Literary masters

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Event The first ever women duo’s ‘ashtavadhanam’ displayed the scholarly expertise of the participants.

Impressive scholarsBulusu Aparna and Phullabhatla Nagasanti Swaroopa.Photo: C.V. Subrahmanyam
Impressive scholarsBulusu Aparna and Phullabhatla Nagasanti Swaroopa.Photo: C.V. Subrahmanyam

An impressive ‘Ashtavadhanam’ by the first ever women duo on Telugu literary scene, Bulusu Aparna and Phullaabhatla Nagasanti Swaroopa was remarkable for its scholarly sparkle. Hosted by Visakha Sahithi at Lalita Peetham Visakhapatnam, the duo earned accolades from the learned for their taut presentation. It was not just the Avadhanis but the Purschikas, the questioners also were a team of informed women as were the coordinator and president of the Sahithi, K. Malayavasini that made it unique in its own right. Chiselled by renowned Sansksrit scholar Dhulipala Mahadeva Mani of Rajahmundry, the duo excelled in all aspects of this cerebral feat making a foray into a hitherto male bastion.

Avadhanam — concentration of mind — is a Vedic cerebral act. Whatever may have been its form in the Vedic times; on the Telugu literary scene, it evolved into a distinct genre. Thanks to the exceptional poetic prowess and redoubtable erudition of the literary immortals like Kopparapu Sodara Kavulu, Tirupathi Venkata Kavulu, Venkata Ramakrishna Kavulu, avadhanam exuded an exotic poetic fragrance in such ample measure that it almost acquired a dimension of fine art. Toeing the line of those greats, the erudite duo performed this literary act with panache.

The focus of avadhanam generally is on the ‘dharana’ — the retentive and recitative aspects of the mind of avadhani rather than on its poetic facet for poetic spark in ‘avadhanam’ or in ‘aasuvu’ –a verse extempore — is more an exception than a rule. This ‘avadhanam’ is an exception on that count. The duo met all the required parameters of Ashtavadhanam well. While their verses extempore sparkled in poetic charms, the craft of the verse was taut and impeccable. Their ingenuity came to fore in their poetic responses to an array of demanding posers by the Pruschakas,

Kannepalli Varalakshmi (Nishiddakshari) Kandala Kanaka Mahalakshmi (Samasya) Madabhushi Jyothikumari (Dattapadi) Bonala Subba Lakshmi (Vyastakshari), Gummaluri Indira (Varnana) Ayyagari Kusuma Chakravarthi (Varagananam) Krovvidi Kalyana Bharati (Ghantavadhanam) and Mallpragada Srivalli (Aprasthuta Prasangam) took part.




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