PALNATI VERA CHARITHRA

PALANAATI VEERA C THRA

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SRI KOVVURI CANDRA REDDI VARU,

SRI VYDYA RATNA PANDIT D. GOPALACARYULU

SRI KOMARRAJU LAKSMANA RAO M.A.,

SRI DEWAN BAHADUR NEMALI PATTABH'I-^RAMA RAO B,.A.,
SRI JUSTICE T. V. SESAGIRI IYER AVL.,

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Preface to the 2nd Edition.

Palnati Veeracharitra is the history of the fratricidal
war, that took place during the latter part of the 42nd
century Kali Era (12th century A. D.) between two princes
of the Hyhaya family that had migrated into Palnad from
Chedi, throwing side lights on the great socialistic move-
ment led by Brahma Naidu, supposed to be the ancestor
of the family of the Maharajah of Venkatagiri. The Chapa-
kudu of Palnad heroes mentioned by the author of Kreeda-
bhiramam may be taken as something like cosmopolitan
-dinner of the present day. The army of Brahma Naidu
includes people from all classes irrespective of caste, from
Brahmin to Panchama. Kannama, a Panchama hero consi-
dered as the son of Brahma Naidu, has a temple at Karatn-
pudi even to this day. The ballad also gives an account of
the heroism of our people of those ages and also their
religious readiness to lay down even their lives at the call
of what they considered their Dharma. The military
prowess which shone with splendour in Brahma Naidu and
Balachandra eight hundred years ago at Karyamapudi
again manifested itself in their distant kinsmen, the Velama
heroes of Bobbili like Vehgalaraya.

Palnati Veera Cbaritra.

Palnati Veera Charitra may be considered as an tm*
portant, original Telugu work fulfilling a few of the condi-
tions of an epic poem. <*im*} The subject matter
viewed as a W hole from GurzaU Kodipor ,o <h . I *
extensive and grand with some episodes, and * *^
also are to some extent varied in type. Malhdevaraj and

2 PREFACE TO VEERA CHARITRA

his opponent Nalagamaraj are inactive heroes like Chandra-
gupta of Mudrarakshasa, and Indian literary critics name such
a hero as RH^-dfefe: (one whose purpose is achieved by his
assistants). Anapotu, Balachandra, Brahma Nayudu 3 Alaraju,
Perneedu and Kommaraj are all noble heroes for whom
life w'as not an end in itself but only a means to Dharma
to which it could be sacrificed if necessary at any moment,
Of them Brahma Nayudu is treated as an incarnation of
Vishnu but his human side is more prominent throughout
the poem. His rebuke of his son for having shown the
back to the battlefied, is befitting a true Indian hero. The
female characters also are chaste and heroic. Rekhamba's
pursuasion of her daughter not to prevent Balachandra
from marching to battlefield, and Manchala's blessing to
her husband when handing over the sword to him, cannot
but stand before us for all time as noble examples of
Indian womanhood. Rathnala Peridevi, reproaching her
father for his wicked act and performing Sahagamana with
her husband shows the high phase of the life of a Hindu
wife. Nayakuralu is the abode of evil like Satan in Paradise
Lost, Ravana in Ramayana and Sakuni in Mahabharata,
Inspite of her vicious nature, she is represented here and
there as a thoughtful diplomat and her negotiations for
peace before the commencement of war show her diplo-
macy. It is the misfortune of great heroes to have a rival
in women. Brahma Naidu had it. Bhishma actually
withdrew from the field at the sight of Sikhandi* Brahma
Naidu avoided Nayakural in battle in accordance with the
Indian military traditions. In places of heroism the author
rises to the occasion, and exhibits high fervour as in the
dialogue between JMachandra and his parents and his
other speeches,

(TELUGtJ WOBKS AKD PALNATI 7EEBA CHARITBA 3

He shows some tendency and also skill for portraying
scenes of awe as Kannama's midnight visit to the battle
field and the ecstasy of the devils during the night after
the close of the war. In other situations he is quite
common-place, and does not rise above the ordinary level.
Setting aside the waste trash such as s&x, -ttixti, =>ctf,
^csbg*, the narration is on the whole impressive and in some
places vigorous.

As in Mahabharata, the end is disastrous to both parties
and the predominant Rasa may be taken as Shanta, the
auxiliary Rasas being Veera, Karuna etc. Unlike other
classics, Palnati Veera Charitra is written in one continuous
Dwipadee metre and in one strain.

Palnati Veera Charitra is deficient in graphic descrip-
tions of even relevant naturesceneries .in their picture-
squeness and grandeur as in Ramayana, Mahabharata,
Kumarasambhava etc. It also lacks in conversational or
non-conversational utterances of importance like Ajavilapa
in Raghuvamsa.

Palnati Veera Charitra cannot claim a very high
place from a literary, point of view according to the
canons of advanced literary criticism, When I say that,
I do not mean that it is inferior to other Telugu works.
It is as good as any other Telugu work. It is even superior
to many of them. I only intend to point out that it not
an exception to the general order of Telugu works, and
does not exhibit any extraordinary high merit.

Telugu works and Palnati Veera Oharitra.

Before actually taking up Palnati Veera Charitra I
.shall mention briefly some points about the genera *a*
of Telugu works, Telugu literature b^n tntfa Puramc

4 PEERAGE TO VEEJU CHARITRA

briefs and other such things. Later, some other works of
the Manu and Vasu Charitra type and similar productions
sprang up.

Translations are mutilated and deformed, and import-
ant poetic details are left off. Srinadha's Nishadha belongs
to the same group. Palnati Veera Charitra too as said
before is not of high literary excellence. Either in bringing
out striking situations or in expressing illuminating and
lofty sentiments, its author does not generally* rise above
the ordinary level. As will be shown presently, it was in-
tended for the lower order of people as other Telugu
works. Aswaghosha's Buddha Charitra, though history, is
of a far superior poetic interest.

in ancient and mediaeval times, Telugu was not the
medium of instruction in the higher courses of study. All
higher learning was received through Sanskrit, and Sanskrit
was the cultural language of the country. Great scholars
did not choose to write in Telugu on cultural subjects in
several departments of knowledge, including literary criti-
cisms. Telugu was thus relegated to an unimportant posi-
tion, and had no place in academical courses. This back-
ward position was not special to Telugu. It was common
with all the Prakrit languages. The characters to whom
Prakrit is allotted in Sanskrit Drama also to some extent
indicate tfafc position which they held in the -academic
circles. Perhaps, Pali, which;was raised to the dignity of
cultural and religious language by Bhagavan Buddha, was
an exception to the general order of Prakrits. It is truly
said that Tamil holds the same place in Southern India as
Pah in the North. But the champion, of Vedic culture had
not recognised Buddha's step and had not allowed Pali to

the pte of Sa nskri , Bven Tam! , wbich rose

PRAKRITS 5

a lly and not as an enemy was not looked upon with favour
t>y them. Some of them went even a step further, and prohi-
bited the adaptation ot Vernacular words into Sanskrit and
denounced them as incorrect. So says Nagesa, the great
Grammarian, in his Manjusha,

~ T[

(Substantives formed according to the Vernaculars like
<JECunchi' 'Manchi' and 'Apyakonda' are verily incorrect.)

The progress of Pali stopped with the decay of
Buddhism. The other non-religious Vernaculars of India
were in their undeveloped condition, and Telugu was one
of them. Leaving aside the departments of learning, in
poetry, Prakrits made same mark, though mostly in love
sentiment. Men of cultural attainments wrote original works
In Prakrits some of which drew the attention of great
scholars like Bana, and provided examples for the cele-
brated literary critics like Anandavardhana in their treat-
ment of poetic charm.

As Prakrits were taken up by such eminent scholars,
even original Prakrit dramas, transgressing in some details
some of the Sanskrit Dramatic conventions, rose up like the
Karpuramanjari of Rajasekhara which is now available.
But even in -this field, Telugu did not emerge out of its
infant state on account of the crudeness of its verse and
also other causes which will be explained below. Telugu
works were intended for people of a lower status who had
not access to the treasures of Sanskrit lore- They were
Intended to give^an idea of the Puranas to the lower order of
people for the guidance of their social and religious con-
duct. The leaving' out of Bhagavadgita and other important
portions by the translators of Mahabharatha ; the avoidance
of -writing Dramas, the highest form of poetry according to

PREFACE TO VEERA CHARITRA

Indian tradition and original poems and sastraic works in
Telugu by famous scholars like Sreenatha, under the
patronage of Ruling chiefs like Komati Vema Reddy,
Kataya Vema and Kumaragiri Reddy who were themselves
outstanding men of letters and commentators on classical
works; and the very mutilated forms of translations- like
Telugu Naishadha, seem definitely to point out to the above
fact. I do not propose here to enter into a detailed dis-
cussion on the additions and contractions in Mahabharata,
writings of authors like Vemana and Pingali Suranna,
the works of Manu and Vasu charitra type which do not
generally present high thought or subtler feelings of
human heart or relevant imagery of endless charam. I j
do not also give a full account of how these Telugu works
and poems are not useful even to the lower type of people
and how they misguide the intermediate class of quacks. The
misfortune of Telugu always stands strikingly before my
eyes whenever I ponder over the fact that a person like
Ahobala Pandita, deeply interested in Telugu, had to leave
some of his extremely valuable writings in Sanskrit only.

Perhaps such measures were the attempts, though un-
successful of people like him to attract real scholars to
Telugu. Whatever it may be, it is plain that Telugu was
not the medium of higher culture, and that Telugu works
were intended only for people of inferior order. Ahobala
Panditha, the commentator of Andhrasabda Chinthamani,
in his scholarly discussion on Telugu observes thus.

(The Telugu Puranic works are essentially useful to
budras etc., who aspire for liberation (Moksha) and who

HIGHER CULTURE AND MEDIUM: OP INSTRUCTION" 7

are not capable of reading Sanskrit Puranas and who are
not anxious even to hear them)

The situation has not altered after the advent of the
Madras University.

English has taken the place of Sanskrit. On the one
hand, the majority of educated Telugus have been cut off
from touch with Sanskrit in which the invaluable treasures
of Indian culture are stored up. On the other hand, they
have not been able to properly assimilate alien culture, the
customs, traditions and sentiments being different in many
respects, To-day the majority of educated people in the
Telugu country receive higher education through English,
and some still through Sanskrit.

For further details on this topic my preface to Kavya-
prakasa may be consulted. Then I come to scholars.
Mature thinkers of the stamp of Sir S- Radhakrishna do
not choose or try to express their thoughts in Telugu.
This is evidently due to the fact that Telugu has no
proper place in the realm of higher culture or
thought at present. It is not the medium of higher educa-
tion in collegiate courses in the Madras or Andhra
University, and all higher knowledge is received, and im-
parted through English and also Sanskrit though in a
limited atmosphere. Our ancients though great scholars,
did not give us valuable works in Telugu as they intended
Telugu only for the lower order of people. Our present
authors, equipped with the study of the trivial works of
ancients, are capable only of producing similar or still more
trivial works in Telugu. Perhaps the majority of our present
Telugu writers are the worst sinners in India today in
using quack Sanskrit. This guess language always reminds
me of the famous story of the Sanskrit of the crack-bramed
daughter-in-law of a Somapeethin-

8 PREFACE TO VEERA CHABTTBA

The works that have sprung up after the advent of the
University education, from Lexicon down to the story books
and ottier works that are prescribed for the University
examinations, clearly point out to the above fact. Details
are shown in the Telugu Preface. People study trivial
works, and produce in their turn still more futile writings,
Matters are thus moving in a vicious circle which ends no
where unless the course of education is changed- It should
be so modified that the Telugu youths would find their
way to the original treasures of learning and not merely to
the briefs and other similar works which alone Telugu now
can offer. Under these circumstances, I think that the
conferring of B, A. (Rons.), M.A,, and other degrees for
the study of existing briefs and other such works in Telugu
which have little cultural value does not serve any useful
purpose at the present stage. This situation always re-
minds me of the statement of Lord Macaulay in this
connection.

cc Had they (our ancestors) neglected the language of
Cicero and Tacitus ; had they confined their attention to
the old dialects of our own island; had they printed
nothing and taught nothing at the Universities but chroni-
cled in 'Anglo-saxon and romances in Norman- French,
wotild England have been \vhat she now is ? "

Now I ask this question following Lord Macaulay.
Having neglected the works of Gautama, Kanada and
Sankara etc , and having confined ourselves to the Puranic
briefs and other works of similar type, what is the worth of
our Vidwans, Bhashapravinas or Ubhayabhashapravinas ?
Or what is the range and value of the oriental scholar-
ship of our degree holders in Telugu ?

HIGHER CULTURE AND SJBDIUM OP INSTRUCTION 9

The memorable transition in the history of Telugu
begins, in my opinf6h, on the day when it is made the
compulsory medium -of examinations in all non-language
subjects for Telugu students for arts and science degrees or
at least Siromani and Vidya Fraveena titles. As a first step
to this the University may transform the Telugu Research
section, in which there is no adequate return for the ex-
penditure incurred, inta.a translation department, and get
as many outstanding works as possible translated into
Telugu from English and Sanskrit at the present stage.
As a step for this, the University should makp provision for
the rise of scholars who, in addition to their proficiency in
their special subjects and practice in Telugu composition,
will be equipped with sufficient knowledge of ' Sanskrit in
which the treasures of Indian culture are stored up and
without a strong control over which, expression of scientific,
abstract and subtle ideas in Telugu is almost impossible,
I close this topic which has come up as a side issue,
and proceed to the subject proper. I pointed out that Telugu
was thus relegated to an inferior position and that Telugu
writings were intended for people only of lower cultural
status. There was no scope for wjorks of high 'order to
arise, and Palnati Veera Charitra was no exception. More-
Dver it does not belong to the section of Kavya or Rupaka,
and therefore we cannot apply to it cannons of advanced
literary criticism.

When I say that we cannot expect high literary
;xcellence as in Valmiki, Kalidas etc., I do not mean as
dredy stated that it is inferior to other Telugu works. On
he other hand it is far better than many of them. All
hat I want to point out is that it is not of exceptional
>oetic merit and is not an exceotion when the

10 PREFACE TO VEEBA OHABITBA

condition of Telugu works is taken into consideration,
Palnati Veera Charitra is an umq'ue work in many
respects in Telugu literature, The subject matter, unlike
that of the general mass of Telugu works which are
mostly Puranic briefs or Puranic fictions or stories, with
some descriptions, is the history of local heroes. The
prominent characters are indigenous and exhibit the
valourous life of the Andhras of those times in its brightest
form. The treatment of the subject matter also is different
from that of others where futile word-profusion, with scanty
meaning and mere story skeletons, is predominant or
speculations based on mythological details and hereditary
similies form the important poetic element. It is written in
verse which is half free from trash resulting from letter
adjustment (stt>, ^xs) which is cojnmon with almost all the
Telugu verse ^productions. It is different from works of
the Bobbilikatha type as it, unlike the latter, attempts to
maintain classic touch here and there.
Ballad Literature.

Palnati Veera Charitra comes under the Veera Gita
(Ballad) group. The ballad is a special branch of Telugu
literature and I have no information whether such a branch
exists in the other Vernaculars of India or not. Whatever
may be the reason, such a branch does not evidently exist
in Sanskrit altt^ugh episodes of Vatsaraja and Vikramarka
etc,, are sufficiently inspiring. These ballads are recited
before big audiences generally during moon-lit-nights with
the necessary accompaniments and gestures and are semi-
dramatic in nature. -They resemble the Vrittis mentioned
by Bharata which may be considered as the germs of the
.developed Indian drama. Generally the purpose of the
ballads is to create mainly reverence and admiration to*

BRIEF REVIEW OF SOME POINTS IN AL&Af IVEERA CHARITRA li

wards the heroic souls by a sort of narration appealing to
the popular imagination and emotions. It is why poetic
sublimity of high thought cannot be expected in it. The
function of the Ballad above mentioned, Palnati Veera
Charitra amply fulfills in a manner in which few others of
this class do.

Brief review of some points in Palnativeeracharitra.

It shows anxiety for the life of her son Balachandra
and tries to prevent him from going to battle. This appears
some what derogatory to the Indian Kshatra (Military)
traditions. She stands in strong contrast to Kunti, who
sends word through Sri Krishna to her sons to fight to the
end. Perhaps the author wished to show here feminine
weakness. Even Vyasa makes Kunti express once that
life without sons would be distressing.

Balachandra's visit to his damseL

Under the pretence of taking her to battle field
when he was about to start to Karempudi he meets
his damsel in her house though he never took her
there. This is somewhat repulsive to us of the present
age. It was not so in ancient India. The Vesyas
appear to be an important section of society in those
days. All know how much Hindu mythology is interwoven
with the stories of these damsels. The mother of the
great Bharata race is the daughter of a divine damsel.
Other episodes are too numerous to be mentioned. In
spite of condemnation by thinkers like Bhartrihari they
seem to have kept up their position even in historical
times. Vatsyayana thinks that contact with a damsel is
not sinful as it is neither enjoined nor prohibited in Dharma
Sastras. Omen-experts state that the sight of a Vesya in

12 PREFACE TO VEER A CHARITRA

front for a man starting for some purpose is auspicous,
Kautilya recognises conjugal contract with a damsel
and imposes fine upon the intruder. The Literary
theorists like Dhananjaya, while ignoring the widow men-
tioned by* Vatsyayana as a fitting object for making love,
recognised Vesya as a heroine in a poetical composition
though as of lower type.

If she is firm and constant in love like a duly wedded
woman, she Certainly rises above the level of ordinary
Vesyas and can find a place in a dignified literary composi-
tion as Vasantasena in Mrichchakati.

Perhaps Rajasekhara thought it a compliment to him-
self when he declared as tradition goes, that he had love
dealings with women of several parts of India. Some of
these Vesyas were very rich. Some were learned especial-
ly in fine arts and they were called Ganikas as different
from other ordinary Vesyas. The Ganikas of Pataliputra
are said to have deputed a scholar by name Dattaka to
prepare a treatise for their guidance Vatsyayana devotes
a special Adhikarana. in his Erotic Science to the affairs of
these Vesyas. Even kings and men of status did not think
it degrading to keep these Vesyas as their consorts,
Vatsyayana refers to the amorous sports of a Chola (Tamil)
king with his damsel Chitrasena. Though we thus see that
intimacy with a Vesya was not considered a social stigma
in those days, the whole of the damsel scene in Palnati
Veeracharitra is quite irrelevant and the author ought to
have omitted it at least for artistic considerations. It would
have been different had he taken her to the battle field as
Sri Krishna did Satyabhama.

Harlot-Mother.

It has been a practice with authors in our country to
bring in the old harlot-mother where a Vfesya is concerned
as in Nirankusopakhyana etc.

BRIEF BEVIEW OF SOME POINTS IN PALNAT1VEERACHAR1TRA 13

These damsel-mothers seem to be notorious from
even early times. Vatsyayana lays down that the damsel
should be under the guidance of either her old mother who
is cruel and greedy or choose another woman in her
absence possessing the above qualities to take her place.
Kautilya also refers to the damsel-mother and provides
compensation for her if any one forcibly meddles with her
daughter. Literary critics also take note of this Vesyamata
in prescribing the conduct of- the Vesya Heroine.

Palnati Veera Charitra gives an interesting descrip-
tion of the old, contemptible Vesyamata.

Balachandra's indulgence with his wife.

Balachandra, before going to war, meets his wife and
takes her blessings as Bhimasena in Venisamhara. But he
also engages himself in love affairs with his wife. Em-
bracing or sporting in any other way with a woman when
marching to battle field is certainly in-appropriate and
implies a kind of laxity on the- part of the hero. That is
why such a custom did not find favour with the famous
heroes of ancient India. It is not said even of Ravana.
Valmiki maintains it in the case of the ill-fated Vali. The
author of Parijatapaharana, a Telugu work of the Vizaya-
nagaram period, attributes it to Krishna's enemies who
were going to be defeated. Bhatta Narayana presents a
scene in Venisamhara in which the doomed Duryodhana
amorously deals with his wife. Mammata, the author of
Kavyaprakasa finds fault with Him even for that. Bala-
chandra's love affairs with his wife, when marching to war
ate not only out of place but also reflect upon his heroic
character. If he did so as it was the first and the last time
to meet her, it is no excuse for a he,ro who has to sacrifice
everything for his noble purpose, especially when the -wife

14 PREFACE TO VEEEA

was also to follow him to the other world. If he did so
under the advice of his mother, it must be stated that her
anxiety for her son's wife was carried to the extreme. If
it is merely a statement of the fact of history, then we
must admit that Balachandra has no place in the
galaxy of the noble type of Indian heroes to whom Kshatra
Dharma was higher than anything else. The author for
the sake of propriety, ought to have avoided this in the
case of Balachandara, the prominent hero of the present
portion of the ballad.

Historical Importance of the Veeracharitra.
The time of Palnati Veeracharitra seems to be an
important period in Indian History. It was the time when
Mohamed Ghori was creating great havoc besieging
place after place in Northern India and the fate of the
Hindu Royal dynasties was hanging in the balance, The
influence of Ramanuja's preachings and Basaveswara's
religious overhauling were being strongly felt and the
cross currents of Veerasaivism. Vaishnavism, Jainism and
Buddhism were causing agitation in Southern India. It is
thus we find in Palnati Veeracharitra an interesting blend-
ing of the heroic fervour of the military families of the
North and the religious reformation of the spiritual precep-
tors of the South. More over, Palnati Veeracharitra seems
to be an important link in Indian History. Ifr throws light
on the extinction of two ruling dyanasties Hyhaya;s and
Western Chalukyas. Mr. Vincent Smith in his "Early
History of India" observes thus. " The Kalachuri or
Haihaya Rajas of Chedf are last mentioned in an inscription
of the year 1181 A,D and the manner of their disappear-
ance is not exactly known ; but there is, reason to believe
that they were supplanted by the Bhugels ofJRewa."

VEERA WORSHIP 15

palnati Veeracharitra reveals how the Hyhayas
migrated from Chedi to Palnad and settled there never to
return to their original homes. The reason of their migra-
tion is said to be somewhat religious in Palnati Veera-
charitra. Perphaps the political incident was given a reli-
gious colouring. The migration might most probably
be due to the inroads of the Mahonjedan invaders or the
pressure of the Bhugels of Rewa mentioned by Mr. Smith
to be the successors of Hyhayas. Palnati Veera Charitra
also shows how the Western Chalukya dynasty of Kalyan
came to an end with the last prince dying in the Karem-
pudi battle-

Veera Cult of Palnad.

To-day Palnad Heroes are worshipped as divinities
and every year a big festival is held at Karempudi in their
memory on the new moon day of Kartika roughly corres-
ponding to November and important scenes of the
episode are enacted there. There is no distinction of
caste in the Veera cult and all have equal religious status.
Balachandra's brothers come from different castes inclu-
ding a barber, a washerman and a Brahmin. A Brahmin
is the Acharya of the Veera group and a Panchama hero
by name Kannama has a temple at Karampudi, . But as
all non-vedic heterodoxical religions, Veera cult also
yeilded to the Vedic influence. Followers of this Ailt
return to their old religious ways after the festivities are
over-

Veera Worship.

Veera worship is not new to India. In Rig Veda, Indra
is addressed as Veera. AgnUs also called Veera. Veera
hatya was looked upon as a great sin, and abandon-
ing Agni was compared to hero murder, In some

-

16 PREFACE TO VBEBA OHARITEA

places the word Veera was taken to mean a son.
Perhaps there was a time when every male issue was a
hero as in ancient Greece where weaklings were aban-
doned and only strong and robust children were preserved
by the state. In the latter literature Veera is referred to
in many places and Veeratva was thought to be a precious
quality. Janaka proclaims that his daughter is Veeryasulka.
Kalidas repeats the same phrase in that connection.

Patanjali, the author of Mahabhashya uses the word
Veera in connection with Sastric treatise containing
Mangala and mentions it in many places. The Yoga schools
also took this into their fold and applied it to one of the
yogic poses, the Veerasana. Tantrics also apply the word
Veera to Sadhakas.

Hero worship has been continuing in India from very
early times. Of the Avatharas of Mahavishnu, the main-
tainer of the Universe, half the number including Kalki are
war heroes. Buddha is a hero of mercy. Of the above, Rama
and Narasimha have regular temples of worship in our
country. The Veerathva of Veera Bhadra, offspring of
God Siva is well known. His followers still preserve a
dance scene called Veeranga as a religious ceremony* Sree
Rama is known,;also as Veeraraghava and Bhavabhuti
made him famous , as Mahaveera, Viswanatha quotes a
verse from Rajahsekhara's Balaramayana to illustrate
the warrior heroism of Sree Rama.

Since the time of the kings mentioned in the Puranas
as Bhavishyadrajas I do not know of any other rulers except
the Palnad heroes, raised to djvinity and worshipped in any
part of India. The Hero-worship preached by Carlyle in
Europe did not take any definite form. Even the religion

BALLADS AND NATIONAL HEROISM 17

of the Sikhs, the warlike people in India of to-day is not
of the nature of the Yeera worship. The Moharam cele-
brations of Mahammadans may be said to resemble it in
some respects,

Features of the Veera Worship.

Although the Heroes themselves were Vaishnavites
and Saivites, yet the Veera cult is neither Vaishnavism
nor Saivism in their present form, It is socio-religious'in
nature and has not got any Vedic ritual. It does not
accept distinction of caste, and all have equal status in it,
In the annual festival at Karempudi, people of all castes
participate. The Acharya of the cult, a Brahmin, casting
off his sacred thread and offering oblations of blood to the
departed souls of heroes of all castes should |be a historic
scene. In uniting the people under one banner and in
exalting, to the dignity of a religion, heroism which was
necessary to save the country in moments of aeed,,
especially at a time when the Muhammadan conquerors
were devouring place after place in the land, the foresight
of the founders of the Veera cult is really worthy of our

esteem.

Ballads and National heroism.

In chivalrous ages, Indian valour expressed itself in
various forms. Andhras were second to none in the mani-
festation of heroism. It became a religion with them.
The Telugu Ballads breath the chivalrous life of Andhras
in those ages. It is only a spark of the Kshatra fire
kindled by the onrush of the Semitic conquerers ttoit
blazed forth in the form of the fratricidal war in Palnad.
As sources of original hisory and as records perpetuating
the deeds of National heroism of Andhras, they deserve to
be preserved and published in any suitable form. I cannot
-close this topic without refering to Yakshaganas, the dance
3 -

20 PBEFACE 10 YEEEA C

Temple is the stronghold of religion. Besides
being the hall of the throne of religion and the
suggested philosophy, an Indian temple always appears to
me as the meeting place of art, beauty, music and poetry.
The sum total of the prosperity and loveliness in
the Universe being adored as Sree and Lakshmi, the
nearest and dearest to the heart of Maha Vishnu, the Main-
tainer of the Universe ; and the essence of all reverence,
chastity and auspiciousness becoming part and parcel of
Paramasiva, the Lord of Supreme Bliss, as Arya, Sati and
Sarvamangala, cannot fail to appeal to our poetic fancy.
Dhanurdasa finding the face of Maha Vishnu more charming
than that of his wife and Andal (Goda), Vishnuchitta's
daughter, falling in love with Maha Vishnu rejecting the
form of human beings, give us a glimpse of the Vaishnavite
conception of divine beauty. Saivites also have this and
Siva is called Sundareswara in " the South. More
details about this topic are given in the Telugu Preface.
Not only this; we have the actual artistic beauty of
sculpture and decoration at their best in temples.
Experts in music thought it an honour to exhibit their skill
at the feet of the deities. Kalidas refers to Narada as
going to the temple of Siva at Gokarna on the West coast
to sing there. Sri Harsha tells us in Nagananda that
Malayavati, the heroine, was in the habit of singing at a
temple on the same West coast.

Idols of Sree Rama, Sita and others are only an illus-
tration or symbolization of the portraiture by the poet
Valmiki. Vasudeva; the giver of the Gita and the charioteer
of Arjuua stands in the temple as depicted by the poet
Vyasa, There are other temples which are conducive to
the manifestation of Bhayanaka and Bibhatsa Rasas which

RELIGION AND TEMPLE 21

have their own part in elevating the human mind and
turning it to the grim power controlling the Universe.
Temples also appear to me as illustrations of the
best divine poetry.

I always look upon them as social centres. They
admit almost all un-objectionable people of the country
and induce them to sit and entertain higher thoughts
at least for a while. Unlike the clubs of Western
countries where admission is restricted by financial con-
siderations, and where people gather for wordly sport
and enjoyments, Indian temples afford also mirth, rejoicing
and even appeasement of the tongue, all of course, con-
secrated to the divinity, and thus rid of the grossness
which is generally inseparable from such things.

After the destruction of the Asramas by Yavanas as
the author of Padmapurana regrets and after the Mi-
mamsakas waned in their influence, the centres of culture
and light were shifted from forests and Asramas to temples.
The Puranic legends of Kasikhanda etc., amply illus-
trate this truth. Some of the famous temples are
associated with great thinkers and spiritual leaders of the
country. Tradition connects the temple of Parthasaradhi
at Triplicane with the birth of Sree Ramanujacharya, the
great reformer who influenced the religious thought of the
people of India in a manner in which few others have done,
Udayanacharya the author of Kusumanjali is said to be a
staunch devotee of Purushothanaaswami of Jagannatha
temple. Great saints like Kulasekhara and Vishnuchitta are
said to have spent the major part of their lives in the
temples. The birth of Balachandra of the present work is
attributed to the favour of Chennakesavaswamiat Macherla.
Vaishnavite traditions and culture flourished in the

22 PREFACE TO VEERA CHARItRA

celebrated temples of Sreeranga and Sree Villi-
puttor etc..

The healthy and prosperous condition of the temples
indicates the strength of the religious life of the people.
People that are indifferent to religion and to whom it is
only an occasional ceremonial of not much importance,
grow light hearted, timidly evil-minded and merely animal-
like in the ways of living. I know that temples in the
Telugu country in some places have actually become play
grounds of boys and resorts of loafers. This condition
may be to a great extent, due to the absence of great
Acharyas like Kamanuja, Alwars, Nayanars in the South
and Chaitanya and others in the North, who lived and
worked among the people. Religious priests like the
Kalamukha Saivacharyas brought in from Radha by the
Andhra Queen Rudrama Devi and the Vaishnavite
Acharyas sent by the Karnata Kings of Vizayanagar could
not do the work to the necessary extent. The presence of
a few devotees and religious people like Ramadoss was
not sufficient. Whatever may be the reason for our
present condition, we must wake up and open our eyes to
the deplorable condition of our temples. Even the temple
of Venkatachala which is within the limits of the Telugu
country is in the hands of non-Andhra Mahants and it
bears Tamil names as Tirumalai and Tirupati. Even
the shrine of Sreesaila, which, besides being mentioned in
Puranas, was referred to by the celebrated Indian poets
like Bhavabhuti, Bana, and Sree-Harsha is not receiving
sufficient attention and care which it properly deserves.
Veera Charitra and History of Andhras.

Since the decline of Pouranic Satavahanas,
Andhras fell to the background. They were subjugated by

VEERA OHARITA AND HISTOEY OF ANDHRAS 23

Pallavas and Chalukyas. The A.ndhras seem to have de-
graded to a great extent. When a Telugu author speaks of
the Telugu armies as Rakshasas and their conqueror, the
Chalukya King f as Vishnu, one can understand how much
the people had gone down in the necessary national
virtues. But the Andhra kings of Warangal tried to regain
the lost supremacy. After the fall of Warangal conse-
quent upon its capture by the Mahomedans, the Reddy
generals of the Kakatiyas endeavoured to revive the
Andhra Rule and set up independent states in the Country.
It is during the time of these Andhra Kings, Kakatiyas and
Reddies that great Scholars like Vidyanatha, Mallinatha I,
Kumaraswamij the world famous Mallinatha IT, and Vema
Reddies flourished in the Telugu Country. Biit the Keddi
chiefs soon fell a prey to the Karnatic Kings of Vijaya-
nagar. The Telugu Country was entirely subdued. It
was added to and absorbed in the Karnatic Kingdom, and
almost lost its individuality. Thus the final suppression of
Andhras begun by Mahamadans was completed by the
Karnatic Rulers of Vijayanagar, The eminent centres of
culture and other activities like Kondavidu were subjected
to decline and extinction. Outstanding persons like
Nadendla Gopa-mantri and Salva Timma had to migrate
to non- Andhra lands as there was not favourable atmos-
phere for their abilities to thrive in their own country.

The Hyhayas,

The Hyhayas of Viracharitra from Chedi appeared on
the -scene during the latter part of the 43rd century Kali
Era (twelfth century, A. D,)- (1 may mention here, simply
f6r the sake of information, that Tripuri, the site of the next
Indian National Congress was the capital of Chedi.) By the
time the Heroes came to Palnad, the Kakatiyas firmly esta-
blished themselves as the paramount power iu the country.

24 PREFACE TO VEERA CHARITRA

That the Hyhayas did not meet with opposition either from
the Kakatiyas or. from the other subordinate states only
strengthens the fact that they had not come here as invaders
but as expelled persons of the Royal family in search of
refuge and places of suitable settlement. These they found
without much difficulty as a result of their matrimonial
alliances with some of the local chiefs,
Srinatba and Palnad.

Though the rest of the Telugu country is in up way
better than Palnad in swallowing extravagant quanti-
ties of chilly- powder etc., of which the . evil effects are
obvious, Srinatha is said to have specially blamed its
people as Bilhana did the Gujaraties in his Vikramanka-
deva charita. Such verses are mentioned in the first
preface. Perhaps the people there could not appreciate
his scholarship and honour him befittingly. Some of them
.may be interpolations. His denunciation of Zdnna and
Sazza, the staple food of the people of Palnad, as
coarse is out of place as it is highly nutritious making
people sturdy and stalwart fit to protect the country in
rimes of necessity. At any rate, we of the present age
degenerating on account of polished mill-rice have no
reason to find amusement in such deprecations.

Palnad.

Palnad is a place of historical interest in the Guntur
District on the banks of the river Krishna. It Is adjoining to
the extensive forest regions of Sf isaila referred to by Sana,
Sree Harsha and Bhavabhuti in their works and included
: by Saivites among the twelve sacred places of Siva worship
such as Benares, Ujjaini, Setu and Kedara in the Himala-
yas, etc. There is a place called Nagarjunakonda in Palnad
which in all probability owes its name to Nagarjuna, the

PALANAD 25

celebrated Buddistic Acharya, mentioned in Kathasarit-
sagara (Vide Telugu Preface).

It is now under excavation by the Arcbaelogical
Department of the Govt. of India and I learn that many
valuable relics are found there. Pendota, the place of the
Andhra architects as known from the utterances of the
Runja people who are specially attached to the Yiswa
Brahmanas is also in Palnad. Palnad which was once the
abode of great heroes also gave birth in recent times to
the heroine Lakshmi of Durgi whose husband reminds us of
the Othello of Shakespeare. Having experienced the hard-
ships of a daugter-in-law in a merciless family, she eagerly
yearned for a kind touch of her husband's hand even when
he was about to kill her. The birth place of this Lakshmi*
heroine of Dharma, is Durgi in Palnad. She belongs to the
Kamma Sect. Her father is Digumarti Musalappa Naidu.
Her husband is Ohirumamilla Venka Naidu ofLinga-
puram. Lakshmi, a venerable model of chastity and Indian
woman-hood, is still worshipped in Palnad. Her episode
is still sung in the villages by the itinerant bards-

The publication of the remaining parts of the Ballad.

The first edition of this was published nearly twenty-
seven years ago. Not long after its publication, the late Sri
Mokkapati Subbarayadu Varu, the then private Secretary
to the present Maharaja of Pithapuram wrote to me that
the regaining parts of the ballad might be published with
the financial aid of the Maharaja. But the other parts by
Srinatha were not available and the manuscripts which I
secured are the works'^ome others and some of them are in
loose language. Accordingly I intimated the matter to Sri
Subbarayadu Varu. Sometime after,! understood that Sri
JSyanti Eamiah Varu was going to publish the other parts
of the ballad under the auspices of the Telugu Academy.

26 PEEFACE TO VEEBA OHARITEA

But I came to know that his manuscript was a copy of the
same original from which my copy was prepared. I pub-
lished a letter in the Andhrapatrika dated 14th May 1914
and the matter stopped there. I once again mention that as
original sources of our history and as records of our national
heroism, they deserve to be published as they are, or
re-written in prose,

THE CONCLUSION.

As was already said, Palnati Veera charitra was pub-
lished for the first time in 1911. All the copies were ex-
hausted by 1926, and copies could not be supplied.
There was thus a clear necessity for the publication of
the second edition. It was also prescribed for the part
II of the B.A. degree examination of 1934 of the Madras
University. Sree Vavilla Venkateswara Sastrulu Varu kindly
proposed the second edition and undertook the printing
of the work. For this I thank him heartily and express
my feelings of gratefulness to him. The work was begun
in my Kuja-period which started in 1931. There were many
obstructions in the execution of the work at every step,
which caused immense delay in returning the proofs. The
printing of Kavyaprakas'a and Raghuvams'a, commenced
in that period, is still unfinished. The obstructions were
somehow got over by the grace of the Almighty and T
have been now enabled to offer to the public the book in its'
present form. Of my pupils that assisted me in the course
of this work, special mention has to be made of Sreeman
A. Krishnas.wamy.B-A., Sreeman K. Cbandrasekhara Mantri,
and Sreeman M. Kamachandra Reddy B.A, (Hons). 1 regret
very much that Sreeman Krishnaswamy passed away at an
early age without seeing the completion of the work. He

THE CONCLUSION 27

is an enthusiastic student of Telugu with a knowledge of
Sanskrit and also author of some works in Telugu. His
translation of a portion of Haghuvamsa into Telugu verse
is published in Lakshya Khanda compiled by Sreem^n
Chandrasekhara Mantri. By his demise the country has
lost one of its promising youngmen and sincere workers,
in the cause of cultural renaisance. The perseverance
and interest with which Sreeman Ramachandra Reddy
copied the drafts and prepared the major part of the
index will always be fresh in my memory. But for
the assistance of these ardent lovers of culture and
learning who were by my side even day and night on
some occasions, especially during times of my ill-health,
the work could not have seen the light of day even so late
as this. In this connection I must also remember
with pleasure the assistance rendered by Sreemans
Seelam Madanagopal Naidu, Guna Bhushana B.A.,
Sudarsana Lai, Bhagavatula Chalapathi Rao and others.
I take" this opportunity to express my gratitude to my other
friends who aided me while carrying the work through the
press.

EDITOR

tf %5 Q -^ 9 s^

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"Unhappy the nation that has no history and happy
the nation that can hear the ballads commemorating the
adventures of her warriors sung with fervour and happy
the country that can point with pride on the pages of history
to patriots who wept for their countries' wrongs, stood
againt the oppressor and the tyrant * *
But such is not our lot and our heroes passed away
with their deeds unsung and unrecorded.

OtfcKw r*8

1906
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" I may mention that lead is found in considerabl
quantities near Karempudi in the Palnad, but the mine
are not now worked. Copper is found both in the Palna
and Vinukonda Taluqs. " ** ****** -** **.

^ Sx^
^ ^

8-36 ^3o$)io^ (Memoirs of the Geological Survey of
India, Volume 8) erto Il0-s5

" Along the eastern edge of the Tnmrukota Range,
there are traces of old diamond workings, more decidedly
around Mallavaram on the right bank of the Kistna where
the limestones lapping round the base of the hill have
been regularly undermined to get at the quartzite beneath
them containing diamonds, Here there certainly seems
good proof of the existence of a set of diamond bearing
beds perfectly distinguishable from the qnartzites of which
the rest of the Range is mainly made, for the debris and
other evidence of the old workings are strictly confined to
the edge of the limestones ........................ These works

date from the Moghul rule. " (M G.)

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from the light cream-coloured marble that abounds there."

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Haihaya Rajas of Chedi are last mentioned in an inscription
of the year 1181 A D, and the manner of their disappe-
arance is not exactly known (^&3be>?

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classical and Biblical)

" (Atlas of Ancient Geography,

(Colonel

Yule) TT*& o^o-OT^sb. ^^T^cb ^a ^s^ ^3 a e?" s^o^aSri (Early
History of India) && o$s&$ atx> ^&a :

"And the extensive region to the south of Bandalkhand,
which is now under the administration of the Chief Com-
missionerof Central provinces nearly corresponds with the
old Kingdom of Chedi..

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(Wilson) 7T*c& fc?5x5a^ abXra^ oxto ja^fcd6bo-sr^fio. <( Account
of seven years war from 1080 A, D. to 1087, which was
carried on by Brahma Nayudu and Twelve other land-
holders and graziers against two towns, Gurzala and
Macherla in the Palnad country and which originated in a
dispute at a Cock-fight. In. Ant Vo. I. page 273 (1080 tfoti

1087 Soil

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(Early History of Indk)
s. "The Kalachurior Haihaya Eajas
of Chedl are last mentioned in an inscription of the year
1181 A.D and the manner of their disappearance is not
exactly known 5 but there is reason to believe that they
were supplanted by the Bhugels of Rewa

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ped early; it is an overmastering faculty which forces its
possession into activity often before knowledge or serious
thought has accumulated; draws romances, epic poems,
and dramas from children in their teens; and suggests that
.not only the material surroundings, but even the storage of
intellectual accomplishments is but an accidental stimulus
to the Innate creative power"

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. 2

INTRODUCTION-

Ever since the evolution of man began from the
brutal state, Great Persons have stepped into and passed
away from this world leaving behind their marks in the
annals of the progress of mankind. They are the light
guiding and shaping men's thoughts and actions in their
bewildering journey of life. They are the proclaimcrs of
the unspeakable significance, the unreachable height* the
immeasurable breadth and the unfathomable depth of the
Infinite Power. By them the whole world moves ; in
them the whole world rests ; for them the whole world
longs. Thei history of the world is the history of these
Great Men. Leaving the prehistorical periods, a little
thoughtful mind can, from the dawn of documentary
history down to modern times, perceive how the world
has been affected by the appearance of the personage
like Sri Rama, Buddha, Christ, Sankara, Kalidas and
Shakespeare. These Great Men or Heroes, as they are
justly called, are not confined to a certain country or to a
certain age- They have been making their appearance in
different corners in different ages. Wherever they
appeared, whether in the meditative East or in the practi-
cal West, they were received with divine honour, regarded
wh|h admiration and adored with prostration. "Tke
worship of a Hero" tmly says Carlyle, "is transcendent

admiration of a Great Man No nobler feeling than

this of admiration for oqe higher than himself dwells in the
breast of man/ 1 Architects built temples an their honour;

0*

sculptors carved their pictures on wood and stone '
painters drew their figures in beautiful colours ; poets sang
their heroic deeds. Sreenatha sang the valour of the
Heroes of the Palnad and it is the history of these Palnad
Heroes, depicted by Sreenatha that is found in the
foll&wing pages of this book. These warriors had left
their distant home on the banks of the Narmada,
migrated for political reasons into the broad grand plains
of the Palnad as a place of refuge and settled there
settled never to return. They obtained rights in the
country as a matrimonial gift and ever since Palnad has
been called their home and they have been styled, "Palnad
Heroes." They held undisputed sway over it and diffused
their religion and civilization among the people. They
built villages, made tanks, constructed anicuts, dug canals^
erected temples and raised fortresses in the Palnad and
the surrounding country, traces of which remain to this
day whispering in the listening ears, dumb as they are,
various tales about the activities of of their makers in days
gone -by. Fortunately or unfortunately, the country had
their rule only for a short time. During that short period,
they held a wonderful sway over the country. Their
love for the subjects was unlimited. Their indomit-
able valour was unparalleled. The chaotic battle-field
was their sporting ground. The roar of the trumpets was
their delightful sound. The bare flashing sword was their
walking-stick. They were brave but not ferocious; they
were valiant but not cruel. Timidity they did not know.
Lawlessness they did not tolerate After ably governing the
country for a short period, in a grea.t fratricidal war that
ensued,they f sacrificing their lives in defence of their rights,

85

displayed astounding and superhuman prowess which, as
was naturally the case in those ancient times, held them
deified in the eyes -of the people dumb with awe and
wonder. What with their humane government and what
with their extraordinary character, they earned the love,
respect and admiration of the people as no other
ephemeral sovereign had done. Villages are named after
them. Temples are dedicated to them. Their pictures
are carved upon stones. Gorgeous processions are held
in their honour. People vie with each other in paying
their adoration irrespective of caste and creed. I cannot
refrain from quoting in this connection the following lines
of that famous archaeologist, Robert Sewell, concerning
these Heroes :

u It is a curious fact that, while the Palnad Heroes
themselves worshipped indiscriminately Vishnu and Siva
and while this mixture of worship is still largely observed
in this out of the way part of the country, we have in this
^Heroes' temple a sort of Mussalman coalition into the
bargain. The Mussalmans take part in the anuual
festival and pay their devotions to the souls of the
Heroes ; and the "walls of the temple are discolored with
the splashes of chunam water and red paint thrown on
them by Muhammadan admirers." Lists of Ant. Vol. L

The construction of the temple itself is attributed to
a Mahamtnadan- whose grave is still to be seen within the
precincts of the temple. Our admiration is all the more
increased when we read the story of a female of Panta.
Reddi family, who, as the leading figure one the side of
Nalagama, made such wild charges, evinced such gigantic
valour and fought with such stupendous courage as would
excite the wonder of Nelsons and Nopoleans. Thousands

of people flock together every year at Karempudi, the
scene of the great battle, from almost all parts of the
Telugu country. The people are very ardent in their
faith in the Heroes. They worship them as Gods. In
marriages and such like ceremonies, the symbols of the
Heroes stand on the sacred altars in the houses of the
people even to this day. It is really interesting to see
how Veroism (Hero-worship) which resembles to some
extent the Norse faith of Scandinavia and the Shintoism
of Japan, originated in the Palnad and extended its
influence throughout the Telugu country. This Hero
worship has been continuing here for eight centuries and,
though an orthodox religionist may coldly speak, a gloomy
theologian may disapprove, and a haughty atheist may
laugh at the idea, yet must continue as long as the Earth
turns round the Sun.

The author of this Ballad Sreenatha is a Vira Saivite
for ceremony, but he seems to belong to the school o
rational philosophers as they may be called* Though'we
cannot claim for him subtler element! of social morality
according to tradition, his movements aeem to be entirely
in high society and he was one oi the most celebrated
scholars of his age in the Telugu country.

Palnati Veeracharitra, has been uupublished
and unknown to the general public until this time. It,
in the course of four hundred and more years through
which it kept its ^existence, underwent many changes,
though not radical, in its composition. Somehow or other
the book, from very early times, has always been in the
hands of the illiterate low caste beggars who sing the
story to the people and receive something as reward from

87

them. These illiterate people who possess the book
never like the Idea of publishing it thinking that, if
published, every one would know those poems. Orthodox
Brahmins, in general, think it madness to pay close
attention to the singing of these beggars and disgrace to
hold conversation with them. Moreover, this voluminous
poem is not in one place with one person but portions of
it are scattered throughout the Telugu country. Under
such circumstances, the readers can imagine the awkward
position in which I was when trying to get the book and
the difficulties that would present themselves before
. finally succeeding in the attempt. In a way, I have now
published this part of the whole poem and eagerly' expect
encouragement from the Telugu Public to bring out the
remaining portions also within a short time. I have fixed
the date of the war and the original home of the Heroes
in my Telugu introduction with the light of the few
historical accounts, Puranas and inscriptions I could have
access to and if students of history kindly give their
valuable suggestions upon the points, I shall feel highly
grateful to them and acknowledge my indebtedness to
them. Although the book had been given to the press nearly
one year back, it could not be completed till now owing to
the limited means and time that I could devote fbr it in
the midst of other duties. My thanks are, however,
due to Sri D. Kesava Row Pantulu Garn, Proprie-
tor of the Vani Press, for the kind and timely help he
rendered in many ways in bringing the book to its
present form at least so early as this. I must express my
feelings of gratitude to Sri Akkiraju Sankarayana Garu,

Sri Challagundla Pichayya Garu, and Sri Janapati
Venkatappayya Garu and Sri Unnava Lakshminarayana
Pantulu Garu, for their kind aid in the publication of
this work.

BEZWADA,
9th June,, 1911. ) 8g" THE EDITOR.

^

1. )