చర్చ:ఎంకి పాటలు

Active discussions
వికీప్రాజెక్టు పుస్తకాలు ఈ వ్యాసం వికీపీడియా పుస్తకాల ప్రాజెక్టులో భాగంగా నిర్వహించబడుతుంది. ఈ ప్రాజెక్టు లక్ష్యం వికీపీడియాలో పుస్తకాలకు సంబంధించిన సమగ్రమైన సమాచారాన్ని పొందుపరచటం. మీరు కూడా ఇందులో చేరాలనుకుంటే, దయచేసి ప్రాజెక్టు పేజీని సందర్శించండి.
ఆరంభ ఈ వ్యాసం నాణ్యతా కొలబద్దపై ఆరంభ దశ-తరగతిగా విలువకట్టబడినది. (వ్యాఖ్యానాలు ఇవ్వండి)


వికీప్రాజెక్టు తెలుగు సమాచారం అందుబాటులోకి ఈ వ్యాసం వికీప్రాజెక్టు తెలుగు సమాచారం అందుబాటులోకిలో భాగంగా నిర్వహించబడుతుంది. ఈ ప్రాజెక్టు లక్ష్యం డిజిటల్ లైబ్రరీ ఆఫ్ ఇండియాలోని తెలుగు పుస్తకాలు జాబితా చేసి ఆ పుస్తకాల ద్వారా వికీపీడియాలోని వ్యాసాలు అభివృద్ధి చేయడం. మీరు కూడా ఇందులో చేరాలనుకుంటే, దయచేసి ప్రాజెక్టు పేజీని సందర్శించండి.
??? ఈ వ్యాసానికి నాణ్యతా కొలబద్ద ఉపయోగించి ఇంకా విలువ కట్టలేదు.


from TelusA List Archives

http://www.bhaavana.net/telusa/feb97/0039.html for reference and translation

 A couple of weeks ago I posted a small review on a recent audio recording
   of Nanduri's Yenki Patalu (by Kiravani). In reply to my question, Sri Veluri
   gAru mentioned some interesting facts on the earlier singers who sang these
   songs and those recordings. Sri Veluri gAru also mentioned about Nanduri
   Parthasarathi who used to sing his dad's yenki pATalu so nicely. Rajani also
   used to sing these Yenki pATalu. From 1938-1941, at Andhra Universtiy, the
   gang was really in love with Yenki Patalu. Later, Rajani and Janamanci, from
   that batch moved on and settled in AIR. Unfortunately Sri Janamanci
   Ramakrishna is no more. But Sri Rajanikanta Rao is the only source to know
   more about these recordings or earlier singers who sang these songs (whom I
   can get in touch with).

   Then I looked for my books on Yenki pATalu and I shoul have an older copy
   (with drawings of Adivi Bapiraju). I finally laid my hands on the book.
   I read the prefaces by Naduri for both the editions (1925 and 1952).
   These prefaces present a great deal of history behind these enchanting Yenki
   Patalu. I would like to present here most of Nanduri's words (in Telugu as in
   Prefaces) in English.

   ---pAlana

   -------------------------------------------------------------------------

	      Nanduri Subbarao in his own words on Yenki pATalu  -#1
	      ------------------------------------------------------

			 Preface for 1925 Edition
			 ------------------------

       Nanduri Subbarao started writing these songs while he was preparing for
   the final BA examinations (1917-1918 at Madras Christian College). Nanduri
   (as he stated "fortunately"), then, made freindship with Sri Adhikarla
   Suryanarayana Rao and then both became room mates. Nanduri Subbarao was
   acquainted with Sri Basavaraju Apparao, who used to teach (train) Nanduri
   various literary aspects long ago and Sri Basavaraju used to live in Madras
   those days. Sri Patibandla Apparao used to join them to chat. Nanduri used to
   get surprised at (sitting in a corner) each praising his own (bragging)
   writings.

       While returning from the college in the tram, Nanduri started humming
   a fine tune. Nanduri searched for words in order to sing that song in
   himself. It seemed so familiar to him that he immediately came up with a line
   "gunDe gontukalOna koTlADatAdi" (the heart flutters in the throat). Upon
   reaching his house and memorizing that line, Nanduri Subbarao, finished his
   first song (gunDe gontukalOna koTlADutAdI, kUkunDa nIdurA kUsinta sEpu -
   muddula nA yenki).

       Nanduri, with hesitation, read those songs in front of Basavaraju
   Apparao and Suryanarayana. Immediately Suryanarayana (Nanduri, it seemed,
   called him "jAnakIpati") encouraged him to continue writing. Basavaraju
   Apparao, as opposed, told Nanduri that it was not his natural style (of
   language) and Nanduri could not search for truth with this style of language
   that Nanduri was using in his songs. In other words, Basavaraju Apparao,
   discouraged Nanduri Subbarao.

       Nanduri cashed on Surayanarayana's encouragement. He himself expressed
   that the moment he was inspired by Suryanarayana, he did not stop thinking
   of Yenki poetry. Suryanarayana was more determined in his opinions about
   Nanduri's poetry. Basavaraju Apparao gradually became mellow, changed his
   opinion, and started encouraging Nanduri.

      "To whom I should be grateful? Should I be grateful to Yenki who was
   my gifted inspirer for the spontaneous sprouting of these songs in me? Should
   I be grateful to Sri Adhikarla Suryanarayana who encouraged me to continue
   writing these songs? Should I be grateful to our Basavaraju Apparaya who
   taught me the 50 essential secrets of poetry? I should be grateful to all the
   three!" Nanduri said.

      Well-wishers, several, encouraged Nanduri. Sri Desoddharaka Kasinadhuni
   Nageswararao pantulu garu rendered Yenki songs and primarily he was
   responsible for publishing those in Bharati and Andhra Patrika, and
   advertised the Yenki Patalu book in his journals without any cost. Nanduri
   said that he was indebted to Sri Desoddharaka Kasinadhuni Nageswararao
   Pantulu.

      Jamindar of Nuziveedu, Sri Venkatadri Apparao Rajabahdur was poet himself
   who used to enjoy listening to Yenki pATalu. Sri Venkatadri Apparao Raja
   helped Sri Nanduri Subbarao in many ways. Sri Nanduri wrote half his Yenki
   songs during his acquaintance with him. Nanduri extended his heart-felt
   gratitude to Sri Venkatadri Apparao Raja.

      Sri Kolavennu Ramakoteswararao also encouraged Nanduri in his project.

      One of the great painters of Andhra, Sri Adivi Bapiraju, drew the pictures
   for this issue. Nanduri said that if his Yenki would be responsible for those
   great feelings (in the readers' hearts) that Bapiraju's paintings generate,
   he would be the most fortunate.

      The society of Madras Andhra Scholars (maDrAsu Andhra panDita manDali)
   invited him specially and felicitated him. From that day onwards, Sri Nanduri
   was not scared of them but had developed respects towards them.

      The Orthodox Telugu Scholar, Sri Panchagnula Adinarayana Sastri used to
   jump up high if he would listen to the word "Yenki". That much he used to
   like Yenki pATalu. He never treated Yenki pATalu down to inferior even though
   he was a real Telugu scholar. Naduri paid his respects to Sri Pancagnula and
   Sri Pokkuluri Lakshminarayana (who was also one of his well-wishers).

      One of the most famous Telugu singers, Sri Vidvan Parupalli Ramkrushnayya
   toiled and set nice tunes to Yenki pATalu for the first time. Nanduri always
   used to sing his Yenki Patalu in the same tunes as set by Sri Vidvan
   Parupalli Ramakrushnayya (telugu dESamlO pErondina mETi gAyakulu mahArAjaSrI
   pArupalli rAmakRshNayya gAru entO SramapaDi SraddhatO yI pATalaku svaram
   cESAru. vAriki nA namaskAramulu. adE nEnu pADE vidhamu). That was great.
   As Sri Veluri Venkateswararao gAru wrote in his message, Nanduri himself
   wrote that he used to sing his own songs.

      Sri Ganti Suryanarayana took the initiative to pbulish the Yenki songs
   for which Sri Nanduri was eternally grateful to Sri Ganti, a Grammarian and
   Logician.

      Sri Nanduri Subbarao dedicated his songs to his cousin (pettalli kumAruDu)
   Sri Bhavaraju Venkata Subbarao. Sri Nanduri's father passed away when Nanduri
   was 4 years old and immediatedly Sri Bhavaraju Subbarao took care of the
   entire family. These Yenki Patalu were dedicated to Sri Bhavaraju by Nanduri
   for the magnanimity.

					    --based on Original Preface
					      for Yenki Patalu
    --pAlana                                  By Sri Nanduri Subbarao
    (English)                                (Madras; 29-8-1925)

    ------------------------------------------------------------------------------
    Opinions are mine only
    -----------------------------------------------------------------------------

    To be contd...............

    -----------------------------------------------------------------------------
    Sincere Thanks to Srinivas Paruchuri and Sri Veluri V. Rao who
    indirectly encouraged me to put this in this form.
    ----------------------------------------------------------------------------



calam in his 'kavi hRdayam' discusses a lot about
nanDUri and enki pATalu. he details a lot of history, incl.
how enki pATalu received two totally different reactions from
scholars of those days and also, how much nanDuri was in love with
his work. calam argues that the later additions do not have the
same spark as the original set of songs. one more interesting thing
he writes is about how much nanDUri wanted his work to gain international
recognition with the help of an ably done english translation.
calam doesn't believe that yenki pATalu can ever be translated into
another language without losing their pristine beauty.

regards
prasad
-- 


Yenki Patalu were a revolutionary poetic creation those days.
	  Just like everything else, Yenki was an enigma and Yenki Patalu
	  were an anathema. The world has people with diverse tastes.
	  Diverse opinions exist among them about a same topic/thing.

	  I just wanted to present here what the original author had to say
	  about his own works rather than someone other than him analyzing
	  his works. I like to see history from the history maker and here Sri
	  Nanduri was the history maker for his Yenki Patal History. So, his
	  historical sketch, has to be more authentic. The same way, it is fun
	  reading the prefaces for Kanyasulkam by Gurazada than reading literary
	  criticisms written by many. Sure! The authenticity is there in the
	  original author' own words. I would feel more closer to the author
	  when the author narrates his own experiences while making a book of
	  his own.

	  In addition to digging out the history from the author's first couple
	  of pages, it would be valuable if that is recorded in simple English
	  on a forum like Telusa so that several Telugus unable to read Telugu
	  and non-Telugus, both interested in our literature, would be able and
	  fortunate to read some aspects of our literature - is my new mission.
	  At this stage, I would rather leave arguments and debates to other
	  highly more learned scholars on this forum.

	  With those few pennies, let me shift over to the actual topic. The
	  following is from the preface to the second edition of Nanduri
	  Subbarao's Yenki Patalu. It seems, Nanduri by then was in Eluru and
	  finished his second preface there on 3/8/52.
	  It is interesting to see more of what he felt about his work.

     ---pAlana
====================================================================సవరించు
Nanduri Subbarao in his own words on Yenki pATalu -#2 ------------------------------------------------------ Preface to Second Edition (1952) -------------------------------- All the copies of first edition Yenki pATalu were sold out. It was too long after no copies were available in the market. In the mean time, Nanduri had written some more new songs. There were several hurdles that Nanduri faced to publish a second edition of his book along with the inclusion of his new songs. The project was delayed but finally it became a reality. In 1926, Nanduri Subbarao, started practising his legal profession. His friends then cautioned him that Law and Poetry were not compatible. Even though Nanduri was chanting Yenki's name regulaly, he was unable to pen at least half of the songs. Finally in 1948, Nanduri was able to finish the new songs. In the same year, Nanduri met Sri Manchala Jagannadharao (AIR, Patna) and both became very good friends. It appears from Nanduri's writings that Manchala was a very good Veena player and a good singer. From that year on wards, Manchala used to come and visit Nanduri, once a year. During his visit, Manchala used to stay at Nanduri's place, play Veena, and sing songs in melodious voice. Manchala's enchanting voice brought Nanduri's Yenki songs back to life. It was because of Manchala's friendhip, Nanduri was at least successful in finishing half of the new songs he planned to write. Nanduri extends his gratefulness to Manchala. Manchala's friendship did not end there. Manchala set tunes for Nanduri's 40 new songs. Manchala even gave the musical notations for those songs. Nanduri said in this preface that unfortunately due to unavoidable circumstances he could neither present the musical notations given by Sri Parupalli Ramakrushnayya for the earlier songs nor the the musical notations given by Sri Manchala Jagannadha Rao for the new songs in his second edition of Yenki Patalu. Some liked Nanduri's Yenki Patalu and some disliked them. Even his own friends were divided in to two groups - one "validating" one "declining". Nanduri was well aware of that and it seems that he accepted that vote. Cattamanci Ramalingareddi said that those without good qualities would not ridicule or laugh and hence, he read those Yenki Patalu. Nanduri stated that those who did not approve his songs, till today, supported towards the healthy growth of his songs. He specially respected those who did not validate his work and approve his songs. That is a remarkale character in a poet and you see that among a handful, if you are lucky. Sri Bhamidipati Ramasomayajul, advocate, Chodavaram (Visakha district), did a painting for one of Nanduri's small songs and published in Bharati. From that day on wards, there arose a plethora of arguments and counter arguments on Nanduri's Yenki Songs and the publicity his songs gained was unimaginable. The affection and love extended by Kalaprapurna Vedam Venkataraya Sastrulu, Sir Cattamanci Ramalinga Reddy, Sri Veturu Prabhakar Sastry, Sri Panchagnula Adinarayana Sastry, and Rao Saheb Gidugu Ramamurthy Pantulu did definitely enhance the publicity for Nanduri's Yenki Songs and brought them into the center of Telugu Poetry those days. TIME LINE OF NANDURI'S YENKI SONG POPULARITY GROWTH --------------------------------------------------- Sri Mallampalli Somasekhara Sarma, for the first time, discussed these songs in a symposium conducted by the Telugu Scholars (1925). Prof. D. Appala Narasimham in 1926 and Sri Burgula Ramakrushnarao, the then Chief Minister of Hyderabad in 1928, highlighted and validated these Yenki Songs in Bharati. Sri M. Chalapati Rao, the then Editor of National Herald, Lucknow, and Sri Kolavennu Ramakoteswararao, the then Editor of Triveni, published literary criticism on Nanduri's Yenki Patalu in Triveni. The great scholar, Sri Vedala Tiruvengalacharyulu, in his Andhra Dhvanya Lokam, used one of Nanduri's Yenki Song as an example. Prof. Guruganti Sitarama Battaraka, in his Navya Sahitya Vidi, offered a place for Nanduri's Yenki. Bellakonda Raghava, analyzing each song at a time, published several essays with affection. Prof. Vissa Apparao (31/5/52) located a place for Yenki Songs in the World of Songs. Rukmininadhudu and Rajani shaped Nanduri's Yenki Songs into plays. Sri Adavi Bapiraju painted paintings for Nanduri's Yenki Songs. Sangitakalanidhi Prof. Dvaram Venkata Swami Nayudu nurtured Nanduri's Yenki Songs with musical vigor. English literary scholar like Sri M. Chalapati Rao translated these Nanduri's Yenki Songs into English. King of actors like Ramakrushna played the Yenki Song plays on the stage. Kavisamrattu Viswanadha Satyanarayana offered places in his novels. Sri Devulapalli Krushna Sastri (as nanDUri calls him : sOdaruDu kRshNaSAstri) several times spoke kind words about Nanduri's Yenki Songs and especially sang them in many meetings. Sri Gudipati Venkatachalam (as nanDUri calls him: rasikulu Sri Gudipati Venkatachalam) wholeheartedly mused these Yenki songs (Nanduri used the exact word "Muse" for Chalam). Sri SriSri brought these Yenki songs into lime light in Svatantra. Sivasankara Swamy, president of Nanduri's Sahiti Samiti, showered his blessings on these Yenki Songs. Nanduri mentioned that all these people extended their support to him to finish writing his new Yenki Songs. In his old age, he feels equal importance about his Yenki Songs and the affection shown towards him by all his friends. He cherished both his songs and the affection shown by his friends in his old age. All India Radio stations at Madras, Vijayawada, and Hyderabad brought his songs on Air and their in house singers sang Nanduri's songs with musical gimmickry/talent. Nanduri loved it. Some said that the language of the new Yenki Songs had changed from that of the old Yenki Songs. Devulapalli Krushna Sastry (8-5-53, Madras Cultural Club) and the Editor of the Krushna Patrika (in the Gidugu Ramamurthy Commemoration Issue), gave answers to why the language of Yenki Songs changed for the new songs. Nanduri left the decission to the judgement call of the readers and he finally declared that change was inevitable. Nanduri Dedicated the new songs to that "tala taDumukoni tabbibbaina adbhuta mUrti" in his "ravala velugu" song (the title is "tabbibbu"). In Nanduri's words "I kotta pATala ankitam nA ravala velugulu pATalO tala taDumukoni tabbibbaina adButamUrtiki. A mUrtiki nA kavitva jIvitA darSamula yeDa nIrasa BAvamu tappa marO BAvamunaku tAvulEdani yeringiyu, nA Bakti cEya vEru pUjA dravyamulEmi? vIninE arpincucunnAnu." ---based on Nanduri Venkata Subbarao ---pAlana Preface, Yenki Patalu, Second Edition (English) Eluru, 3-8-52. =============================================================================== Disclaimer: Opinions are mine.
Return to "ఎంకి పాటలు" page.