Who wrote the book called Aamuktha Maalyada

Telugu literature - Telugu literature

Telugu literature is the work that was written in the Telugu language. It consists of poems, short stories, novels, plays, and song lyrics, among other things. While there is evidence that Telugu literature dates back to at least the middle of the first millennium, the first surviving works date from the 11th century, as the Mahabharata of Nannaya


Various sources are available for information on early Telugu authors. Among them are the prologues to her poems, which followed the Sanskrit model and usually included a brief description of the writer, a story of the king to whom the book is dedicated, and a chronological list of the books he has published. In addition, historical information is available from inscriptions that can be correlated with the poems. There are several grammars, treatises, and anthologies that contain illustrative stanzas. and there is also information from the lives of the poets and the traditions they followed.


Early Telugu literature is largely religious. Poets and scholars drew most of their material and spent most of their time translating epics such as the Ramayana, Mahabharata, Bhagavata, and Puranas, all of which are considered storehouses of Indian culture.

From the 16th century onwards, rarely known episodes from the Puranas formed the basis for the tradition of the Telugu language kavya. Literary works come from episodes of the Puranas under the name Akhyana or Khanda, which, along with depictions of the fortune of a single hero, became popular under the titles Charitra, Vijaya, Vilasa and Abhyudaya. Such titles are examples of what would become the most common subject of poetry.

In the 18th century, marriages of heroes called Parinaya, Kalyana, and Vivāha became popular.

Religious literature consisted of the biographies of the founders of the religion, their teachings () and commentaries (bhashya).

Traditional Hindu knowledge systems such as astrology, law, grammar, ballets, moral aphorisms, and devotional psalms for deities within the Hindu pantheon are features of more popular works of Telugu literature.

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The various forms of literature found in Telugu are:

  • Prabandham : Stories in verse form with a narrow metric structure and three forms mentioned below.
    • Prakhyātam : Famous story.
    • Utpadyam : Purely fictional story.
    • Misramam : Mixed history.
  • Champu : Mixture of prose and poetry.
  • Kāvyam : Poem which usually starts with a short prayer called Prarthana, which contains the first auspicious letter "Sri" which invokes the blessings of God. The occasion and the circumstances in which the work is carried out are given next.
    • Padya kāvyam : Metric poetry.
    • Gadya kāvyam : Prose poem.
    • Khanda kāvyam : Short poems
  • Kavita : Poetry
  • Śatakam (Anthology): Satakam is a literary work of art. The name is derived from Śata, which means hundred in Sanskrit. Satakam is comprised of a hundred poems. Hence, a satakam is a volume (book) with a hundred poems. Satakams are usually devotional, philosophical, or convey morality.
  • DaŚaka (Anthology): Dasakam or Dashakam comprises ten poems.
  • : Avadhanam involves the partial improvisation of poems using specific themes, meters, shapes or words.
  • Navala : Navala is a written, fictional prose story that is usually longer than a short story.
  • Katha : Style of religious storytelling.
  • : Drama.
  • Naneelu : Epigrams.

Ashtadiggajas have written prabandham genres in all three of them during prabandha yugam.

Telugu literature uses a unique phrase in verse called champu, which mixes prose and poetry. Although it is the predominant literary form, there are exceptions: for example, Tikkana composed entirely in verse.

As Champu Kavyas and Prabandhas went beyond the understanding of the masses, there were new means of disseminating knowledge among people developed in the form of and styles. Dvipada means two feet (couplet) and Sataka means one hundred (one cento of verses). (Popular Satakas: Sarveshvara Sataka, Kalahastishvara Sataka, Dasarathi Sataka)

There are some satakas divided into ten groups of ten verses that have been taken over from Prakrit.

Avadhanam is a literary performance popular since the very old days in Sanskrit and especially in the Telugu and Kannada languages. It requires a good memory and tests a person's ability to perform multiple tasks at the same time. All tasks are memory intensive and require in-depth knowledge of literature and prosody. The number of prucchakas can be 8 (Ashtavadhanam) or 100 (Sataavadhaanam) or even 1000 (Sahasravadhanam). A person who has successfully performed Ashtavadhanam is called an Ashtavadhani, a Satavadhanam is called a Satavadhani, and Sahasraavadhaanam is called a Sahasravadhani.


A dwipada is a couplet with a specific rhyme scheme. A stanza contains two short lines of less than fifteen characters each. Longer poems that consist of many dwipada can be composed with a "highly musical" effect. Much of the surviving corpus in this form was written in the language common at the time. The musicality and accessibility of the form made the form a natural complement for the dissemination of religious messages. Palkurki Somanatha was the first to write in this form in the 12th or 13th century. His works Basava Puranam and Panditaradhya Charitra were "immensely singable" devotional works for Shiva as Basaveshwara. Influenced by Shaivaite poets' use of dwipada, a Vaishnavite poet wrote the Ranganadha Ramayana, a version of the Ramayana that became incredibly popular due to its singability and slang and stories not found in Valmiki's version. The form peaked with Palnati Vira Charitra, popularly attributed to the 14th century poet Srinatha. By the end of the Prabandha era, the three most important Sanskrit poems had been translated from Dwipada to Telugu: the Mahabharata of Thimmaya, the Ramayana of Ranganadha and the Bhagavatam of Tekumalla Ranga Sai. The shape was based on the dwipada works of the king-poet Raghunatha Nayak von Tanjore. Dwipada's accessibility has sometimes resulted in its not being a prestigious form of Telugu poetry. In the 19th century, scholar Charles Philip Brown noted "the learned despicable couples because the poems so written are in a flowing, simple style that the uneducated read with joy." Few writers use it today out of respect for its history.


Padams are lyrical poems that are normally intended to be sung, with an opening line or lines called Pallavi, followed by three Caranam verses, each followed by the Pallavi chorus. The Padam is thus "a highly integrated, internally resonant syntactic and thematic unit". Annamacharya, the most famous composer of Telugu-Padams, is said to have composed a daily padam for the god of the Tirupati temple, Venkateshwara. His poems, 13,000 of which are preserved on copper plates in the temple vaults, deal with the "infinite variations and nuances of God's love life" and "his self-image as an agonizing, turbulent person in relation to the God he worships".


Chatus (which means "charming utterance") are remembered poems that are passed on through recitation. In premodern South India, educated people recited chatus as a social pastime. Most of these poems contain memorable stories that they explain and contextualize. They have lived through a living oral tradition for hundreds of years and have been anthologized by scholars such as Veturi Prabhakara Sastri since the 19th century. Many chatus are ascribed to Srinatha, Tenali Ramalingadu, and other famous poets. These attributions, most of which are not verifiable, serve both to mythologize these poets and to judge their relative worth. Once made into legends, they can interact anachronistically in the chatus. Poets from different eras meet, exchange poems and criticize each other. In summary it can be said that these interlocking stanzas embody a whole upbringing, an expressive vision of life and poetry, "from gnomish advice to metal-language criticism through the areas of desire, social comment, articulation of cultural values ​​and critical taste".


A satakamu literally means "an anthology of a hundred poems," but the number is usually a little higher, often a convenient number like 108. The anthology should be taken together. A list of notable such anthologies:


The Praudha Prabandha or Maha Kavya is considered the highest form of the verse. The essence of such a composition according to the poetic theory of Telugu is

  • Śaili (style) : The words that were chosen neither soft nor very musical, but dignified (gambhira), sweet (madhurya), graceful and tender (sukumara), fragrance (saurabhya) and symphony. Vulgar language (gramya) is avoided.
  • Ṕāka (mold) : Refers to the embodiment of ideas in language, as well as the type and texture of language used. There are three types of pākas:
  • Drāksha (wine or grape) : Draksha is a crystal clear style where everything is seen through a transparent medium. Most of the time, Nannayya uses this form.
  • Kadali (plantain) : Kadali is a complex pāka in that the soft skin has to be peeled off to reach the core of the subject. Most often Tikkana uses this form.
  • Narikela (coconut) : Narikela is the most difficult form to use as you have to break the bark to understand the idea. or Krishnadevaraya are occupied in this pāka.
  • Rasa (aesthetic taste) : Rasa is the heart and soul of Telugu poetry. An aphorism (sutram), "Vākyam Rasātmakam Kāvyam", means that the soul of a sentence is rasa. There are nine rasas known as nava rasas. A perfect Kavyam uses all nine of them, namely:
  • Alankāra (ornamentation) : There are śabdhalankāras (sound ornaments) and arthalankāras (thought ornaments). Slesha (Double Entender) and Yamaka (Alliteration) are śabdhalankāras. Upamāna (parable) and Utpreksha (exaggeration) are arthalankāras. Alankāras are used to describe events, places and processes.


Early writers

Before Nannayya (before 1020 AD)

In the earliest times, Telugu literature existed in the form of inscriptions, precisely from AD 575.

The 6th. Or 7th century Sanskrit Janashrayi-Chhandovichiti (or Janāśraya-chandas) deals with the meters used in Telugu, including some meters used in


Malliya Rechana (940 AD)

Malliya Rechana composed the first poetic prose book by Telugu Kavijanasrayam (before) Nannayya chandassu) around AD 940. This was very popular and has been mentioned by many poets. There even appears to be an earlier prosody book by Rechanas Guru Vaadindra Chudamani that is not available.

Veturi Prabhakara Sastry in the 1900s mentioned the existence of pre-Nannayya Chandassu in Raja Raja Narendra Pattabhisheka Sanchika. The exact dating of this piece of literature took place after the discoveries in Karimnagar in the 1980s.


The Age of Puranas (1020–1400 AD)

This is the time of Kavi Trayam or the Trinity of Poets. Nannayya, Tikkana, and Yerrapragada (or Errana) are known as Kavi Trayam.

Nannaya Bhattarakudu or Adi Kavi (1022-1063 AD)

Nannaya Bhattarakudu (Telugu: నన్నయ) Andhra Mahabharatam, who lived around the 11th century, is commonly referred to as the first literary composition of Telugu (aadi kaavyam). Although there are references to Telugu literature before Nannaya, he is nicknamed Aadi Kavi ("the first poet"). Nannaya was the first to establish a formal grammar of the written Telugu. This grammar followed the patterns that existed in grammatical treatises such as Aṣṭādhyāyī and Vālmīkivyākaranam, but unlike Pāṇini, Nannayya divided his work into five chapters covering Sandhi, Ajanta, Halanta, and Kriya. Nannaya completed the first two chapters and part of the third chapter of the Mahabharata epic, which is rendered in the Champu style.

Tikkanna Somayaji (A.D. 1205–1288)

Nannaya's Andhra Mahabharatam was almost completed by Tikkanna Somayaji (Telugu: తిక్కన సోమయాజి) (1205–1288), who wrote chapters 4-18.


Errapragada (Telugu: ఎర్రాప్రగడ), who lived in the 14th century, ended the epic with the conclusion of the third chapter. He mimics Nannaya's style at the beginning, slowly changes the pace, and ends the chapter in Tikkana's writing style. These three writers - Nannaya, Tikkana and Yerrapragada - are known as the Kavitraya ("three great poets") of Telugu. Other such translations as Markandeya Puranam from Marana, Dasakumara Charita from Yivrapragada from Harivamsam followed. Many scientific works, such as Ganitasarasangrahamu by Pavuluri Mallana and Prakirnaganitamu by Eluganti Peddana, were written in the 12th century.

Baddena Bhupala (1220-1280AD)

Sumati Shatakam, This is a Neeti ("moral"), one of the most famous Telugu Shatakams. Shatakam consists of more than 100 padyalu (poems). According to many literary critics, Sumati Shatakam was composed by (Telugu: బద్దెన భూపాల) (CE 1220-1280). He was also known as Bhadra Bhupala. He was a Chola prince and vassal under the Kakatiya Empress Rani Rudrama Devi and a disciple of Tikkana. If we assume that the Sumati Shatakam was actually written by Baddena, it would be considered one of the earliest Shatakams in Telugu, along with the Vrushadhipa Satakam of Palkuriki Somanatha and the Sarveswara Satakam of. The Sumatee Shatakam is also one of the earliest Telugu works to be translated into a European language when C. P. Brown rendered it in English in the 1840s.

The Prabandha Period (AD 1400-1600)


Srinatha (Telugu


Kumaragiri Vema Reddy (Telugu: వేమన), popularly known as Yogi Vemana, was a Telugu poet from the 14th century. His poems were written in the vernacular Telugu and are known for their simple language and mother tongue. His poems deal with the subjects of yoga, wisdom and morality. There is no consensus among scholars about the time Vemana lived. C.P. Brown, known for his research on Vemana, estimates the year of birth to be 1352 based on some of his verses. His poems are four lines long. The fourth line is in most cases the Vishwadhabhirama Vinura Vema choir - this is how he conveyed his message with three small lines written in a common slang. He has traveled far through South India and gained reports as a poet and yogi. The consequences for Vemana were so great that one heard a popular Telugu proverb: "Vemana's word is the word of the Vedas". He is bound by Chaatu Padyam for his style, a poem with a hidden meaning. Many lines of Vemana's poems are now slang sentences of the Telugu language. They end with the signature line Vishwadhaabhi Raama, Vinura Vema, Gelgelte von Vishwadha, Hearing Vema. There are many interpretations of what the last line means.

Bammera Potanaamatya

Bammera Potanaamatya (Telugu: బమ్మెర పోతన) (1450–1510) is known for his translation of the Bhagavata Purana from Sanskrit to Telugu. His work, Andhra Maha Bhagavatamu. He was born into a brahmin family and was considered a Sahaja Kavi who does not belong to any teachers. He wrote a poem for Bhogini Dandakam in which King Singa praised Bhoopala's wife Danoguse Bhogini at a young age. This is the earliest understanding of Telugu Dandaka (a rhapsody made by the public Gana or the following usages). His second work was Virabhadra Vijayamu, the adventure of Virabhadra, the son of Shiva.As a young man he was a follower of Shiva and also Rama and was more interested in salvation, which inspired the translation of the Bhagavata Purana.


Tallapaka Annamacharya (or Annamayya) (Telugu: శ్రీ తాళ్ళపాక అన్నమాచార్య) (May 9, 1408 - February 23, 1503) is known as Pada-kavita Pitaamaha of the Telugu language. He was born into a Vaidiki Brahmin family and his works used the structure of Carnatic music compositions and worked. Annamacharya is said to have composed up to 32,000 Sankeertanas on Bhagwaan Govinda Venkateswara, of which there are only about 12,000 today. His keertana compositions at the Vishishtadvaita school of thought. Annamayya was brought up in this system of Ramanuja by Sri Satagopa Yateendra of Ahobila Matham.

Tallapaka Tirumalamma

Tallapaka Tirumalamma (Telugu: తాళ్ళపాక తిరుమలమ్మ) (Annamacharya's wife) wrote Subhadra Kalyanam and gilded it as the first female poet in Telugu literature. Her main work, Subhadra Kalyanam, which consists of 1170 poems, rights from the wedding of Arjuna and Subhadra, which are values ​​that belong in the Mahabharata. You have the birth and culture of Telugu in the story from the Sanskrit epic.

Allasani Peddana

Allasani Peddana (Telugu: అల్లసాని పెద్దన) (15th and 16th centuries) war rank 1 of the title for the group of eight poets at the court of Krishnadevaraya, a ruler of the Vijayanagara Empire. Peddana stutters from Anantapur's absence. Allasani Peddana wrote the first great Prabandha and for this reason is revered as Andhra Kavita Pitamaha. It is stated that also ministers at the court of the king war and is still referred to as Peddanaamaatya (Peddana + Amaatya = Peddana, the minister). He wrote Swaarochisha Manu Sambhavam (also known as Manu Charitra), a development of an episode in the Markandeya Purana relating to the birth of Svarochishamanu, one of the fourteen Manus. is a devout brahmin boy who goes to the Himalayas for tapasya. In the Himalayas, a Gandharva girl belongs in him, but Pravarakyudu rejects her love. Knowing that a Gandharva youth who became administering Varudhini rights takes the form of Pravarakhya and manages to win their love. Svarochisha is born to them, the father of Svarochishamanu. The theme for his Manu Charitra is a short story by Markandeya Purana. It is the second manu of fourteen manus, which was transferred from Sanskrit to Telugu by Marana (1291-1323), a student of Tikkana. The correct story consisted of around 150 poems, and Peddana was translated into six chapters of 600 poems through processes of fiction and conflict.

His work was tried as one of the Pancha Kavyas, the five best works in Telugu. Some of his other other works such as Harikathaasaaramu can no longer be found today.


Dhurjati or Dhoorjati (Telugu: ధూర్జటి) (15th and 16th centuries) war a poet in the court of Krishnadevaraya and war one of the ''. He was born the son of Singamma and Narayana in Sri Kalahasti and was the grandson of Jakkayya. To his works miracles and about Shiva and over 100 poems in praise of Lord Shiva. Dhurjati took on subjects from Puranas and loses his work in stories and myths. In contrast to contemporaries like Peddana and Mallana, who chooses the stories of kings, he chooses leads as his subject. Krishnadevaraya praised Dhurjati and said: "Stuti mati yaina Andhrakavi Dhurjati palkulakelagalgeno Yetulita madhuri mahima ..." (How is Dhurjati's poetry so immeasurably beautiful). Personally, he was known as Pedda Dhurjati as there were four other individuals outstanding family lineage that moved the name Dhurjati to and from him during the same period. His grandson wrote Indumati Parinayam ("Marriage of Indumati"), a story from Kalidasa.


Krishnadevaraya (Telugu: శ్రీ కృష్ణదేవరాయ) was an emperor of the Vijayanagara kingdom. The literary prerequisites for the reign of the Vijayanagara dynasty and the time of Krishnadevaraya's reign in the 16th century gilded as the golden age of Telugu literature. Krishnadevaraya, himself a poet, belongs to the Prabandha in Telugu literature. Amukta Malyada. Krishna Deva Raya wrote the book Amuktamalyada in Telugu and the separation pains under Mahalakshmi. He has Andals And beauty in beauty verse; the spring and the monsoon as metaphors. How many in Indian poetry are concerned with the sensual treatment of union beyond one's own level and into a path and metaphor for spirituality and union with the divine. His court had the Ashtadiggajas ("eight elephants"), as well as the poets of the time. Some know that the prabandhas-dominated period is rejected as a decadent age. Of the dozen of works from the 18th to mid-19th centuries, Campu-style Uttara Ramayana and the piece Vishnumayavilasa stand out. distinguishes other genres flourished. Yakshaganas, native song and prose dramas, were also heard.

Tenali Ramakrishna

Garlapati Tenali Ramakr ishna (Telugu: గార్లపాటి తెనాలి రామకృష్ణ), popularly known as Tenali Rama and Vikata Kavi, was another 16th-century court poet of the Vijayanagara Empire and also one of the Ashtadiggajas. His external family stammered from Tenali in the Guntur District. He was born into a Brahmin family from Telugu Niyogi. His controversial work Panduranga Mahatyamu belongs to the Pancha Kavyas. He dedicated that. This book is from the Pundarika Kshetram on the banks of the Bhaimi and their legend. He also composed Udbhataradhya Charitram on the story of Udbhata, a monk, and Ghatikachala Mahatyam on Ghatikachalam, a place of worship for God Narasimha in the following from Vellore. He leads the Prabandha style. He took the theme for Panduranga Mahatyam from the Skanda Purana and replicated many stories about the followers of God Vitthala (Panduranga). He is known for brilliance and wit and for mocking other poets and great owners. Nigama Sarma's sister and a story about her without giving her name. He had also written many chatuvu (extempore poems).

The time after Prabandha (1600-1850)


Kshetrayya or Kshetragna (Telugu: క్షేత్రయ్య) (c. 1600–1680 AD) was a prolific poet and composer of carnative music. He lives in the Andhra Pradesh region. He composed a number of Padams and Keertanas, the Arbeitsschenden formats of his time. More than 4000 compositions will have rights, even just a certain amount of rights. He composed his songs about his favorite deity Krishna (Gopala) in Telugu. He perfected the padam format that is still used today. His padams are sung in dance (Bharatanatyam and Kuchipudi) and musical evenings. A true knowledge of his Padams is the practice of chanting the Anupallavi and then the Pallavi. The most important padams are on the theme of longing for the coming of Lord Krishna. He wrote about Madhurabhakti, with Sringara as the main subject. Sringara is a motif that uses the secular sexual relationship between a nayaki (woman) and a nayaka (man) as a metaphor and shows jeeva's longing to unite as the man. In the greatest of his compositions, Kshetrayya used the mudra (signature) "Muvva Gopala" as a reference to himself, which was also a name for Lord Krishna in Kshetrayya's village of Muvva, which is now determined as Movva. Kshetrayya's work has played an important role in influencing the poetry, dance and music of the South Indian tradition. Kshetrayya was closely associated with the devadasi women of the temples in South India who were the subject of his compositions. The Devadasis were in possession of the musical and poetic interpretations of his work for a long time, until the Devadasi system is lost and the compositions are more heard in the music community than valuable works of art. The music community also owes a lot to Veena Dhanammal and T. Brinda, the Kshetrayyas songs with their beautiful musical interpretations more popular. Today, Kshetrayyas Padyams are a personal contact of the dance and music traditions of South India, where his songs are only performed as musical works or as a dance accompaniment.

Kancherla Gopanna

Kancherla Gopanna (Telugu: కంచెర్ల గోపన్న) (around 1620–1680 AD), popularly known as Bhadradri Ramadasu or Bhadrachala Ramadasu (


Tarikonda Venkamamba (Telugu: తారికొండ వెంకమాంబ; alternate spelling: Vengamamba, born 1730) was a poet and capable follower of Lord Venkateswara in the 18th century. She wrote certain poems and songs.


Tyagaraja or Tyagabrahmam (Telugu: కాకర్ల త్యాగబ్రహ్మం) (1767–1847) devotional songs composed by Tanjore in Telugu, die part of the repertoire of carnative music. In addition to almost 600 compositions (Kritis), Tyagaraja composed two pieces of music in Telugu, the Prahalada Bhakti Vijayam and the Nauka Charitam. Prahlada Bhakti Vijayam is in five acts with 45 Kritis in 28 Ragas and 138 verses in different levels in Telugu. Nauka Charitam is a more cohesive piece in one act with 21 Kritis in 13 ragas and 43 verses. The latter is the most popular of Tyagaraja's operas and is a creation of the composer's own imagination and has no basis in the Bhagavata Purana. Often becomes the fact that Tyagaraja's works are among the best and better literary expressions in the Telugu language. Valmiki composed the Ramayana, the story of Rama, with 24,000 verses and also composed 24,000 Kritis in praise of the Lord.

Paravastu Chinnayasuri

Paravastu Chinnayasuri () Telugu: పరవస్తు చిన్నయ సూరి) (1807–1861) Baala Vyaakaranamu wrote in a new style after studying Andhra grammar, which is his greatest gift to Telugu. Other notable works by Chinnayasuri include Neeti Chandrika, Sootandhra Vyaakaranamu, Andhra Dhatumoola, and Neeti Sangrahamu. Chinnayasuri translated Mitra Labham and Mitra Bhedam from the Sanskrit Panchatantra as Neeti Chandrika. Kandukuri Veeresalingam and Kokkonda Venkata Ratnam Pantulu followed his prose writing style and wrote Vigrahamu and Sandhi in a different pattern.


Modern Telugu poetry

This began with Gurajada Apparao, who changed the face of Telugu poetry with his Muthayala Saralu and was perfected by later romantic writers such as Rayaprolu and Devulapalli Krishna Sastri. Gurajada's attempt to reform Telugu poetry by shedding ancient rules and styles reached a climax with Sri Sri. SriSri's famous work "Maha Prastanam" is an instant hit in every corner of society. Many writers followed his style and continued to enrich literature.

Kandukuri Veeresalingam

Kandukuri Veeresalingam (Telugu: కందుకూరి వీరేశలింగం) (also known as Kandukuri Veeresalingam Pantulu (Telugu: కందుకూరి వీరేశలింగం పంతులు) (April 16, 1848 - May 27, 1919) was a social reformer of Andhra Pradesh who was born into an Orthodox Andhra Brahmin family. Widely regarded as the man who first sparked a renaissance in Telugu people and literature, he was influenced by the ideals of Brahmo Samaj, particularly those of Keshub Chunder Sen. Veereshalingam panthulu is popularly known as Gadya Tikkana He wrote about 100 books between 1869 and 1919 and wrote the essay, biography, autobiography and novel in Telugu literature Satyavati Charitam was the first social novel in Telugu and wrote Rajashekhara Charitamu, inspired by Oliver Goldsmith's The Vicar of Wakefied, for whom literature was a tool for combating social ills.

Mangalampalli Balamurali Krishna

Mangalampa lli Balamurali Krishna (Telugu: మంగళంపల్లి బాలమురళీకృష్ణ) Pronunciation (born July 6, 1930) is a Carnatic singer, multi-instrumentalist, and playback singer. He is also recognized as a poet, composer, and for his knowledge of carnatic music. Balamuralikrishna was born in Sankaraguptam, East Godavari District, Andhra Pradesh State. Dr. Balamuralikrishna has composed over 400 compositions in different languages ​​such as Telugu and Sanskrit. His compositions range from Devotional to Varnams, Kirtis, Javalis and Thillans. His greatest success are the compositions in all 72 basic Melakarta ragas.


Aacharya Aatreya (Telugu: ఆచార్య ఆత్రేయ) or Kilambi Venkata Narasimhacharyulu Pronunciation (May 7, 1921 - September 13, 1989) was a playwright, text, and storywriter for the Telugu film industry. He was born Kilambi Venkata Narasimhacharyulu on May 7, 1921 in the Mangalampadu village of Sullurpeta Mandalam in the Nellore district of Andhra Pradesh. His pseudonym is based on her Gotra family. Known for his poems about the human soul and heart, he was given the title 'Manasu Kavi' (Poet of the Heart), which can be rewritten as 'Mana Su Kavi' (Our Good Poet). His poems are philosophically and intellectually satisfying.

Tripuraneni Ramaswamy

Tripuranēni Rāmasvāmi (January 15, 1887 - January 16, 1943) was a lawyer, famous poet, playwright, and reformer who was active among the Telugu activists-speaking people. Popularly known as Kaviraju, he is considered to be the first poet to introduce rationalism and humanism to Telugu poetry and literature. Ramaswamy chose literary writing as a means of expressing his rationalist thoughts. His famous work 'Sutaparanam' in four chants was a violent attack on the ancient Puranas, he has achieved the status of excellence in poetic & lit general criticism. His poetic work "Kuppuswamy Satakam" has the theme of the social revolution and speaks about social evils, blind faith and outrage against human beings. He was against Congress and its struggle against the challenges. In his other works such as "Sambhukavadha", "Suthashrama geetaalu", "Dhoorta maanava", "Khooni", "Bhagavadgita", "Rana Pratap" and "Kondaveeti patanam" he can make a rational analysis of the dogmas recognized by old classics through The Injustice who have done these dogmas to people of the lower social order. Different he attacked discriminatory interests and against the idea of ​​untouchability. Sambhuka Vadha caused much controversy. Sambhuka was a character who tapas consciously in order to go to heaven with the harm to the body before death. That was seen as Adharma and turned by Lord Rama. This story was done in such a way that Brahmins do not make tapas by non-Brahmins who rule Sabhuka.

Political movements

Paryavarana Kavitodyamam

The Paryavarana Kavitodyamam movement began in 2008. Its aim is to sensitize and change not only the elite class, but also the masses through creative forms of literature. The Jagruthi Kiran Foundation initiated it under the direction of Narayanam Narasimha Murthy, popularly known as "Vidyavachaspati". The movement has literary disabled Harita Kata. Much literature was written by different poets. Magazines such as Malle Teega and Kadhakeli are affiliated with the Jagruthi Kiran Foundation. More than 500 poets and writers are a movement movement.

Popular authors and works

  • Arudra (ఆరుద్ర) - Samagraandhra Saahityamu (సమగ్రాంధ్ర సాహిత్యము) (The various Telugu literature)
  • Adavi Baapiraju - Gona Gannareddy, Naarayanarao, Tuphaanu (The Storm), Amshumati
  • Addepalli Ramamohana Rao - Poga choorina Aakasam
  • Ajanta - Penumarti Viswanatha Sastry (born 1922)
  • Allasani Peddana - Manu Charitra (The Story of Swarochisha) Manu)
  • Aatreya - NGO, Kappalu
  • Avasarala Ramakrishna Rao (1931-2011) - Sampengalu-Sannajajulu
  • Atukuri Molla - Molla Ramayanam
  • Bammera Potana - Bhagavata Purana
  • Buchchibabu - Chivaraku Migiledi (What is left at the end)
  • Balivada Kanta Rao (1927-2000) - Balivada Kanta Rao Kathalu (Winner of the Kendriya Sahitya Academy Award, presented in 1998 by the Government of India)
  • - Sampoorna Sarat Sahityam (edited by Desi Kavita Mandali)
  • Boyi Bhimanna - Gudiselu Kaalipotunnaayi
  • C. Narayanareddy - Vishwambhara (won the Jnanpith Award for this novel in 1988)
  • Cha So (1915-1993)
  • Chalam - Chitraangi, Maidhaanam, Saavitri, Janaki, Ameena, Brahmaneekam, Musings
  • Chilakamarti Lakshmi Narasimham - Gayopaakhyaanam, Prahasanamulu
  • Daasarathi Krishnamacharyulu - Timiramuto samaramu (Fight against the Dark)
  • Devarakonda Balagangadhara Tilakut 2
  • Dhurjati - Srikaalahasteesvara Satakam
  • Duvvoori Ramireddy - Paanasaala, Krusheevaludu
  • Devulapalli Krishnasastri - Krishna pakshamu (The illuminating fortnight)
  • Garikapati Narasimha Rao
  • Garikapati Narasimha Rao (Exuberance of the Ocean)
  • Gona Budda Reddy - Ranganatha Ramayanam
  • Gurajada Apparao - Kanyaasulkamu
  • Gurram Jashuva - Gabbilamu (The Bat), Firadausi
  • Kaloji - Naa Godava, Idea Naa Godava (autobiography)
  • Kandukuri Veeresalingam - Andhrakavula Charitra (The Story of the Andhra Poets), Raajasekhara Charitra (The Story of Rajasekhara),
  • Kanety Krishna Menon - KRATUVU
  • Jandhyala Papayya Sastry - UdayaSri, VijayaSri, KarunaSri, Amarkhyam, Telugubala
  • Kasula Purushottama Kavi
  • Andhranayaka Satakamu
  • Kavitrayam (Nannayya, Tikkana, Yerrapragada) - Andhra Mahaabhaaratamu (The great Mahabharata in Telugu)
  • Kethu Viswanathareddy - Kethu Viswanathareddy Kathalu
  • GNY Pat Khaki Vanam, Veera Bobbili
  • Ko Ku - Chaduvu
  • Madhurantakam Rajaram -
  • Malladi Venkata Krishna Murthy - 153 novels, over 3000 short stories and 8 travel reports about 33 countries
  • Mokkapati Narasimha Sastry - Parvateesam attorney
  • Muddupalani -
  • Mullapudi Venkata Ramana - Budugu, Girisam malli puttadu
  • Muppala Ranganayakamma - Raamayana vishavŕksham, Krishnaveni, Janaki Vimukti
  • Nanne Choadudu - Kumaara Sambhavamu
  • Nayani Krishnakumari - Telugu geya vanjmayamu, Agniputri, Kashmira deepakalika
  • Pala gum Padmaraju - Batikina collegee
  • Panchagnula Adinarayana Sastry - Arya Bharathi Granthamala.
  • Panuganti Lakshminarasimha Rao - Paandavodyoga vijayamulu, Devi bhaagavatamu
  • Tirumalamba - Varadambika parinayamu
  • - Sudhakara kavitha jyotsna
  • Tripuraneni Ramaswamy Choudhury Sambhukavadha, Sutashrama geetalu ', Dhoorta manava, Khooni, Bhagavadgita, Rana Pratap, Kondaveeti patanam
  • Tripuraneni Maharadhi - Samagraha Praanam
  • Ushasri - Sundarakanda
  • Viswanatha Satyanatha> Veyipadagalu, Ekaveera, (In Telugu he was the first writer to receive the Jnanpith Award for the novel Ramayana Kalpavrukshamu (A Resourceful Tree: Ramayana) in 1970)
  • Vegunta Mohan Prasad - Chiti Chinta, Rahastantri, Punarapi, Sa. andhya Basha
  • Vemana - Vemana Satakam
  • Vempalli Gangadhar - Molakala Punnami
  • - Bhartruhari Subhashitamulu
  • Yerrapragada - Harivansamu, Nrusimhapuranamu> Aranya Parva of

Modern platforms

Growing internet users in India led to the birth of online platforms bringing Telugu writers closer to more readers. Kadachepta, Pratilipi, SuKatha (SuKatha is a platform for reading Hindi stories alongside Telugu) and Kahaniya are prominent among the new platforms.


  • Sahitya Akademi Award for Telugu - The Indian Academy's award for letters for writing in Telugu.
  • Ismail Award - The award was launched in 2005 and is given every year for a poet's debut book.
  • CP Brown Award - Awarded every year to translators or others to promote the Telugu language.

See also

External links