Literary Legends... Nannayyabhattu

Chilukuru Venkateswarlu Aadikavi Nannaya Bhattu

© Chilukuru Venkateswarlu

Year : 2014

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Typesetting by : R. Anuradha Raghuram, Hyderabad. (9441186831) Aadikavi Nannaya Bhattu

In Sanskrit literature Valmiki is the first poet. In the same way, Nannaya Bhattu is the first poet in Telugu Literature (in poetry). Thus Andhra Mahabharatam is the first epic in Telugu. In the same way, Nannaya Bhattu is our Aadikavi. Nannaya has written Aadiparvam, Sabha Parvam and a part of Aranya Parvam during 1054-61 A.C. After him Tikkana Somayazi has written 15 Parvams, in the 14th century from Virata Parvam to Swargarohana Parvam. Errapreggada has written the remaining part of Aranya Parvam in the 15th century. In this manner it took about 2 ½ centuries to complete Mahabharatam in Telugu. Though it took 2 ½ centuries for its completion, it gives an experience to the reader that as if it was written by one single poet, at a stretch. Nannaya Bhattu was a minister in the court of King Rajaraja Narendra during 1022-61. He was actively associated with the King in political, cultural and educational activities. All the enactments of the King (government orders) were made in poetry, in slokas, under the supervision of Nannaya Bhattu. The dynasty of east Chalukyas ruled Vengi desam in the 11th century. Their kingdom spread from Visakhapattanam on the east upto Nellore in south, Markapuram (Kunnoor district) and a few areas in Telangana on the west. The

3 entire east coast of Bay of Bengal was under their control. Vengi was surrounded by Orians (Kalinga) on its north, on its northwest, was ruled by Chalukyas and south Chalukyas ruled on their southern border. In those days there were frequent battles among themselves. Hence the political situation in the country was in caught in political disturbances during the 11th century. Rajaraja Narendra became the King of Vengi desam in 1019 A.C. He was also popularly known as Rajaraju. In 1053, there was a big battle by name Koppam battle, where all the neighbouring kingdoms were involved. In that battle the King of Chola died. He was friendly with Rajaraju. At that critical time Nannaya with his diplomacy made a lifetime friendship treaty with the western Chalukyas. Rajaraju thus ruled his country firmly by withstanding all those political uncertainties and shifted his capital to Rajamahendrapuram (Rajamandy) and firmly established his rule. Before Vyasa Maharishi undertook the writing of Mahabharatam, the country was in disorder due to social, communal and religious disturbances. At that time Vyasa Maharishi wrote the great epic Jaya and spread the message through his disciples in all parts of the country. While Nannaya undertook the writing of Mahabharata in Telugu, the Vengi desam and its surrounding countries also faced similar disturbances as Vyasa Maharishi experienced. In addition to the above Nannaya has also faced certain challenges in the field of literature. Let us know those circumstances. In those days, Sanskrit used to be the official language. Even common people were conversant and comfortable in Sanskrit. The Kings of east Chalukyas took enormous

4 interest in developing Telugu Literature. As a result, they introduced Telugu and Sanskrit as the official languages. They used to issue sasanams (government orders) both in Sanskrit and Telugu. Nannaya Bhattu was the official writer of all those sasanams (G.O’s). Even in 11th century itself, they started writing those sasanams in poetry with Champaka Mala, Madhyakkara, Seesam, Tetageeti, Aataveladi, Kandamu, etc., in Telugu Chandassu. Ordinary people used to read, digest and enjoy those sasanams in poetry. With this we can understand the royal patronage that the language commanded in those days. All those poetry in royal sasanams appeared even before Nannaya’s period. Hence it is presumed that the Telugu poetry was prevalent even 2/3 centuries earlier. Dhe dynasty of east Chalukyas encouraged the announcement of the royal sasanams in Telugu poetry. Nannaya himself expressed in his Avatarika that he ventured to write Mahabharatam in Telugu with patronage of the King Rajaraja Narendra and also with the encouragement of various literary scholars (Vidvatparishattulu). From this we are able to understand that everyone can’t be a poet unless he had the approval of Vidvatparishats. Rajaraja Narendra: King Rajaraja Narendra himself was a scholar . He read and digested all the Puranas, Itihasas and epics. He heard all Puranas without any partisan attitude. Inspite of all his knowledge in Puranas and Itihasas, he was more attracted towards Mahabharatam because it teaches all Purushardhas (dharma, ardha, kaama, moksha). He wanted to listen to the epic Mahabharata again and again. As a result he requested his minister Nannaya Bhattu to write Mahabharatam in Telugu and read out for him, but he never asked to dedicate

5 it to him. However Nannaya also did not give a word to that extent. However he dedicated his epic to King Rajaraja Narendra only. In that manner, the King Rajaraja Narendra has became Krutibharta and Sroota also. Nannaya is the first epic writer: We are to feel proud that Nannaya has not only written Mahabharatam more fruitfully with competency, but also he has paved the way for writing an epic in poetry. Thus he became the guru for the future writers in poetry. Nannaya is not only the first writer of Telugu epic but also he has shown many new styles for the future poets. Thus each poet in Telugu is indebted to Nannaya. Let all Telugu speaking people give a standing ovation to our Aadikavi. Tikkana himself applauded Nannaya’s poetry in his Virata Parvam 1-6. While Rajaraja Narendra requested him to write Mahabharatam in Telugu, Nannaya has acknowledged his gratitude with all modesty in first person (in his Aadiparvam 1-9) in the following manner. Nannaya has introduced himself in his Avatarika as his “Kula Brahmana Mantri”. 1. His personal bio-data 2. About his literary talent. 1. Personal bio-data: 1. Nannaya is the Kula Brahmana Mantri for King Rajaraja Narendra. Which means he is the hereditary priest- cum- minister. 2. He is a close friend of the King. 3. He is a religious brahmin performing all the daily rituals as prescribed in Vedas such as japam, homa etc. 4. He is good in reciting and teaching Vedas. 5. He is eligible for receiving and donating gifts (Danam). 6. He belongs to Aapastambha Sutra of Mudgala Gootra. 7. Nitya Satya Vratudu. 8. He is as virtuous and brilliant as Bruhaspati.

6 2. His literary talents: 1. “Vipula Sabda Sasanudu”: The poet who wants to write any epic, original of which is in Sanskrit, must be proficient in both the languages. 2. “Vignana Niratudu”: unless one has extensive knowledge in all the eighteen Puranas, Vedas and other Sastras cannot write Mahabharatam which is the fifth Veda. 3. Lokagnudu: he must be a poet, conversant with traditions and customs, and capable of creating characters effectively. 4. Ubhaya Bhasha Kavya Rachanadi Sobhitudu: he who has extensive knowledge in Sanskrit and Telugu alone can undertake the writing of Mahabharatam in Telugu. 5. Satprabhichabhiyogyudu: means he is not a mere translator but an original creator of the epic Mahabharatam. Before commencing the writing of Mahabharatam, he worshipped Valmiki, and Vyasa Maharishi. He has praised Valmiki as the first poet and the guru for the knowledge of poetry. He has learnt from Valmiki that the poetry need not necessarily be a sloka but whatever that can produce musical sounds also can be said as poetry. In this manner, Valmiki was the first guru for writing a sloka in Sanskrit. In the same manner Nannaya is the guru for writing an epic in Telugu, thus he became the “Guru for the knowledge of poetry”. For all Telugu poets Nannaya is the guru and also Aadikavi. From the style of his writing, he is applauded as Brahma. Viswanadha Satyanarayana has described Nannaya as the second Valmiki. Nannaya is a Jnani like Vyasa and a great poet like Valmiki. Andhra Mahabharatam is not a translation: King Rajaraja Narendra has asked Nannaya to write Vyasa Bharatam in Telugu. But he never asked him to

7 translate as such. Nannaya has created his epic as an original on his own way. To that matter, the other two poets also followed Nannaya in completing Andhra Mahabharatam as an original epic. Nannaya himself has said in his Avatarika: 1. All the three poets have ignored the Harivamsam in Telugu, right from Aadiparvam to Swargarohana Parvam. In Vyasa Bharatam Krishna’s character was depicted more prominently than the story of Pandavas, whereas Nannaya has taken Pandavas as the heroes in his epic. Therefore it is an independent creation but not a translation. 2. Ananda Vardana, the writer of Dhwanyalokam said that Vyasa Maharishi has given more prominence for the teaching of four purushardhas based on Vedas and sastras. For which he has taken up the history of kings in Chandra vamsam. In other words he has given more prominence for the debate on dharmas and sastras than the main story. Whereas Nannaya in his Andhra Mahabharatam viewed in a different way. Nannaya has given more prominence for the story than dharmas and sastras. Which means he has written within the framework of Vyasa Bharata but dealt the entire story independently. Hence it is an independent creation and not a translation. 3. As analyzed by Ananda Vardana, Vyasa took up his Bharatam in a spirit of peace and satva guna, whereas all the three poets in Andhra Mahabharatam gave prominence for dharma and valour. In Andhra Mahabharatam the sentiments and emotions are created more prominently in

8 addition to dharma. Hence it is an independent creation and not a translation. 4. Vedam gives prominence for the sabdam whereas Puranas give prominence for the ardham. Epics will deal with both in suitable proportions. While writing Andhra Mahabharatam, all the three poets mixed up both kavyam and Itihasam and thus made a novel experiment. In this manner, they helped Telugu literature a new approach. Hence it is a new creation and not a translation. 5. All the three poets of Andhra Mahabharatam have given more importance for the nativity in dealing the story. The style of poetry of Nannaya is a mix of sabda and guna, In Andhra Mahabharatam we find more of nativity and mix up with a life and style of the sons of the soil. In this manner all the three poets have given importance for the nativity. Hence it is an original creation and not a translation. 6. Even if someone argue that Andhra Mahabharatam is a translation it is said to be as a roof on the walls of Vyasa Bharatam. 7. Vyasa Bharatam contains seven hundred slokas of Bhagavad Geeta. But Tikkana has condensed it to seventy poems. Hence Andhra Mahabharatam is an independent creation and not a translation. 8. The nature of Rajaraja Narendra is to listen Mahabharata. It means he is more interested to take the essence of Mahabharata. Whereas Nannaya has created Andhra Mahabharatam to please his listener Rajaraja Narendra, by taking into consideration socio, economic and religious aspects

9 prevailing in those days. In this manner Andhra Mahabharatam is an original creation and not a translation. The grandeur of Nannaya’s poetry: Nannaya adopted a simple and natural style in his poetry so as to impress both the literates and illiterates. His writing is a treasure of idioms, proverbs, dharmas and morals, etc. That is why his poetry is remembered by people for lifetime. He himself said, “Nanaruchirardha Sookti Nidhitwam” (Aadiparvam 1-26).

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