PREFACE

The poems translated here belong to the category of padams —short musical compositions of a light classical nature, intended to be sung and, often, danced. Originally, they belonged to the professional caste of dancers and singers, devadasis or vesyas (and their male counterparts, the nattuvanar musicians), who were associated with both temples and royal courts in late medieval South India. Padams were composed throughout India, early examples in Sanskrit occurring in Jayadeva's famous devotional poem, the Gitagovinda (twelfth century).^[1] In South India the genre assumed a standardized form in the second half of the fifteenth century with the Telugu padams composed by the great temple-poet Tallapaka Annamacarya, also known by the popular name Annamayya, at Tirupati.^[2] This form includes an opening line called pallavi that functions as a refrain, often in conjunction with the second line, anupallavi . This refrain is repeated after each of the (usually three) caranam verses. Padams have been and are still being composed in the major languages of South India: Telugu, Tamil, and Kannada. However, the padam tradition reached its expressive peak in Telugu, the primary language for South Indian classical music, during the fifteenth to eighteenth centuries in southern Andhra and the Tamil region.^[3]

In general, Telugu padams are devotional in character and thus find their place within the wider corpus of South Indian

bhakti poetry. The early examples by Annamayya are wholly located within the context of temple worship and are directed toward the deity Venkatesvara and his consort, Alamelumanga, at the Tirupati shrine. Later poets, such as Ksetrayya, the central figure in this volume, seem to have composed their songs outside the temples, but they nevertheless usually mention the deity as the male protagonist of the poem. Indeed, the god's title—Muvva Gopala for Ksetrayya, Venugopala for his successor Sarangapani—serves as an identifying "signature," a mudra , for each of these poets. The god assumes here the role of a lover, seen, for the most part, through the eyes of one of his courtesans, mistresses, or wives, whose persona the poet adopts. These are, then, devotional works of an erotic cast, composed by male poets using a feminine voice and performed by women. As such, they articulate the relationship between the devotee and his god in terms of an intensely imagined erotic experience, expressed in bold but also delicately nuanced tones. Their devotional character notwithstanding, one can also read them as simple love poems. Indeed, one often feels that, for Ksetrayya at least, the devotional component, with its suggestive ironies, is overshadowed by the emotional and sensual immediacy of the material.

The Three Major Poets of the Padam Tradition

Tallapaka Annamacarya (1424-1503), a Telugu Brahmin, represents to perfection the Telugu temple-poet.^[4] Legend, filling out his image, claims he refused to sing before one of the Vijayanagara kings, Saluva Narasimharaya, so exclusively was his devotion focused upon the god. Apparently supported by the temple estab-

lishment at Tirupati, located on the boundary between the Telugu and Tamil regions, Annamayya composed over fourteen thousand padams to the god Venkatesvara. The poems were engraved on copperplates and kept in the temple, where they were rediscovered, hidden in a locked room, in the second decade of this century. Colophons on the copperplates divide Annamayya's poems into two major types—srngarasankirtanalu , those of an erotic nature, and adhyatmasankirtanalu , "metaphysical" poems. Annamayya's sons and grandsons continued to compose devotional works at Tirupati, creating a Tallapaka corpus of truly enormous scope. His grandson Cinatirumalacarya even wrote a sastra -like normative grammar for padam poems, the Sankirtanalaksanamu .

We know next to nothing about the most versatile and central of the Telugu padam poets, Ksetrayya (or Ksetraya). His god is Muvva Gopala, the Cowherd of Muvva (or, alternatively, Gopala of the Jingling Bells), and he mentions a village called Muvvapuri in some of his poems. This has led scholars to locate his birthplace in the village of Muvva or Movva, near Kucipudi (the center of the Kucipudi dance tradition), in Krishna district. There is a temple in this village to Krishna as the cowherd (gopala ). Still, the association of Ksetrayya with Muvva is far from certain, and even if that village was indeed the poet's first home, he is most clearly associated with places far to the south, in Tamil Nadu of the Nayaka period. A famous padam by this poet tells us he sang two thousand padams for King Tirumala Nayaka of Madurai, a thousand for Vijayaraghava, the last Nayaka king of Tanjavur, and fifteen hundred, composed in forty days, before the Padshah of Golconda.^[5] This dates him securely to the mid-seventeenth century. Of these thousands of poems, less than four hundred survive. In addition to

Muvva Gopala, the poet sometimes mentions other deities or human patrons (the two categories having merged in Nayaka times).^[6] Thus we have poems on the gods Adivaraha, Kañci Varada, Cevvandi Lingadu, Tilla Govindaraja, Kadapa Venkatesa, Hemadrisvami, Yadugiri Celuvarayadu, Vedanarayana, Palagiri Cennudu, Tiruvalluri Viraraghava, Sri Rangesa, Madhurapurisa, Satyapuri Vasudeva, and Sri Nagasaila Mallikarjuna, as well as on the kings Vijayaraghava Nayaka and Tupakula Venkatakrsna. The range of deities is sometimes used to explain this poet's name—Ksetrayya or, in Sanskritized form, Ksetrajna, "one who knows sacred places"—so that he becomes yet another peripatetic bhakti poetsaint, singing his way from temple to temple. But this explanation smacks of popular etymology and certainly distorts the poet's image. Despite the modern stories and improvised legends about him current today in South India, Ksetrayya belongs less to the temple than to the courtesans' quarters of the Nayaka royal towns. We see him as a poet composing for, and with the assumed persona of, the sophisticated and cultured courtesans who performed before gods and kings.^[7] This community of highly literate performers, the natural consumers of Ksetrayya's works, provides an entirely different cultural context than Annamayya's temple-setting. Ksetrayya thus gives voice, in rather realistic vignettes taken from the ambience of the South Indian courtesans he knew, to a major shift in the development of the Telugu padam .

If Ksetrayya perhaps marks the padam tradition at its most subtle and refined, Sarangapani, in the early eighteenth century, shows us its further evolution in the direction of a yet more concrete, imaginative, and sometimes coarse eroticism. He is linked with the little kingdom of Karvetinagaram in the Chittoor district of

southern Andhra and with the minor ruler Makaraju Venkata Perumal Raju (d. 1732). Only some two hundred padams by this poet survive in print, nearly all of them addressed to the god Venugopala of Karvetinagaram. A few of the poems attributed to Sarangapani also appear in the Ksetrayya collections, despite the palpable difference in tone between the two poets.

These names by no means exhaust the list of padam composers in Telugu. The Maratha kings of Tanjavur figure as the patron-lovers in a rich literature of padams composed at their court.^[8] Similar works were sung in the palaces of zamindars throughout South India right up to modern times. With the abolition of the devadasi tradition by the British, padams , like other genres proper to this community, made their way to the concert stage. They still comprise a major part of the repertoire of classical vocal music and dance, alongside related forms such as the kirttanam (which is never danced).

A Note on the Translation

We have selected the poems that follow largely on the basis of our own tastes, from the large collections of padams by Annamayya, Ksetrayya, and Sarangapani. We have also included a translation of Kandukuri Rudrakavi's Janardanastakamu , a poem dating from the early sixteenth century and linked thematically (but not formally) with the emerging padam tradition. An anonymous padam addressed to Konkanesvara closes the translation. To some extent, we were also guided by a list prepared by T. Visvanathan, of Wesleyan University, of padams current in his own family tradition. Some of the poems included here are among the most popu-

lar in current performances in South India; others were chosen because they seemed to us representative of the poets, or simply because of their lyrical and expressive qualities.

In general, we have adhered closely to the literal force of the Telugu text and to the order of its sentences. At times, though, because of the colloquial and popular character of some of these texts, we have allowed ourselves to paraphrase slightly, using an English idiom or expression. We have also frequently removed, as tedious in translation, the repeated vocatives that dot the verses—as when the courtesan speaks to her friend, who is habitually referred to by conventional epithets such as vanajaksiro , "woman with lotus-eyes," or komaliro , "delicate lady." Telugu is graced with a truly remarkable number of nouns meaning "woman," and these are amply represented in our texts. The heroine is sometimes referred to by stylized titles such as kanakangi , "having a golden body," epithets that could also be interpreted as proper names. For the most part, this wealth of feminine reference, so beautifully evocative in the original, finds only pale and reductive equivalents in the English.

The format we have adopted seeks to mirror the essential features of the original, above all the division into stanzas and the role of the pallavi refrain. While we have always translated both pallavi and anupallavi in full, we have usually chosen only some part of these two lines—sometimes in connection with a later phrase—for our refrains. We hope this will suggest something of the expressive force of the pallavi and, in some cases at least, its syntactic linkage with the stanzas, while eliminating lengthy repetition. The headings provide simple contexts for the poems. We have attempted to avoid heavy annotation in the translations, preferring to let the

poems speak for themselves. Where a note seemed necessary, we have signaled its existence by placing an asterisk in the text. The source for each poem, as well as its opening phrase in Telugu and the raga in which it is sung, appear beneath the translation.

Editions Used as Base Texts

P. T. Jagannatha Ravu, ed., Srngara sankirtanalu (annamacarya viracitamulu ), vol. 18 of Sritallapakavari geyaracanalu . Tirupati: Tirumala Tirupati Devasthanam Press, 1964.

Gauripeddi Ramasubbasarma, ed., Srngara sankirtanalu (annamacarya viracitamulu ), vol. 12 of Tallapaka padasahityamu . Tirupati: Tirumala Tirupati Devasthanam Press, 1976. (Cited as GR.)

Vissa Apparavu, ed., Ksetrayya padamulu . 2d ed. Rajahmundry: Saraswati Power Press, 1963. (Unless otherwise noted, all the Ksetrayya texts are taken from this edition.)

Mancala Jagannatha Ravu, ed., Ksetrayya padamulu . Hyderabad: Andhra Pradesh Sangita Nataka Akadami, 1978.

Gidugu Venkata Sitapati, ed., Ksetraya padamulu . Madras: Kubera Printers Ltd., 1952. (Cited as GVS.)

Srinivasacakravarti, ed., Ksetrayya padalu . Vijayavada: Jayanti Pablikesansu, 1966.

Veturi Prabhakara Sastri, ed., Catupadyamanimanjari . Hyderabad: Veturi Prabhakara Sastri Memorial Trust, 1988 [1913].

Nedunuri Gangadharam, ed., Sarangapani padamulu . Rajahmundry: Saraswati Power Press, 1963.