The Legacy of tALLapAka poets

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SrI:

SrImatE rAmAnujAya nama:

SrI lakshmI narasimha parabrahmaNE nama:

 

dear SrI vaishNavAs,

 

The following is the description of one of the

greatest telugu vaishNava and a poet, SrI tALLapAka

annamAchArya. It is an article published in saptagiri

magazine of TTD.

 

dAsOham,

SrIperumbUdUru vEnkaTa vinOd.

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The Legacy of Tallapaka Poets

T. Kothandaramaiah (saptagiri magazine of TTD)

 

Tirupati is not only a place of pilgrimage, but a

place of great literary activity also. The Poets of

Tallapaka family sang the glory of Lord Venkateswara

in song and verse for over two centuries. From the

times of Annamayya (I5th century) who was the

progenitor (Mula purusha) of the family, they were the

honorary court poets of Lord Venkateswara. Even to

this day there is a tradition in the temple at

Tirumala that a descendant of the family of Annamayya

sings a song composed by Annamayya, tuning a Tambura

at the time of Ekanta Seva, the last ritual of the day

in the temple when the God is put to sleep.

Annamayya's first wife Timmakka wrote

'Subhadrakalyanamu' and historians consider her as the

first poetess known in Telugu Literature.

Narasinganna, his eldest son who was identified to be

Sankusala Nrisimha Kavi, the author of

'Kavikarnarasayanamu' was also a poet of great merit.

The third son Peda Tirumalacharya continued the

tradition of his father in composing' Padas ' in

Telugu on Lord Sri Venkateswara. Chinna Tirumalayya,

the eldest son of Peda Tirumalayya was also a great

poet. Peda Tiruvengalanadha, Chinnanna, Tiruvengalappa

were also celebrated poets of the family. Revanuri

Venkatacharya, the author of 'Sakuntalaparinayamu' and

'Sripadarenumahatmyamu' was a descendant of

Annamayya's grandson by his daughter. Thus the

contribution of the family of Tallapaka poets forms a

significant part in Telugu Literature.

The image of Annamayya having a Tambura in his hand, a

holy cap made of cloth called' Kabbayi kullayi'

usually worn by saints in those days in a standing

pose of a devotee, is a matter of interest to the

lovers of Telugu Literature. The image of Annamayya

and that of his son Peda Tirumalayya are engraved on

the stone wall to the either side of 'Tallapaka Ara'

in the Tirumalai Temple. These images are of great

interest as we have no images preserved of any early

Telugu poets.

 

'Annamacharya Charitramu', the biography of

Annamacharya written by his grandson Chinnanna in

Dvipada metre was discovered and printed in 1948, As

the work was written by the grandson of the poet, we

can believe the authenticity of the biographical

information furnished in the book.

 

Annamayya, a Nandavarika Niyogi Brahmin, was born in

the village 'Thallapaka' of Cuddapah district in the

year 1346 of the Salivahana saka (1424 A.D.) in

Visakha Masa in Visakha star. It will be interesting

to note that Sathakopayati alias Nammalwar, one of the

twelve Vaishnavite saints (Alwars) was also born in

the month Visakha and in Visakha star. Visakha star in

Visakha masa ordinarily falls on Purnima, the

full-moon day of the month.

 

Visakha Purnima is also the birth day of Lord Buddha.

Annamacharya died in 1503 A.D. on Bahula Dwadasi of

the month Phalguna in Dundubhi year and hence he lived

a full and useful life of 79 years. It is said of

Vedanta Desika that he was born as an Amsavatara of

the Big Bell in the temple. Likewise Annamayya is said

to have born as an Amsavatara of the sword (Nandaka)

of Lord Vishnu. His father was Narayana Suri.

Lakkamamba was his mother. From his boy-hood Annamayya

was a devotee to Lord Kesava, a local deity at

Thallapaka. In his sixteenth year he had a vision of

Lord Venkateswara and from that day onwards he began

composing songs on the Supreme Lord. Whatever he

uttered was becoming a poem (kavya), whatever he sang

turned to be excellent music.

 

On one fine morning, without even informing his

parents, he left for Tirupati on a pilgrimage on foot.

He reached the place in a few days. Unaware of the

tradition that one should not climb up the hills with

foot-wear on, he walked up but felt tired' and asleep

in the midway of the hill. While he was asleep the

consort of Lord Venkateswara appeared in his dream and

advised him to climb the hills barefooted. He wondered

at the vision, he had. Overwhelmed with joy Annamayya

composed .one hundred stanzas extempore in praise of

the Mother Goddess. As the stanzas were with the

Makutamu of 'Venkateswara ' it was later on known as,

'Sri Venkateswara Sathakamu.' Then he climbed up the

hills, took his bath in the sacred Pushkarini, went to

the temple and had darshan of Lord Venkateswara. He

visited the holy tirthas-Gogarbham, Akasaganga,

Papavinasanamu and so on and had a holy bath in those

places. At every bath he used to compose sathakas on

Sri Venkateswara extempore before his clothes got

dried up in the sun. One day he came late to the

temple by which time the doors of the temple were

closed. Then Annamayya sang in praise of God

requesting him to give him darsan and to the surprise

of one and all assembled there, the doors opened of

their own accord and Annamayya got in and worshipped

the Deity. A similar incident is said to have happened

in the life of Thyagarajaswami also.

 

Annamayya lived on the hills for some days during

which time he got himself admitted into the fold of

Vaishnavism. Adhi Van Sathakopa Jiyyar at Tirumalai

took him as his disciple and made him study the

Sampradaya Grandhas i.e., the works relating to

Visishtadvaita Philosophy. He had the Mantropadesa of

the sacred 'Ashtakshari' and Mudradharanam-the

preliminary rites to be observed at the time of

conversion to Vaishnavism having the marks called

Dwadasa Tripundras (The twelve vaishnavite marks) on

his body. He studied Mahabhashyam, Nalayiram-the

Dravida Prabandha and other works of the ancient

Alwars under the feet of the revered Jiyyar.

 

While he was thus engaged in the study of Vaishnavite

thought, his mother Lakkamamba came in search of him.

She persuaded him to come back to the village. But

Annamayya refused to do so, saying that he would be

losing the benefit of service to the God. But at last

on the advice of his learned Guru, the Jiyyar - he

agreed to go along with his mother. After the marriage

with Tirumalamma and Akkalamma he stayed in the

village for a short period and again went to Tirupati.

From there he went to Ahobalam where he composed his

songs based on Valmiki Ramayana. During this period

after marriage, he composed many romantic hymns which

were called Sringara Sankirthanalu' on Lord

Venkateswara.

 

Annamayya was famous for his musical compositions. It

is only at this time that he came into contact with

Saluva Narasinga who was a Chieftain at Tangutur.

Saluva Narasinga came to know of Annamayya's talents.

He invited him to Tangutur. They were moving so

closely as the people of the village compared them

with Arjuna and Sri Krishna. Annamayya used to compose

songs on Lord Venkateswara and sing them in the

presence of his friend, Narasinga. Narasinga had all

appreciation for the poetic talents of Annamayya.

One day Saluva Narasinga sent word to Annamayya and

asked him to compose songs on him similar to those on

Lord Venkateswara. Annamayya was shocked to have such

a request from his friend. He refused very boldly,

saying

'Hari Mukunduni Goniyadu nii jihva

Ninu Goniyiidanga Neradu.....'

which means: My tongue which is accustomed to sing in

praise of God will not sing in praise of a human

being.

 

A similar incident occurred in the life of Pothana

also who wrote Bhagavathamu in Telugu. Narasinga got

wild and ordered him to be punished by 'Mururayara

Ganda,' His hans were tied with shackles and he was

thrown into prison. Then Annamayya sang a song and to

the surprise of the gate-keepers the shackles '

Mururayara Ganda '-fell down on the floor. They

informed this to the king. The king ordered them to

present Annamayya before him. He was brought before

the king. The Mururayara Ganda was once again put on

his hands. Annamayya sang the same song. He got

himself relieved from Mururayara Ganda. Narasinga

repented for his ill-treatment to the poet and

apologised to him. Annamayya excused him

whole-heartedly and continued his friendship with him.

Afterwards Annamayya made Tirumala as his permanent

abode and led a happy and long life in the service of

the Lord.

 

It was his practice to compose not less than one song

every day from his 16th year during which he had the

vision of God. In Annamacharya Charitramu it is said

that Annamayya composed thirty two thousand hymns on

Lord Venkateswara. During the time of his son, Peda

Tirumalacharya, the hymns were inscribed on copper

plates and were preserved safely in an apartment

called 'Sankirthana Bhandaramu' inside the main

temple. When Annamayya grew old, Purundara Dasa who

composed several thousands of songs in Kannada and who

is said to be the exponent of Karnatak Music, came to

Tirumala and paid his respects to the great

saint-poet. Purandara Dasa praised Annamayya that he

was the incarnation of Venkateswara himself and

Annamayya in turn praised Purundara Dasa that he was

the incarnation of Sri Panduranga Vitthala.

 

The musical compositions of Annamayya are divided into

two divisions 'Adhyatma Sankirthanalu' and 'Sringara

Sankirtanalu'. There are some more works written by

him both in Sanskrit and Telugu. Venkatachala

Mahatmyamu and Sankirtana Lakshnamu are his Sanskrit

works. His Sankirtana Lakshnamu in Sanskrit was

translated into Telugu by his grandson Chinna

Tirumalayya. But it is unfortunate that the Sanskrit

version of the book is not available at present.

Dwipada Ramayanamu, Sringara Manjari, Venkateswara

Satakamu are his works in Telugu. Among these works

the Dwipada Ramayanamu is not available. Annamayya

Jola, a lullaby composed by Annamayya is very popular

in Andhra that every mother sings this to make her

child asleep. The beginning of the lulluby is as

follows:

 

Jo Acyutananda Jo Jo Mukunda .....

 

Annamayya Lali, another lullaby is also popular in

Andhra. He is said to have composed twelve satakas in

praise of the presiding deities at different places,

but Sri Venkateswara Satakamu alone is available now.

The other works are lost to us.

 

The musical compositions of Annamayya and others of

his family are treasures of great poetic beauty. They

were inscribed on copper plates under the direct

supervision of the poets themselves. Hence they form

an authentic record of the language of the 15th and

16th centuries. The compositions were mostly extempore

in spoken dialect unlike in the classics of the age

which were written in the classical (Grandhika) style.

It is seen in the musical compositions that the poets

never hesitated to profusely make use of forms

traditionally not acceptable to Grammarians of the

day. The large number of the musical compositions of

Tallapaka family forms a valuable source for

linguistic study of Telugu of the medieval times.

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