabbarata ; an intense love for the worship of Siva, lord of Parvat ; the desire for unceasing charity and a neverfailing desire for t e company of the wise and good men.

The better and more abiding reason is that Mahabharat is considered the Fifth Veda. It is as venerable as the Vedas.

It is a mine of Dharma. It is a great poem.

In which parvam has only one in andhra mahabharatam in telugu?

It is a store of philosophy, of political science, the great Itihasa and what not. These ideas have been well brought out by Nannaya Bhattu in the prologue to his work.


Tikkana Somayaji, the great successor of Nannaya Bhattu is more explicit in his claim for the authority of Veda to the Mahabharata. Down to the most modern period Telugu poets and Telugu people retain this profound veneration for this ancient epic. These are more mundane reasons 1 Andhra Mahabharata contains our earliest, highest and most popular poetry 2 It is the primary source of our classical grammar, our prosody and our lexicology.

Taking these factors one by one, we will add a few remarks. Mahabharata is our earliest poetry in the field of pure poetry. There is evidence of versification down from the middle of the 9th Century A. Some claim even a much earlier origin to versification in Telugu. They trace it to the royal decrees of the Chola Princes of Renadu the Cuddapah district who are the early contemporaries of the Eastern Ghalukyas, Some doubt whether these fragmentary records can be called poetry.

However there is no dispute about the fact that Nannaya’s composition is the first worthy essay in aesthetic poetry. The opinion of yet a few writers that good Jaina poetry existed long before Nannaya and that it was destroyed by non-Jamas, is not so far borne out by any evidence. It appears that Andhra Jainas did not find much favour in the land of their origin for the exercise of their literary talent.

They seem to have migrated to more congenial regions and adopted the Kannada language as the vehicle of their poetic talent. Adi Pampa is said to have flourished in the Vemulavada region, the modern Nizamabad-Karirnnagar Districts. It is our highest poetry in the sense that two master minds of Telugu fashioned it and a third joined his genius to it. It is true that the theme is not of Andhra Origin not Desi in the strict sense of the term.

That it is universally popular with Telugu people is an age-long fact. It is freely read and under- stood in the villages even to the present day. It is justly popular by its ennobling themes, a natural, easy and dignified diction, by the avoidance of pedantry and vulgarity and by eschewing artificiality in all situations.

Nannaya is highly economic in descriptions though his successor Tikkana showed a tendency to relax this restraint in his earlier Parvas. But he too returned to his exemplar’s path not only in the matter of theme but also in conciseness and compactness of expression. If the soul of wit is brevity, Andhra Mahabharata is the finest example of this in Telugu.

The more liberal mindecb among our Grammarians held up the literary usage of Kavitraya the three poets of Telugu Mahabharata Nannaya, Tikkana and Yerrana as standard and worthy of imitation.

There is a hard core among the grammarians who are unwilling to place even Tikkana and Yerrana on the pedestal, by the side of Nannaya. They hold that Nannaya’s literary usage alone ranks as “Arsha” classical, as far as Telugu is concerned.

All subsequent poets have to look up to him for purity of literary expression. Where they differ from him, Nannaya must prevail. A late authority like Ahobala Pandita, close of the 17th Century commentator on ” Andhra Sabda Chintamani ” endorsed this view. They may have at the same time introduced minor changes in the poetic usage, consistent with the tastes of the learned men of their age.

For a correct understanding of the classical grammar of Telugu, a Critical Edition of Andhra Mahabharata is essential. All works on Telugu prosody except Kavi- janasraya are subsequent to the Mahabharata. The Author- ship of Kavijanasraya is disputed. It may come nearer to the period of Nannaya but cannot precede it. One limiting factor is that the poets of Andhra Mahabharata did not ex- haust the gamut of purely Desi metres. A well known metre like Dwipada does not find a place in the Bharatam.


The Saiva poets and later on Vaishnava poets employed this Desi metre in a masterly fashion and built up a separate and vast branch ef literature. The Ragada metre, with its alliterative numbers is not used in Mahabharata. The Prabandha poets are very fond of this in decribing the frolics of young damsels, Purely song metres also do not find a place in the high serious poetry of the epic.

Non-the-lcss, Telugu Bharatarn is the foun- tain-head for the study of Telugu prosody. Herein Nannaya Bhattu, though supposed to be the architect of the Marga style as against the Desi style, is more liberal in the use of native metres like Madhyakkara. His manipulation of the isa metre is pe- culiar to his poetry and forms interesting study by itself, Simi- larly his employment of the Madhyakkara metre is nearer to the ancient models as found in the Bezwada inscription of Yud- dhamalla.

The use of the Akhanda-vadi or Yati in the Caesura system has long been a sturdy bone of contention among Telugu writers on prosody. The earlier prosodists like Anantamatya A. A purist like Appakavi A. The Rao Saheb and others of his school accuse Pundits of having altered the readings of Mahabharata to con- form to their views on prosody.

A Critical Edition of Andhra 5 Mahabharata if satisfactorily done-must throw light on some of these disputed points. Telugu employs “both Yati and Prasa schemes in its poetry. They serve as great restraining agents on enthusiasts who are tempted to refashion the poetry of master minds in order to make it conform to their motions of grammar and propriety or other considerations.

To quote only one instance among many, how a prosodial scheme can sway scholars, we may refer to one verse. The word c Kap la 5 falls in the Prasa Sthana. This is no doubt accepted for caesura but not for Prasa. There is yet another objection to this reading according o some.

Will a poet of Nannaya 5 s stature, who is very careful about grammar, commit such a solecism? Scholars are much exercised over it. They bring to bear all their ingenuity and all their erudition to save Nannaya, the Valmiki of Telugu Literature, from a charge of indifferent gram- mar, Paravastu Ghinnaya Suri rnid 19th Centurythe best authority on classical grammar in the modern period accepted the reading Kapila Gaddamu and explained it on the principle, of 8 c Anindya Gramya 3J a solecism which we should accept with veneration as it pertains to the father of Telugu poetry, It is a highly sensible and p easing approach.

Other scholars are not prepared to accept th s graceful explanation. They ransacked Telugu Vocabulary and ” fted up some obsolete words and tried to save Nannaya from the charge of grammatical and proso- dial solecism. One wonders whether Nannaya really needed the help from self-styled champions or whether their advocacy improved his position as a most natural and pleasing poet.

A critical edition of Andhra Mahabharata has to tackle such difficult issues. The present editors cannot vouchsafe satis- faction to all the contending schools. When the meaning or form of a Telugu word has to be fixed with precision, grammarians and lexicographers quote the Mahabharata in support. Ga- napavarapu Venkata Kavi A. It was only in the 19th century that Telugu lexicography assumed the modern form.

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