364 



Essay on Telugu Literature. 



[Oct. 



called (bandha cavitvam), or verses written in whimsical figures. Among 

 the dwipada poems this conceit is unknown: but few of tbe modem 

 padya poems are free from it. The learned commentator on the Dasa- 

 vatara Charitra has in such passages left the verses unexplained, and 

 states that he did not pretend to Vmravel intricacies which all the great- 

 er poets had despised. I mention this conceit only with a view to 

 warn the reader that such verses are unworthy of study. For he is 

 often advised by bramins to turn his attention to a variety of intricate 

 refinements which further experience will prove to be worthless. 



71. Allasani Peddana, author of the Manu Charitra, or Swarochisha 

 Mantj Charitra (c), who also wrote the Vishnu Chittiyam or Amucta 

 Malyada (on which w T e have a good commentary about a century old), 

 and the Rasa Manjiri, which last is not now known to be extant. The 

 Telugu version now read of the Rasamanjari purports to be written by 

 one Ananta. Perhaps this is a name assumed by the author. Peddanna 

 was a Bramin, and received from his royal patron Krishna Rayalu the 

 title of Andhra Cavita Pitamaha, or sire of Telugu Poesy — which, tra- 

 dition says, was denied to Bhattu Murti on the ground of his being a 

 Sulra. 



In the preface to the Vishnu Chittiyam the poet mentions other works 

 which he had composed. These have not come to light, nor do I even 

 find them quoted in Appa Cavi. 



72. Muccu Timmana (the Ovid of the language), author of the Paru- 

 jat A'paharan'am (t) and the Vani Vilasam. This is a modern author 

 who wrote less than a century ago. He wrote the Rasica Jana Manob- 

 hirama, and many other poems. 



73. Tennala Rama Lingrm, author of the Pandu Ranga Vijayam. 

 The style of this poet is remarkably intricate ; as is noticed in the fol- 

 lowing popular epigram on the four poets now named :— < 



" Allasani Peddan allica jigibigi 



Muccu Timman Arya muddu palcu 

 Pandu Ranga vibhuni pada gvmbhanambu nu 

 Cdca mdna Rdya mice tagura." 

 " The rhetorical powers of Peddana, the sweet notes of Timmana, 

 the abstruse eloquence of Rama Linga, all unite in thy lays, O (Bhattu 

 murti) bard of Cacamana V* 



The secondary meaning which some pretend to find in this epigram 

 is not worth notice.* * 



* Style is fancifully classed as that of the grape, plantain, and cocoa-nut. Of these the 

 first, drdxa pdcam is exemplified in the Telugu Ramayan ; being quite easy. The second, 

 cadali pacam, wherein part of the fruit alone is eatable, is assigned to a more refined 

 dialect: and the third, ndrihela pdcam designates the degree of rhetorical obscurenesg 

 which we find in the third poet here named. These phrases are frequently used in the 

 conversation of learned men, and I notice them hero because they are unmcntioned in 

 any work hitherto priuted. 



