UGC - MAJOR RESEARCH PROJECT

FINAL REPORT

THEATRICAL WORKS OF SHAHAJI

Submitted by

Prof. A. ANURADHA
HOD, Dept. of Music & Dance

DEPARTMENT OF MUSIC & DANCE

COLLEGE OF ARTS & COMMERCE
ANDHRA UNIVERSITY
VISAKHAPATNAM
JANUARY 2021
This Project is Dedicated to the
Maratha Rulers who have done
Tremendous Service to the South
Indian Culture and Arts,
Particularly to Telugu Language.
 INDEX

Pg. No.

PREFACE

ACKNOWLEDGEMENT

INTRODUCTION 1–2

CHAPTER 1: NATYA SASTRA AND DASA ROOPAKA-S 3–9

CHAPTER 2: VISUAL ART FORMS OF INDIA - MARGA AND

DESI DIVISION 10–15

CHAPTER 3: FOLK DANCE DRAMAS OF SOUTH INDIA 16–38

CHAPTER 4: YAKASHAGANA-S OF SOUTH INDIA 39–49

CHAPTER 5: NAYAKA AND MARATHA RULERS OF 50–52

THANJAVUR

CHAPTER 6: KING SHAHAJI AND HIS CONTRIBUTION TO 53–61

MUSIC

CHAPTER 7: THEATRICAL WORKS (YAKSHAGANA-S)

OF KING SHAHAJI 62–176

CHAPTER 8: YAKSHAGANA PRESENTATION IN AUDIO &

VIDEO FORMATS 177–182

CHAPTER 9: PROJECT REPORT 183–192

CONCLUSION 193–195

BIBLIOGRAPHY 196–198

APPENDIX 199–202
 LIST OF PLATES

List of Plates Page No

Plate 1 Rasleela in Kuchipudi Dance style 13

Plate 2 Rasleela in Odissy Dance style 13

Plate 3 Rasleela in Manipuri Dance style 14

Plate 4 Rasleela in Kathak Dance style 14

Plate 5 Rasleela in Bharatanatyam Dance style 14

Plate 6 Shadow Puppetry 17

Plate 7 Chekka Bommalaata 18

Plate 8 Kuravanji Therukoothu play 20

Plate 9 Theru koothu Dance Drama 21

Plate 10 Kuravanji nadanam 22

Plate 11 ‘Kurutti’ character in a Classical Kuravanji Natakam 22

Plate 12 Traditional Ganesha paatra pravesam in Melattur Bhagavata 23

Mela Naatakam

Plate 13 Prahladha Charithram – Melattur Bhagavatha Mela Natakam 25

Plate 14 Veedhi Naatakam-1 26

Plate 15 Veedhi Naatakam-2 26

Plate 16 Pagati veshaalu 27

Plate 17 ‘Erukulasaani’ role in Kalyana Sreenivasam – Kuchipudi Dance 28

drama

Plate 18 Bhama Kalaapam – Thurpu Bhagavatham-1 32

Plate 19 Bhama Kalaapam – Thurpu Bhagavatham-2 33

Plate 20 Dr. Vedantam Radheshyam as Satyabhama in Bhaama 36
Kalaapam Kuchipudi Dance drama

Plate 21 Golla Kalaapam in Kuchipudi Dance style 37

Plate 22 Kannada Yakshagana - Shri Devi Mahatme 40

Plate 23 Kannada Yakshagana – Kurukshetra 41

Plate 24 Telugu Chindu Yakshagana Keechaka vadha 44

Plate 25 Desi Yakshagaanam – Jaambava Puraana 45

Plate 26 Gorava Dance of Madasi kuruvas 46

Plate 27 King Shahaji II 54

 PREFACE

In the World theatre, India occupies a significant position. It is also one of the
most ancient theatres. It has its own unique features such as Music, Dance, Costumes
and expressions. The performing arts are an integral part of every country or society.
These are generally classified into 3 categories. They are Geya, Vachaka and Drisya
types. Theatre is a combination of these 3 elements. Yakshagana is a kind of
Theatrical Art form popular in South India. This is a beautiful art form which can be
performed in both Classical and Folk ways.

The Researcher is a great admirer of Sanskrit and Telugu languages besides

Music and Dance. Being a performing artist in Music, the researcher has a special
interest for the art form Yakshagana. This art form is a combination of Music, Dance
and Literature. The researcher has a great regard for the Maratha rulers, particularly
for King Shahaji who has contributed immensely to Telugu literature and to the South
Indian Culture. During her Post graduation, the ‘Sankara Pallaki Seva Prabandham’
of King Shahaji was a part of their study curriculum. The language, the sensitive
expressions and the prosodical beauties inspired her to take up this Project work. For
this reason, she has taken up this work with utmost interest and did her research very
keenly on each and every aspect of this Art form.

During this process of her research work, the researcher had to face some
challenges. She has chosen Dr. Uma Rama rao, Hyderabad, to do choreography for
Yakshaganam. Unfortunately, she passed away in the middle of the project work. The
researcher had to take the pain of searching another eminent choreographer. Later, the
sudden illness of the researcher delayed the project work to some extent. The
recording of the Audio Yakshagana was delayed due to the availability of some of the
main singers and the availability of the Audio recording studio.

As a part of collecting the material, some libraries have not given permission
to issue the books outside their library mainly TMSSM library of Thanjavur and
Telugu University (branch) library in Bommur, Rajahmundry. As a result, the
researcher had to visit the libraries frequently to make note of some important data.
All these impediments resulted in a delay in submitting the Project work.
While working for this Project, the researcher felt the necessity of protecting these
valuable art forms and preserving them for posterity. Otherwise this precious wealth
may not be available for the future generations. The researcher expresses her gratitude
to the University Grants Commission for granting the opportunity to study and do
research on the Theatrical works of King Shahaji.

***
 ACKNOWLEDGEMENT

I express my sincere thanks to the University Grants Commission (UGC) for

sanctioning this Major Research Project.

I am sincerely thankful to the Authorities of Andhra University for their

encouragement and support in taking up this project. I am very grateful to the
members of Local Committee and the Final Committee for encouraging me with their
proposals.

I express my deep gratitude to the Subject Experts in Dance,

(Late) Dr. Umarama Rao, Sri. Bhagavatula Sethuram, Smt. Balakondala Rao,
Sri. Radhe Shyam and the Subject Experts in Music including Smt. Manda
Sudharani for extending their support in completing this Project work. I am thankful
to Prof. B. Parvathi, (Retd.) Dept. of English, Andhra University for her cooperation.

I am thankful to the Folk artists who are directly or indirectly associated with
this Project. I express my profound gratitude to my parents, my uncle
Sri. S. Ramanarasimham (Sarasi) and my brother A.V. Ramam for their
continuous encouragement and support. My heartfelt thanks to my son S. Pardhiva
and my daughter-in-law Vimala Saranya who stood by me at all times.

I sincerely thank all the artists who participated in the recording of Audio and
Video Yakshagana-s. Finally I thank all the non-teaching staff of the Dept. of Music
& Dance, Andhra University for their help and support in completing my Project
successfully.

***
 INTRODUCTION

India is known as Veda bhoomi and Karma bhoomi. The four Vedas stand as
supporting pillars for the culture of Aarsha Dharma. The epics such as Ramayana,
Bharatha and Bhagavatha are regarded as the most sacred scriptures in this land.
Though there are different people belonging to different regions, cultures, traditions,
languages, castes, religions and arts, there exists a unity among them. This is known
as Unity in Diversity. The same can be seen in Fine Arts as well. The definition of the
word ‗KaLa‘ (Art) in Sanskrit as mentioned in a Sanskrit dictionary is: ―Kam
Paramaatmaanam laathi gruhanaatheethi KaLa‖.

This means, an Art is one which pleases God. These Arts wish for the welfare of the
world. There are 64 traditional arts in India. Among them Music, Dance, Poetry,
Sculpture and Painting are known as Fine Arts. Of these, Sculpture and Painting are
known as Visual Arts, Music is an Art based on Audio. Dance and Naatakam is an
Art based on both Drusya (Visual) and Sravya (Audio).

―Kaavyeshu naatakam Ramyam‖ (Kalidasa)

Naatakam is a beautiful Art among the 64 Arts which is close to Bharatha‘s

Natya Sastra. Drama, Music and Dance comes under Performing Arts. The scholars
say, the expertise gained through study is known as Education (Vidya)‘. ‗Expertise
gained through continuous practice is known as KaLa (Art)‘. Arts are an integral part
of their lifestyle. The word ‗Folk‘ is added as a prefix to their Arts and Literature. Eg:
Folk Arts, Folk Music, Folk Dance and Folk Literature etc. Folk artforms (Janapada
KaLa Rupa-s) are classified into 3 types i.e., Music, Dance and Drama.

The famous Greek philosopher Aristotle stated that ‗Man is by nature a Social
animal‘. From the Early man period, he shared his joy and sorrows with his
companions. He used to express his emotions and feelings in the way of shouting,
making noise, dancing and performing actions. Later, they gradually took the form of
Music, Dance and Language. In this process of evolution, these are further
transformed into Classical Music, Classical Dance and Literature. The Folk Arts
possess natural beauty. These arts are not bound by any rules and are performed in a
free flow. This is the reason why these Art forms are greatly admired even today in

1
every society. In this way, these folk arts resemble the culture, tradition and lifestyle
of the Folk people and became a part of the cultural heritage of every country.

‗Kavyeshu natakam ramyam‘ is stated by the great scholar and Sanskrit

dramatist Kalidasa (5 century A.D), it means Nataka (the Dama) is the most beautiful
form among all the Kavyas. Drama is a feast to both the ears and eyes. Though there
existed Dramatists from the ancient times, the Dramatists who have written Music
based Dance Dramas began from the time of Jayadeva (12 century A.D). The Dance
drama Sri Krishna leela Tarangini written by Saint Narayana Teertha belongs to the
same category.

The 14th century is a very crutial period for the Dance based Dramas
particularly for Yakshaganas. The Folk and Classical based Yakshagana-s came into
existence from this period. From that period, a flood of Yakshaganas were written in
Telugu and Kannada languages. Similarly, the Kuravanji Natakas (both folk and
classical based) were written in Tamil language. Many scholars in the fields of
Music, Dance and Literature have shown their expertise in these Yakshaganas.

The specialty of this period is that, the scholars have not written Yakshaganas
merely in their native language. They have learnt a new language, acquired
proficiency in it and have then written beautiful Yakshaganas in that language. In this
manner, a yeomen service is rendered by the Maratha rulers. They are the Maratha
rulers who ruled the Tanjavur region. They encouraged South Indian fine arts, its
culture and tradition with a great respect. They learnt Telugu language and have
written hundreds of Yakshaganas in this language. Among them, one such ruler is
King Shahaji II. He thus became an inspiration to many composers of that period and
also to those in latter times. Experts opine that, Shahaji‘s works are a great
inspiration to the Geya Natakas written by Saint Tyagaraja. The Researcher too has
observed the influence of Shahaji on the Geya Natakas of Saint Tyagaraja.

***

2
 CHAPTER 1

NATYA SASTRA AND DASA ROOPAKA-S

The first and foremost Sanskrit treatise on Theatre is Bharata‘s Natya Sastra. It
has classified and described elaborately about the Indian Classical Music, Dance and
Theatre arts. The term ‗Natya‘ defined in it refers to modern drama (theatre). This is
an authoritative treatise which expounds each and every element of performing a
drama.

1.1 Natya Sastra:

Sl: Pranamya Sirasaa Devou Pithaamaha Maheswarou

Natya Sastram Pravakshyaami Brahmaana Yadudaahrutham (N S I-1)

This is the salutation of Bharatha before the commencement of the Natya Sastra. It
means, I bow to the creator Brahma and the Lord of Dance, Maheshwara. I am
retelling the Natya Sastra told by Lord Brahma.

Dance is an ancient art in India. It gives Chathurvidha Phala Purushaardhaas

(i.e., Dharma, Ardha, Kaama Moksha) which are the 4 essential principles of human
existence as mentioned in the scriptures. Bharatha‘s Natya Sastra is a work which
deals with Dramaturgy/Theatre/Drama. Lord Brahma took four elements from 4
Veda-s and created the Natya Vedam. This is stated by the following verse.

Sl: Jagraaha Paatyam Rugvedhaat Saamabhyo Geethamevacha

Yajurvedaath Abhinayaan Rasaan Adharvanaadapi (N S I-17)

It means the 4 elements i.e., Paatyam (Literature), Geetham (Music), Abhinayam

(expression) and Rasa (Aesthetics/Mood) are extracted from Rig, Saama, Yajur and
Atharvana Veda-s respectively. Bharatha says that this Natya Sastra is a summation
of all kinds of subjects such as Silpam, Vidya, Kala, Yogam, Karma etc.

In another occasion, Bharatha said that Natya Sastra is a Upa Veda, as it is created by
God which is related to the Veda-s and UpaVeda-s. This is mentioned in the below
Sloka.

3
 Sl: Vedopavedaihi Sambaddho Natya vedo Mahaatmanaa
Evam Bhagavatha Srusto Brahmanaa Sarva Vedina (N S I-18)

Natya Sastram is considered as the Panchama Vedam. As the traditional Four

Veda-s are not allowed to be chanted by the Sudras, this Panchama Veda is created
for the benefit of all the castes, ―—Sruja param Vedam Panchamam Saarva
Varnikam‖

―Sarva Saastrardha Sampannam Sarva Silpa Pradarsakam

Natyaakhyam Panchamam Vedam Setihasam Karomyaham‖ (N S I-15)
―Evam Sankalpya Bhagavaan Sarva Devaananusmaran
Natya Vedam Tataschekre Sarva Vedaanga Sambhavam‖ (N S I-16)

Bharatha said that ―I shall promulgate a Fifth Veda called Natya Veda which
exemplifies righteousness, brings Prosperity, causes fame, contains instruction and
comprehends all activities forming a guide to the future generations as well. It would
be replete with the essence of all Scientific ideas and demonstrating of all Arts and
Crafts besides embracing episodes. Having resolved thus the God gave shape to a fifth
Veda called Natya Vedam out of the auxiliaries of the four Veda-s.‖1

Sl: ―Kvachit dharmaha kvachit kreedaa kvachidarthaha kvachid kshamaha‖

II (N.S I – 108)
―Kvachid haasyam kvachityuddham, kvachit kaamaha kvachit vadhaha I
Dharmo dharma pravruttaanaam kaamaha kamopa sevinaam II (NS I-109)
Nigraho Durvineethaanaam Vineethaanaam Damakriya I
Kleebaanaam Dharstya karanam utsaahaha sura maaninaam II (NS I-110)
---- Loka uthhanukaranam Natyamethath Mayaakrutham‖

The summary of the slokas is, the Natya Sastra contains several aspects in it
such as Dharma (virtue), Kreeda (amusement), artha (prosperity) and feelings such as
peace, fun, fight, lust, killing (vadha) etc. Different feelings such as utsaaha, kreeda,
vismaya, kshama (S‘ama), nirveda, haasya, yuddha etc. feelings are explained in it.
―He explains his view incorporating many ingredients like the absence of

1
Natya Sastra (Vol 2) (p-379)

4
individuality of the person who puts on the role, defacement of his personality with
the four kinds of representation, ability to the audience to perceive things by their
natural inclination, the capability of the audience to identify with the character
represented, capacity to enjoy all sentiments to the level of extreme bliss‖2

Natya Sastram is meant for:

“Uttamaadhama madhyaanaam naraanaam karma samsayam‖ (N S I-113)

Hithopadesa Janmam Naatyamethath Bhavishyathi‖ ---
“Dukkhaarthaanaam Sramaarthaanaam Sokaarthaanaam Tapasvinaam
Visraama Jananam kaale Naatyamethath Bhavishyathi‖
----------------------------------------------
―Lokopadesa jananam Natyamethath Bhavishyathi‖

This Natya Sastra mentioned about the 3 categories of people viz., Uttama,
Madhyama, Adhama and the benefits obtained by them respectively. The Natyam
(theatre) gives pleasure to those who are in sorrow, to the hard workers, to the
sufferers and to those doing penance. ―The art of drama will promote virtue, bring
fame and longevity, provide benefit, increase the intelligence and contain proper
advice to the world.‖

―Nathath gnanam nathath silpam nasaa vidya nasaa kala (N S I-117)

Naasou yogo na thath karma naatye asmin enna drusyathe
Sarva Sastraani silpaani, karmaani vividhaanicha—
Saptha dweepaanukaranam natyamethath bhavishyathi‖

―There is no knowledge, no fine art, no lore, no practical art, no

combination of learning and no endeavor which is not seen represented in this art of
drama. Sciences of all sorts, contrivances of different kinds and activities of vivid
nature are all blended here in this drama conceived by me. Hence you should not
hold any grievance against the gods since the drama emulates the actions of all the
seven continents.‖3

2
Ibid (p-397)
3
Natya Sastra (vol 2) (p-398)

5
 ―Devanaam asuraanaancha raagnaamatha kutumbinaam (N S I-120)
Brahmarshinaamcha vigneyam naatyam vruthaantha darsakam
Yoyam swabhaavo lokasya sukha duhkha samanvithaha (N S I-121)
So angaadyabhinayo petho naatyamityavidhiyathe
Sruthi smruthi sadaachaara pariseshaardha kalpanam (N S I-122)
Vinoda jananam loke natyamethan mayaakritham‖ -- (N S I-123)

―The Natya depicting the stories and incidents relating to devas, asuras, kings, noble
men and brahmin sages is very much educative. The nature of the world having
pleasure as well as pain is represented through actions and gesticulation and is
therefore called Natya. It takes into account the noble ideas found omitted from the
scope of Veda-s, Dharma Sastras and other similar authorities and represents the
same so as to serve a pastime for the world‖

In this way, Bharatha‘s Natya Sastra is a conglomeration of several Veda-s, Dharma

Sastras and Vignana bhaandaaram (a treasure of knowledge). This is the basis of all
the Indian Classical Dances. Also, thousands of Art forms have taken their origin
from Natya Sastra. He elaborated on the Dasa roopaka-s (the ten kinds of plays) and
their characteristics in his book. The various dance forms such as Bharathanatyam,
Kuchipudi, Kathakali, Odissi, Manipuri etc. are formed on the basis of Natya Sastra.
Kathak is the dance form which was influenced by Mohammedans during the Mughal
period.

1.2 Dasa roopakas in Natya Sastra: The 20th chapter of Natya Sastra is
Dasaroopaka vidhaanam. Bharatha explained ten types of Dramas in this chapter.

Natakam: The characteristics of Naatakam as explained by Bharatha is:

Sl: Prakhyaata vastu vishayam prakhyaataa nuddaata naayakam I
Raajarshi vamsya charitam tathaiva divyaa divyaasrayopetam II

It means, the story of the play should be a famous (prakhyaata) one. The hero should
be a known character and a Dheerodaatta Naayaka. He should belong to the clan of
Rajarshi.

6
Dasaroopaka Lakshanaas (Characteristics of Drama):

1. Naatakam:

i. Ithivruttham - Prakhyaatham

ii. Naayaka – Dheerodaattha

iii. Angeerasam – Veera

iv. Ankavibhajana – 5 to 20 Ankaas

2. Prakarana:

i. Ithivruttham - Kalpitham

ii. Naayaka – Dheerasantha

iii. Angeerasam – Srungaaram

iv. Ankavibhajana – 5 to 20 Ankaas

3. BhaaNamu:

i. Ithivruttham - Kalpitham

ii. Naayaka – Dhoortha

iii. Angeerasam – Srungaaram and Veera

iv. Ankavibhajana – 1

4. Prahasanam:

i. Ithivruttham - Kalpitham

ii. Naayaka – Dhoortha

iii. Angeerasam – Haasyarasam

iv. Ankavibhajana – 1

5. Dimamu:

i. Ithivruttham - Prakhyaatham

ii. Naayaka – Dheerodhathudu

iii. Angeerasam – Roudram and Angarasaas – Veera, Srungaara

iv. Ankavibhajana – 4

7
6. Vyaayogam:

i. Ithivruttham - Prakhyaatham

ii. Naayaka – Dheerodatthudu

iii. Angeerasam – Veera

iv. Ankavibhajana – 1

7. Samavaakaaram:

i. Ithivruttham - Misramam

ii. Naayaka – More than one

iii. Angeerasam – Veera

iv. Ankavibhajana – 3

8. Veedhi:

i. Ithivruttham - Kalpitham

ii. Naayaka – Dheerodatthudu

iii. Angeerasam – Navarasaas

iv. Ankavibhajana – 1

9. Ankam:

i. Ithivruttham - Prakhyaatham

ii. Naayaka – Dheerodatthudu

iii. Angeerasam – Karuna

iv. Ankavibhajana – 1

10. Eehaamrugam:

i. Ithivruttham - Prakhyaatham

ii. Naayaka – Dheerodatthudu

iii. Angeerasam – Srungaaram

iv. Ankavibhajana – 1-4 Ankaas

8
 In addition, there are some Upa Roopakas explained by Bharatha. Thus, all the
Indian Classical Dances and Theatres are framed on the basis of Bharatha‘s Natya
Sastra. Bharatha taught Natya Sastra to his 100 sons and they spread the glory of this
Scripture to all parts of India. In this way Bharatha‘s sons propagated this Art among
the people of various regions and various languages.

***

9
 CHAPTER 2

VISUAL ART FORMS OF INDIA - MARGA AND DESI DIVISION

Mathanga in his treatise Brihaddesi, introduced two terms ‗Marga‘ and

‗Desi‘ while explaining about the Prabandhas. He defined Desi as:

Sl: ‗Dese dese janaanaan - Yaddruchiyaa Hrudaya Ranjakam I

Geetham cha Vaadam Nruttam Tatddesee tyabhidheeyathe' II

It says ‗Desi means the people belonging to various regions develop their own style
of Music and Dance according to their taste. They perform this Art with Geetha
Vaadya Nrutta (i.e., with Song, Instrument and Dance)‘.

According to Matanga, the Classical form is Marga which pleases the God,
and the local or folk type of form is known as Desi. The word Desi is applicable to
Music, Dance and Theatrical Art forms as well. For example, Desi Music, Desi Dance
etc. They gained popularity as Desi Arts (Desi KaLas) and the Art forms are known as
Desi Art Forms (Desi KaLa rupas). In simple terms Desi means Local. In this study,
hundreds of Art forms come under the category of ‗Desi‘. Among them, Yakshagana
is one such Theatrical Art form which comes under the heading of ‗Desi Art Forms‘.
The main components of a Yakshagana are Music, Literature and Dance.

The same Marga and Desi terms are applied to Music by Saranga Deva in his
treatise Sangeetha Ratnakara. He defined Margi Music as the one which is practiced
by Saints and which leads to Moksha (liberation). This type of Music does not exist
on earth. The definition of Marga type of Music as given by Prof. P. Sambamurthy is
―Desi belonging or pertaining to Desa or country. Every province of India was called
a Desa in ancient times. Desi Sangita was the music that was in vogue in different
provinces. It developed spontaneously. It was nurtured by the intelligent and thinking
folk of the land without any dictation from a superior source or authority. It was the
art music of the land that was different from the folk music which was current
amongst the lower strata of society. The distinctive features of Desi Sangita were its
Hrudaya ranjakam and Janaranjanam – pleasing to the heart and pleasing to the
populace. The opposite of Desi Sangita was Marga Sangita which was developed on
the basis of Laws promulgated by Sangita Lakshanakara-s. It had rigid and inflexible

10
rules and was more logical than emotional in its appeal whereas Marga Sangita was in
conformity to strict Lakshana, Desi Sangita was in conformity to both Lakshana and
Lakshya. Marga Sangita evolved first and then came the Desi Sangita. Marga Sangita
was principally vocal music but Desi Sangita comprised vocal music, instrumental
music and Dance. (Gita, Vadya and Nritya) – The distinction of Marga and Desi is
seen in literature as well.‖4

In modern times, the terms Marga and Desi are applied to both Music and
Dance. ‗Marga‘ denotes ‗Classical‘ and ‗Desi‘ denotes ‗Folk based or Local type‘ as
mentioned earlier. The same can be applied to art forms as well. In this manner,
Yakshagana-s namely Soubhara charitham, Sugreeva Vijayam, Usha Parinayam etc.
come under the category of classical art forms while Kuravanji, Kathakali,
Therakuttu, Pagati veshalu, Chindu bhagavathalu, Turpu Bhagavathalu etc. belong to
Desi type Yakshagana-s.

2.1 Maarga and Desi Theatres (Dance Dramas):

The treatises that are written based on Bharata‘s Natya Sastra viz., Nandikeswara‘s
Abhinaya Darpanam and Hasta Lakshana Deepika, Kohala‘s Bharatamu, Dattila‘s
Dattilamu, Sarangadeva‘s Sangeetha Ratnakaramu etc. are known as Classical
treatises. The Dance that explains these treatises is known as Classical Dance.

‗Jakkulu‘ is a folk replacement (vikruthi sabdam) of the word ‗Yakshulu‘

(prakruthi sabdam). In the epics, Kubera is considered as the King of Yaksha-s. As he
is a devotee of Lord Siva, all these Yaksha-s are also devoted to Lord Siva even till
today. From the history it is understood that these Jakkus are found mostly in and
around the areas of SriSailam, the famous pilgrim of Lord Siva. During the 10th &
11th centuries, in the region of Karnaata -andhra, (i.e., Southern part of Coastal
Andhra and Karnataka) the Veera saiva cult is very popular. Jakkus, Kuruvaas,
Goravaas, Gondu, Koya, Chenchu, Savara etc. are known as the Sanchaara jaatis
who lived in the forests of Andhra, Karnataka, Tamil Nadu etc. Their dances are
named after their regions i.e., Chindu, Ganthu, Gondli, Anje, Anga etc. As these
dances are presented by the Kuruva sect of tribes, it is known as Kuravanji Dance. In
order to visit the pilgrims related to Siva, these Jakkus used to move from one place to

4
A Dictionary of South India Music and Musicians (Vol-1 p-105)

11
another. They are referred to as Sanchaara Jaathulu (the migrants). The word ‗Yaksha
gaana‘ is originated from Jakkula paata. The dance played by Kuruvaas is known as
Kuravanji (‗Anji‘ means play or dance). In this way, Kuravanji has a significant
position in the Dravidian visual art forms and is regarded as the foremost Theatrical
Form in South India.

2.2 Theatrical Art Forms of North India:

Tamasha: Tamasha is one of the important folk Theatre of Maharashtra. This Dance
is performed by two of the communities of Maharashtra. ―The word Tamasha is
Persian and means fun or entertainment. This form is blend of several different
influences. Some scholars believe that this form of theatre has been inspired by 2
forms of Sanskrit Drama – The Prahasana and the Bhana.‖5

The songs in this Dance drama are known as Lavanis. The instruments used for this
program are Tuntuni, Harmonium, Dholki (percussion), Hulgi (Daph like instrument),
Kade, Lejim and Ghungroos. They are:

a. Kuchipudi - Andhra & Telangana

b. Bharat Natyam – Tamil Nadu

c. Kathak - Many places of North India

d. Kathakali – Kerala

e. Mohiniyattam - Kerala

f. Odissy - Odisha

g. Sattriya - Assam

h. Manipuri – Manipur & Assam

In this manner, 8 types of Classical Dances evolved from Bharatha‘s Natya Sastra.
These Dances are recognized by India as ‗The Eight Classical Dances of India‘. From
these, several types of regional Art forms based on Dance took birth.

5
http://www.indianfolkdances.com/tamasha-folk-dances-of-maharashtara.html

12
Raasleela: This is also known as Krishna Tandava. It is a Dance performed by Lord
Krishna along with Radha and her Sakhi-s (Gopi-s). Ras means ‗Aesthetics‘. Leela
means ‗Divine Play or Dance or Act‘. This is known as a ―Dance of Divine Love‖. This
Dance drama is usually played Jayadeva‘s ‗Geetha Govindam‘ and the stories extracted
from Bhagavatham. This Raasleela is very popular in North India. This theme is
performed in all types of Classical Dance forms such as Kathak, Manipuri, Odissy etc.
in their own style. In South India, the same theme is performed in the South Indian
Dance forms such as Kuchipudi and Bharata Natyam. For example, Sri Krishna
Parijatham, Sri Krishna Leela-s, Rukmini Kalyanam, Parijaathaapa haranam etc.

Rasleela in Kuchipudi Dance style6

Rasleela in Odissy Dance style7

6
https://www.youtube.com/watch?v=XYVy6SSrWnQ
7
https://www.youtube.com/watch?v=_ybaIZua0A8

13
 8
Rasleela in Manipuri Dance style Rasleela in Kathak Dance style9

Rasleela in Bharatanatyam Dance style10

Jatra – Jatra is originated from the word ‗Yatra‘, which means Journey in Sanskrit
language. This is a popular folk-Dance drama of Bengali theatre. ―The origin of Jatra
intrinsically a Musical theatre form is traditionally credited to the raise of Sri
Chaitanya‘s Bhakti Movement wherein Chaitanya himself played the role of Rukmini
in the performance of Rukmini Haran (―The abduction of the charming Rukmini‖)
from Lord Krishna‘s life story, a first definite presentation of the Theatrical
spectacle.‖11
Jatra is a popular folk theatre in West Bengal, Bihar, Assam, Tripura and
Bengali speaking areas. In addition to this, some other plays such as Nautanki of Uttar
Pradesh, Tamasha of Maharashtra and Bhavai of Gujarat are the other Art forms of
folklore. In this way, popular Folk theatrical Art forms such as Ramleela, Raasleela,
Jatra etc. in North India and the Classical Dance dramas such as Yakshagaana-s,

8
https://www.indianetzone.com/40/vaishnavite_dance_forms.htm
9
https://www.youtube.com/watch?v=fDh7Z_bpFhw
10
https://www.youtube.com/watch?v=n9kLQJkaULg
11
https://en.wikipedia.org/wiki/Jatra_(theatre)#:~:text=The%20origin%20of%
20jatra%20intrinsically,first % 20definite%20presentation%20of%20this

14
Bhamakalaapa-s, Bhagavatha Mela Natakas, Kuravanji Natakas etc. and Desi type
Theatrical forms such as Veedhi Bhagavatha-s, Chindu-s, Pagati Veshagallu,
Bayalaata-s of South India are formed based on the Natya Sastra. (Initially
Yakshagana-s and Kuravanji type Dance Dramas are considered as Folk Theatrical
Art forms, later they gained the status of Classical Art forms).

***

15
 CHAPTER 3

FOLK DANCE DRAMAS OF SOUTH INDIA

3.1: Folk Dance Dramas:

A Folk drama is a combination of many aspects and arts viz., Dance, Music,
conversations, story etc. These dramas can be classified into 2 types. One is the drama
performed using Puppets and Shadow Puppets. Second type include the actors
themselves playing on the stage.

Art forms such as Puppets and Shadow Puppets are existed even before the period
of Kavitrayam (the three poets who translated the epic Mahaabharatha from Sanskrit
to Telugu language) i.e., during 12th century period. There are some references which
prove the existence of these Dance dramas from the period of Palkuriki Somanatha
(12th century) to the period of Raghunaadha Nayaka (16th century). From some
references, it is known that the art form Tolu Bommalata (Shadow Puppetry) took
shape in Andhra and expanded till Maratha region.

There are references to these plays in the epic Mahabharatha. A commentator on

Mahabharatha (Sanskrit), Pt. Neelakanta Sastry mentioned about these plays in a
passage:

―Roopopa Jaalamandapikethi Daakshinaathyeshu Prasiddham,

Yantra Sooksham vastram vyavadhaaya charmamayai
Raakaaraihi raajaamaalyaa deenaa, Charyaam pradarsathe‖

In those days, Shadow puppetry is known as ‗Jaala mandapikam‘. This is

another name for the Shadow play. In the book Palnaati Veeracharitra, a reference to
Bommalaata (Puppet show) is mentioned.

―Prathimala Naadagabattina yatlu ---‖

A reference to Shadow Puppetry is also made in the scripture Uttara Harivamsa

Charitra.

―Yantrakudaadinchi Yavani Drochen Vraalu Bommala gathi radha pooranamulu‖ ….

16
From these references it is understood that these puppet shows are popular in Andhra
even during the 12th century period.

3.1.1: Shadow Play / Shadow Puppetry and Wooden Puppetry: This is an Art
form which is popular in India as well as in other parts of the World. There is a long
history for these Shadow plays in India. Tolu Bommalaata (the play performed using
the puppets made up of skins of the animals like buffalo, goat etc.) Koyya
Bommalaata (play performed using wooden puppets), Keelu Bommalaata (play
performed using puppets which are controlled by keys) are some of the popular names
for this Play in Andhra region.

Shadow Puppetry12

The play goes in this way: behind a transparent curtain, pictures made of
animal skin are placed and moved. These pictures are controlled by the humans
behind the curtain and are played according to the story. It is estimated that, these art
forms existed in India even before Christ.

This art form is a combination of several other arts viz., Painting, Dance,
Literature, Vocal and Instrumental Music. In this play, one or two persons behind the
screen moves the pictures with the help of sticks, sing the verses, songs, Daruvu-s and

12
https://www.youtube.com/watch?v=2i9dH7NmpEk

17
the conversations. In these Shadow plays, most of them are based on the epic
Ramayana. For example, Mairavana Charitra, Lankaa Dahanam. In South India,
particularly in Andhra and Telangana regions, Poetry is given much importance in
these shadow plays.

Chekka Bommalaata13

In these dramas, Mukhari, Madhyamavathi, Aarabhi and Anandabhairav are the

frequently used Raagas. Most of the play contains poetic verses and the most
frequently used Taalas are Adi, Mishra chaapu.

Paalkuriki Somanatha, a great Telugu poet of 12th century has beautifully

described this art form in his book Pandithaaraadhya Charitra as,

―Cheera marugula Bharathaadi Kadhala Naadinchatam‖

Generally, the shadow plays are performed with a simple stage arrangement in
open areas such as playgrounds, open auditoriums, temple premises. The play is
described in this way - A white saree is projected as a screen supported by 2 bamboo
sticks. The male and female performers of the show stand behind the pictures and
give voice-over to the characters in the play. The shows are performed for long
durations. Usually they begin at around 9:00 PM and continue till the early hours of
the next morning. Sometimes these shows are arranged as a week-long series.

13
https://www.youtube.com/watch?v=4t2nD9Jp5Vw&t=5s

18
 The show begins with a prayer on Lord Ganesha, Goddess Saraswathi and
other deities, and then proceed with the main story. Bangaarakka, Kethigaadu, Juttu
poligaadu are some of the comic roles in the play. The pictures in Shadow plays are
made up of the skins of animals such as Deer, Goat, Sheep and Donkey. These skins
are processed and painted with natural colors according to the characters. As the
animal skins are very rough and thick, it is a difficult task to process them. It is a
highly skilled and challenging task to shape them into pictures and paint them with
bright colors. A lot of effort is needed for it. The colors are chosen in such a way that,
they appear clearly even during the night times. Deer skin is used for making the
pictures of main roles (For eg: Sri Rama, Krishna, Hanuma etc.) as they appear
brighter than the skin of any other animal. The skin of other animals is used for the
side characters of the play. The Shadow puppetry is popularly known as ‗Togalu
gambeyaata‘ in Karnataka, ‗Thol paavi koothu‘ in Tamil Nadu and ‗Tholu
Bommalaata‘ in Andhra and Telangana states. In North India it is called as ‗Chaaya
natak‘. People believe that their village becomes free of droughts, evils or any other
troubles if this play is performed in their village.

3.2 Folk Theatre of Tamil Nadu:

In Silpaadhikaaram, one of the most ancient scriptures of Tamil Nadu of 1st century
AD, the Dance based art form Kuravai koottu has been referred several times. In
Tamil dictionary, the definition of the word Kuravai is given as ―Dance in a circle
prevalent among the women of Sylvan or hill tracks. Chorus of shrill sound made by
women by wagging the tongue uttered on festive occasions.‖ In a Tamil scripture
VeNbamalai it is mentioned that Kuravanji is one among the 96 Tamil Prabandha-s.
In the Tamil scriptures viz., Panni paattiyal, LakkaNa chindanai, another art form
performed by Kuruva lady known as Kuratthi paattu is mentioned.

3.2.1 Kuravanji Nataka-s of South India:

This is a very popular art form in Tamil Nadu. Kuravanji Nataka-s (‗Kuruva‘ denotes
‗a Tribal woman‘ and ‗Anji‘ means ‗Dance or play‘. Thus, Kuravanji means ‗a play of
a tribal woman‘) In these dramas, there is a female character by the name Kurava.
This role is of spiritual importance. It is believed that the actress playing Kuravanji
role is possessed by Goddess Herself. She answers the questions posted by the main
characters viz., Hero, Heroine in the play, and foretells the future. Such women in the

19
drama are called as Koramatiyaru, Koramaru, Koracharu in Kannada and ‗Erukala
saani‘ in Telugu. This foretelling of story is known as Sodi/Gadde/Gaddi in Telugu.
In this way, Kuravanji has a significant position in the Dravidian visual art forms and
is regarded as the foremost Theatrical Form in South India.

Kuruva, Korava, Gorava, Goraga are similar terms that are used to denote a
class of tribes in Andhra, Karnataka and Tamil Nadu. The male performers of this
tribe are known as Goravayyas. There are various folk based Art forms with different
names based on different regions. These art forms come under the category of Folk-
Dance Drama.

The Kuravanji Nataka-s are the foremost Folk dramas in the evolution of
Yakshagana-s. Later, these dramas are branched into several types of folk dramas
such as Veedhi Bhagothas, Bayalatas, Yakshagana-s etc Later, in the 16 & 17
centuries, these Kuravanji Natakas were written in large numbers, in Telugu and
Tamil languages. They are considered as Classical Dance dramas. For example,
Azhagarh Kuravanji, Kutral Kuravanji.

Tamil Kuravanji-s:

Kuravanji Therukoothu play14

The meaning of Kuravi in Tamil lexicon is ―a poem in which a Kuruva woman

is represented as describing to a maiden, her future in a love affair‖. (Kuri in Tamil
means a female astrologer of folklore). From then onwards, Kuri became an important

14
https://www.youtube.com/watch?v=wDfMt3xmbac

20
character in every Kuravanji Naataka. Similar names for Kuravanji in Malayalam,
Kannada are Koratthi yaattam and Goravanji respectively. These names exist in these
languages since Seventeenth century. Simultaneously hundreds of Classical Dance
based Kuravanji Nataka-s are also written extensively in Tamil language. Kuravanji
Dramas are the best entertainment to the people belonging to rural areas. They are
performed even today in the streets of the villages of Tamil Nadu region. For
example, Azhagarh Kuravanji, Kutraal Kuravanji etc.

Teru koottu:

Terukuttu-s are folk based theatre art forms which are very popular in Tamil Nadu. In
the history of Tamil Nadu, the Sangam period is considered as very ancient one and
existed since 300 BC. In this period, Kuttu is defined as a combination of Iyal
(literature), Isai (music) and Natagam (drama). From the Sangam period it is known
that Nataraja swamy, the deity of Chidambaram is also known as Thillai Koothan.
There is a reference to Kuttu in the Silappaadhikaram, an ancient treatise in Tamil.
These plays are used as a medium to educate people and make them understand the
socio problems. It is known that the plays such as Kuttu existed even during the
Sangam period. Teru kuttu, Kattai kuttu are synonyms for the term kuttu. Both are
performed similarly with minor differences. Teru kuttu is a performed while moving
in a procession whereas with minor differences. Teru kuttu is a performed while
moving in a procession whereas Kattai kuttu is performed at fixed places i.e., at open
places, throughout the night.

Theru koothu Dance Drama15

15
https://www.youtube.com/watch?v=CDIgBnq4sSU

21
 Terukuttu, Kattaikuttu are synonyms for the term kuttu. Both are performed
similarly with minor differences. Terukuttu is a performed while moving in a
procession whereas Kattaikuttu is performed at fixed places i.e., at open places,
throughout the nighttime. Besides these two, there are 3 other types of Kuttus based
on the culture and region of Tamil i.e., Nattu kuttu, Kuravai kuttu and Valli kuttu.
Samay Kuttu is used for religious topics; Porkaala kuttu, Pelkottu and Tunangai kuttu
are used for martial arts and war. The themes of most of the plays are based on epics
and traditional Tamil stories. The classical Kuravanji Nataka-s are performed based
on the Bharatanatyam style in Tamil Nadu.

Kuravanji nadanam16

‗Kurutti‘ character in a Classical Kuravanji Natakam17

16
https://www.youtube.com/watch?v=u44bU6Qn-f4
17
Tanjavur nritya shala - https://www.youtube.com/watch?v=D73KUk9FAfs

22
3.2.2 Bhagavatha Mela Nataka-s:

This is a purely Classical art form associated with Thanjavur region of Tamil
Nadu. ―Bhagavatha Mela is a regional temple theatre form presented through the
medium of Classical Dance and Classical Music. This blend of Theatre and Dance has
been performed for over 5 centuries. Throughout this time one of the most unique
aspects of Bhagavatha Mela has been that all the roles – dancing, acting, singing etc.
have been performed only by men.‖18 This is a Dance form based on the Classical
Dance of Andhra Pradesh – Kuchipudi.

Traditional Ganesha paatra pravesam in Melattur Bhagavata Mela Naatakam19

Bhagavatha Mela is a tradition of Thanjavur region, that is being followed for

the past five centuries. This is a traditional art form comprising of Dance, Music and
Drama. This is an art form patronized by the Nayaka and Maratha rulers of
Thanjavur. All the performers in this dance drama are male brahmins. They are highly
devoted and perform dramas that are only based on mythological stories. Though their
favorite deity is Lord Lakshmi Narasimha Swamy, they do not show any difference
between Lord Siva and Lord Vishnu. This troupe is conglomeration of different
regions and cultures. It comprises of brahmins belonging to Tamil and Andhra

18
Bhagavata Mela & Ancient temple theater forms of South India – (p-37)
19
https://www.youtube.com/watch?v=5x7_RQUnN0Y

23
regions; Saiva and Vaishnava cults. In the words of Dr. R. Mahalingam, ―For those
who love Classical Dance, Bhagavatha Mela is a feast for the eye. For those who love
Music, Bhagavatha Mela has Classical Carnatic as its best. For those who love
Drama, Bhagavatha Mela is a living link our ancient heritage of theatre as laid down
in Bharatha‘s Natya Sastra. Thus Bhagavatha Mela is a unique blend of spiritualty,
Dance, Drama and chaste Classical Music.‖20

Melattur Venkata Rama Sastry of this region was the contemporary of Saint
Tyagaraja. He is one of the most renowned descendants of the Bhagavatha Mela. He
has written more than 10 Dance dramas which are filled with rich music and dance
and are performed even today with great reverence.

―The traditions of Bhagavatha Mela Nataka now known as Kuchipudi Dance

Drama tradition and has Bhagavatha Mela Nataka in Tamil Nadu came into being as a
result of the Bhakti movement to devout poets, Teertha Narayana Yati and
Siddhendra Yogi employed the art of Music, Song and Drama using themes from
Shrimat Bhagavatha and other Puranas to extol the principle of Bhakti.‖21

Although the present day Bhagavatha Mela Dance performers have settled in jobs in
different parts of the world, they gather at Melattur village every year on the day of
Nrisimha Jayanti. On that day, they perform the most sacred Drama, ―Prahlaada
Charitra‖ as an offering to their deity Lord Nrisimha Swamy. This shows their
respect towards their culture, art and their devotion towards their favorite deity. This
Drama is performed in Telugu language. Though the artists belong to Tamil Nadu,
they put a lot of efforts to learn Telugu and speak on the stage by themselves without
any voice-over. This is a highly appreciable task.

The specialty of this Natakam is the Vighneswara Paatra Pravesam (the

arrival of Lord Ganesha) at the beginning of the play. This is the tradition which is
adopted from the Kuchipdi Yakshagana style. The theatrical form of Bhagavatha
Mela is a feast to both ears as well as to the eyes.

20
Bhagavata Mela & Ancient temple theater forms of South India – (p-38)
21
Telugu Bharathi Silver jubilee special edition (p-144)

24
 Prahladha Charithram – Melattur Bhagavatha Mela Natakam22

Music: The music used in Bhagavatha Mela Nataka-s is purely South Indian classical
music and is sung at a high standard. Difficult raga-s such as Bhairavi,
Sankarabharanam, Saveri, Ghanta, Aahiri, Mukhari, Punnaagavaraali etc. are sung
in a very slow tempo (Athi chowka kaalam) in the style of classical pada-s thus giving
scope to the expression (Abhinaya) in Dance. This brings a beautiful co-ordination
between the music and dance. Several Taala-s and Gati-s are used in their
performance. The playback singers of the artists exhibit great scholarliness in their
rendition. Their standard cannot be reached by any ordinary singer. For every
character on the stage, at least 3-4 singers would provide chorus. The main
accompaniments are violin, flute, mridangam and cymbals.

3.3 Folk and Classical Theatres of Andhra and Telangana:

Though there is a variation in the languages of South India, the culture and tradition
of Performing Arts in the folklore appear to be similar.

[Note: Till the year 2014, as a part of United Andhra Pradesh (the combined state of
Andhra and Telangana), the language (with minor differences in the slang), culture
and tradition appeared similarly for both the regions. For this reason, the Researcher
is not mentioning any separate note on the regions of Telangana].

22
https://www.youtube.com/watch?v=5SDRrpaIwnw

25
 In Andhra, Folk Dance dramas are considered as a combination of Aata
(dance), Paata (song) and Maata words/story). The term ‗Aata‘ in Telugu denotes
play or show. For example,

Bomma laata (Puppet show), Bayalaata, Chindulaata, Dommari Yaata (The word
Dommari is derived from ‗Drimmari‘ in Telugu, which means ‗migrants‘) etc.

The conversations are casual talks and do not take place in a formal way, as in
the Classical dance dramas. These folk dramas do not need any ostentatious display
such as stage, mikes, lightings etc. They are generally performed in the streets and in
open areas. In these dramas, there is not much (physical) distance between the stage
and the audience. Sometimes, as a part of the play, the actors move among the
audience. As a result, these dramas appear very lively and thereby attract the attention
of the folk people. In Folk dramas, along with Music and Dance there are many
conversations that takes place between the characters.

Veedhi Natakam-123

Veedhi Naatakam-224

As most of the artists in these Veedhi Naataka-s are uneducated, they cannot
read and write the dialogues. They spontaneously speak and perform on the stage.

23
https://www.youtube.com/watch?v=Uxn9ZaoZR4g
24
https://www.youtube.com/watch?v=BaeP9CbBsck

26
 Initially, these plays are performed as a one-man show. Later, it began to
include multiple characters in the show. At times, the comic characters in these plays
use vulgar language, to attract the audience and to create entertainment for them. With
the passage of time, stories belonging to epics are also included in the theme of these
dramas., as a part of the multi-character show. These plays are generally performed in
rituals and folk festivals conducted at temple premises in villages. Such festivals are
known as Jatara-s. In the process of development, the Kuravanji Nataka-s, are
improvised as Veedhi Naataka-s or Veedhi Bhagotaalu, Chindu Bhagothalu, and
other such Folk art forms. Several such Dance dramas exist in Andhra and Telangana
regions which are performed with minor changes., Veedhi Naatakaalu, Chindu
Bhaagavathaalu etc., in Telangana. Bayalaata is also a popular art form in Southern
part of Andhra and in Karnataka. Toorpu Bhagavatham is a traditional folk based
dance drama originated from Siddhendra Yogi‘s ‗Bhamakalapam‘ in the North coastal
Andhra. In this way, these Folk based dance dramas played a crucial role in providing
entertainment to the rural people over centuries in the regions of Andhra and
Telangana.

These plays mainly contain songs with very few traditional dialogues. As
these are street plays, there is no equipment such as mikes etc. to make it audible to
the audience. Due to this reason, all the characters of this play sing loudly in a high
pitch. The artists in the play wear colorful clothes, heavy costumes and glittering
ornaments to attract the attention of the audience.

Pagati veshaalu25
The Pagati veshaalu and Veedhi bhagavatha-s are only performed with male
artists. However, in the modern times, even the female artists also began to
0participate. The musicians along with their instruments sit on a bench behind the

25
https://www.youtube.com/watch?v=lQo7XSQ71do

27
performing artists and provide background music for the play. The play begins with a
prayer on Lord Ganesha followed by prayers on other deities. All the formalities
observed before the commencement of the play are common to all the plays in South
India. Thus, the art forms such as Pagati veshaalu, Veedhi Natakalu, Chindu
bhagavathalu of Andhra; Terukuttus of Tamil Nadu; and Kathakali, Kudiattam and
Kutto types (mainly the Chaakayaar Koottu) are similar folk art forms with minor
changes.

3.3.1 Kuravanji Nataka-s of Andhra:

‗Jakkulu‘ is a folk replacement (vikruthi sabdam) of the word ‗Yakshulu‘

(prakruthi sabdam). In the epics, Kubera is considered as the King of Yaksha-s. As he
is a devotee of Lord Siva, all these Yaksha-s are also devoted to Lord Siva even till
today. From the history it is understood that these Jakku-s are found mostly in and
around the areas of SriSailam, the famous pilgrim of Lord Siva. During the 10th &
11th centuries, in the region of Karnaata-andhra, (i.e., Southern part of Coastal
Andhra, Karnataka and Tamil Nadu) the Veera Saiva cult is very popular. Jakkus,
Kuruvaas, Goravaas, Gondu, Koya, Chenchu, Savara etc. are known as the
Sanchaara jaatis who lived in the forests of Andhra, Karnataka, Tamil Nadu etc.
Their dances are named after their regions i.e., Chindu, Ganthu, Gondli, Anje, Anga
etc. As these dances are presented by the Kuruva sect of tribes, it is known as
Kuravanji Dance. In order to visit the pilgrims related to Siva, these Jakkus used to
move from one place to another. They are referred to as Sanchaara Jaathulu (the
migrants). The word ‗Yaksha gaana‘ is originated from Jakkula paata.

‗Erukulasaani‘ role in Kalyana Sreenivasam – Kuchipudi Dance drama26

26
https://www.youtube.com/watch?v=m3RRwxd2usM&list=TLPQMTYwODIwMjC39L9fzTIaPA&
index=3

28
These tribes used to perform at pilgrimages such as Srisailam, Tirupati, Mangalagiri,
Simhachalam etc. during festivals. At the beginning, Kuravanjis are only based on
songs. Later they added some foot work (Dance steps) to it. The Kuravanji Natakas
(‗Anji‘ means Dance) are the foremost Folk dramas in the history of Yakshagana-s.
Later, these dramas are branched into several types of folk dramas such as Bhagothas,
Bayalatas, Yakshagana-s etc. In these dramas, there is a female character by the name
Kurava. This role is of spiritual importance. It is believed that the actress playing
Kuravanji role is possessed by Goddess Herself. She answers the questions posted by
the main characters viz., Hero, Heroine in the play, and foretells the future. Such
women in the drama are called as Koramatiyaru, Koramaru, Koracharu in Kannada
and ‗Sodemma or Erukatha‘ in Telugu. This foretelling of story is known as
Sodi/Gadde/Gaddi in Telugu. Later, in the 16 & 17 centuries, these Kuravanji
Natakas were written in large numbers, in Telugu and Tamil languages. They are
considered as Classical Dance dramas.

3.3.2 Veedhi Nataka-s or Street Dramas:

This is a drama performed in open areas, for free, amongst large gatherings. The
performers choose an open area to allow huge crowd of audience to gather and see the
drama. These dramas are performed in villages, for the sake of entertainment. Most of
these plays are taken from some of the important scenes of Mahaabharatha. The
performers attract the people with their appearance, songs and expressions.

The specialty of this drama is that even the female roles are also acted by male
artistes. Some of the enthusiastic villagers approach a Guru (Master) and undergo
training for a month under him. This is known as Oddika (Primary rehearsal). During
these rehearsals, actors byheart the poems in the Drama, without their costumes and
make up. These practice sessions take place in the temple premises or in the Bhajana
Mandirams (prayer halls.) Even these rehearsals are attended by the people. Once the
artistes are fully equipped, they perform the actual drama with their makeup and
costumes. These dramas are attended by large crowds even from the neighboring
villages. There are some kiosks setup, to provide the jewelry, costumes, weapons,
curtains, facial colors and masks etc. used in the Drama, on rental basis. With the
passage of time, the artistes began to focus more on their skills in conversations and
poem rendition rather than towards the costumes, jewelry or the facial colors. As a

29
result of this change, they used to sing a poem for at least ten minutes, by adding
Raaga Alaap (music) to it. This transition in the performance is accepted and
appreciated by the audience. These dramas start at around 10:00 PM in the night and
extend till 4:00 AM in the early mornings. The people watch the program patiently,
till the end of the play. The language used in these conversations are sometimes
mixed with slang and sometimes with vulgar words which are well enjoyed by the
audience. Instruments such as Harmonium, Tabla and Maddale are used in these
plays.

From the characteristics of this art form (i.e., the combination of Dance, Music and
Instruments), this can be considered as an example for the Desi art forms mentioned
by Mathanga of 5th century.

―Geetham cha vaadanam nrittham tat desi tyabhi dheeyathe‖.

In this way, this art form is not merely a drama but also paved a way for the origin of
other art forms such as Yakshagana-s etc.

3.3.3 Chindu Bhagavatha-s:

This is one of the oldest Art-forms of Andhra -Telangana. It paved a path for the
development of many other modern Pouranika (based on epics) drama-s. In olden
times, the land of Telugu is called as Yaksha Bhoomi (i.e., land of Yaksha-s). The
Yaksha-s are known as Jakku-s. As they lived here and developed the drama with
their Music and Dance, hence its name Yakshagaana. ‗Bhagavatham‘ is a story of
God associated with any epic. The Chindu Bhagavatham also belongs to the similar
category. As this art form is performed by Chindu-s (the performers of this play), it
came to be known as Chindu Bhagavatham. This play is very popular in Telangana
and Rayalaseema regions of Andhra. This art form also gives entertainment to all
classes of people starting from layman to a scholar. There are many such forms of
dramas which are performed with Music, Dance combined with the story. These
forms of plays exist in large numbers with minor differences which may differ from
one region to another. Some of the popular dramas performed by Chindu
Bhagavataars are Chenchu Lakshmi, Sundaraakaanda, Sathi Savitri, Mairaavana,
Jaambavathi KalyaNam etc.

30
Chindu Maadigalu: The word chindu in Telugu means ‗a jump‘ or ‗a dance with
excitement‘. Maadigaas belong to a class of tribes. There is another art form by name
Pagati Veshaalu (a one-man show). As they are performed during daytime, they are
known as Pagati Veshaalu. These Chindu Bhaagavathaalu are generally performed
during daytime just as the Pagati Veshalu, and occasionally during night times.

Just as in Veedhi Bhagavathaalu and Toorpu Bhagavataalu, the female roles are also
acted my male actors and are very rarely performed by female actors. In these Chindu
dramas, cymbols are played by women alone. The common features among all these
folk drama-s are:

1. These are performed with very few artistes, i.e., 2 to 4 in number

2. They use simple music and limited instruments in these dramas.

3. These dramas, especially the Chindu Bhagavathaas are performed in a simple

manner. They are performed on small platforms and sometimes even without a
stage.

4. Generally in these dramas the role of a hero is highlighted than the other
actors.

5. In these folk dramas, Aadi and Mishrachapu talas are frequently used. The
commonly used ragas are Sankaraabharanam, Anandabhairavi and
Madhyamavathi.

6. The supporting singers in these dramas include women as well.

Chindu Jogitha-s consider the word ‗Jogitha‘ as an honorary title. The Alampuri
Jogulaamba temple is one of the 18 Sakthi Peeta-s. As these people take part in the
service of the Goddess, they are called as Jogulavaaru (Male) and Jogithaas
(Female). In every village, they perform the Yellamma play as a part of their
performance. This is their specialty. These Jogitha-s play in ecstasy for the welfare of
the people and the prosperity of the village. The villagers still believe that there would
not be any calamities or condition of drought in their village, when these plays are
performed. This is a tradition followed in many regions of Andhra and Telangana.

3.3.4 Thurpu Bhagavatha-s: This is a very notable folk-based Dance drama in the
regions of East Coastal Andhra. As the troupes of this art form perform themes based
on Bhagavatha i.e., the stories of Lord Krishna, they are known as Bhagavatha-s and

31
the performers are known as ‗Bhagavatars‘. For example, Sri Krishna Paarijaatham,
Bhaama kalaapam. There are various types of Bhagavatha-s categorized based on
their caste. They are Golla Bhagavatha-s, Yaanaadi Bhagavatha-s, Maala
Bhagavatha-s, Chindu Bhagavatha-s, Kuchipudi Bhagavatha-s. Thurpu Bhagavatha
belongs to the category of Street Dance drama. Though these are folk based art forms,
they can even entertain the class audience, and the scholars of Classical based art
forms. This is a distinctive feature of this art form.

The Dance drama Bhama kalaapam is written by Siddhendra Yogi. This

Dance drama is performed in a different way by Thurpu Bhagavathars when
compared to the Kuchipudi Bhagavatars. From the available information it is
understood that the former one is based on Desi form and the latter based on the
Classical form. In both Dance dramas, the heroine Satyabhama arrives on to the stage,
covered under a curtain (as shown in the picture below, ref no. 27). After a few
conversations with the Sutradhara, the curtains are raised and then the heroine enters
the scene. Another similarity in both the Dance dramas is that, only male artists are
allowed to perform.

The language and music used in Thurpu Bhagavatars is very simple and can
be easily understood by a common man. The instruments used in this drama are
Harmonium, Dholak and cymbals. They generally use the raga-s Anandabhairavi,
Mukhari, Kapi, Mohana; and Taala-s Aadi, Mishra Chaapu and Khanda Chaapu.
This dance drama is performed with a few artists on the stage, and it attracts the
attention of all classes of people.

Bhama Kalaapam – Thurpu Bhagavatham-127

27
https://www.youtube.com/watch?v=IEUui23x-34&t=719s

32
 Bhama Kalaapam – Thurpu Bhagavatham-228

3.3.5 Kuchipudi Bhagavatha-s:

The Arts such as Music, Dance, Sculpture and Poetry flourished during the
period of Kakatiyas in Andhra region. The Dance postures mentioned in Bharatha‘s
Natya Sastra are clearly seen in the sculptures of Ramappa and Warangal temples.
The commander of Kakatiya dynasty Jaayapa Senaani has written a valuable treatise
on Dance i.e., Nrutta Ratnaavali. The poet Srinatha is his works Kreedaabhiraamam
and Bheema khandam mentioned about the different types of Desi Dances and
musical Instruments. In many other literary works written during the period of 13th
and 15th centuries, details about several Art forms are given.

Kuchipudi Dance is the Classical Dance of Andhra Pradesh originated from a

village called Kuchipudi near Vijayawada, AP. Its original name is Kuchelapuram,
also known as Kushalavapuri. As the performers play the stories based on the
mythology, they are known as Bhagavathars. As the traditional Vaidika Brahmins of
the Kuchipudi village, have taken Dance based Dramas as their profession, and started
performing the stories of the Bhagavatha. In this way, they got their name as
Kuchipudi Bhagavathars.

The story behind the name ‗Kuchipudi Agraharam‘ is said by a senior

Kuchipudi Dance artist Sri Vedantham Radheshyam. He said that, Tanisha, the then
Nawab of Golkonda, impressed by the Dance performance of the Kuchipudi
Bhagavathars, has donated 600 acres of land to them to patronize the art form. At

28
https://www.youtube.com/watch?v=IEUui23x-34&t=719s

33
present, the village Kuchipudi is a hub of dancers and several internationally reputed
artists. Hundreds of Dancers got popularity across the globe and take the credit of
spreading this art form, thus bringing laurels to Kuchipudi village and to Andhra
Pradesh state. The traditional teachers (Guru) played a very important role in training
the students and moulding them as reputed Dance performers. A few Brahmin
families of Kuchipudi village have dedicated their lives to this art form.

The Kuchipudi Dance was originated in 14th century. This Dance form shone
brightly period of Raghunaadha Nayaka and lost its luster during the British era. Post-
Independence, with the efforts of experts and artistes of Kuchipudi such as Chinta
Venkatarama Sastry,it re-gained its Glory and occupied a significant position in the
Indian Classical Dance. Gradually few changes were made in the Kuchipudi Dance
system according to the taste of the people. The history of Kuchipudi can be divided
into 2 parts. They are:

1. Pre-Siddhendra Yogi period (upto 14th century) 2. Siddhendra Yogi period (after
14th century)

1. Pre-Siddhendra Yogi period: The Sanskrit Roopaka-s was frequently presented

during this time. Later, dance based Theatres such as Kelika, Yakshagaana-s, Nritya
Naatakaalu, Pagati Veshaalu etc. were presented.

a. Equal importance is given to Music, Dance and Literature in these Dance forms.
b. In Sanskrit Roopakaas, Desi poetry such as Kanda, Seesa, Utpalamaala etc. and
songs
such as Daruvuus, Keerthanaas, Dandakaas etc. can be used.
c. There are conversations between the characters
d. There exists Anka Vibhajana (scene divisions)
e. Equal importance is given to Aangika Vaachika Aahaarya Saatwikaabhinayaas
f. While the Singers sing Sandhivaakyaas, the Dancers perform Dance
g. The Costumes are different for different characters

The Rupakaas viz., Uttara Raama charitra, Veni samhaaram, Mruccha

katikam, Saakunthalam, Vikramorvaseeyam used to be performed in this period and
they are not available now. Unfortunately, the performances of the Sanskrit Roopakas
are also not known.

34
2. Siddhendra Yogi period: This period is known as Siddhendra Yuga. He is the
creator of the format Kalaapam and is known as the ‗Father of Kuchipudi Dance‘. He
composed the famous Bhaama Kalaapam and introduced it in the Kuchipudi Dance
system. There is no exact reference about his birth and lifetime. He introduced the
Kalaapa format in Kuchipudi Dance and brought a classical status to this Art form.
He has written Bhaama Kalaapam, set Dance to it, taught this to the Kuchipudi
Bhagavatars and finally dedicated this Kalaapam to them. With great reverence
towards him, the Kuchipudi Bhagavatars will stitch their nose and wear the
ornaments and play this Kalaapam atleast once in their lifetime. The Siddhendra Yogi
made a rule that all the Woman characters in this play must be performed by the
males. Now-a-days even women are also participating in these Kalaapa-s. It is a rule
they are following that, sometimes females play the role of a male character and vice-
versa.

a. Kalaapam: Kalaapam means a conversation or argument. In deep sense Kalaapam

in Kuchipudi means Vedantha, Vignana, Bhramhagnana, Bhakthi tatva and Mukthi
saadhaka. This performance consists of 2-3 characters other than the main role. The
Sutradhara plays a key role. This is a one act play and do not contain Anka Vibhajana
(more than one scene). In this Art form, Dance is given more importance than Music
and Literature. The Kalaapas are of 2 types, Bhaamaa kalaapam and Golla
Kalaapam.

i. Bhaamaa Kalaapam: In Kuchipudi Dance Bhaama Kalaapam occupies a

significant position. This is an imaginary story which is not seen in any of the
scriptures. This is similar to the Veedhi Roopakam, one of the 10 Roopakaas of
Bharatha‘s Natya Sastra. There are various Daruvus (songs) in it. In the first Daruvu,
Satyabhaama introduces herself in a Daruvu in Aananda bhairavi raaga and Mishra
chaapu taala. This is a most popular song in the two Telugu states. The Srungaara
Rasa is the main Rasa Art forms such as Tolu Bommalaatalu existed even before the
period of Kavitraya (the Three poets who translated the epic Mahaabharatha from
Sanskrit to Telugu language) i.e., during 12th century period. There are some
references which prove the existence of these Dance dramas from the period of
Palkuriki Somanatha (12th century) to the period of Raghunaadha Nayaka (16th
century). From some references it is known that the art form Tolu Bommalata

35
(Shadow Puppetry) took shape in Andhra and expanded till Maratha region. In the
book Palnaati Veeracharitra, a reference to

Bommalaata (Puppet show) is mentioned.

―Prathimala Naadagabattina yetlu ---‖

A reference to Shadow Puppetry is also made in the scripture Uttara Harivamsa

Charitra.

―Yantrakudaadinchi Yavani Drochen Vraalu Bommala gathi radha pooranamulu‖….

From these references it is understood that these puppet shows are popular in Andhra
even during the 12th century period. in this Dance drama. The inner motto of this
Drama is the eagerness of Jeevaathma to be united with Paramaathma.

The theme of this Drama is, Satyabhaama the consort of Sri Krishna separates
from him due to her proudness. Unable to bear the pain of separation, she finally
meets Sri Krishna with the help of her servant maid Madhavi. In this Drama, Madhavi
is a special character created by Siddhendra Yogi. In Kuchipudi, this role is regarded
as a ‗Maya Kalpitha Bramha‘ because, the character appears as a female (i.e., as
Maadhavi) in the presence of Satyabhaama and as a male (with the name Maadhava)
in Krishna‘s presence. In this way, the Bhaama kalaapam is regarded as the most
reputed ‗Feather in the Cap‘ of Kuchipudi-s. For the great contribution towards the
Kuchipudi Dance, a temple has been constructed for Sri Siddhendra Yogi in the
Kuchipudi village of Andhra pradesh.

Dr. Vedantam Radheshyam as Satyabhama in Bhaama Kalaapam Kuchipudi Dance drama29

29
https://www.youtube.com/watch?v=4o6k38DCpe4

36
ii. Golla kalaapam: This was written by Sri Bhaagavathula Ramayya. The content
belongs to the Aathma Gnaana (Self-realization). The theme of this Drama is, a Golla
Lady (a lady shepherd) argues with a Pandit (Scholar) and discusses several topics
related to Philosophy. She talks about various topics as stated below. She talks about
Pindotpatthi (formation of Human embryo system) and says that the human body is a
ball of flesh. Athma (Soul) is pure and unsullied. It is unaffected by the caste, color
and religion. The ultimate state of Jeevaathma is its union with the Paramaathma.

Golla Kalaapam in Kuchipudi Dance30

In this manner, the Golla lady teaches the Scholar about Self-realization. In this way,
this Drama not only gives entertainment to ordinary people but also to the Scholars.

b. Kelika: This Art form was seen in the 15th and 16th centuries. These Dance dramas
are mainly based on the Socio-themes or Socio-problems.

c. Yakshagaanam: This is the description of old Yakshagaana tradition. Yakshagaana

is based on Music and they are performed by Jakkus and Purandaraas (a class of
tribes). The ratio of Sahityam is more in this Drama compared to Nrutyam, and the
Anka Vibhajana is more than the Kalaapa-s. The costumes (Aahaaryam) are specially
designed for Yakshagana-s. He priority is given to Sutradhaara and Paaripaarsvaka
(his followers) rather than the main actors of the play. There are some more
conversations in this drama, known as Vaachakaabhinaya. In this, much importance

30
https://www.youtube.com/watch?v=ZwSTFnJl0Ts

37
is given to Padyaa and Prosodical poetry compared to Raaga, Taala and Laya. The
characters themselves sing and talk unlike playback singers.

The first Yakshagana in Telugu is Soubhari charitam and Sugreeva Vijayam

of Kandukuri Rudra Kavi. These are very popular Yakshagana-s in Andhra. Though
there are several Yakshagana-s available in Telugu, only a few of them are practiced
by the Kuchipudi

Bhagavatars (Male performers). Modern Dance Dramas: Roopaka-s, Kalaapa-s,

Nrutya Naatakaalu etc. are very frequently performed.

***

38
 CHAPTER 4
YAKSHAGANA-S OF SOUTH INDIA

Yakshagana is a beautiful art form which gives great pleasure to the mind of the
audience. This is a significant Art form which is a combination of Music, Dance,
Expression and Literature. There are some versions which consider this Art form as
Desi (Folk) Dance form and some which regard this as a Maarga (Classical) Dance
form. However, both types of Dance dramas exist in South India. There exist several
types of theatres with minor changes among themselves.

4.1 Kannada Yakshagana-s:

A reference is made to Yekkalagaana in the earlier literary works of

Kannada like Aggala‘s Chandraprabha purana (1105 AD) and Nagachandra‘s
Mallinatha purana (1187 AD). It is known that even since 12th century, there are
some visual art forms that existed in Karnataka. There are some other dance dramas
that are nearer to Yakshagana-s but slightly differ in their performance. They are
Bhagavathar Aata, Dasaavathaara Aata, Bilaata, Doddaata etc. In Kannada
language, Aata means Naatakam (Drama). During the period 1336-1565 AD, the
Saluva Kings chose Vijayanagara region in the Ballari district as their capital. In one
of the inscriptions found in the Lakshmi Narayana temple at Somasamudra, a land has
been presented to two brahmins who play Maddile in praise of the deity.

They usually present the stories of Yakshagana-s based on the epics

Ramayana, Bharatha and Bhagavatha. The troupe performing the Yakshagana is
known as ‗Melam‘. Among them, the role of Sangeethakaara Bhaagavathar is
considered to be more important than the Nayaka and Nayaki roles. The
Bhaagavathar sings all the songs and poems to which the hero and heroines will act
and dance accordingly. In this manner, the Yakshaganam begins with the entry of
Bhaagavathar. The pitch of the songs goes accordance with the scene. This is known
as Mattu and it is decided by the Bhaagavathar.

Based on their tradition, the Yakshagana-s are classified into 2 types. They
are Badagu Tittu, Thenku Tittu. Badagu Tittu is performed in the districts of North
Karnataka and Thenku Tittu in the regions of Kaasaragaadu. The term ‗Tittu‘ means
Direction. There are minor differences between the terms Tittu, Mattu, attires and

39
makeup. But there is a lot of variation seen in the footwork. In Thenku Tittu, there is a
lot of gap between each footstep. In this manner, the dignity of the character
(Gaambheeryatha) can be easily exhibited. But in Badugu Tittu, the laasyam (Dance
performed by ladies) portion in Natyam is more and Abhinayam portion is almost
negligible. In Badugu Tittu, the aspect of Hastha vinyaasam is very simple. As per the
tradition of Bharatha‘s Natya Sastra, the artists initially perform the rituals at the
beginning of the play in Nepathya gruha (behind the curtain) and then a lady
character will enter the stage. This is the tradition of Kannada Yakshagana. In the
beginning, the lady dances for few minutes and gives a gist of the story. Sometimes,
the King introduces himself saying that ―I am the King‖. This is known as
Oddoloaga. The way of dressing in Yakshagana-s is very attractive. The women wear
sarees of length 10 yards in a traditional (kattcha) way and the color of sarees is
usually green, red or yellow.

In Kannada Yakshagana-s, the story is based on Puraanas and Ithihaasaas

besides poetry i.e., Vrittham, Satpadhi, Karnika, Dandakam, Vachanam. Of these
forms of Poetry, Vrittha-s are composed in Sanskrit and very rarely in Kannada. In
ancient times the Yakshagana-s in Kannada are called as ‗Bhaagavathar Aata,
Dasaavathaara Aata or Bayalaata. (Aata in Kannada refers to Drama/Theatre). As
most of these plays depict the leelas (childhood pranks) of Lord Krishna, they are
referred to as Bhagavathar Aata-s.

Kannada Yakshagana - Shri Devi Mahatme31

31
https://www.youtube.com/watch?v=80nrTzTk_Yw

40
 In Kannada Literature there are references to Yakshagana-s from 10th and
11th centuries, a few to mention are, Chandraprabha and Mallinaatha puranaas. In
the Mallinaatha Purana written by Nagachandra, Yakshagana is defined as a play
which pleases Goddess Mahalakshmi. The treatise ―Bharateesa Vaibhava‖ is written
by Ratnakara Parni of 16th century. There are a few references to Yakshagana
mentioned in this treatise. Ratnakara Parni belonged to South Karnataka region who
popularized this art form to a great extent. Later, the author Aggala composed a
Yakshagana in Gaandharva style.

The inscription is dated 18th June 1556. The Kings of Vijayanagara empire
popularized Telugu not only in the regions of Andhra but also in the state of
Karnataka. In this way, the Yakshagana tradition began from 15th century onwards.
The same tradition of Yakshagana became popular in different regions of South India
especially in Thanjavur region. In the dynasty of Vijayanagara, Yakshagana-s are
performed using colorful puppets. In this manner, the Yakshagana-s of South
Karnataka, Kathakali of Kerala; and the Yakshagana-s, Veedhi Naatakas (street plays)
and Bhagavatha Mela Natakas of Andhra and Tamil Nadu immensely contributed to
the development of South Indian Theatre.

Kannada Yakshagana - Kurukshetra32

32
https://www.youtube.com/watch?v=r_b_C6rp3Gk

41
 The theme or the story of the Yakshagana is called ‗Prasangam.‘. The
costumes of each actor are very colorful and attractive. Their ornaments are made up
of a special kind of tree‘s bark and are decorated with shining beads and other
attractive material. The impact of Bharata‘s Natya sastra is seen in Kannada
Yakshagana-s. The difference between the human and divine roles in the play is seen
from their costumes and their way of dressing.

Similar to Sanskrit Yakshagana, the Kannada Yakshagana also follows the

same tradition in the beginning of the play. The play commences with a worship
called ―Ranga Pooja‖ (worship to the stage). This means, the initial rituals prior to the
play are conducted behind the curtain and thus create a musical atmosphere. There are
some rituals which are performed even after the raise of curtain, i.e., ―Jarjara pooja‖,
―Naandi vakyam‖ etc. Then the play begins with the entrance of Sutradhaara and his
followers. They enter the scene with a music in sync with the musical instruments.
They believe that, in this way they first seek the blessings of God and then commence
the program. The same format is followed in all Yakshagana traditions in South India.
The same tradition is followed in dance forms such as ―Kathaakali‖ and ―Ankiya nat‖
of Kerala, with some minor changes.

In Kannada Yakshagana-s, most of the expressions are performed through

hand gestures. The expressions and hand gestures are less complex in Kannada
Yakshagana-s compared to that of Kathakali and Kuchipudi. Artists in these plays
perform without any knowledge in the classical treatises such as Nandikesara‘s
Abhinaya Darpanam and Hanuluru Venkata Sundarasan‘s works i.e., Bharatha
sastram, Rasikajana Manollaasini, Saara Sangraham etc. All these Yakshagana-s are
filled with emotions (Rasa-s). Kannada Yakshagana-s exhibit Veera and Roudra
Rasa-s. Though this art form belongs to the category of folklore and is performed by
the rural artists (i.e., people who are unaware of the classical dance), there is an
influence of Sanskrit theatre on seen on these art forms. This can be clearly seen in
the Kannada Yakshagana-s. In view of the above reasons, some people categorize the
Kannada Yakshagana-s as Classical Art forms.

Music: The artists render songs and poems in Carnatic and Hindustani Music ragas.
Generally, they play only the percussion instruments such as Maddela, Chande, Taala
(Metallic cymbals) and Sruthi etc. in the Kannada Yakshagana-s. Occasionally,

42
Mukha Veena is used. The music in these plays is simple and is not so complex.
Unlike in a classical music performance, this does not involve any accompanying
instruments such as Violin, Veena, Flute or Harmonium.

4.2 Andhra Yakshagana-s:

In this context, Andhra refers to Telugu language i.e., the language spoken in both
Andhra and Telangana states. Yakshagana is an ancient art form. There is an ancient
sect called Yakshas among the tribes. Jakkulu or Yekkulu in Telugu is another name
for Yaksha-s. The play performed by these people is called as Yakshagana or Yekkula
ganam or Jakkula Katha. This is a 'Desi' art form. It consists of the traditional
regional dance along with the regional music. These art forms, later by adding
classical poetry viz., Dwipada, Ragada, Rekulu etc. to the existing Daru-s (songs) and
Vachana-s (words), got a classical tinge to the Yakshagana. It is known that these
Yakshagana-s existed even before the 12th century. There are several references to
Yakshagana in the Telugu literature.

―Bhramarul jaalemul payanamul merasi, ramaNa panchanga peradi aaduvaaru

Pramadha puraathana patu charitramulu, kramamunda bahu naatakamulaadu vaaru
Lalithaanga rasa kaLaalankaara rekha, lamvada bahuruupamaadedu vaaru –
Amaraanganalu divinaadedu chuudki, amaranga gadala pai naadeduvaaru
Aa viyadgathi pakshulaadedu nati, bhaavana mrokulapai naadedu vaaru
Bhaarathaadi kathalu cheera marugulla naaranga bommala naadinchu vaaru
Kadu nadbhutambuga kambha suutrambu, ladaranga bommala naadinchu vaaru
Aachata gandharva yaksha vidyaadharaadulai paatra naadichuvaaru—‖

From the above sloka, it is known that, Palkuruki Somanatha mentioned

about several visual rupakaas (folk dramas) and Natakas in his Telugu Kavya,
‗Pandithaaraadhya charitra‘. They are Dommaraata (a play performed by Dommara-
s, a kind of tribe), tholu Bommalaata (puppet show), yaksha vidyaadhara paatralu
(drama containing characters), plays performed on roadside using bamboo sticks and
ropes, shadow puppetry etc. which are being performed from 13th century till now.
The artists perform shadow puppetry for the stories viz., Siva leela, Vishnu leela,
Ramayana, Bharatha and Bhagavatha.

43
 Telugu Chindu Yakshagana – Keechaka vadha33

The stories of these Yakshagana-s are extracted from the epics Ramayana, Bhaaratha
and Bhagavatha, Garudaachala Mahatyam, Sugreeva Vijayam, Bhakta Markandeya,
Rukmaangada Charitra, Kaaleeya Mardanam, Gouri Vilaasam are some of the
popular Yakshagana-s at that time. Initially the Yakshagana-s are Music oriented.
Later they added Dance to it. The expressions in these Yakshagana-s are shown
through hand gestures and foot work. Each character enters the scene through a
Paatra Pravesa Daru i.e., a song which describes a character, and its appearance. In
other words, it can also be said as VarNana Daru. Earlier, Yakshagana is a one man
show i.e., a single actor plays the role of all male and female characters on the stage.
With the passage of time, Yakshagana took many changes from one-man show to a
multi-character show. This created interest among the audience. Sutradhaara is a
character in the play who introduces every character in the play. He also links up the
story in between the scenes by saying Sandhi vachanas. Later, the comic characters
such as Singi, Singadu, Chodigadu etc. also took part in these plays. Another
interesting role ―Erukala Saani‖ (a tribal women astrologer) in also included in the
play. Her role is to foretell the future of the main characters i.e., hero, heroine etc. The
main characters act according to the scene, and thus entertain the audience with their
expressions, movements, speech and dance.

33
https://www.youtube.com/watch?v=CjeoLJcWScc

44
 Jaambava puraanam – Desi Yakshagaanam34

4.2.1 References to Yekkalu or Jakkulu in Andhra:

From the history of Kakatiya dynasty it is known that, in the 13th century,
―Maachala Devi‖ was the court dancer of King Prathaapa Rudra Deva. Her biography
is written as a Yakshagana and performed by ―Kolanupaaka Jakkula Jagadamba
Melam‖ in the premises of Swayambhu temple. At the time of the great Telugu poet
Srinatha, Yakshagana-s were performed extensively. A reference to these plays can be
seen in the ―Daksha vaatika‖ scene of Srinatha‘s ―Bheema khandam‖. Some consider
that Kandukuri Rudra Kavi‘s ―Sugreeva Vijayam‖ Yakshagana is older than
―Garudaachala maahatmyam‖. It is said that the Yakshagana ―Thaayikonda
Naatakam‖ is presented in the royal court of Sri Krishna Devaraya. The Yakshagana
―Maareecha Parinayam‖ is said to be written by the daughter of Sri Krishna
Devaraya.

King Vijaya Raghava Nayaka, the ruler of Thanjavur, is very passionate

about Literature, Music and Dance. Apart from these, he is also a patroniser, poet and
a composer by himself. He has written a Yakshagana ―Raghunaadhaabhyudayam‖ in
Telugu, in which he included the greatness of his father and his daily routine.
Rangaajamma, the court poetess of Vijaya Raghava Nayaka wrote a Yakshagana on
the King, in the name of ―Mannaaru Daasa Vilaasam‖. Raghunadha Nayaka has
written a Yakshagana ―Sri Krishna Vivaaham‖.

The period of Nayaka Kings is described as a Golden era for Yakshagana-s.

Hundreds of Yakshagana-s were written, patronized and performed in this period. The
Yakshagana-s of this time followed a similar format. The play begins with the

34
https://www.youtube.com/watch?v=CTEZMOO_cQI

45
entrance of a Sutradhaara followed by the hymns on Lord Ganapathi and Saraswathi.
There would be a brief note on the author of Yakshagana before the commencement
of the actual play. There are some comic characters which add humor to the play.
Sometimes their conversations seem to be rude as well. Earlier, the theme of
Yakshagana-s is limited to the stories based on epics such as Ramayana, Bhaaratha
and Bhagavatha. During the time of Nayaka rulers, its scope was extended to socio-
cultural aspects as well. The rulers of the Nayaka dynasty have written several
Yakshagana-s and patronized many poets, musicians, dancers and the authors of
Yakshagana-s. In this way, these rulers rendered yeomen service not only to the South
Indian Fine arts but also to Telugu language. This tradition was further enhanced by
the Maharashtra Kings who were next to the Nayaka rulers. From this period,
Yakshagana was transformed from being merely a folk art-form to a classical art
form. In this way it became one of the most popular art forms in South India.

Goravayyas: Goravas are devotees of Lord Siva. They are mostly seen in the regions
of Rayalaseema (part of Andhra Pradesh) and in few parts of Karnataka. They play
flute and Dhamarukam (a small two-headed drum). They sing and dance in rounds.
They are primarily the devotees of Mylaar Linga. The terms Kuruva and Kuruba
denotes the same meaning. These class of people are also seen in some regions of
Tamil nadu. Basically, these are shepherds and are used to weave Kambalis (a kind of
shalls). Lord Beerappa is their family deity. They celebrate the Ugadi (Telugu New
Year) day by carrying the Lord Beerappa‘s idol on their heads and take it in a
procession by singing songs and playing drums. This also comes under Kurava dance
or Kurvanji dance.

Gorava Dance of Madasi kuruvas35

35
https://www.youtube.com/watch?v=M66rhyhihMY

46
―From the point of Musical excellence, they stand midway between the classical
Bhagavata Mela Nataka and the Rustic Dance drama whereas the Music of few songs
here and there may raise to classical heights, the music of the bulk of the songs in
Kuravanji-s is characterized by a certain simplicity and a native charm.‖ 36 There are
some Yakshagana-s with the name Kuravanji, which belong to the category of Folk
dramas. In these dramas, there is a woman character by the name Kurava. This role is
of spiritual importance. It is believed that the actress playing Kuravanji role is
possessed and acted by God Herself. She answers the questions posted by the main
characters viz., Hero, Heroine in the play, and foretells the future. Such women in the
drama are called as Koramtiyaru, Koramaru, Koracharu in Kannada, and Sodemma in
Andhra. This foretelling of story is known as Sodi/Gadde/Gaddi in Telugu.

Later, in the 16 & 17th centuries, these Kuravanji Natakas were written in large
numbers, in Telugu and Tamil languages.

Kuchipudi Yakshagana-s:

These are purely Classical based Yakshagana-s. All the characters in this theatre are
performed by male artists. In general, there are 2 traditions in Dance dramas, one is
Natya Melam and the other one is Nattuva Melam. Kuchipudi Yakshagana-s belong to
the Natya Mela tradition. As a result, all the characters enter the stage following a
beat (Jati). Proluganti Chenna Souri‘s Soubhari Charitamu (15th century) is the first
Yakshagana available in Telugu Literature. Kandukuri Rudra Kavi‘s Sugreeva
Vijayam, Prahlaada Charitra, Usha Parinayam, Sasirekha Parinayam belong to the
category of Yakshagana. The Kuchpudi Bhagavathars have rendered a tremendous
service in popularizing this art form. Chinta Venkata ramayya is the first among them,
followed by many others. Yakshagana-s and Dance dramas of Kuchipudi differ
slightly but are almost similar in their performances. In Yakshagana-s, the scope of
Paatradhaara is more compared to that of Sutradhara. The Music in Yakshagana is
complex compared to the Dance drama portion in it. In Yakshagana-s the
Vaachakaabhinayam (i.e., the artists themselves will speak and act), Nrittam (foot
work) portions are more compared to the Hasthaabhinayam (movements with hands).
In Yakshagana-s, whenever a main character such as a hero, heroine or a villain enters

36
South Indian Music (Book VI) (p-72)

47
the stage for the first time, they will arrive on to the stage covered with a curtain held
by two other side characters.

Music: Daruvu-s of Kuchipudi dramas are composed in Classical raga-s such as

Mukhari, Ananda Bhairavi, Mohana, Bilahari, Athaana, Bhairavi, Kalyani,
Kambhoji, Yadukula kambhoji, kedara goula etc., and the Tala-s in Slow, medium
and fast tempos with gati bheda-s in Adi taala, and Khanda and Misra Chapu taalas.
Classical Carnatic music instruments such as Veena, Violin, Flute, Mridangam,
Tabla, cymbals and Harmonium (rarely) etc.

4.3 Kerala Yakshagana-s: Over 2000 years, ‗Koottu‘ and ‗Krishnaattam‘ are
considered as the oldest art forms in the history of Kerala. Of these two, ‗Koottu‘ is of
many types. ‗Krishnaattam‘ is one among them. Though ‗Koottu‘ is a very ancient art
form, there is no proper evidence to determine its origin. This art form is of 3 types
and is performed during different occasions.

They are ‗Atiyaantha Koottu‘, ‗Kanka Koottu‘, ‗Vahivaada Koottu‘.

1. ‗Atiyaantha Koottu‘ is performed once in a year to worship the deities.

2. ‗Kanka Koottu‘ is performed during any happy occasions and celebrations.

3. ‗Vahivaada Koottu‘ is performed after a desire is fulfilled. In South India, it is

equivalent to placing the offerings to God as an act of gratitude (Mokkubadi).
It is believed that people who are childless are blessed with children when
they perform this art form.

There are several kinds of ‗Vahivaada Koottus‘ such as ‗Chaakyaar

Koottu‘, ‗Nangyaar Koottu‘ and ‗Kudiyaattam‘. The ‗Kudiyaattam‘ is a popular art
form in Kerala. Kudi means collectively and Aattam means play. Thus, Kudiyaattam
means a collective play. This is performed only during night times, in some restricted
areas of the temples known as "Koothambalam".

Kathaakali: Kathakali is also a Classical dance drama very popular in Kerala. There
are many similarities seen among Kathakali and Yakshagana and a few differences as
well. A Yakshagana contains Nrutta, Nrittya and spoken prose, whereas Kathakali
contains gesture language. In both of them, only the laya vaadyaas such as Maddale,

48
Chande, metallic cymbols are used in support to the vocalist. Kathakali is a popular
and traditional art form containing all these features.

In the 9th and 10th centuries, the King Kulasekhara Perumaal ruled the region
Mahodaya Puramu. He made some changes to this art form and designed a structure
to it. Some of the changes include, the actor Vidushaka should only speak in his
regional language i.e., in Malayalam. In addition, he divided the play into Ankaas
(acts) and thus structured it in a proper format. There is a controversy on the art form
‗Karnataka Yakshagana‘, whether it belonged to the folk form or classical form of
music. Initially it is treated as a folk-art form performed with folk language, music
and dance. Gradually it is developed as a visual art form and performed using
classical literature and music with classical ragas. ―The Yakshagana folk-theatre is no
isolated theatrical form in India. We have a number of such theatrical traditions all
around Karnataka. It is but proper that we should assess Yakshagana in its
contemporary setting and as a part of the All India scene. In far of Assam we have
similar plays going by the name Ankhia Nat. In Bengal, we have the very popular
Jatra plays. Maharashtra has its Tamasha. Adjacent Andhra has its Kuchipudi theatre,
as well as a few others. In the South of Karnataka lies the vast Tamil region which has
its Teru Kuttu as its own Yakshagana of Melattur in Tanjore district. Immediately
South of the coastal belt of the Karnataka, the home of the Yakshagana we have the
Kerala country. It is a repository of many hoary traditions like Sanskrit literature,
grammar, astrology, medicine, dance and drama. It has a number of well-preserved
forms such as Rama Nata, Krishna Nata, Kathakkali, Kudiyaata, Mohini aata, Ottam
tullal‖. These are the words of K. Sivarama Karanth in his book Yakshagana.

***

49
 CHAPTER 5
NAYAKA AND MARATHA RULERS OF THANJAVUR

The culture and language of Andhra flourished during the rule of Vijayanagara
Kings. The ruler of the Empire at that time is Sri Krishna Deva Raaya. The greatest
contributor to the Telugu Art and Literature, the King Sri Krishna Devaraya, is
himself a poet. He patronized many erudite poets and singers including eight
extraordinary poets known as Ashta Diggajas. He eulogized the greatness of Telugu
language as ―Desa bhashalandu telugu lessa‖, meaning, Telugu is great among all the
other Indian languages.

During the later period i.e., from 1500-1600 AD, the subordinate rulers of Sri
Krishna Devaraya i.e., the Nayaka rulers introduced Telugu language in the regions
of Thanjavur and Madurai. In 1565 AD, the ‗Raakshasa Tangadi‘ war led to the
downfall of Vijayanagara empire. As a result, many court poets, scholars and artists of
the royal court migrated and settled in the courts of Nayaka kings of Thanjavur. In the
court of Nayaka kings, the Telugu language and literature received great respects and
Telugu is recognized as one of the official languages of the state. Simultaneously, the
Yakshagana tradition was also highly honored at that time. In the historical
perspective of Andhra literature, the era of Nayaka rulers is a significant one. Various
aspects of Telugu literature i.e., different forms of poetry (vachana kavitvam, geya
kavitvam etc.) flourished during this period. Along with the poets, even Nayaka rulers
have written many books in this language and thereby rendered yeomen service to the
Telugu literature. Literary aspects such as Classical Music, Dance and Yakshagana-s
were written, performed and were given a high status. Other art forms such as
Sculpture and Paintings too earned great reputation during this period. This
advancement is these Fine Arts is seen in the Kingdoms of Thanjavur, Madhura,
Mysore and Pudukottai, particularly in the Thanjavur Kingdom. Along with other Art
forms, an extensive development is also seen in Yakshagana-s.

5.1 Nayaka Rulers:

The Yakshagana-s in Thanjavur received a royal status during the rule of Nayaka
kings. The reason is the rulers are themselves experts in music, dance and poetry and
have also authored plenty of literary grantha-s and Yakshagana-s in Telugu. The first

50
Nayaka ruler of Thanjavur region, Raghunadha Nayaka has written many Prabandhas
and known as ―Prabandha Parameswara‖.

―Ragunatha Nayaka was the most illustrious of the Tanjore line of Nayaka as
well as the main prop of their fame and glory. Himself a great authority on the science
and practice of Karnatic Music, an accomplished scholar and author of numerous
works in Telugu, an expert Veena player, his court was the paradise on earth
attracting eminent scholars, musicians, vainikas, dramatists, poets, poetesses and
experts in branches of learning. The circle of most eminent critics who adorned his
court, acclaimed his scholarship in art and letters. The King Raghunadha was held in
great acclaim by his Guru and Guide, Sri Govinda Deekshitar and veteran scholars of
the age like Yagnanarayana Diksita, Cemakkura Venkata kavi, Kshetrayya and others,
prove the genuine nature of his accomplishments.‖37

His son Vijaya Raghava Nayaka‘s (1633-73) period is known as a Golden era
in the history of Yakshagana-s. He is a great admirer of Music, Dance and Literature.
With his deep interest and love for Yakshagana-s, he encouraged his court poets to
write Yakshagana-s in Telugu. He himself authored several of them. He appointed
few Nattuva Melas (Dance troupes) and made them to perform in his court. Even
though the Yakshagana-s of Thanjavur are set to Desi (local) type, their
characteristics are in the traditional Rupaka style as mentioned by Bharata. None of
these plays are mentioned as Yakshagana-s, while they are termed as Nataka-s and
Maha Nataka-s. The reason may be, their importance to the traditional term Nataka
rather than the term Yakshagaana.

5.2 Maratha Rulers:

In the year 1676 A.D., the Andhra Nayaka dynasty has come to an end. Then
began the rule of Maharashtra Kings. Similar to Nayaka kings, the Maratha rulers
have also done remarkable service in promoting the Telugu language. Though they
belong to the land of Maharashtra, they encouraged South Indian culture and tradition
to a great extent. They learnt Telugu language and have written many treatises
including Yakshagana-s and have thus promoted the Telugu literature on Dravidian
land i.e., in the region of Tamil Nadu.

37
Tanjore as a Seat of Music (p -33)

51
The Maratha rulers showed interest towards Yakshagana-s and they themselves have
composed some Yakshagana-s. They also encouraged the composers of Yakshagana-s
by felicitating them.

***

52
 CHAPTER 6
KING SHAHAJI AND HIS WORKS

The rulers of Saluva dynasty have rendered a remarkable service to the

Sanskrit and Telugu languages. They have recognized the greatness of Telugu
language and declared it as the greatest of all the languages in country. After the
downfall of the Vijayanagara dynasty, the Thanjavur region is ruled by Nayaka Kings
followed by the Maratha Kings. The Maratha kings have rendered a commendable
service not merely to the Dravidian languages but also to the Fine Arts viz., Music,
Dance, Paintings and Sculpture etc. With great passion towards these art forms, the
rulers being unaware of the language, encouraged the artistes and offered them lands
for their livelihood. In this way, they were greatly responsible for the existence of
these art forms for several generations. Having passion towards these art forms, the
rulers encouraged the poets and artistes and have offered them lands for their
livelihood.

In the history of South Indian Music, the period of Maratha rulers is

considered as a ―Golden Era‖ in the aspect of Fine arts. They ruled the Thanjavur
region after Nayaka kings. The Maratha rulers have rendered enormous service to the
South Indian Arts viz., Literature, Music and shaped Tanjore as a Seat of Music. They
encouraged Fine Arts viz., Music, Dance, Literature, Painting and thus elevated the
Cultural heritage of South India. They have restored the glory of the Fine Arts of
those times by patronizing many poets, Musicians, composers (Vak-Geyakara-s),
Dancers etc.

Among the Maratha rulers, King Shahaji-II (1684-1712) belonged to the 2nd
generation rulers after the Great Maratha Emperor Sivaji Bhonsale. Shahaji is an
accomplished ruler and a patron of Art and Culture. He is popularly known as
‗Abhinava Bhoja‘ and is a ‗Sahrudaya‘ (a good-hearted person) by nature. He is also
honored with several other titles viz., ‗Sakala Bhasha Bhushitha‘, ‗Sakalaartha
viraajitha‘, ‗Sakala chitra Sahithi‘, ‗Sangitha Bharitha Sambharitha‘, ‗Sahitya
Sangitha Bodha‘ etc. Shahaji is an admirer of arts viz., Music, Dance, Literature,
Sculpture and Paintings, just as the King Vijaya Raghava. Shahaji is also well versed
in Drama which is a combination of Music, Dance and Literature. He is known as

53
Srungaara Sura, Haasya chathura. All these titles depict Shahaji‘s vast knowledge
over the varied aspects of the fine arts and Telugu language.

King Shahaji II (1684 – 1712)38

He has vast knowledge of the traditional principles of Drama and is an expert

in Telugu Kaavya prabandhas. ―Shahaji brought together the tradition of the literary
Prabandha-s and the Yakshagana tradition and created a fusion of the two in his
wonderful Drsya Kavyas. A harmonius blending of Sanskrit and Telugu is witnessed
in the fine Sahitya of his Prabandhas. There is plenty of scope for Dance both in its
Nrtya and Nrtta aspects. Shahaji has an extraordinary skill in weaving words and his
language is majestic, his imagery polished, his sentiments fine and his touch delicate‖.
He incorporated them in his Yakshagana-s. So, all his works belong to the category of
Classical Yakshagana-s. The language, Darus (songs), poems used in these
Yakshagana-s are in the form of Grandhika bhaasha (bookish language). The poems
contain several literary beauties such as Nindaasthuthi, Vyastha pada grastham etc. It
is known that he has written 20 theatrical works out of which 18 are available. Among
them, 16 are Natakaas and 4 are Prabandhaas. The Natakaas are known as ―Udaara
vesha bhaashaa bhushithaalu‖. His works can be categorized as follows:

i. *Music, Literary and Theatrical works or Yakshagana-s

ii. *Musical compositions such as Tyagesa Pada-s

iii. *Raga Lakshanamu – A treatise on Musicology

38
Tanjore as a Seat of Music (p-64)

54
6.1 THEATRICAL WORKS OF KING SHAHAJI

All his theatrical works are suitable to be performed as Yakshagana-s (Dance Dramas)
comprising of Music, Dance and Theatre. The list of his Yakshagana-s are as follows:

1. Bhaktavatsala Vilaasa Naatakam

2. Ganga-Parvathi Samvaadam

3. Pancharatna Prabandham

4. Sankara Pallaki Seva Prabandham

5. Vishnu Pallaki Seva Prabandham

6. Vighneswara KalyaaNam

7. Sathi Pathi Daana Vilaasam

8. Kiraatha Vilaasam

9. Valli KalyaaNam

10. Santha KalyaaNam

11. Sita KalyaNam

12. Rama Pattabhishekam

13. RukmiNi-Satyabhama Samvaadam

14. Jalakreedalu

15. KrishNa Leela Vilaasam

16. Draupadi KalyaNam

17. Tyaaga vinoda chitra prabandham

18. Sati Daana suramu

19. Sachi Purandaram

20. Rathi KalyaaNam

55
1. In the above list of Yakshagana-s, 4 of them are mentioned as Prabandha-s. They
are Sankara Pallaki Seva Prabandham, Vishnu Pallaki Seva Prabandham,
Pancharatna Prabandham and Tyagaraja Vinoda Chitra Prabandham.

2. Similarly, there are some works with the name KalyaNam. They are Vigneswara
KalyaNam, Rathi KalyaNam, Valli KalyaNam, Seetha KalyaNam, Santha
KalyaNam, Draupadi KalyaNam and Saraswathi KalyaNam.

3. There is one work with the name PariNayam i.e., Parvathi PariNayam

4. There are 2 Samvaada-s in this list. They are Ganga-Parvathi Samvaadam and
RukmiNi Satyabhama Samvaadam.

5. There are 3 works with the name Natakam. They are Bhaktavatsala Vilaasa
Naatakamu, Sechi Purandara Naatakamu, Sri Krishna Leela vilaasa Naatakamu.

It is known that King Shahaji has written 20 Yakshaganaas. Among them, the
Tyagesa Padas are a collection of songs. Among them, 4 are in the name of
Prabandhas. They are

1. Sankara Pallaki Seva Prabandham

2. Vishnu pallaki Seva Prabandham

3. Pancharatna Prabandham

4. Tyagaraja Vinoda Chitra Prabandham

A Prabandha should possess Ashtaadasa (eighteen) features. It should contain 18

such descriptions about the King, Capital, Mountains, Love, Sick, Sunset etc. The
Prabandhas are categorized into 3 types.

1. Prakhyaatha Prabandham: The theme should be a Prakhyaatha (famous) epic

(eg: Ramayana and Mahabharatha).

2. Uthpaadya Prabandham: This play is a complete imagination of the author. eg:

Meghasandesam, Mrucchakatikaa, Swapnavaasavadattha

3. Mishra Prabandham: It is a combination of Prakhyaatha and Uthpaadya

Prabandhaas. It means, the story is extracted from an epic and is modified based
on the Author‘s imagination. For eg: Prahlaada Bhakthi Vijayam of Tyagaraja.

56
 Shahaji worshipped both Siva and Vishnu equally. This is seen in his
Yakshaganaas Sankara Pallaki Seva Prabandham and Vishnu Pallaki Seva
Prabandham. In South Indian Geya Natakas, Shahaji created a new trend. His
prabandhas contain many literary aspects and are suitable to be presented as Visual
dramas. In Telugu literature, Prabandhas should have certain characteristics.

During the Bramhotsava-s of Lord Vitanka Tyagesa in Tiruvarur, the Pallaki

Seva is performed in a very grand manner. In his Pallaki Seva Prabandham, he
described the Pallaki Seva of Sri Tyagesa in a beautiful manner. The decoration of
Pallaki is explained in an excellent manner. The story describes the pangs of
separation of Parvati from Lord Siva, and their unison.

He worshipped both Siva and Vishnu equally. This is seen in his

Yakshaganaas Sankara Pallaki Seva Prabandham and Vishnu Pallaki Seva
Prabandham. In South Indian Geya Natakas, Shahaji created a new trend. His
prabandhas contain many literary aspects and are suitable to be presented as Visual
dramas. In Telugu literature, Prabandhas should have certain characteristics.
―Prabandha literally means a poetic composition or a Kavya. In this sense, it denotes
any PuraNic work or literature – It must necessarily contain the VarNana or
description of the King, Capital, mountain, river, sun-set, love, sickness, marriage etc.
A Prabandha is considered perfect only when the above descriptions are present.

According to the Sources supplying the theme, the Prabandha-s are classified into 3
classes.

1. Prakhyatha in which the story is drawn from some well known source such as
the Ramayana, the Mahabharatha or Puranas and handled without any
modification.

2. The Utpadya Prabandha in which the story is born out of the imagination of
the author himself.

3. The misra prabandha is also known as misrabandha. Here the theme is

borrowed from the Purana or epics, but is mixed up with interesting
indications and situations introduced by the author for the sake of appeal.
Modification of the original story is an attractive feature here. Owing to this
element, this class of Prabandha acquired enormous popularity during the 16th
century.

57
 But this Prabandha-s are regular Kavyas only and are interesting from the
literary point of view. The crude Telugu Drama, the street play (Terukkuttu) which
was given a literary status and brought on to the Royal stage during the Nayaka
period, flowered under the name of Yakshagana in Tanjore. This is a dramatic
presentation containing the requisites of a Drama with characters, dialogues and
scenes. The remarkable feature about the Yakshagana-s unlike the earlier literary
Prabandha-s lies in the utility of the triple arts of Music, Dance and Literature. The
language is simple as it is sweet and adapted to the sentiment of love. These are
usually referred to as Madhura Kavithaha in which the Sringaara rasa is conveyed
through the triple medium of acting, song and Dance.‖39

6.2 Tyagesa Padaalu:

Tyagesa padaalu are a collection of 1000 Padaas (songs). These songs were
composed by King Shahaji, on his favorite deity Sri Tyageswara swami and dedicated
to Him. Though most of them are in Marathi, a few of them are in Sanskrit and one in
Telugu. This work begins with the line ―Sri SaahaMaharaja virachitha Sangeetha
paden‖. These compositions are devotion oriented and are classified into few
categories. They are Bhakti para padaas, Vairagya para padaas, Bhaava para
padaas, Mangala daru padaas, Sringaara padaas, Ashta vidha Naayika padaas,
Sallaam daru padaas, Neethi para padaas. By observing the structure of these songs,
few songs look like Dwidhaathukaas and few others like Tridhaatukaas.

Structure of Pada-s: In Tyagesa Padas, everything except the Sallam padas are in a
proper format. These compositions consist of 5-6 parts. For the Sallam padas, the
Swaras and Jathis are clearly mentioned. They are Pallavi, Anupallavi, and the other
stanzas may be considered as Charanas. One of the Tyageesa Padaas is composed in
Hindustani Drupad style. Its specialty is that the entire song is written with Swaras
and there is no Saahityam. The 3 sections of this song are named as Vilamb kaal,
Madhyama kaal and Para kaal. Although no taala is mentioned to this song, it is
suitable for Aadi taala. Some of the Tyagesa padas do not have Talas, some of them
are without Raaga and some without both. For some of the Sallam Daru padaas, the
swaras and Jathis (sol) are given. Few songs are mentioned with captions viz.,
Mangala daru padaas, Jaya Mangalam-Nitya subha mangalam padas.

39
Tanjore as a seat of Music – Dr. S. Seetha (pg 72 & 73)

58
The titles of the songs in Ashtavidha Naayikas and Naayakas are named with Nayika
and Nayaka‘s names respectively.

Ex for Nayika padas: Abhisaarika lakshana pada, Vipra labdha lakshana pada,
Khanditha lakshana pada.

Ex for Nayaka padas: Dakshina nayaka Lakshana padas, Anukoola nayaka lakshana
padas.

Shahaji composed Samvaada padaas as well. For eg, Yogi-Bhogi Samvaada, Gowri-
Parameswara samvaada. In addition to these songs, several compositions were
written with new titles i.e., whose names were neither used before nor after. A few to
mention, Kusuma bandha pada (a variety of flowers whose names go in sync with the
lyric), Raasi bandha padas (the zodiac names were included in the lyrics) etc.

Other examples include, Phala bandha, Swara bandha, mruga bandha, Navaratna
bandha, Pakshi bandha, Navagraha bandha, Samvatsara bandha, Nakshatra bandha
etc.

Along with these, he has composed songs on several Kshetras (Piligrimages) and
Deities.

Ragas and Talas used for these padas: Shahaji‘s mastery over the Carnatic and
Hindustani Music are seen in his Padas. Some of the ragas are ancient and rare, while
the other are popular and rakthi ragas. Some examples in Carnatic music are
Sankarabharanam, Todi, Subhapantuvarali, Bhairavi, Kambhoji, Saranga, Mohana,
Aahiri.

Some of the very rare ragas which are not in practice are Sri Gowri, Gumma
kambhoji, Poorvs gowla. Few Hindustani ragas are Raam kali, Lalitha pancham,
Asaveri, Nayaki kaanada, Syama Kalyani etc.

Many of his padas are in Aadi, Eka and Ata taalas. Few compositions are in Jhampa,
Dhruva, Roopaka and Triputa.

Literary beauties: In many of his Sanskrit padas he addresses God. Most of his
Sanskrit padas and some of his Maratha padas are filled with Praasa, Yati,
Antyapraasa and Muktha pada grastham etc.

59
1. An example of Praasa composed in Subhapantuvarali raga, Aadi tala.

Pallavi: Sankara thanaya maampaahi –

Anupallavi: Kinkaram deenam Maamtraahi –

2. An example of Antyapraasa:

Saranu Sree Siva Girija Nayaka –

Sree jaya daayaka –
Vara pradaayaka –
Sri Hari Saayaka --

3. An example of Yati composed in Aahiri raga, Aadi tala.

Kriyaa rahitha naama – Kinnimittha Vaagavithosa

Dayaanidhi majavari – Dayaana karithaam sathatha

4. An example of Mukthapadagrastham composed in Aahiri raga.

Karuna saagara
Garala kandhara
Dharajaa manohara
Hara nagadhara s’ara
S’aranaagatha thraana para
parama paavana sankara
kara dhrutha soola vara
varada Paraathpara eeswara

It can be said that these Tyagesa padaas is a noble work containing many specialities
in many aspects. Unfortunately, the lyrical part of these padas alone are available
while the music part (notations) is not available. However, there is scope for
composing music to these padas.

With the great efforts of Saraswathi Mahal Library of Thanjavur, 361 out of 1000
padas are preserved.

60
6.3: Raga Lakshanam:

This is a book written in Telugu which depicts the Musicologist phase of King
Shahaji. In this book, the Mela and Janya raga-s are very well explained. Shahaji
mentioned 20 ragas as Mela raga-s in this book. The mela ragas metioned in this book
are categorized in the following way according to modern Janaka-Janya system:

i. Major Janaka raga-s such as Sankarabharanam, Todi, Kalyani, Malavagoula etc.

ii. Major Janya raga-s such as Bhairavi, Kambhoji, Mukhari
iii. Ghana raga-s such as Nata, Sri, Varali
iv. Rare raga-s such as Desakshi, Hejjujji

Preceeding each raga he mentioned the following Sanskrit lines, ―Iti sri bhosala
kulaavatamsa sri Saha raja sasanka prakaasitaha sama varali mela vivekaha
trayodasaha‖. In the above lines, he mentioned the Mela number of each raga at the
end. For example, in the above verse, the last word trayodasaha (thirteen) denotes the
Mela number of that raga. In this manner he has described 20 Mela raga-s and 95
Janya raga-s which are popular during his times.

***

61
 CHAPTER 7

THEATRICAL WORKS (YAKSHAGANA-S) OF KING SHAHAJI

Shahaji‘s Yakshaganas are filled with literary and prosodical beauties such as
Choornika, Seesa padyam, kanda padyam, utpalamaala, champakamaala and
dwipada.. The language is simple, and can be easily understood by anyone having
considerable knowledge in Telugu language. In addition, different types of folk songs
associated with daily offerings to God such as Sobhanalu, Mangalalu, Pavvalimpulu
and ocassinal events such as Marriage etc. It is very pitiable to find the Music part
missing for these Yakshaganas. In his Yakshaganas, several types of Daru-s such as
small, big Daru-s are seen. Most of his works contain the Paatra pravesa Daru on
Lord Ganesha.

1. BHAKTAVATSALA VILAASA NAATAKAM:

The story of this Yakshagaana is taken from an epic and belongs to the
Prakhyaatha category. Lord Siva is known as Bhakthavatsala. (i.e., the one who loves
his Devotees) The demon BaaNa is the King of SouNapura and an ardent devotee of
Lord Siva. He prays and impresses the Lord with his devotion and is bestowed with a
boon. As per the boon given to BaaNasura, Siva is appointed as a security guard to
SouNapura. As per the mythology, Lord Siva along with his consort and other
PramathagaNaas goes to SouNapura.

King Shahaji slightly modified the epic based story. As per his version, Lord
Siva alone goes to guard the kingdom. In this way he gets separated from his consort
Parvathi. During this separation, Vipralamba Srungaaram was portrayed. In this way,
Srungaaram is the main Rasa that was in this drama. During this context, Shahaji
explains the effect of Shadrutuvus on Uma-Maheswara viraham. Siva stays at
SouNapura for one year. Unable to pain the suffering of separation, his consort
Parvathi sends her maid to the Lord to convey her agony. Banasura, after realizing
his mistake, feels ashamed for separating the Divine couple and repents for his
mistake. He, thus says to Siva

Sl: ‗Aparaadhinaithi Naa aparaadhamulanu krupa chesi manninchi

GeervaaNa vandya Vijayambu seyudu veetikinipude‘

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Thus BaaNasura begs Siva to pardon him and requests him to leave for his abode.
Parvathi devi welcomes Him to their abode Kailasam and says:

Sl: ‗Varadaa! Sankara! Bhaktavatsalaa! Vinudu

Paraga Bhakthulanitu Paalimpakunna
DharaNi lo Bhaktavatsaludanu peru
Chirakaalamitu vale chellu Devaraku‘

With these words spoken by Gowri, the name ‗Bhaktavatsala Vilaasamu‘ suits as an
apt title for this story. One may get a doubt regarding the title of the story as to why
the word ‗Vilaasam‘ is added to the story title. The answer for this is, for the Lord
who is omnipresent, all this is a part of the game. Most of this play describes the
pangs of separation of the Divine couple. As this separation is also due to the Lord‘s
love and affection towards his devotee, so this title is aptly suited for this
Yakshagaana.

The MangaLaacharaNam in this drama and the GaNesha paatra prevesa Daru are
same as in the Yakshagaanam Kiraathavilaasam also. The language used in this
Yakshagaanam is somewhat archaic. It contains many literary beauties such as
Praasa, Yatipraasa etc.

For many of the songs, the raga and TaaLas are not mentioned.

2. GANGA - PARVATHI SAMVAADAM:

The theme of this Yakshagaana is very popular among the Folk, but not in in
Mythology. It can be said as an imaginary story. Parvathi and Ganga are two wives of
Lord Siva. The quarrel among Ganga and Parvathi are of a great interest among the
Folk people. Both of them are equally capable in all aspects. Their argument reached
to a peak level at the time of Siva‘s marriage with Ganga.

Shahaji briefly explained about it in a Dwipadaa (poem) in this way.

Sl: ‗Gangaa samethudai garima sankarudu –

--------------------------------------------------------‗

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The conversation between Narada and a disciple is very humorous and makes the
audience enjoy. The conversation between the Eruka couple (tribal couple-
astrologers) is a bit vulgar.

In one of the dialogues of Sutradhara about Lord Siva, His glory is explained
marvelously. The language used is highly complex and is very difficult for a common
man to understand it. Similarly, in the dialogues of Kundodara, the language used is
very impressive and beautiful. This shows his equal command over the classical and
folk languages.

The ManGalaacharanam and Ganesha Paatra Pravesa Daru are same as in

Bhaktavatsala Vilaasa Naatakam.

3. PANCHARATNA PRABANDHAM:

There is no much story in this Yakshagaana. This play relates to the dances of several
regions and various Dance styles performed by the artistes. The story is that, several
Dance experts viz., Birudu Mitaarulu, Navasiddha Yogi, Chenchu Nattavozu (folk
dancer), Biruda bantu, Saadana vaandlu etc., come to the royal court of Lord
Parameswara to showcase their talent and receive many awards and titles for their
performance. Through this theme, the author exhibits his scholarliness and knowledge
on Dance. This is mentioned by Shahaji himself in the following poem.

Sl: ‗Ghana Naatya Sastra Vaikharulanu minchu ---------

Pancha ratna prabandhambu --------
Sahithi pumbhava sarada yaina
Saaha bhoopaaka saasanudu rachinche‘

The greatness of this Prabandha is described as ‗Udaara vesha bhaashaa

bhooshitham‘. This Prabandham contains many special compositions which were
neither seen before nor after it. They are Sallaamu Daru, Sollu, Moharam,
Tirumaanam, GaNapathi Koutham, Trikaala swaram, VarNa Trikaala sollu, Jathi,
VarNa sollu etc. Most of the Daru-s in this Yakshagaanam are filled with Jatis
without any lyrical part. Some Daru-s contain Swaram as well as Saahityam. The
names of the lady characters in this play are BiruduMitaari, NelaKanta, Sollu Birudu
Mitaari, Chenchu vaadu, Navasiddhi Jogi etc. All the Dance characters enter the

64
Sabha by singing a Dwipada on Lord Siva. The same prayer song is repeated by all
the characters i.e., ‗Sankara Paramesa Chandra Kalaapa ---‘

The Mangalaacharanam and Ganesha Paatra Pravesa Daru in this Yakshagaanam

are same as in the above Yakshagaanam.

After the arrival of Ganesha character, a Katika character enters the stage. His
appearance is described beautifully in a VarNana Daru.

‗Patti Naamamulu vetti – Paari kola kela batti

Kati pai duppati gatti – Juttu ninda poolu sutti
Mitta pandlu keka batti – Attahaasamu thona vacche‘

In this Pancharatna Prabandha, the language used is in a scholarly manner. Though

most of the songs are written in Telugu, a few of them are in Maratha and Sanskrit
languages. For some Darus in this Yakshagaana, there are no Raagas and TaaLas
mentioned, and for some of them only TaaLas are mentioned i.e., Chaapu, Aadi and
Eka. Some Ragas mentioned are Suruti, Bhairavi, Saveri, Kapi, Ahiri,
Saanthasailaani (?) etc.

In an Eka Tala Marathi Daruvu (Raaga is not mentioned for this), is a special
composition. Its specialty is that, one of the CharaNa-s is completely written with the
names of TaaLa Dasa PraaNas:

eg1: ‗Kaala Marga kriyaangaane – Graha jaati KaLaane

Seela laya Yati prasthaarane chaalatha Natana bhedaana
Kaala hara tyaaga natesa apane – kamaneeya Saahendra che Prasanna
Illilaam takka tajham tari takkita – YaNa reeti Sandhya kaaNi na che‘||

Another Charanam is written with the names of division of Ragas.

eg2: ‗Sarasa audava sampoorNa - shaadava suddha raaga Gaana

Varaaroha avaroha ghuna – sarasa sruthi bhedana
Parama suswara pramaaNa – Saraswathi nija kaaraNe –
Tarikita taka dhaLaangu takkita taka – vara veena vaaje‘ ||

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4. SANKARA PALLAKI SEVA PRABANDHAM (SPSP):

During the Bramhotsava-s of Lord Vitanka Tyagesa in Tiruvarur, the Pallaki

Seva is performed in a very grand manner. In his Pallaki Seva Prabandham, he
described the

Pallaki Seva of Sri Tyagesa in a beautiful manner. The decoration of Pallaki is

explained in an excellent manner. The story describes the pangs of separation of

Parvati from Lord Siva, and their unison.

This is a Prabandha written on Goddess Kamalamba and Lord Tyageswara, the

presiding deities of Tiruvaarur. The Goddess in this temple stands facing North – East
and appears to be waiting for Parameswara. Inspired by the custom of Pallaki Seva
festival, Shahaji composed this Yakshagana ―Sankara Pallaki Seva Prabandha‖. This
is a completely imaginary story and is not based on any epic.

This Prabandha, unlike the others, does not begin with a MangaLaacharaNam. It
begins with a Praardhanaa Dwipada on Lord GaNesha.

―Sri kari mukhuni poshitha chaturmukhuni eka danthuni

durithebha kesarini

Thaaraka daitya vidaaruni guhuni gaaravambuna kannaa

Gouri Sankarula
Pallaki Seva prabandhamu gaanu ---------------------------
--------------------- Bhosala Sree Saaha bhuu purandarudu
Virachinche kavulella venoLLa pogada, dharaNi lo
naachandra thaaraarkamuganu‖

The theme of the Dwipada is as follows. Shahaji says that, he is writing a Pallaki
Seva prabandham on Lord Siva and Parvathi who are the parents to Lord GaNesha
and Lord Guha. The name of this work is Gouri Sankarula Pallaki Seva prabandham
written by Sri Saaha Bhuupurandara.

This follows the Praardhana on Lord Siva. The language used in this
Praardhana contains more of local slang and gives pleasure to the language lovers.

66
The story of the Prabandha is as follows. Parvathi Devi, unable to bear the pain of
separation from Lord Siva, sends two of her maids to bring Him back. On this task,
they start to the Sabha of Parameswara. As the Lord is seated in the assembly
amongst all the other deities, the maids describe the grandeur of the Sabha in a
VarNana Daru. It is a popular Daru in SankaraabharaNa raaga set to triputa taaLa.

―Koluvaiyunnaade deva devudu

Koluvaiyunnaade koti surya prakaasude
Vala raju pagavaade Vanitha mohanaangude—‖

In the above Daru, the way Parameswara is described is in a most beautiful and in an
unapparelled way. (This song became popular through an awarded Telugu movie
named SwarNakamalam). All the deities in the assembly praise the Lord in the form
of a Daru in Saveri raaga set to rupaka taaLa.

―Paakaari mrokkeeni chekonavayya –

Lokanaayakaa paraakaa Heccharika –‖

In the above Daru, it is mentioned that the Sabha is filled with many deities including
Lord Indra, Brahma, NarayaNa, Dikpathis and other Sages.

The two maids, after seeing the Sabha cannot take a bold step to go inside and
approach Lord Siva. In this context, the maids discuss with each other in the form of a
Daru, in Mohana raaga set to Mishra chaapu taaLa.

―Etula rammanduve amma—‖

They worry about how to approach the Lord in that situation. They, then plan to take
the assistance of His ornaments, to convey their plea to Him.

First, they plan to approach Mandaakini (Ganga) and discuss about her in the form of
a Daru.

―Idi vinaraade ee maatalu—

Puttina biddala potta nunchi ega
Gotti ledanu palu neeli entha,
Gattaina juNuku kaRaaLi idi
Mitta pallamu leni puttu gayyaaLi—"

67
They discuss about Ganga devi, in a sattirical manner. Ganga is not to be trusted as
she kills the newborn babies by drowning them in her waters, she also takes the
advantage of dancing on top of the Lord Siva, she is so rough and forceful in nature
and moves away any hard substance that comes in its way, she is a vagabond who
roams everywhere in the three lokas (worlds), she is a shrew who always shouts on
her co-wive.

Thus, they stop their proposal of approaching Ganga, after discussing about her
GuNas (nature/qualities).

Then the maids approach the deer, and take it‘s help to convey Parvathi devi‘s
message to the Lord. This is described in a Daru.

―Vinnavimpave maa chinni mekamaa

Innela daaritho ipudu maa manavi –
Maakee kaaryamu masalaka seyumu
Neeku mrokkedamu nenarunanu—‖

In the above Daru, they praise the deer and requests it to convey their message to
Lord Siva. As the deer doesn‘t respond, they blame it saying that it is a brainless
beast.

They next approach the serpent in the form of a Daru.

―Thelupavayya maa manavi – chiluvana raaya

Thadavu seyaka lemmani tharuNi pai daya seyumani
Vididhiki rammani Saaha bhuu
Vibhu daivamaina Pasupathi tho buuni‖ ||

They request the snake to convey their message to Lord Siva but it too doesn‘t
respond. They blame the serpent in a poem.

―Palu visamulu rendu jivhalu

Kalavaarala kedanaina kalave nenarul
-----‖

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The maids again blame the serpent saying that, they don‘t have any love or affection,
as it has two tongues and is full of poison.

Then they approach the moon God. This is written in the form of a poem.

―Maruvaka chandamaama vinuma idi neekoka bhaaramaa—

Maa manavi gaikonumaa haruthona delpumaa‖

They request the moon as well to convey their message to Lord Hara. As he too
doesn‘t pay attention them. So, they blame the Moon in the form of a Daru.

―Polathi enthaina daya puttunatave

Haalahalamutho puttina annekaaniki
Chaala veeni veduta chaalu chaalune pove
Menu teliyani vaani menamaama ku‖

They blame the moon in this way. The moon is a brother of Haalaahalam (poison).
He is a Drohi (deceiver) and a cousin to Manmadha, who himself does not have a
body.

As no one helps them, they both directly approach Lord Siva which is expressed in the
form of a Dwipada.

―Oo deena mandaaraa Oo nagaagaara –

Vaamaakshi gouri devararaaka gori
Kaamuniche duuli gaali che soli
Kalugu chunnadi chaala kaliki ee veLa
Kalaya raavayya Sankara chakkanayya‖

They say that, Goddess Parvathi is unable to bear the pain of separation from you. She
is very eagerly waiting for your arrival. The same is mentioned in the form of a Daru.

―Elukovayya chakkanayya
TaaLa lenayya intha thadavela
Raavayya maa baala nelukovayya‖

69
After listening to their words, Lord Parameswara ends the session and orders to bring
the Viri Pallaki (floral palanquin). This is described in a VarNana Daru in
SankaraabharaNa raaga. This is a major composition of this Yakshagaana. The
description of palanquin in this composition is a grand manner.

―Srungaarampu pallaki cheluvu chuudave

Sangeetha meLam thona chanudenchenide
1). Jigiminchu jalapotha jeeni pannaagamu ||
Biguvo nindu burusa vinjaamara
Niga nigayanu paccha pagadampu dandiya
Magaraala nigaraala manchi chattamu gala ||
2). Chirutha pacchala gacchu chesina dabikeelu
Kuruvindamula geelu konu gobbeelu
Sarige kandai nallina jamidi naali dindulu
Eragu biLLalu pattu birudu biLLalu gala ||
3). Sari jeeni kuttula nagaLaathi netthalu
Hari neelamulanu katthera koralu
Harumunji puusala norapaina kucchulu
Paragu kuraaLamu pattu toramulu kala ||

The Palanquin is decorated with Navaratnaas (nine kinds of gems), precious stones,
beads, silk and special kinds of smooth clothes, supporting cushions and pillows made
up of silk cloth etc. Thus, the Lord Siva ensconced in the palanquin starts towards the
abode of Parvathi, followed by Gods, demi-gods, Sangeetha MeLas and other
followers.

The procession of the Lord moving amidst the Gods is described beautifully in the
form of a Daru.

―Kamlaayathaakshi ro kanugonave
Amaruleesuni kuudigamulu seyuvinthalu—‖

The services rendered to the Lord by different Gods is as follows. Kubera serves him
with Paan made of camphor; Indra offers KaaLaanji, a fan made of peacock feathers;

70
the Wind god waves with Surati (hand fan); Lord Brahma chants Mantras (sacred
hymns) in praise of the Lord, Yama follows Him with a sword, the Rain god serves
the Chaluvu paavadalu (spreading red carpet on their way); Garuda, Kinnera,
Yaksha, Gandharvaas sings with immense joy; Rambha and other court dancers
perform dance. With all these offerings and servings, the Lord Pasupatheeswara, the
favorite deity of Shahaji, arrives happily along with Lord Hari.

As the procession is carried out, one of the attendants Vasantha cautions the
palanquin bearers to carry the palanquin carefully in the form of a Daru.

―Kadalinchaku royee pallaki – kadalaneeyaku royi chaala

Mruduvaina maa jangamayya – menu nocchine haha
----------
Thinnaga nadava neeya royi – teevra melanoi
Kukshi nunna bramhaandamulella – nuugaboyee ni haha ||

Vasantha asks the bearers to carry the palanquin with utmost care without causing any
disturbance to His stomach, as it contains all the fourteen worlds in it.

In this way, the procession reaches the abode of Goddess Gauri in a grand manner.
Then, the Lord Nandi says the words of caution, in the form of a Chuurnika.

―Jaya sakala geervaaNa vanditha sundara paadaara vinda –

Jaya Saaha dharaadhipa chittambuja pathanga
Jaya dhavaLaanga jaya bhaktha bhaya naasa
Jaya thyaaga pasupatheesha namasthe namasthe‖

Then, the Lord Parameswara get down from the palanquin and cautions in the form of
Heccharikaas which is known as a Paadaavadhaana/ Paadagamanam in
PanthuvaraaLi raaga.

―Bahu paraakeccharika devaadi deva

Paadaambujamulu munulu puujincheru
Idigo indrudu analudidigo semanudu heccharika
Idigo puNya janulu idigo jalesudu
Idigo gandha vaahanudu idigo dhanesundu‖
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In another scene, the bedroom of Parvathi Devi is described marvelously in a Daru in
PanthuvaraaLi raaga set to Jhampe taaLa.

―Entha vedukalaaye – nee padaka illu chuuda—‖

Then arrives Lord Siva towards Goddess Parvathi who waits eagerly for her husband.
She decorated herself beautifully waiting for His arrival. This is described in a
VarNana Daru.

―Idigo koluvaiyunnadhi Himagiri kumaari –

Madana haruni raaka madini ee veLa goli—‖

The Daru describes the beauty of Goddess Parvathi, who has put up makeup to wait
for the husband, Lord Siva‘s arrival.

As the Gods praise the glory of Lord Siva loudly, the Lord enters the residence of
Parvathi. This is described in a Daru set to Jhampe taaLa.

―Amara pathi mrokke eccharika paraaku – analudu mrokke eccharika

paraaku
Jamudu mrokke eccharika paraaku – chanuvuna nairuthi mrokke eccharika
paraaku
Jalavibhudu mrokke eccharika paraaku – Dhanadudu mrokke eccharika
paraaku
Eesaanudu mrokke eccharika paraaku – ithara devathalu mrokkedarammaa
eccharika paraaku
Daasulu munulu mrokkedaru paraaku – Sri Saaha vinuta devaraaNee
paraaku‖
In the above Daru, Indra, Manmadha, Yama, Nairuthi, Jala, Kubera, EeshaaNa,
other deities, Gods, followers and Sages salute to the Goddess Parvathi.

After receiving the salutations from them, the Goddess praises her husband in a Daru
in Souraashtra raaga set to Aadi taaLa.

―Neeve daiva sikhaamaNi – deva chidaananda

Nevee naa pennidhi karuNaanidhi soma skandudu
Kadalani Tripura mahaatavi kaalaagniyu neeve
Madanuni ruupa payonidhi galachina mandara giri neeve
Bedarani gaja danujaadhamu netthi ki pedda pidugu neeve
Gadumuchu tirige andhakunaku laya kaalayamudu neeve‖

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The specialty of this Daru is that, the Goddess praises Lord Siva in many ways and in
many forms. In this context, allusions of several PuraaNic stories related to Lord Siva
are mentioned. For example, Tripuraasura samhaaram, Gajaasura vadha,
Andhakaasuruni vadha etc.

Lord Parameswara and Paarvathi are made to sit comfortably and offer MangaLa
haarathis. This is mentioned in a Daru.

―Jaya mangaLam Nithya subha mangaLam—‖

Later, the Divine couple (Parvathi and Parameswara) are offered Aaragimpu (food).

This is mentioned in a Daru.

―Aaragimpara vayya mrokke mayya – maayayya

Kuurimi gouri tho kondaveeti jangamayya
1). Thiruvisamulu pongaLLu thimmanamulu
Varugulu nethi buurelu perugu dosaliddenalu
2). Uuragaayalu kuuralu nuluchu pappulunu
Saaraphalamulu kanda chakkera lukkeralu
3). Kala vantakamulu paayasamu kalamaannamulu
Paramaannamu laanavaalu panchadaaralu thenelu
4). Polupaina daddhojanamu pulihoralunu
Melaku meegada perugu melaina sonTi majjiga
5). Kamaneeya parimaLayutha gangaa jalamu
Gama gam ani vaasinchu kapurampu videmulu || Aaragimpavayya‖

The Divine couple is offered and served with various food items. Then they are
offered PavvaLimpu seva in Madhyamaavathi raaga set to Jhampe taaLa.

―Laali laalayya laali

Laali vrushabha thuranga laali bhava bhanga
Laali karuna paanga laalidhavaLaanga‖

The maids give some advice to Goddess Parvathi on how to serve the Lord, in the
form of a Daru. This Daru contains eight stanzas, so it is called as an Ashtakam.

73
 ―Batthi tho devaadi devuni paada padmamu lotthu mi
Mettha mettha ga Sankaruni nimmena gandhamu metthume—
Velaya Saaha vibhudu chesina vinuthi padamulu paadumee
Alayakanu devaadidevuni kaanandamuga rathi kuudumi‖

This Yakshagaana concludes with a Naatyaantha mangaLa geetham i.e., in the form
of a Daru.

―Maa paali devuniki mangaLam – mamu ganna thalliki mangaLam

1). Gangaadharuniki karuNaabdhi ki divya mangaLa dehuniki mangaLam
Sangeetha rasikaku jalajaakshiki sarvamangaLa ku devi ki Mangalam—
2). Mudhitha Sankaruniki mohanaakaaruniki madana samhaaruniki mangaLam
Sadayaapaanga ku smarajeevana daayaki madhavathiki girija ku mangaLam
3). Rahi gala tyaagesunaku raajamouLiki saahamaheepaala devuniki mangaLam
Guaha kari mukhulanu kuurimi tho kanna mahitha guNaaDhyaku
mangaLam‖

This concludes with a Dwipada which is known as Naatyaantha Dwipada.

―Sree sankaruni pera sree gouri pera vaasavaarchithu pera paarvathi pera
Kesava nuthu pera giri sutha pera neeshuni pera sarveswari pera
Bhogi bhuushaNu pera puuboNi pera Tyagesa pera kaatyaayani pera
Pallaki seva prabandhambu divasa vallabhaanvayu deka vasudheesa dharma
Pathni deepaamba gardbha siddha peti rathnambu sree saaha choLa
Raajendru
Donarinche kavulella lullasilangaa thanarutha naachandra
Thaaraarkamuganu‖
This concludes the Prabandham. Shahaji‘s scholarliness over the Telugu literature
can be seen in this Yakshagaana. Particularly the attributes used for describing Lord
Siva are even admired and appreciated by the experts of Telugu literature.

5. VISHNU PALLAKI SEVA PRABANDHAM:

The theme of Yakshagana in Sankara and Vishnu Pallaki Seva Prabandhas are
similar. Similar to SPSP, in VPSP also Goddess Lakshmi also two of her Sakhis
(maids) ManjuVani and Priyamvadaa to bring back her husband Lord Vishnu. At that

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time Lord Vishnu will be seated in his royal court amidst all the Devataas (Gods).
The two maids could not dare to enter the Royal court. Then they take the help of his
followers i.e., Vishvaksena, Narada, Hanumantha, Nagendra, to convey the message
to Him, but fail to do so. Then, they (i.e, the maids) directly approach the Lord and
convey the message of Goddess Lakshmi‘s to Him. Lord Vishnu then completes the
Sabha (i.e., court meetings) and start to his abode on a palanquin and unites with the
Goddess.

This Yakshagaanam is bigger than SPSP. Both the Yakshagana-s contain literary
poems such as Dwipadaas, Utpalamaalas – Champakamaalas, Kandaas and Seesa
poems, Layagraahi and Mattha kokila etc. In addition, other poems such as Todaka
Vruttham, Choornika, Ashtakam, DhavaLam, MangaLam etc. For some of the Darus
in this play, the Raga is missing. The Ragas (available) set to Darus are Pantuvarali,
Mukhari, Kambhoji, Aahiri, Desaakshi, Malahari, Devagaandhari, Bhairavi etc. The
beauty of Palanquin is described in a wonderful manner in SPSP than in this
Yakshagaana. It contains 38 Darus. MangaLaas, Melukolupulu songs, Sobhanalu,
Heccharikalu etc.

6. VIGHNESWARA KALYAANAMU:

This is the story of Lord Ganesha‘s wedding with the daughters of Brahma.
They are Siddhi and Buddhi. As this is the story of Ganesha himself, there is no
Ganesha Paatra pravesa Daruvu in this Yakshagaanam. In this, the
MangaLaacharaNam is immediately followed by Dwipada which gives a brief
summary of the story.

The story goes this way. The Divine couple, Parvathi and Parameswara arrives to the
royal court. Goddess Parvathi enquires her maids about that day‘s news. Looking at
the fear-stricken faces of the maids, the Goddess assures Abhayam (protection) and
asks them to freely tell the news updates. One of the maids, by the name,
SakalaKaLaa PraveeNa says that, all the people are passing comments on the Divine
couple. They opine that all the Gods including Indra have performed their children‘s
marriage in time except you. Some performed the marriages on earth and some started
preparations for it. But, the one who is responsible for the creation of all the worlds,
the omnipresent and the omniscient is not showing any interest towards His son‘s
marriage. They (the maids) say that it is painful to hear such comments on the Divine

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couple. Lord Ganesha also expresses his sadness to them saying that His parents are
not taking care of him, and not getting him married. He (Ganesha) got vexed waiting
for his Parent‘s consent, says that, he himself has chosen two girls as a good fit for
him. He saw them in the Sugandha Madhuvanam and fell in Love with them. In the
following Daru, the maids explain the Goddess about the state of Lord Ganesha who
fell in love with the two girls. This Daru is set in Bhairavi raaga, in simple words and
with beautiful expressionss.

‗Pilichina palukade – Nilichina chota niluvade

ALikula ravamula kulukuchunnaade
Kudumulu che pattade – Pandikokkunekkade
Vadivadi gaa Mukkanti Pandlanaasimpade
Panneru muttade – Kannela thalanchu chunnaade
Vennala chicchani – anta verachi yunnaade‘

Lord Ganesha conveys to Mother Parvathi through the maids that, in case of further
negligence on his wedding matter he would leave that place and go elsewhere. This is
said as ‗Pooni vivaahamippudu seyakunna boluponda nindaina poyedananuchu
velaya neetho vinnavimpu mannaadu‘

Showing her motherly affection for her son, she conveys this matter to Lord Siva.
This is described in a Daru, in GouLi Panthu raagam set to Aadi TaLam.

‗Pannaga BhushaNa Paramesa neevunaa vinnapamokati vinavayya saami‘

She further says, even poor parents perform their child‘s marriage, but his parents did
not. All these words are conveyed by Parvathi to Siva. She conveys this message in a
funny way, in a Daru set to Bhairavi raga and Aadi Tala.

‗Andarikee pendlante yaasa puttunaiyya - -

Nandanundainatti GaNanaathu nananemayya
It means everybody shows interest on marriage. In this issue why should you blaim
our son GaNanaatha.

The meanings of other stanzas are as follows:

1. Lord Sri MahaVishnu married Goddess Lakshmi and gave her a place in his heart.

2. Lord Brahma married Goddess Saraswathi and placed her on his tongue.

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3. She (Parvati) sarcastically says, Lord Siva gave half of his body to her (Parvathi),
and even more to Ganga by placing Her on His head.

With these words she requests Parameswara to perform the wedding of their Son
Ganesha soon. This is written in a Daru set to Kedaragoula raga, Aata TaaLa.

‗Vega pendli seyavayya chakkani saami‘

In between their conversation, the two maids convey Parameswara about the two girls
loved by Ganesha and He feels happy about it.

The two girls Siddhi and Buddhi are known as Brahmamaanasa putrikaas. They,
along with their maids come to the garden. This is mentioned in a beautiful Paatra
Pravesa Daru in Aahiri raaga. ―Kannelu vedaliri kanthuni serammulana –―

The two girls express their Viraham (pangs of separation) towards Lord Vighneswara,
to their maids. This is expressed beautifully in a Daru set to Naadanaamakriya raaga
and Aadi TaLa. ―Etuvale taaLudnammaa –―. Another Daru in same raaga ―Cheli
taaLa jaalune—‖

Parvathi and Parameswara will come to see the girls and will be impressed very much
by seeing them. One of the maids of Parvathi, SakalakaLaa praveeNa describes the
charm and handsomeness of Lord Ganesha and ask the Girls to Marry Him. Replying
to them, the Girls obediently say that they are under the control of their father Lord
Brahma. It is not a right way to tell their opinion without the permission of their
father. Then, enters the Sage Narada. His entrance is beautifully described in a
Paatrvapravesa Daruvu. He offers his salutations to the Divine couple, in a traditional
sloka that was not composed by Shahaji.

Sl: ―Vande sambhu Umaapathim ---

Vande Sivam Sankaram‖

Narada talks to Siva and Parvathi about the marriage proposal of the two Girls with
Lord Vighneswara to which the Divine couple happily agrees. Knowing this, the
Chaturmukha (the four headed God) Brahma comes to the abode of the Divine
couple, in ecstasy. This was explained in an excellent manner in a Daru in
Sankaraabharana raaga and Aadi Tala. ―Naalugu momulanu Naalugu Vedamulu

77
 Leela chaduvuchu vacche Sri Bramha Devudipudu‖

Thus, the wedding gets fixed.

The deities are invited, and their arrival is expressed in several poems and Darus.
Firstly, SriMahaaVishnu along with his consort Goddess MahaaLakshmi arrive to the
marriage venue on Garuda Vaahana. Lord Devendra along with his wife comes on
the Airaavatha and other deities that include Kumaraswami etc. arrive to the venue.
The entrance of the groom, Lord Ganesha, is described in a Daru in KedaragouLa
raaga, in Ata taaLa. ―Mujjagamula vaari mrokku leederinche

Gujju roopu devara gunisi yaaduthaa vedale –‖

The arrival of the brides to the Marriage hall is described in a Daru in GouLipantu
raaga. ‗Chanduru paavaDa paina sarige cheeralu meraya

Chandana Gandhulu vega sariga pendli ki vacchiri

Pacchala kadiyamulu pasindi sommulu thannaraa
Pacchaviltu seramulanna vacchiri kanyakaamaNulu‘

In this way, the wedding takes place in a splendid manner. All the Gods such as
Narada, Kinnera, Kimpurushas etc. will sing all the songs viz., Sobhanalu,
MangaLaashtakaalu, Saavadhaanaalu and MangaLaas. Then the Sutradhaara will
sing the MangaLam song in Gumma Kambhoji raagam. This Yajshagaanam concudes
with the words read by the Sutradhaara ―Iti Sreemat Bhosala Kula Saaha Mahaaraaja
virachita Vigneswara KalyaaNA Naatakam Sakala Rasika Vidwadjjana Preetaye Sree
Tyaagesa Saamba SivaarpaNamasthu‖

The literary beauties in this Yakshagaana can be enjoyed by anyone who all are well-
versed with Telugu language. From the descriptions and attributes used, the culture
and tradition, the way of dressing and the words used in those times are very clearly
depicted. Few songs in this play are tuned to some of the popular songs of those
times.

7. SATHI PATHI DAANA VILAASAM:

This is a very Heart touching Yakshagaana. This also begins with a

MangaLaacharaNam and Ganesha Patra Pravesa Daruvu. The plot of this play was

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extracted from the Sri Krishna Paarijaatham story and written as a Yakshagaana with
slight modifications.

The play begins with the entrance of Satyabhaama to the Sringaara Vanam. Her
beauty and appearance are described in a Dwipadaa (poem). Her arrival to the
Sringaara Vanam is also described in a very pretty way in a Daru. ―Vayyaaramuna
vedalenu andamu meera‖. In another Daru,

―Muthyaala Kamma Chaaya chekkiLLa vintha vennela gaaya

Chittaru bomma chaaya vacchenu Sri Satyabhaama vacche‖

In this way, Satyabhaama is described as a beautiful portrait. In the Vanam,

Devamuni Naarada comes to Satyabhaama. This is described in a Paatra Pravesa
Daruvu.

―Kalahame KalyaaNamani kouthukamuna pulukuchu

Mellana VeeNe vaayinchuchu melaena Naaradu vacche—‖

Then Satyabhaama requests Naarada to show her a way where her husband stays
with her forever and does not leave her. The Sage replies her saying that, whatever
charity we do, the same fruit is received as a result. He further says that, in this
manner if you give away your husband as a donation, you will receive Him in return,
and He will never leave you. This idea works only if He obeys to whatever you say.
To this, Satyabhaama replies confidently that her Husband never disobeys her word.
She asks the Sage to make arrangements for this event.

The arrival of Lord Krishna is written in a wonderful manner. The glory and charm of
the Lord Krishna is described in a Dwipada and two Paatra pravesa Darus.

The Lord adorned with various ornaments arrives to the place of Satyabhaama. Then,
she asks Him to grant her a boon, with an assurance. To this, Sri Krishna replies in a
smiling way and says he never disobeyed her word even for a joke or in a dream.
Then she happily starts preparing for event.

In this context, the author Shahaji adds little humor to it.

As a recipient for the donation, she invites a Brahmin priest. Assuming the donation
to be Shodasi daana-s (i.e., the traditional sixteen Daanas mentioned in scriptures),

79
the Brahmin is initially Happy to receive the donation. Later, after knowing the object
of donation to be Lord Krishna himself, the priest was apprehensive. He says that he
cannot accept the Lord as a donation, as he needs to provide milk, curd, butter, good
food, clothes made of silk (pattu). In addition, he also needs to provide ten girls to
play with Him. So, the Brahmin refuses to accept the donation, unable to maintain
Him, and further says, he cannot accept the donation even if the Chaturdasa
bhuvanaalu (fourteen worlds) are also offered to him in addition to Lord Krishna.

Then, Satyabhama requests Narada to accept the donation. The Sage accepts her
request based on a condition that Krishna should obey to whatever he says.

The event of donating the Lord will be completed. Knowing this, the remaining wives
feel very sorry for the Lord. This is expressed in a Daru

―Entha kaaryam sesithivi naa saami

Intha mohamu kaladaa ee satya korakai neeku

Stanza1: Katakata Sthree purushulu kalasi melasi yundaroo

Ituvanti vinthalu yedanaina kanamu
2: Nenaru kaligina sommulu neraya nitthuru gaani
Thanuvu neevale nevaraina dhaara voya manduraa
3: Raavayya Sri Krishna raavayya naa swami
Ee verri danamu joochi evaraina navvaraa‖

Saying so, the other wives curse Satyabhama. This is mentioned in a Daru

`―Entha nanganaachive Oo Satya neevu

Inthulalo nella vintha rakkasivi gaava
Orula sommunu neevu noorake yituvale
Garimanu Dhaaravoyi GaaraNameme jantha
1. Ekkuva haani sesi, eruga natlu nunnaavu
Rakkasi, divaakaakaruthaDbheetha yannatlu ‖
SatyaBhama retorts, which is expressed in a Daruvu.
―Kalaha kantakulaara! Ee kantu maataleelaane-naa
Cheluvuni nenu daanamu sesithi pove‖

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 In this way, Satyabhama quarrels with her co-wives. Narada calms up the
Ashta Mahishees (eight wives) of Krishna, and tries to take Krishna with him, to his
ashram. Balarama, the elder brother of Sri Krishna arrives and says in anger, to leave
his brother or else he would punish Narada with his Halaayudham (plough weapon).
After knowing what has happened, Balarama requests the Sage to provide a way to
bring back his brother. The Sage replies saying, it is not fair to take back the donation
that was once offered. Later, feeling pity on Balabhadra, the Sage explains the remedy
to give the quantity of Gold equal to the weight of Krishna and Balabhadra accepts to
this condition. They all come back to the royal Palace.

Balarama places all the Gold in his treasury, on one side of the balance to match the
weight of Krishna but fails to weigh him. Later, Satyabhama places all her ornaments
and other Gold from her treasury to weigh her Husband and she too fails. As all their
efforts become futile, Balarama sends a message to RukmiNI, to come to that place.
The arrival of RukmiNI is mentioned in a Daruvu.

―Vayyaaramuna vedalenu andamu meera ---------------------- RukmiNI devi‖

RukmiNI arrives to that place without any ornaments. Seeing her simplicity, all the
people in the assembly starts speaking satirically about her. RukmiNI worships Lord
Krishna and gives Harathi to her. She puts a Tulasi leaf on the other side, to weigh
Krishna. Then, the side of the balance containing Krishna, comes up at once bringing
down the other side of the balance. This is the result of RukmiNI‘s sincere devotion.
Then all the people feel happy and praise the devotion of RukmiNI devi.

This time, the author again adds a tinge of humor, at the end of the play. During this
Happy occasion of coming back of Sri Krishna, all the other wives (except RukmiNI)
fight among themselves to take away their respective Gold ornaments that were
placed on one side of the balance, to weigh Krishna. This situation is mentioned in a
Daru:

―Mutyaala kuthi kantu idi naadu pove

Muditha maa baava icchinadi kaadatave –-----
Hecchu vela mukkara idi naadi pove
Mecchi Krishnudu monna icchinadi kaadate ------
Sanditi dandalu ivi naavi pove
Savathi naa thatha icchinavi kaadate -------

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After collecting their ornaments, all the remaining wives praise RukmiNi, in a daru:

―Maa paali daivamu maa pennidhaanamu – RukmiNi devi

Chakkani thallivi saakshaath Aadi lakshmivi
Nikkamu RukmiNi ninu nutimpa nerthune ----
Kula girulanu poru kaladhana mellani
TulasidaLamu thoda thulatoogadaayanu -----‖

Seeing all this, Narada feels sad as the huge quantity of Gold that he expected was
lost. At the end of this play, the Sutradhara sings the MangaLam and the Phalasruthi,
expressed in a Daru

―Mandara Dharuniki Maadhavunaku --- Yasoda nandanuniki sobhaane

sobhaane
Bhosala Shahaji bhu vibhuni –
Vaasiga sobhana vaibhava santhathi dheesampadalidu devuniki sobhaane
sobhaane‖
The story of this Yakshagaana is very popular one. The expressions are very simple
and lucid, and any person having a basic understanding of Telugu will enjoy each and
every scene of the play. This once again proves the scholarliness of Shahaji over a
foreign language i.e., Telugu.

8. KIRAATHA VILAASAMU:

This is a romantic story of the Aadi Dampathulu (Divine couple) Parvathi and
Parameswara. This Yakshagaana also begins with a MangaLaacharaNam and
Istadevathaa praardhanaas and Paatra Pravesa Daruvu. The story begins with the
arrival of Divine couple to the royal court. The couple spend their time in a happy
mood and start playing a game. Then, he Goddess Parvathi asks her husband to play
the game for a bet, instead of playing it casually as this makes the game more
interesting and challenging to the players. They start playing a game, Pagada saamu
(a game played with Dice). The bet is that the loser has to give away everything that
they possess, to the winner. This is desceibed beautifully in a Daru.

―Pagadasaalaadudamu pandemuna jattupaducha neevu raave‖

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The game begins.

First Game - Siva loses the game and gives away the Vyaaghra charmam (Tiger skin)
that he wears, to Parvathi

Second Game – Siva loses the game and gives away his Rudraaksha (rosary) to Her

Third Game – This time Siva loses his Trishul (the Trident)

In this series of Games, Lord Siva gets defeated. He loses all his ornaments and thus
feels inferior to Her. Then arrives the Kalaha Priya (the one who is happy by creating
quarrels) Narada. This is described in a Patra Pravesa Daruvu.

―Kalahamee KalyaaNamani kouthukuamuna palkuchu

Melapuna VeeNa vaayinchuchu melaena Naaradudu vacche
Menantha vibhuthi poosi meragu jedalu mudivesi
Daanavaarini smaraNa jesi Taandavamaaduchu vedela tapasi‖

The Sage approaches Lord Parameswara who was defeated and totally lost everything
in his game. He asks Siva about his ornaments, in the form of a Daru

―Vintha kanti nedu ennadu leni – Vintha kanti nedu

1. ―Rudraaksha maalika edi – ruDaina trishulamedi
NaagabhushaNamulevi vyaaghra charmaambaramedi --
3. Vibhuthi bharaNi kaanamu – Vrushabha vaahanamu kaanamu
Idiyanthaa evariki dayachesi eeshaa! Peruprakatamu chesevu‖

Narada asks Siva out of surprise, as to, what to happened to his belongings. Then He
says about the bet game he had with Parvathi devi. He asks Siva to get back his
ornaments, as they are lost in the game, and the game in ended now. Then, Siva goes
to Parvathi asking her to return her gifts. She refuses wittily saying that,

―Aata lo gelichinadi aduguduraa evvarainan kaani—

Inti sommu adigithey yeeya vacchu
Nenaruna meeru yemadigina yeeyavacchu
Jathagoodi naatho naatalaadi sarvaswamunu voidi‖

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This is a reply given by Parvathi adding a bit of pride to it. Feeling very bad about
these words, Siva himself says in a Daru with a lot of anger

―Oho BhaLaa lessaayanu – ontigaa undenduku –

1. Sthreela nammaraade anumaata neelaveNi lo nijamaaye nee valana
2. Magadu manchi vasthuvulu macchika nicchinagaani Sagamu seyuduru
maccharamunanu
3. Penimiti oka intha pilichinapude vacchi
Garimanu thalakekki genthulu veyavatthu
4. Purushundu dayachetha poojyamandarilo – seya
Purushu vanchinchi puNya mandedaru
5. Ituvanti sathi dharmamu ee jagamunanuda
Nechata koothurani manasu karugane inthaina – Sthreela nammaraade‖

After feeling severely hurt by the words of Parvathi, Parameswara angrily

feels that staying alone will bring peace, and women should never be trusted. He says
to Narada about the argument, and her refusal to give back His Ornaments. He further
says that He wanted to leave this place for peace of mind and asks Narada for a
suggestion in which guise He can go. Narada advices Him to take the form of a Jogi
(saint) or a Chenchu (a tribal) man. Then the Lord leaves his abode and goes to forest.

Narada then approaches Parvathi who was in an unhappy mood and asks the
reason for her dullness. She says all that had happened, including Her refusal to give
back Siva‘s belongings, and finally the departure of Siva. Then Narada ironically says
that, You have Won the game and He left the place, and the Game is over. He
reprimands Her by pointing out Her mistakes, in a Daru. ―Intha dayavaani manasu
eela noppinchithive –

Tharanendu sekharuni sarasa guNamulu virasamu chesukontivi‖

Then, Narada admonishes Her saying that, a Wife should always be bound to her
husband. That is the right conduct. He asks Parvathi to go in search of Her Husband,
convince Him and bring Him back. This is the Sathi-Pathi Nyaayam. Saying so,
Narada leaves that place. Thus, Parvathi gets hurt, and sadly says to her maid that she

84
is innocent and did not commit any mistake. This is said in a Daru ―Emantine vaaniki
emihesithi neramu

Kaama harudu oorake naa meeda naligenoyi

Pathi thana praaNa bandhuvu pathi thana paali daivamu
Pathi eelaagu chesina gathi vere sathulakemi‖

It is He who left the place. My Husband is my very life and I am unable to

bear his separation. This is expressed in a Daru

―Elaagu thaaLudune –
Phaalaakshu nedabaasi bhayamu lekaetlundu namma‖

Parvathi repents for her mistake and expresses Her pain of separation. She remembers
all Her Happy moments with Him.

―Naa nerame nannintha jese –

Naadhunipai dosamu ledu—
Makkuva raajasekharuni Mamatha poyi pagadaannaithi―

She approaches Narada and asks him the way to reach her Husband. Then
Narada says about Siva taking the form of Chenchu man. The sage asks Her to take
the form of a Chenchu lady; convince and bring Him back.

In the forest, Siva roams as a Chenchu man. The young Chenchu man is described
beautifully in a Daru.

―Chenchu redu vacchenu – Pacchavillu chetha booni vinthagaa –―

Shahaji describes the beauty of the forest in a VarnaNa daru ―Adavi vinthale
vinthalu—‖

Siva searches for a suitable place for doing penance. Parvathi in guise of a Chenchu
lady comes to that forest in search of Her Husband. That is depicted in a Paatra
pravesa Daruvu

―Bhavaani vedale Bhilla veshamuna

Guriginja dandalungaramulu chethula danaragaa
Niduvaina nemali rekkalu nadumuna vilasillagaa
Sera chaapa soolamulu karamuna booni vega‖

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This song beautifully depicts the appearance of a Chenchu lady. Then she asks Vana
devatha about the whereabouts of Her Husband but doesn‘t receive any reply from
Her. This situation is shown in a Daru. *Unfortunately, half of the Daru is not
available. Few lines describing the appearance of Lord Siva by Parvathi in telling the
identity of Her Husband to Vana Devatha, are:

―Puli tholu gattinavaade boochula ekimeede

Chaligattu raayani Allude
Paduchaa nanu vanchinchi itu vacchinaade‖

Then she alone goes in search of Him. This is depicted in a Daru

―Vanamulella vedakithi Haruni gaananamma‖

In this song, she describes the list of places that she searches for Her Husband i.e.,
forests, mountains, trees, anthills, bushes, sacred-places, rivers and caves but She
couldn‘t find Him anywhere. Finally, she reaches to Himalayas and finds the Kiraatha
(the tribal man). He, in turn, mesmerizes to Her beauty, and talks to her. Their
conversation is depicted in a Samvaada Daru.

―Neevu indela vacchinaavu Chenchu paduchaa telupave‖

In this song, She indirectly says about Her name and Her children‘s names. She says
that Her name is AparNa (meaning, the one depriving herself of leaf). When asked
about Her sons, she replies as One without Horn (Lord Kumaraswamy) and another
with a single Horn (Ekadantha i.e., GaNesha). In this manner, beautiful conversations
take place between the Kiraatha Man and Kiraatha woman. The Man asks the Lady
not to go further and says tries to frighten Her by saying that there are Wild Animals
viz., Lion, Tiger, Elephant etc. This is mentioned in a Daru

―Minchi pokuve paducha –‖

In reply the Lady says in a Daru that

―Raama niluvamanevera –‖

In this song She describes the valour of Her Husband and says that, Her Husband
killed Tigers and wore their skin as a cloth (Vyaaghra charmaambara dhara). She

86
says about Herself that she rode on a Lion (Simhavaahini). My Son himself is an
Elephant headed God (Gajamukha). With these instances She says that She has no
fear of these animals. The next 3 Darus describe the way the Chenchu Man tries to
flatter Her.

In this Daru, the tribal man expresses His feelings towards Her

―TaaLalene nenu ika taaLalene

Ninu joochinapude Niluva jaalane‖

For this, She replies in a Daru about the valour and attributes of Her Husband and Her
two Sons:

―Chaalu chaalu verri maata evaraina vinaboyaaru‖

In the Third Daru, the Chenchu Man again tries to convince Her

―Veladi palukulu ritthalai yunnavi‖

Finally Parameswara reveals both of theirs identity. Then, Parvathi realizes Her
mistake and repents for what has happened and begs for His pardon. Then
Parameswara forgives Her and they Happily gets united. Their Love is depicted in a
Daru

―Thaamasamika ela Daya seyavee Parvathi‖

The Yakshagaana ends with a MangaLam read by a Sutradhaara

‖Maaya Kiraatha Haruniki MangaLam Nityam

Maaya Kiraatha Deviki MangaLam
Amaravandithunaku Subha MangaLam
Mahaneeya roopunaku MangaLam
Mahaaraaja Devuniki MangaLam‖

Shahaji has written this Yakshagaanam in a traditional Naataka Saampradaaya. In

this play, no Ragas or TaLas are mentioned for any Darus.

9. VALLI KALYAANAM:

This Yakshagaanam starts with MangaLaacharaNam and Ista Devathaa

praardhana. Unlike the other plays, these are not followed by a Paatra Pravesa Daru,

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but a MangaLam in the form of a Daru. Following it is the salutations offered to Lord
GaNesha, Sri Sarada Devi, Parvathi & Parameswara, Sri MahaVishnu etc., in the
form of Verses. Then the author Shahaji writes about himself, his family and his
lineage in a verse. Following it, A type of composition Kaivaaram, begins, with a
Jaya Sabdam.

―Jaya jayaa saantha vishRaaNa naraadheya –

Jaya Jayodaara! Bhosala Shaaha raja‖

Later, the Sutradhaara will speak about Naandi (a kind of worship) in the form of a
Dwipada. This contains the Ishta Devathaa praardhana, a description of the Naayaka
(Hero), a brief introduction of the story. Then the story begins.

―Munu Kumaaraswaami mudamu meeraganu

Tana nitya kolvuku tanara vacchutayu
Vetakaandranu noori vetaadaboyi –
Metaina yaa valli melathanu joochi
Yathi moha vigbhraanthudai chelikaani
Nathi vrutthaanthambu naduga bamputayu
----------------------------------------------------
Puruhuuta nibha Shaaha bhoopaaludelu
Thanjaapurini sakthi dharuni sathiki
Manjulatharamaina mangaLambaguta
Anu kadhalanu jaalanamari raajillu
Ghana kumaaraswami kalyaaNamipudu
Sarasudainatti bhosala Saahavibhudu
Virachinche kavulella vinuthi seyaganu‖.

In this way, this Drama will commence with a Prayer and a Paatra pravesa Daru on
Lord Ganesha. The same Daru is repeated in many Yakshagana-s of Shahaji. Lord
Ganesha is described in a beautiful way, in a Daru.

―Mudamuna Kundalamula ruchulamaraga –

Node vedalenu Vighneswarudipudu-------‖

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The story is briefly narrated by the Sutradhaara in this Dwipada.

This is an introduction to the Drama with a conversation between the Raja bhata
(guard) and the Sutradhaara. The Bhata belongs to the Royal court of Lord
Kumaraswamy and says that the court has been bedecked with flowers and other
decorative items, as the Lord arrives. The charm of the Lord is explained in two
poems.

p-1 ―Kaanchana ratna sanghatithamaina kireeta

mulu siramuna chaalaa cheluvu meera
Mendaina navaratna kundela dyuthi nindi
Ganda bhaagambulu kappukonaga
Bolupina Kasturi bottu nennudurula
Niga niga mani chaala neeu dera
Merugaina mutyaala saruluraha sthalamuna
Sarasatha penagoni choukaLimpa ----"

p-2 ―Ponkamainatti thama karapankajamula

KankaNambulu jhaNa jhaNathkaara mesga
Deva senaadhi pathi mahaadeva suthudu
Vedale koluvuku mikkili vedkameera‖

The same is described in a Paatra Pravesa Daru of Kumaaraswami. The

lyrics of this Daru is as follows.

―Cheluvu meeraga vedalenu

Sakthi dharudu cheluvu meeraga vacchenu‖

While the Narthakis (court female dancers) are arriving to the court, the
guards report to the Lord about the arrival of some Brahmins. The Brahmins report
the King about the attack of wild animals in their area. This is written in a Dwipada
poem.

―Devasenaani ee trijagambulella –
Pululu pandulunu duppulu gajamulu
Elugulu jinkalu nennanga raani
Mrugamulu pairulu meyuchu janula
Digulonda jeyuchu tiruguchunnavi—
Khandinchi veegame kaavumi mammu‖

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 Saying so, the Lord orders his servants to get the Hunters ready for the hunt.
Then, Kumaraswamy along with the Hunters go to the forest for hunting. The
weapons and other equipment taken for frightening the animals such as Guns, swords,
spears and nets etc., are described in a beautiful way in a Daru.

―Thaaraka vairi bherula ravamulu bhoru kolangaa –‖

The author mentions about the Gun as a weapon in killing the wild animals.
The language used by the hunters and the kaapulu (villagers) is described in a very
natural way. Later, with the permission of Kumaraswamy, the hunters begin hunting
of the wild animals. This is described in a Daru

―Ponchi ponchi deeni bodiche vara singaa

Minchi minchi Dora meereni—‖

After completion of the Hunting, Kumaraswamy takes rest under the shade of a
flower bush. Valli devi arrives to that Sringaara vanam, with her maids. Her beauty is
described in a wonderful manner. Her arrival to the garden is described in a Daru.

―Garima meeranga vedalenu Valli Kanyaka

Garimanu vedalenu maru sera managanu
Karaku Jedanu viri saramunu meraya—‖

In the above Daru, the description of various ornaments such as beads, mirrors, guru
ginja dandalu (the ornaments made up of a type of seeds). At that time, She plays
Kolaatam (a dance played with two sticks) with her maids. This is described in a
Daru

―Nerikurulanu viri saramulu merayanu

Sarasatha payyeda jaaraganu—‖

Kumaraswami, amazed by the beauty of Valli devi says to his friend Srimantha, in a
Daru

―Kanugonavoyi Sreemantha ee kanyakaamaNini‖

and says that He has never seen such a beautiful lady till that time. Srimantha says
that She deserves to be admired by you. Then the Lord asks his friend to make an

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enquiry about Her. At the same time, Valli Devi also looks at Kumaraswamy and gets
attracted towards Him, and says to Her maid in this way, in a Daru

―Cheliyaro evade ee Ghanudu—‖

Mesmerized by His beauty and unable to bear the pain of separation, Her feelings are
expressed in a Daru.

―Baalaro vinave – TaaLa jaalane cheliyaro

Entha ne delupudu cheiyaro –‖

Then Srimantha approaches the maids of Valli Devi and about the details of Valli
Devi, for which the maid replies in a Daru

―Vinumu ee kanya vidhamu vinnavincheda nee vela

Ghanudaina chenchula raaju tanaya ee baala—‖

Then, the maids ask Srimantha about his whereabouts. He says that my Lord is
Kumaraswamy, the son of Parameswara. He also expresses Kumaraswamy‘s Love
towards Valli Devi and seeks help of Her maids to unite the Lovers. The maid asks
Srimantha to approach Her father (i.e., the Chenchu Raju) to take the permission and
tell Him about the marriage proposal. Srimantha returns and conveys the same
message to his Master Kumaraswamy. This is described in a Dwipada.

―Telipeda vinavayya Devasenani

`Kaliki chenchula raaju kanyaka daani
Peru Valli devi—‖

Then, Kumaraswamy feels sad as She did not immediately accept His marriage
proposal. This is described in a Daru.

―Kanyanu joochutennado
Daanine bigiya kougita jerechutennado—‖

Then, Srimantha asks Kumaraswamy not to feel sad, and takes His permission to go
to Chenchu Raju to speak about the marriage proposal. Then he starts on his way, as
mentioned in a Daru.

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 ―Anchithamuga senani yenupaga Srimanthundu
Chenchula naayakuni cheravacchenipudu—‖

The way Srimantha goes to the Chenchu King is described in a Daru

―Chenchu raaju vacchenu sriminchu villu bune—‖

The appearance of Chenchu Raju is described beautifully, in a poem. Srimantha after

repeated attempts, fails to enter the court of Chenchu raju. This is described in a
humorous way.

Finally, after introducing himself as the friend of Lord Kumaraswamy, he will be

allowed to meet the Chenchu Raju with due respects. Srimantha then tells about Sri
Kumaraswami, who is the son of Lord Parameswara. He also tells about
Kumaraswamy‘s Love towards Valli Devi and discusses about the marriage proposal
i.e., the purpose for which he arrived at that place. With immense happiness, the
Chenchu Raju accepts the marriage proposal and considers it as His greatest blessing.
His happiness is said in a Daru.

―Baala Chandra dharu thanayuniki naamuddu

Baalaneeya galigi nenu baaguga dhanyudanaithi‖

The Chenchu raju asks the Srimantha to bring his Lord to this place, for performing
this marriage here itself. Srimantha, in reply says that they came to the forest for
Hunting and the Lord cannot marry without the presence of His parents and relatives.
For this, the Chenchu Raju asks Him to invite Parvathi and Prameswara along with all
the other Devatas (Deities).

Then Srimantha says that there is one great ruler on this earth, who appears like a
cupid, highly courageous and generous in nature known as the Shaaha Maharaja
(King Shahaji) who rules the Thanjavur dynasty. He is such a devotee of Lord Siva
that, the Lord himself dwells in his heart. Srimantha asks the Chenchu Raju to bring
his daughter to Thanjavur and perform her marriage in the presence of the King who
is an ardent devotee of Lord Siva. The Chenchu Raju feels very happy and accepts it
with humility.

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The Bridegroom, Lord Kumaraswamy arrives to Thanjavur along with Srimantha and
his other followers. This is written in a Daru

―Cheluvu meeragaa vacchenu Sakthi dharudu

Later, the Chenchu Raju arrives with the Bride and his family and relations. This is
described in a Daru by Shahaji.

―Veduka meera vedalenu Veduka meera vedalenu

Velaya bandhula goodi Pendliki thana koothuru nim

Pondugaa thodkoni veduka meera vedalenu chenchu raaju—‖

The Chenchu Raju praises Kumaraswami in a Dwipada that starts with a Jaya
Sabdam

―Jaya meru samadheera santhatha udaara

Jaya bhaktha mandaara jaladhi gambheera—‖

The Chenchu Raju asks Kumaraswami to marry his daughter to which He accepts it
happily. Kumaraswami asks Srimantha to invite all the Deities for His marriage. This
is described in a Daru.

―Vinavoyi Srimantha vivaahambunaku

Devendraadi devatalanu todkoni raavoyi‖

Upon receiving the wedding invitation of Kumaraswamy, all the Deities arrive to
attend the event.

The description of each deity is mentioned in the form of poems and Darus.

Firstly, the arrival Brahma is described in a poem.

―Naalugu nimmu gammulanu naalugu vedamulan paTimpuchun

Melagu Dhovathul bhujamu meeda namarchina Yutthareeyamun
Laalitha patte vardhanamulan vilasillu subhaakshathambulun
Phaalamululla sillaganu brahma mudambuna vacche nittharin‖

The same expression is explained in a Paatra Pravesa Daru

―Naalugu momulanu – Naalugu vedamulu

Leela chaduvuchu vacche Sri Bramha Devudipudu‖

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Then comes Lord MahaVishnu. His arrival is described in a Dwipada and Daru

―Karamula sankha chakramula dheedhithulu

Nerasi dikkula yandu niga niga leena –

Vinutha vaibhavu daadi Vishnundu vedale‖

Daru: ―Velaya Sri sencha chakrammulu hasthamula thanara –

Subha peethaambara prabha sobagonda souri vacche‖

Next comes Devendra on His vehicle Airaavatham along with Apsaraas (Rambha,
Oorvasi etc.). All these deities come and praise the Lord Kumaraswami by saying
Jaya Jaya. His arrival is mentioned in a poem and follows a Daru

‖Karamuna noppu Vajramunu kannulu veeyi naalugu dikkulan—

Suranikarambu golva bala soodanudindrudu vacche nattharin—‖

The same is expressed in a Daru,

―Airaavathamu painekki harshamutho rambhaadulu

Chaaru srungaara naatyamul meera devendrudu vacchenu

Jejelu thana changatanu jeyjey yanuchu Kolvagaa

Raajasamu meera sura raaju vedka thonu vacche‖

During the marriage of Kumaraswami and Valli Devi, all the deities chant
MangaLaashtakaas. Others such as Narada, Kinnera and Kimpurusha sing MangaLa
Geethaas.

―Gouriki ramya vihaaruniki - Saara krupaarasa haarikini

Meerina premanu dheerula brochuchu - Korikalosagedu guNanidhi ki ||
Devuniki mahaadevuniki – devaadhipa nutha bhaavuniki
Sree vaibhavamula paavanudai thagu sevaka nidhi yagu sivunakunu ||
Bhosala Shaahaji bhoo vibhuni bhaasillu premanu bhaavinchu
Vaasiga sobhana vaibhava samthathi – Dhee sampadalidu devunaku‖

94
The Yakshagaana concludes with a Dwipada and a Phala Sruthi

―Bhosala kalasaabdhi poorna chandrundu

Satya Sampath sadaachaara sampannu
Dathyantha daya saali harsha maanasudu
Sarasa siromaNi saaha Bhoovarudu
Iruvanda gaa rachinchina sakthi
Dharuni kalyaaNambu DharaNi lopalanu
Evvandu chadivinaa evvandu vininaa
Evvandu aadinaa nevadu choochinanu
Suthulu dhanmbulu subhamulu migula
Sathulithambainatti yaiswaryamulunu
Pondagu krupa boluponda vaaralaku
Indu sekharudicchu neepsithaardhamulu‖
This YakshagaaNa consists of many traditions, cultures and moral values of those
times.

10. SAANTHAA KALYAANAMU:

This Yakshagaanam is based on an epic but is not so popular. The hero in this
play is Rushyasrunga Maharshi. Of the three qualities of a Nayaka, he belongs to the
category of Dheera Saantha Naayaka. Just as the Valli KalyaaNam this too begins
with a MangaLaacharaNam and Ishtadevathaa praardhana. A mangaLam song is
composed on Lord Parameshwara. The author offers salutations to the deities i.e.,
Vighneshwara, Saraswathi Devi, Vishnu, Parameswara and begins his work. This
Yakshagaanam begins with King Romapaada entering his court. He feels sad listening
to the grievances of the farmers, due to no rains in their regions. Upon the advice of
his minister, the King Romapaada invites all the Sages and performs a series of
VaruNa japaas. As this does not yield any result, the King approaches the Sage
Bhrugu. On the advice of Sage Bhrugu, the King invites Sage Rushyasrunga. The
Sage performs some rituals which results in heavy rains. With immense Happiness the
King performs the marriage of the Sage with his daughter. This is a story in brief,
about this Yakshagaana. A few lines of Dwipada is as follows:

95
 ―------- Romapaadudu gunaaroohundu vega
Thana nitya koluvuku thanara vacchutayu
Manasau ranjilla naa mantri vacchutayu
Varshambu dwaadasa varshambulu leka
Karshakulellaru karaguchu raju
Koluvuku vacchi grakkuna thama vinnapamu
Vinipimpagaa raaju vini chinthanundi –
---
Thaapasa mukhyudai thanaru bhrugundu
Cheluvondagaa rushyasrungu neeveLa
Pilipimpu varshamul permi tho kalugu –
Bhoomi paaludu thana putrika santha
Sreeminchagaa rushyasrungakicchutayu
Aniyedi kadhalache namari vedukanu
Thana ruchu nundu Santhaa pariNayamu
Ghanudu Saahendrudu gaavinche bhuvini –
-------------------------------------------------
Dharani lo naachandrataaraarkamuganu‖

In this way, the play begins. Just as the other Yakshagana-s, this play also begins with
a Vighneswara paatra pravesam in a Dwipada and in a Daru.

The King Romapaada arrives to the court in his usual way. At that moment, the Raja
bhata (guard) at the entrance says ‗Paraaku‘. The appearance of the guard is
described well in a Daru. It is also a Paatra Pravesa Daru.

―Patte Naamamunu betti bari kola gela batti

Datti paini duppati gattigaa katti
Juttu ninda poolu sutti Mitta pandla nilabetti
Attahaasamu tho vikataangudu vacche‖

96
This is the description of Katika (another name for Raja bhata). The way of arrival of
the King Romapaada to his royal court is described in a Paatra pravesa daru and in
two poems

―Meti gaa sirasuna aataka ratna ki

Reetambu mikkili neetu dera
Mendaina chevulanu meerina maNi maya
Kundala jyuthulu nekkuvanu thanara
Andamo muthyaala Haaramu luramuna
Sarasatha penagoni choukaLimpa
Karamula ratna kankaNamulu chelarega
Jilugu duppati chengu jeeralaada
Molaka navvulu momuna velayuchunda
Pancha sararoopudagu Romapaadudipudu
Vibhavamu podalu chunda Devendru pagidhi
Vedale thana nitya koluvuku veduka lara‖
Daru ―Srungaaramuna vedale hoyalu meera—‖

Later, kaapu vaaru (a group of villagers) come to the court, to report the drought
conditions for the past twelve years, in their villages. The report is given in the form
of a Dwipada

―Vinavayya Rajendra vinnavinchedanu—

Panuvadi dhaaruNee bhaagabu nandu
Nenayaga varshamokkintha ledaaye‖

The villagers report saying that, there is no growth of paddy, wells are becoming dry
etc. They pray to the King to protect them from these drought conditions. The
Minister‘s arrival is written in a Dwipada.

―Satata neethi parudu sakala jana hithudu

Chathurupaayamu nandu chathurudaina mantri vedale||‖

97
After listening to their plea, the Minister assures the villagers that VaruNa japam will
be performed. On the order of the King, the Maharshis will arrive and suggest to
perform VaruNa Japam. This is written in a poem and a Paatra Pravesa Daru.

―Cheluvu meerina thama sirasula melaina –―

Daru ―Vedaliri munulu vintha gaanu
Vedaliri munulella veduka mikkili
Podamaga sirasula jadamudi thanalaga
Ponkamuga chittha pankajamulayandu
Sankaru thalachuchu jananaathu koluvuku||‖

The king mentions the reason for calling the Sages, in a Daru.

―Muni varulaara theluparayya

Muni varulaara ee pudami varshamu
Enayaga ledaaye nemi kaaraNamo
DharaNIni varshamo kuriyu upaayamo
Narayana naduga piluvanampithi mimmu
Indukupaayamu idiyani telipi mee
Randaru nannipudaadarimparayya‖

The King requests the Maharshis for a suggestion to overcome this situation for which
the Sages suggests performing VaruNa Japam. The Sages asks to provide the required
material to perform VaruNa Yagam. They are:

SwaRna kalasa – 10 crores, Rajatha kalasa – 2 crores, Muraara dilli biyyam (a kind
of rice) – a few bags, several kinds of grains, coconuts, wheat, oil, ghee, milk, curd,
butter etc. Then the Sages begin the Yaagam with the chantings ―Yehi VaruNa Yehi
VaruNa‖.

Though they perform the VaruNa Yaagam,their efforts go in vain. This is mentioned
in a two-lined Daru.

―VaruNa japamu seyaga vaana ledani telpa

Vara munulu vacchiri bhoo varuni vaddaku‖

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The sages convey this matter to the King. They express it in a Daru

―VaruNa japamu seyaga varshamu ledaaye –

----
Itti vipareethamennadu vini memu erugamu raja Chandra‖

Then the King feels sad about it in a Daru.

―Emi seyudu munulaaraa!

Bhoo janulu vaana leka pogulu chunnaaru induku ---
Aavulaku mrugamulaku traava jalamu ledaaye
Puttinadi modalu nenitti chitramu gaananu‖

It means, the people of this region are severely suffering as there are no rains. Cows
and other animals do not have water to drink. He says, he has not seen such a worst
situation in his lifetime. Then, the Bhrugu maharshi says in a Dwipada

―Telipeda vinu raja Devendra bhuvini

Velayu mahaa daana vibhavambu valana
Japamula thapamula saanthulanaina
Vipareethameeyanaavrushti doshambu
Teeradu nenokkateragu seppedanu—
Angaja hara bhakthudainatti Rushya
Srunga muneendruni seeghrambu gaanu
Pilipimpumu—‖

Saying so, the Sage says that, there is an Anaavrushti dosham (a fault leading to
drought conditions) which cannot be overcome by performing rituals such as Daana,
Japa, Thapa, Shaanti, Homas etc. The only way to get rid of this is to invite the
Rushyasrunga Maharshi to his kingdom, who is a great devotee of Lord
Parameswara. Then the King requests the Sages to invite him.

Then, the Sage Bhrugu says about Rushyasrunga as the one who is a great Taapasi (a
great Sage), one who is not aware of any worldly matter, women, cities, villages etc.
Bhrugu adds to it, asking the King to send NaatakaSaala Sthreelu (court female

99
dancers) to draw his attention and bring Rushysrunga to his Kingdom which will clear
the Anaavrushti dosham. Then the King Rompada agrees to Bhrugu Maharshi‘s
words happily and make arrangements.

Then the Koluvu bhoga ladies arrive. Their beauty is described in a poem and a Daru.

―Naataka saala bhaamalu metiga vedaliri

Muddu paatala naatala sari saati leranuchu—‖

Then the King Romapada requests the dancers to go and bring the Rushyasrunga
Maharshi with their music and dance. This is written in a Dwipada

―Vinudu naataka saala viriboNulaara

Mana desamuna vaana mandukunaina
Ledaaye janulu dooliri karavunanu—
Oka yupakaarambu nonarimpavalayu –‖
Cheluvondaga rushyasrunguni nindu
Velaya decchitireni vembadi vaana
Kalugunu kattenda kaakella teerunu
Chelulaara naa maata seyudu meeru‖

These dancers after taking the permission of the King and take leave.

The ambience of the ashram of Rushyasrunga is described in a poem

―Veda veda vedamantramulu vinthaga jeppuchu bhakthi todanal

Gadalanu sishyulellaru kadu gaaravamandaga cheri kolvagaa
Dodi bada naara cheera puli tholu dharinchina mouni rushyasrun
Gudu nanudenche masthakamu kommu chelanga thapambu seyagan‖

Seeing the Sage and his appearance, they make fun of him among themselves and
approach him. The Sage becomes surprised to see those women, as this is the first
time, he saw a woman. Then, he says to his disciples

―Kanugonaroyi chakkagaa sishyulaara

Yanuvonda manamuna kadbhuthambuganu
Ye vanambuna nundi ee dusta mrugamu
Lee vanambunaku nethenchinaviyo
Cheraboyina yemi seyuno—‖

100
As the Sage has not seen a woman till that time, he thought these are a kind of beasts
which came from forest. He further says to his disciples that, even though he tried to
scare them, they didn‘t even move from that place. So, he understood that these are
not beasts and assumes that they may be Sages who arrived from another region. He
salutes them.

In this way, a lot of conversations take place between the women and the Sage.
Though these women pass cheap comments on the him, Rushysrunga considers them
to be great sages and pays respects to them. The Sage says about the women in a Daru

―Munulaara mimu joochithe vinthalaaye‖

The women pretend to be ascetics and offers some raw vegetables and dessert items to
the Sage. As the Sage relishes their food items, he further asks them to chant the
Vedic hymns in their style. Then the ladies perform the dance with music as per the
rules of Bharatha Sastra and says that they itself are the Vedic hymns. After watching
their performance and listening to their music, the Sage becomes immensely happy
and asks the women to teach him the same in the form of a Daru.

―Vinthaga munulaaraa mee vedamulu vini chaala

Santoshamaaye nupadesamu seyudeeveLa‖

In this way, these women attract him and draw his attention. They ask him to stop his
Japa-Tapaas

In case he wants to learn the vedic hymns in their style. This is given in a Samvaada
or Uttara-pratyuttara Daru (in a conversational Daru)

Woman:―Upadesamu chesemu o muni chandra neevu

Japa thapamula ninka chaalimpa voyi‖

(Rushyasrunga replies saying that, there is no need to perform any Japa or Tapa, and
following them itself is sufficient. He says this in the same Daru)

Rishyasrunga: ―Japathapa mika yela sathathamu mimmu golchute

Japathapamulu thanaku sanmunulaaras!‖

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In this Daru, many conversations take place between Rushyasrunga and the women,
and the women finally ask the Sage to come with them, to their place. The Sage
readily agrees to it and joins them. It is mentioned in a Daru

‖Raavayyaa muni raja sekharaa

Ee vanamandunda nela
Ee veLa maa vanamunaku raavayya‖

Then Rushyasrunga says that he cannot walk and so the women carry him by placing
him on their arms. It is depicted on a Daru

―Chethulu gucchandu rushyasrunguni nunchi

Vinthaga seethaamsu mukhulu raja sekharulu chera vacchiri‖

As soon as they enter their place, the Anaavrusthi dosham will be cleared and it starts
raining heavily. The King Romapada understands the reason behind the rainfall to be
the great sage Rushyasrunga. With due respects, the King offers his salutations to the
Sage in a Daru

―SeraNu seraNu bhava bhanga

SeraNayya vijitha ananga
SeraNu seraNu dhavaLaanga
Mammu karuNimpu maa rushyasrunga‖

In this way the King acclaims the Sage for his presence. He appoints the Naataka
saala ladies to serve the Sage for which the women agree. Then the Minister suggests
the King to appoint his beloved daughter Santha for serving the Sage, rather than
these Naataka saala ladies. Santha can impress the Sage through her service and later,
you (the King) can make the Sage as his Son-in-law. This is expressed in the form of
a Daru

―Rajendra vinumu naa maata

Angana loodigamu chaalinchu
Idi athisayamanuchu neevaathma yandu yenchu
Bangaru saanthanu pilipinchu
Rushyasrunguniki seva chelagi sevimpa—
Enna neekathadu alludaunu nee vennina
Ennikalella nipudeederunu‖

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Then the King orders his daughter to come. Her arrival is described in a Paatra
prevesa daruvu.

―Santhasamuna vedale andamu meera

Santhasamuna vedale sakhulu cheri kolavaga
Banthula melbanthaina saanthaakanyaka cheli thoda‖

Then the King orders Santha to serve Rushyasrunga. This is mentioned in a Dwipada

‖Santharo vinumu rushyasrunga mouni

Chentha chere proddu sevalu seyu
Peddala sevalu pemponarinchu
Peddalu daya subha brundambu licchu
Nattu gaana nathademi adigina nosagi
Patuthara keerthula badayu meeveLa‖

Thus he appoints Santha to serve the Sage. Then Santha goes to the place where
Rushyasrunga is staying. This is described in a Daru

―Ponduga thama thandri ampagaa madini ponkaina bhakthi chelangagaa

Sandelu ghallani mroyagaa vacche athiva rushyasrunguni chera‖

She says to the Sage

‖SaraNu saraNu bhava banga saraNaiyya Vijitha ananga—―

Then the Sage talks to her in this way, in a Dwipada

―Munukoni mee vanambuna nunna munulu

Thanaraga rendu vithambulainaaru
Maa vale kondaru malayuchunnaaru
Mee vale kondaru melaguchunnaaru
Neevevvarindulo mee peremi‖

Santha explains about the Female and Male genders in human beings. She introduces
herself as the daughter of Romapada and her name is Santha. She says her father
appointed her to render service to the sage. Then she compares her service to that of

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Parvathi serving Parameswara, Lakshmi Devi serving Lord Vishnu and Saraswathi
Devi serving Lord Brahma.

The Sage asks Santha to bring material to worship Lord Siva. Then she compares all
the material needed for the worship, as her body parts. They are depicted in a
Samvaada Daru.

Rishyasrunga: ―Chigurulu tevee meti siva poojakipudu‖

Santha: ―Chigurulela naadu kara chigurulundaganu‖
Rishyasrunga: ―Aravindamunu teve haruni poojakunu‖
Santha: ―Aravindamulela momane aravindamundaganu‖
Rishyasrunga: ―Chakkera vega teeve mukkanti poojakunu‖
Santha: ―Chakkeralera naa muddu maata chakkeralundagaa‖

The Sage asks innocently as to why she is comparing the material of worship with her
body parts. In reply to that, Santha explains the relation between Jeevaathma and
Paramaathma. In this way, Santha completely diverts the Sage and turns his attention
to the worldly affairs. The Sage asks her to make him understand about Loukika
Pooja to which she replies that there is a Kalaapam called Pendli to explain the
Loukika Pooja in a practical manner. This is written in a Daru

―Ee pooja chaalunika baala—

Needu poojaavithamu nerpumika baaya‖

In another scene, the father of Rishyasrunga, Vibhaandaka Maharshi comes to the

Tapovanam and shocked to notice his absence. He comes to know about his son‘s stay
in the Kingdom of Romapada. This is described in a Daru

―Danda kamandalamulu thanaraga jada mudi

Menduga merayaga vibhaandakamuni vedale‖

The Vibhaandaka Muni speaks to Romapada in a Dwipada, asking the King‘s

daughter to wed his Son.

―Vinu romapada ee vrutthhanthamella

Vini naadu chittambu veduka chende –
Gaavuna nee muddu kanyakaamaNini
Ee veLa naa suthukimmu vedukanu‖

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Romapada happily and humbly agrees to the wedding in a Daru:

―Dhanyudanaithinee veLa muni thanayuniki naa muddu

KankyakaamaNi iyyagalige nedu
Pannuga naadu kulamu paavanamaaye mikkili
Maanyudanaithini nenu muni chandraa ||‖

In this way, the wedding is performed for Rushyasrunga and Santha Devi. In this
situation, many MangaLaashtakaas are chanted by the Gods and Sages.

*Unfortunately, the last two pages in this Yakshagaana are missed. For this reason,
not all the MangaLaashtakaas are available. The specialty of this Yakshagaana is that,
Raga or TaLa is not mentioned to any of the Darus in this Yakshagaana. In this way,
Shahaji has taken a rare Pouranic story which is not so popular and has moulded into
a beautiful Yakshagaana.

11. SITA KALYAANAMU:

This Yakshagana is the traditional wedding ceremony of Sita and Rama described in
an excellent way. This is described in a Sanskrit Sloka.

―Raamam raamaabhiraamam ravi sasi nayanam koti suryaprakaasam

Divyam divyaastra paaNim saramukha saradhim chaaru kodanda hastham
Kaalam kaalaagni rudram ripu kula dahanam vighna viccheda daksham
Bheemam bheemaattahaasam sakala bhaya haram ramachandram bhajeham‖

This Yakshagaanam commences with a MangaLacharaNam, followed by a Daru in

Todi Raga set to Ata TaLam. This is a prayer on Lord Rama starting with a Jaya
sabdam.

―Jaya Dasaratha putra – jaya divya nuti paatra‖

Next is a prayer on Lord Siva in GouLa raagam set to Triputa taLam and a
MangaLam song on Goddess Mahishaasura mardani in Gumma kambhoji ragam set
to Aadi taLam. The beginning line of this song is

―Mahishaasura mardani thee mangaLam—

Sahendra poojithaayai sajjana deepithayai
Mahimaa viraajithaayai mangaLam‖

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Similar to other Yashagaanas, the Ishta devta praardhana is given in the form of
slokas. Next is a sloka on Lord Parameshwara. This sloka is full of literary beauties
such as Sabda gaambheerya and Ardha gaambheerya. This is a best example of
Shahaji‘s scholarliness and command over the Sanskrit language. Many other
salutations are written in praise of Lord Siva.

Sl: ―Chandastaandava kaanda shounda mahimaashundaala tundoonnama

Cchundaadhanda prachanda bhaanda viharath kundalya khanda sriyai
Thandooddanditha chanda dindima mukho dindeera shandairvamath
Kaandairmanditha ganda mandala jataa khandosthu chandi patheehe‖

The Lord is praised as Saaha bhoopaala mouli, Sahendra sakalaanavadya, Sri Saaha
prudhvi pathe, i.e., relating the Lord with him. Later, a kind of composition Gadya-
Kaivaaram is written with the starting words ‗Jaya Jaya‘.

Sl: Jaya jayaashraantha vishraaNana radheya –

Jaya jayoodaara bhosala Shaha raja

In the Sutradhaara Vachanaas, he says that the Seetha KalyaaNam story begins with
a b`rief summary note in a Dwipada. The story goes this way.

The King Janaka wishes to get his daughter married and, in this regard, announces a
Swayamvaram. Several kings will come for the event. The sage Gaadheya
(Viswamitra) along with Rama and LakshmaNa will attend the event. The Kings gets
insulted for their inability to lift the Hara Chaapamu. Siva Dhanurbhangam, The
King Dasaratha arrives to the wedding along his family and followers. Performs
marriage to Rama, LakshmaNa, Bharatha and Satrughna etc., are contained in this
story. All these events are combined in this story and presented as Seetha KalyaNam
by King Shahaji.

―Bhuvini-sarasa satkavi varul sannuthi seya

DharaNi lo naachandra taaraarkamuganu‖

This is followed by a traditional GaNesha Sthuthi in a Paatra pravesa Daruvu.

Now the story begins, with a conversation between the Sutradhaara and Katika. The
same Paatra pravesa Daruvu that was used in the other Yakshagana-s, is taken in this

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play as well. The King Janaka arrives to his internal chamber, to meet his ministers.
His arrival is described in a poem and a Paatra pravesa Daru.

Poem: ―Kanaka kireeta menthayu vikaasamutho siramandu meraya –"

The Paatra pravesa Daru is as follows:

―Kanaka ratnamaya bhooshaNamulu thanaraga

Janakundu vedalenu thanadu koluvukunu‖

Along with the King, the minister also arrives, which is described in a Daru in
Kedaragoula raaga.

―Sathatha neethi parundu sakala jana hithundu

Chaturupaayamulandu chaturudaina mantri vedale‖

Then comes the Purohit Vamadeva along with his disciples.

―Veda sastra puraaNa vidundu vaama devundu

Saadaramuna vedale janaku koluvukunu‖

Then the King expresses his desire of getting his daughter married and discusses the
same with his Ministers. In this regard, he prepares to announce a Swayamvaram,
invite Kings from different Kingdoms and get his daughter married to the King who
can tie the two sides of Hara Villu. All the ministers feel happy on listening to it.
Following the order of the King, the entire city is decorated for this event. The
arrangements are described in a Daru:

―Mutyaala haarathulu dere mutthaiduvalaaraa

Nithya toraNaalettharoyi neetu gaa maanavulaara
Kadali kambaLamulu niluparoyi ghana kaapulaara
Mudamuna panneeru sallare mohanaangulaara meeru
Angallu srungaarimparoyi athi varthakulaara
Sangeetha meLamutho rare ranguganu Oo veshyalaara"

The KaraNika is asked to make preparations to accommodate the Kings. Then the
Kings start arriving to the Mithila city. Each of their arrival is composed in a Daru in

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a raagamaalika. Firstly, the arrival of the King of Magadhaa is described in a
Souraashtra raagam.

―Sogasaina kireetam niga niga neetu dera

Magdhesundu vedale madagajamu painekki‖

Secondly, the arrival of the King of Maalava is described in Dhanyasi raagam.

―Chaala bhatulu kolva vaalu kelunu booni

MaaLavendrudu vedale melaina radhamu nekki‖

Next comes the King of Sindhu, described in GouLi panthu raagam

―Tejamu meera raajillu nejamu cheta booni

Tejinekki yaa sindhu desaadheesundu vedale‖

Next comes the King of Laata

―Meti villu chebooni neetugaa senalu kolva laataadheesudu vedale saati leka
ee veLa‖

After the arrival of all the Kings, the Naatyasaala sthreelu (female dancers) will come
to the court, described in a poem.

―Netthhavi sarulu pisaaLimpa –

Chittaruvu bomma chandambu cheluvu meeri—
Koluvu seyanga vacchiri cheluvosanga‖

The above expression is written in a Daru.

―Naataka saala bhaamalu metiga vedaliri

Muddu paata laatala sari saati lerana—‖

The sage Viswamitra along with Rama and LakshmaNa also arrives, which is written
in a Paatra pravesa daru in Madhyamavathi raga.

―Niduda jedala mudi neetugaa thanaraga

Nodalanu bhoothiyu norapuna meraya
Pudamini veduka puli tholu dharinchi

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 Vedalenu vinthagaa Vishwaamitrudu
Guruthuganu chippa kookatulu thanara
Karamula dhanuvulu garimanu booni
Sarasulu raama lakshmaNulu vembadi raaga
Meravadi viswaamitrudu vedale‖

Then, the King Janaka brings his daughter to the Swayamvara function. Her arrival is
described beautifully in a Daru.

―Chittaju mada danthi chelula melbanthi

Puttadi bomma sompunanu pooremma
Kalahamsa yaana satkaLalandu jaaNa
Ali neelaveNi melaina pooboNi
Janaka thanoojatha jegadeka maatha
Kanakaangi seetha sreekara guNavraatha
Molaka navvulu muddu momuna thanara
Cheliyanu koluvanga cheluvonda vedale‖

The same expression is seen in the following Daru

―Kanaka bhooshaNambulallaraa
Chaka chaka kuluku nadara vedale neeveeLa
Manasiju seramoyani – janamulu koniyadaga||
Andelu ghallu ghallani mroya paadamulandu
Andamuga janulandaru soodaga
Induvadana cheluvondedi nadala‖

Ten thousand Kinkara (guards) bring the Hara chaapamu (Siva Dhanassu) to the
court. The Raja purohith Vamadeva announces the rules and regulations of the King
in a poem.

―Telipeda vinarayya dheemanthulaara –

Chakkagaa Sankaru chaapa mokkintha
Ekkubettina vaanike nitthu seetha

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 Nani janakundu mahaa prathigNayunu
Nonaranga thaajesi yunnaadu gaana
Gattigaa neesuni kaarmokambekku
Petti ee seethanu pendlaada valayunu‖

The coming of each King to lift the Hara chaapamu is described in a Daru.

―Vedaliripudu raajulu vedaliripudu –

Kadimi bhujabala garvamulatho
Dadayakanu haru dhanuvunetthanu
Laata bhota maraata karnaata sindhu viraata naathulu—
Haruni chaapamu viruthu thanavanti doraku
DharaNija doraku nanuchunu –‖

All the Kings in the court are a bit frightened to see the way how the Hara chaapamu
is brought to the court.

―Kanulaasa itu vacchinadi garuvame Magadha

Dhanuvunekkuvetta mana thaatha tharame‖

Similarly, the rulers of other kingdoms such as paandya, bhoja, anga, laata, gouLa
etc. are even scared to make a step forward to lift the chaapam (bow). The same is
continued in this Daru

―Indu sekharuni villu etthalemo janaka

Ponduga noka vede mimmu poyi vacchedamu‖

The King Janaka feels sorrow to hear these words from the Kings, and says in a Daru
in Aahiri raga

―Endukee pratigNa sesithi mandundanaithi munivaraa –

Thinnaga villekku pettedamannavaaru ipudu
Sinnavoyunnaaru siggula chendi veeru
Ennatiki ee kanyakaku pendlemi sethunu
Munivaraa ennaraani vichaaramaayenu emi sethu‖

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It means, the King Janaka is worried as to why he has taken that vow to get his
daughter married only to the person who can lift the bow. Now the Kings are unable
to lift the bow.

Then, the sage Viswamitra asks Rama to lift the bow, in a Daru in Mohana raga

―Villekku pettumu vedukatho lemmu Ramachandra ee

Pallava paaNini baaguga gaikonumu Ramachandra –‖

Seeing all this, the Kings seated behind Vishwamitra start making sattires on the sage
and Rama, in a Daru

―Villekku vettumani verri muni –―

With the permission of the sage, Rama gets up and lifts the bow. The
Dhanurbhangam is performed by Rama. Then the sage Vishwamitra hugs Rama and
asks Janaka to perform the marriage of his daughter with Rama as per his vow. Then
the King Janaka replies in a Daru in a sad way, thinking that Rama is a sage by seeing
his appearance.

―Ithandu mahaabaalundinthandu muni sishyundu

Ithaniki nee seethanu iccheda netuvale vaamadeva
Srungaara vathiyaina seethaneeyaka pothe
Rangaina naa prathigNaa bhangamouchunnadi‖

After listening to the words of Vishwamitra, the court-purohit Vamadeva says that
these two (Rama and Lakshmana) do not seem to be like ascetics and even it is not
possible for an ascetic to lift the bow. After listening to this conversation,
Vishwamitra gives the details of Rama and Lakshmana to the King. This is explained
beautifully in a Dwipada.

―Vinavoyi Janakesa veeralu mouni

Thanayulatanchu chittamuna nenchakumu—‖

In the same Dwipada, Vishwamitra describes the valor of Dasaratha who belongs to
the Suryavamsa. He performs PutrakaameshTi yaagam in the presence of
Rushyasrunga Maharshi as he was childless. Later, he is blessed with four children.

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Among them, Rama is the eldest son and lakshmaNa the younger one. The sage thus
introduces both Rama and LakshmaNa to the King Janaka. On his request, Dasaratha
has sent both the boys with him to protect the Yaga from the demons such as Taataki
etc. After killing the demons, Rama blesses Ahalya who was cursed to become a
stone, and brings back her to the human form. Then, Rama has come to the
Swayamvaram along with the sage, and He has now become your son-in-law.

After listening to the words of Vishwamitra, King Janaka says with utmost happiness
in a Daru,

―Munichandra dhanyunadaithi nenu

DharaNijanuvega Sri raamachandrukicchedanu—‖

In another scene, the sage and Kula guru (family purohit) comes to the court of
Dasaratha, which is expressed in a Daru

―Karamuna dandamu merayaga

Rudraaksha saramulu mikkili sarasatho thanara—

Arudinche vasisTha varamuni yipudu‖

As the King Dasaratha feels bad that Rama has still not returned. In the meanwhile, a
messenger arrives with a news, in the form of a letter from King Janaka and gives it to
Dasaratha. The content of the letter is explained in a Dwipada. This is about the
Wedding Invitation of Rama with Sita i.e., with the daughter of King Janaka.

The King Dasaratha alon with his family members and followers start to the city of
Mithila which is described in a Daru

―Magadha maaLava matsya mandalendrulu koluva

Migula bhatulu koniyaada

Thagaga thanayulunu vasishta muni raagaanu

Thagina baandhavulatho dasarathudu vedale‖

The King Janaka happily receives Dasaratha and his family which is described in a
Dwipada.

112
 ―Rajendra dasaratha raja nee suthudu
Rajasekhara villu rayamuna drunchi
Bhoomija gaikoni bhujabalambunanu
Thaamasimpaka thana thanayalainatti
MaaLavi yoormiLa mari sruthakeerthi
Melaina bharatha soumitra setrughnu
Laku nosangedanu nee lagnamunande
Sakala baandhavulella sannuthi seya‖

The King Janaka, in the above Dwipada also mentions about his three other daughters
and their wedding with the other three sons of King Dasaratha.

On the request of Dasaratha, Janaka brings his other three daughters. Their arrival is
described in a Daru

―Vayyaaramuna vedaliri—
Punnami chanduru sariboru momu velugagaa
Raajillu roopuna valaraaju moham chendagaa
Raajahamsa nadalanu raja bimba vadanalu‖

Then the wedding of Sri Ramaswamy with Sita, Bharatha with MaLavi, LakshmaNa
with UrmiLa and SatruGhna with Shruthakeerthi is performed in a grand manner.
Then, Naarada, Kinnera, Kimpurushasaas etc. will sing MangaLam. This
Yakshagaanam concludes with this MangaLam.

―Maa raamabhadruniki mangaLam

Nityam mee seetha deviki mangaLam
Vanajaatha netruniki para keeravaaNikini
Manasija roopuniki mangaLam bhaanu kuresuniki parama kalyaaNikini
Maanavendruniki mangaLam
Vihanga vaahanuniki viriboNiki
Sree Saaha maheepaaluni devuniki mangaLam‖

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This Yashagaanam does not contain any reference to RaavaNa during the time of
Swayamvaram. The story in the Yakshagaana is based on the epic RamayaNa. In this
play, the hero is Dheerodaattha. All the slokas such as Naandi and other Ishta
devatha praardhanaa are written in a highly complex and scholarly way in Sanskrit.
This shows Shahaji‘s command over the Sanskrit language and his expertise and
knowledge over the PuraaNa Ithihaasaas.

12. RAMA PATTABHISHEKAM:

This Yakshagaanam is an extract taken from the epic RamayaNa. The MangaLaa
charaNam in this Yakshagaanam is in the form of a Daru

―Jaya Dasaratha putra Jaya raama sucharitra

Jaya divya nuti paatra jaya jaganmitra‖

MangaLam, Ishta devata praardhana and GaNesha patra pravesa daru are common
in both Sita KalyaaNam and this Yakshagaanam. An extra verse on Lord Krishna is
written in sasnkrit.

―Vande tham devadevam – jagadamam saasvatham Krishna devam"

A summary of the Yakshagaana is mentioned in a Dwipada.

―Sriraama chandrudaashrita hitodayudu –

Panuvadi Sreerama pattabhisheka
Ghanuvonda saahendrudathi bhakthi meeri
Ghanatha tho rachiyinche kavulu mecchaganu‖

It means, Lord Sriramachandra after killing the demons such as Ravana,

KumbhakarNa etc., coronates VibheeshaNa as a King of Lanka, sends Hanuman to go
and convey the matter of their arrival to Bharatha, arrives to Ayodhya with Sita and
LakshmaNa, they are heartily welcomed by Bharatha and Satrughna, with the
blessings of Sage VasishTa and others the coronation ceremony of Rama takes place.

Next is the GaNesha paatra pravesa daru which is same as that of other Yakshagana-
s. The Sutradhaarudu and Katika converse on the topic of the arrival of Bharatha and
Satrughna. Their arrival is described in a Daru and a poem

114
Poem: ―Kari jalajambu nandu vara kaarmukamun vilasillagaa jadal
Siramuna tejarilla sasi sekharu kaivadi naaracheeralan
Garimanu gatti munduga vikaasamu thoda janul nuthimpa gaa
Bharathudu vacche koluvunaku baaguga thammudu seri kolvagan‖

The same is expressed in a Daru that Bharatha and Satrughna go to the court.

―Kanakamaya maina dhanuvunu

Kara yugamunanu booni
Thana satrughnuni thoda vedalenu
Ghanudu bharathudipudu‖

Then arrives Hanuman to ayodhya. Both Bharatha and Hanuman exchange words of
affection and respect. Then, Hanuman conveys the arrival of Rama in the form of a
Dwipada.

―Bharatha maheepaala bhaasura seela

Vinavayya telipeda vishadambu gaanu
Nanu vanda gaa nenu vacchina raaka
Ve vega sri raama vibhudani lona
RaavaNu samayinchi lankaa puramuna
Paraga vibheeshaNu pattambu gatti
DharaNija gaikoni thammudu thaanu
Varusa sugreevaadi vaanarulu koluva
Narudenchu chunnavaadu aa ayodhyakunu
Munukoni nannu bilchi mudamuna meeku
Thana therangellanu thaddayu delpu
Mani pampa mee kadakathiveegamunu
Chanudenchithini nenu santhasambunanu‖

Listening to these words, Bharatha feels very Happy and replies in a Daru

―Chaala dhanyudanaithini
Sreeraama chandruni semamu vintini
Melu Hanumantha rammaa
Sommulanu migulanicchedanu kommu
Ravoyi Hanumanthudaa—‖

115
It means, Bharatha is immensely happy on listening to the news of Rama‘s arrival. He
feel like honoring Hanuman with gifts and presentations for conveying this good
news.

Satrughna also is immensely happy to hear that news. The conversation between
Bharatha and Satrughna is written in a Samvaada Daru.

Satrughna: ―Enni dinamulaaye sri raamuni kanugoni ipudu soodagaligenu

Satrughna
Anna! Dhanyulamaithimi Maanyulamaithimi PuNyulamaithimi
manamu
Bharatha: ―Andamu meeraga vegame ee janulandaritho koodanu Ponduga Sree
raama chandruni keduruga boyi vatthamu—‖
Bharatha humbly invites Sage Vasishta to come. The arrival of the Sage and his
appearance is described in a Paatra pravesa daru:

―Karamuna dandambu merayaga – narudenche Vasishta vara muni

yipudu‖
After knowing the happy news of Rama‘s arrival, Bharatha orders to decorate the city.
The decorations are mentioned in a Daru

―PoorNa kumbhamulu teroyi bhoosurulaara –

Muthyaala haarathula there mutthaiduvulaara
Mudamuna panneru challare mohanaangulaara—
Kaapulanthaa goodi kadaLi kambaal nilipi—
AngaLLu srungaarimparoyi athi varthakulaara
Sangeetha meLamutho raare rangu ganoo vesyalaara—‖

Bharatha places Raama paadukaas (the slippers of Rama) on his head joins
Satrughna, Sage Vasishta and go barefooted, to welcome Rama.

In another scene, Rama and Sita along with LakshmaNa and his other followers reach
Ayodhya. That scene is described in a wonderful manner in a Dwipada, by Shahaji:

―Punnama chanduru bolu momunanu –

Neela meghacchaaya nirasinchu meni –
Merapu chandambuna meti kaarmukhamu—

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 Meerina jadalanu metaina naara
Cheeralu dharinchi sivuni kai vadini---
DharaNi jayunu sumitraa thanoojundu
Nirugadalandunu nimpondi raaga
Arudaina bhakthi tho aa vibheeshaNundu
Mudamuna mrokkuchu mundara naduva
Madi chelangaga hanumanthundu golva
Sakala vaanarulella sannuthi seya
Sakalesudagu raamachandrundu vedale‖

The same is mentioned in a Paatra pravesa daru.

―Janakaja lakshmaNa sahithudai – sreeraama jananaadhudu vedale—‖

Upon seeing Ramachandra, with great joy and happiness Bharatha welcomes
Ramachandra swamy in a Daru

―SaraNu Sriraama chandraswamy

SaraNu LakshmaNa dayaa saandra –‖

Then Lord Rama embraces the two brothers affectionately and offers His salutations
to his Guru Vasishta. Rama enquires about the welfare of the family and people in the
kingdom. Then Vasishta praises his highness as Manuvamsakuladeepa (an illuminator
of the Manu clan), Pitruvaakyaparipaalaka (the one who obeys His father‘s words),
RaavaNaadulanella raNamuna goolchi (the destroyer of demons such as RaavaNa),
devathalella nuthimpa ee veLa chanudenchithivi (arrived here amidst the praises of
Gods) and very happily gives blessings to Him. The Sage asks Rama to become the
King and rule the people.

After blessed by the Sage Vasishta, Rama along with Sita, LakshmaNa, Bharatha,
Satrughna, Hanuma along with his followers, enters the city of Ayodhya. This scene
is depicted beautifully in a Daru.

―Ghanatha meeraga vacche sreeraamudu—

Janaka jaa LakshmaNa bharatha satrughNa samethamuga
Ghanatha meeraga vacche sreeraamudu—‖
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Then He invites his guests viz., Sugreeva, VibheeshaNa, Angadha amd Hanumantha
to be seated in their respected positions. Then, Guha (the boat owner who helped
Rama cross the Sarayu river during Rama‘s exile). Rama and Guha exchange words
affectionately with each other). Then arrives the Minister of Ayodhya i.e., Sumanthra.
His arrival is beautifully described in a Paatra pravesa daru.

―Chaturupaayamulandu chathurunathi vinaya

Vithundu sakala jana hithundu vedukanu
Mantri yaina sumanthri vedalenu
Athulithundaina raghupathi koluvukipudu‖

Then the Sage Vasishta asks Bharatha for the Pattaabhishekam (coronation
ceremony) of Rama. On sending a message to the Purohitha, he arrives to the court.
This is described in a Paatra pravesa daru.

―Panchaangamunu chetha batti patte vardhanamunu betti

Enchanga daivagNu lethinchiri ipudu‖

For this coronation festival, all the Gods and demigods arrive to the city of Ayodhya.
Firstly, the arrival of Lord Parameswara is described in a beautiful manner, in a
Dwipada.

―Siramuna baala sasi prabhaaJharamu

Karamuna jaapa Dhakkaa trisoolamulu
GaLamuna rudraaksha kanTamaalikalu
Jadala lopala gangaaJhara nartanamulu
Kati yandu vilasillu garati charmambu
Patimatho chelaga vaibhavamula thoda
Namaruchu vrushabha vaahanaarooDhudaguchu
Namara vanditudu sree harudu thaa vedale‖

A similar expression is used in a Daru

―Devudu vedale nee sree mahaadevudu vedale –

Sree vrushabha vaahanamu pai veduka thonekki –

118
 Baala Chandra chandrikalu phaalamuna vilasilla
Laalitha rudraaksha kanTa maalikalatho vaama
Naaga charmotthareeyamu naaga bhooshaNamulalara—
Soola Dhamaru chaapamulu kelanu dharinchi bhaktha
Paaludaina Saaha bhoomi paala daivamaina aadi devundu vedale‖

Later, other Gods such as Devendra, Brahma etc. arrive to the ceremony. The
description and their arrivals are described in a similar fashion as in the other
Yakshagana-s of Shahaji.

In this way, all the Gods along with Sita, LakshmaNa, Bharatha, Satrughna and other
followers start proceeding for the Pattaabhisheka Mahotsavam (the coronation
festival). This is mentioned in a Daru

―MaNi mayamulaina bhooshaNamula thanalaga –

Vinayamuna devathalu vedka nuthiyimpa
Anujulu koluvaga nathi vaibhavamulanu
Janakaja tho Sri Ramachandrudu vedale‖

During the Rama‘s coronation ceremony, Rama and Sita are made to sit on a Throne
adorned with the Navaratnas (the nine types of Jewels), and Abhishekam (anointment)
is performed to the Divine couple with the sacred water that is brought from various
holy rivers. At that time Narada, Kinnara and Kimpurushaas sing MangaLa geethaas.

―Maa raamabhadruniki mangaLam

Maa seethaa deviki mangaLam
Vihaga vaahaanuniki viriboNiki, sri saaha
Maheepaaluni demuniki mangaLam‖

This MangaLam is the same as the one used in the Sita KalyaaNam Yakshagaana.
This Yakshagaana concludes with a Dwipada containing the Phalashruthi.

―Srivelayanga naasritha rakshakundu

Bhaavajaakaarundu parama puNyundu
Bhosala kula sindhu poorNa chandrundu

119
 Sri saaha bhoopaala sekharundipudu
Sri Rama pattabhisheka naatakamu
Kori gaavinchenekkudu bhakthi meera
Evvaru sadivina evvaru vinna
Nevvaraadina mari evvaru saduva
Dhana dhaanya cheyamulu daruchaina sathulu
Ghanamaina sampadal kari radhaashwamulu
Arudaina bhakthi nou nathi sobhanamulu
Garuda vaahanudicchu Garima meeraganu
DharaNi lo naachandra taaraarkamuganu‖

In this Yakshagaanam, very few Darus and Dwipadaas are used and most of them are
in thorm of Vachanaas

13. RUKMINI-SATYABHAMA SAMVAADAM:

This is an epic based story moulded into a Yakshagaana. In a Samvaadam, an

argument leads to a quarrel. Among these samvaadaas the famous ones are

The Ganga-Gouri Samvaadam and RukmiNi-Satyabhama Samvaadam stories are

famous among the folklore. Pagati veshagaLLu is an art form which is older than the
Yakshagana-s. They used to perform these Samvadaas which is very popular in
villages.

This Yakshagaana begins with a Dwipada which is directly connected with the story.
This type of Dwipada is known as Kathaa Sangraha dwipada. Unlike others, this
Yakshagaana does not contain any MangaLaacharaNam, Ishta Devatha praardhanas
or MangaLa geethas. This is a specialty of this Yakshagaana.

Dwipada: ―Cheluvonda rukmiNi sree satyabhama

Tholutha vacchutayu muddula krishnudantha ---
Jagadamu rukmiNi satyabhaamanaku
Narayanga nautayu naluka deerutayu
Sarasa rukmiNi satya samvaadamipudu
Nava vaikharula meeri naatakambuganu
Vividha subhokthula vinipinchu saaha
Raaja devendrundu raajasambunanu--‖

120
It means as follows. RukmiNi and Satyabhama, the two wives of Lord Krishna
approach Him.

RukmiNi approaches first and they both have a happy time. In the meanwhile, the
maid of Satyabhama observes the closeness of KrishNa with RukmiNi and reports it
to Satyabhama. Similarly, the maid of RukmiNi finds the both (i.e., KrishNa and
Satya) spending time happily and reports it to RukmiNi. As a result, both the wives
quarrel. KrishNa interferes and solves their differences. This is the theme of the
Yakshagaana written by Shahaji, in brief.

As per the tradition, the play begins with the Vighneswara paatra pravesa
daru and Dwipada. Their lyrics are the same as that of other Yakshagana-s. The story
begins with Lord Krishna asking RukmiNi to come to a secret place called Sanketha
sthalam in Srungaara vanam (garden). Then comes RukmiNi devi with her maid, to
the garden. Her arrival is written in a Dwipada and Paatra pravesa daru (also known
as VarNana daru).

Dwipada: ―Bangaaru chengaavi paavada gatti

Srungaaramulanu raajilu cheera meraya—
Telivonda kasthuri thilakamu diddi
Velaya keeljada ninda viri sarul vaalchi—
Bhaavajunaku thapah phalamaina mantra
Devatha rukmiNi devi thaa vedale‖

The meaning of the above poem is as follows. The beautiful lady RukmiNi wore a
pattu (silk) saree and NavaratnaabharaNaalu (the ornaments made up of nine kinds
of Gems) and shone like a Sun.

The same is mentioned in a Daru

Daru: ―Vayyaramuna vedale andamu meera –

Raajillu ruupuna valaraaju mohamu chindaga
Raja hamsala nadalanu raja bimbaanana vedalenu

As she waits for KrishNa, she feels the pain of separation which is described in a
Daru.

―Valapu nilupa lenu ra –‖

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In the next scene, KrishNa asks a Gopalaka (his maid) to search in the garden to see if
both RukmiNi and Satya have come. In this context, a conversation takes place
between the Sutradhaara and Gopalaka. The Gopalaka says to Krishna that he could
see RukmiNi but not Satya. Then KrishNa sends his maid to bring Satya to the garden
which is described in two poems and a Daru.

Poem1: ―----Palukulu chiluka palukulanu meera

Noppaina thana vaalu koppuna mandaara
Sumamula saramulu nompu dera
Boluponda bangaaru bhooshaNambulu mena
Tholakari merupula valenu thanara –"
Poem2: ―Janulapai vacchu maaruni seramananga
Nimmi viharinchu bangaaru bomma yananga
Jantra rekhana Sangeetha saalakipudu
Nitya yavvanavathi yagu satya vedale‖

In this Daru, Satyabhama is described in a most beautiful way. She appears like a
Golden idol. KrishNa also comes to the same garden which is described in a Daru.

Dwipada: ―Neelambudhacchaaya nirasinchu mena

Melaina sommulu merupula reethi –
Deva devudu krishNa devudipudu
Vevega leela gaa vedale vinthaganu‖

The same is described in a VarNana daru

Daru: ―Vinthaga ratnaala konda chentha nemali pinchamu—

Pamthamu meera Gopala baalakulu koluvanga
Jhamtharikita dhimikita thaka thaLaangu—
Ani aaduchu vacchi choodade gopaaludu
1. Kanakamaina bhooshaNamulu thanaraga
Dinakara koti thejundu deva devundu
Vanaja lochanundu yashoda thanayundaina Sri KrishNundu
TaLaangu dhimikita ani aaduchu‖

122
In the above poems and Daru, Shahaji describes the stunning beauty of Lord KrishNa.
He is described as Neelameghashyama and Ratnaala konda (a mountain of Jewels).
He shines as lustrously as Sun, wears anklets made of Gems, plays flute and his
arrival is described in the form of a Dance.

Later, a conversation takes place between KrishNa and Gopalaka. Then KrishNa asks
Gopalaka about his wives and he replies that he could see only RukmiNi waiting for
Him, at the flower bushes. Then KrishNa asks Gopalaka to search for Satya.

Then KrishNa goes to RukmiNi and she happily welcomes Him in a Daru.

―Raavayya ravayya krishNa

Ee veLa nenu nee raakakeduru chuchu chunti
Netiki icchatikini maata thappaka vacchithivi‖

After seeing RukMini, KrishNa also expresses His joy in a Samvaada Daru.

KrishNa: ―Santhoshamaaye ninu joochi RukmiNi

Kanthu thaapamu inkanu deerpave—‖
RukmiNi: ―Inthagaa movaananicchedaa nanuvega
KaLatha cheyaka yelavayya sri krishNa—‖

In the next scene, Satya eagerly waits for Lord KrishNa and complains to her maid to
find about the whereabouts of Him. Satya suspects KrishNa to be enjoying with
another lady. She blaims herself for trusting his words and coming to the garden. The
maid asks Satya not to worry and goes in search of KrishNa. Then this maid and
Gopalaka face each other which is described in a Uttara-prathyutthara
Daru/Samvaada Daru

Gopalaka: ―Cheliyaro neevu ichatiki vacchina pani –‖

Maid: ―Aada boyina theerthamaaye satya
Nannathanini thammani vacchithini‖

In this Daru, Gopalaka gives information about the whereabouts of KrishNa. Then the
maid asks Gopalaka to bring KrishNa to Satya. After coming to know that KrishNa is
with RukmiNi, the maid gives an idea to Gopalaka and asks him to lie to Krishna
saying that Mother Yashoda called Him.

123
Then Gopalaka conveys the same message to KrishNa and He starts to see His mother
along with Gopalaka. RukmiNi sends off her husband asking Him to return soon.
After starting, Gopalaka says to KrishNa that he lied to Him, and then they go to
Satyabhama.

In another scene, Satya‘s maid says to Satya that she could somehow get back her
husband even by lying to Him. Satya happily welcomes KrishNa in a Daru

―Raavayya raavayya KrishNa—‖ (The same song is sung by RukmiNi earlier)

Then, KrishNa and Satyabhama spend time happily which is described in a Daru.

―Nedu mikkili vedukalaraga

Kuudi yundaamu kommaro—‖

In another scene, RukmiNi waits eagerly for KrishNa and shows her sorrow of
separation from Him. She expresses her unhappiness to her maid in the form of a
Daru.

―TaaLa jaalane cheliyaro

Enthani ne telpudu cheliyaro‖

Then, her maid explains RukmiNi the reason why KrishNa left her, in a Dwipada.

―Telipeda RukmiNi devi krishnundu

Poluponda acchata poyina vidhamu—‖

The maid says that she has seen everything that has happened. After hearing to her
maid, RukmiNi becomes furious and says this in a Daru.

―Kallari krishNundu cheppina kaliki nijamani yundi

Mollamuna vanchana teliyaka mosapoyithine
Nammaraade vaani maata naatho jaalamu chesinaadamma—‖

RukmiNi says that she was deceived by KrishNa. She further says Satya allured Him
through her tricky words. She gets annoyed and approaches them to teach Satya a
lesson. Her way of going towards them is described in a Daru.

Daru: ―Kopamu tho muddugummaa rukmiNi chelini goodi

Epuna podarintiki cheravacchenu vinthagaa‖

124
In the meanwhile, KrishNa and Satya are happy in their own world. Then arrives
RukmiNi in an angry mood. She speaks to Satya which is described in a Daru.

―Cheluvugaa naa inta nundedu cheluvuni

Cheliyanampi pilipimpanu kaaraNameme kalaha kantaki‖

Satya retorts in the form a Daru.

―Padaritlu palukaku ve Oo bhaama—

Naathoneti vaade naathundokani sommu kaade
Chetanaithe lokuva chesi kove pove
Intinta chandurundeme krishnundu
Kantakinchi naadu kaanthude yani neevu||

It means, Krishna is not anyone‘s property. He is like a moon who shines in every
house.

In this way, both have serious arguments with each other.

Then, Satya turns towards KrishNa and asks why he stays calmly while RukmiNi is
scolding her. She also asks KrishNa that why did He send a message asking Her to
come while RukmiNi is already present in this garden. This is described in a Daru

―Kallari Krishna sarisaati kaani yaahantha tittagaa

Chulakana gaa jesi vinuchundedi meraa—‖

Seeing the arguments of the both, KrishNa says in a Dwipada in this way

―Palikeda vinu satyabhaama ee reeti

Kaliki rukmiNi thonu kalahimpa nele
Em neekadi munne eggonarinchene
Vemaaru neevitlu vidanaada nele
Jagadampu maatalu chaalinchu minka—
Arayanga neekadi akka kaadatave
Mariyaada leka ee maatalaadakuve‖

125
In the above Dwipada, KrishNa says in this way. Is not RukmiNi your co-wife and
elder to you? This was told to you many times earlier. Give respect to her and speak
to her politely.

Satya angrily speaks to KrishNa in the form of a Daru.

―Chaalu ra ee jaalaminka chakkani rukmiNi yunda

Indela vacchi nannitla yechevu ee vagalu||
1.) Tholi chesina naa poojaaa phalamu nitla nundagaa
Kaliki krishNuni ninna kaaraNamemi jaalamu||
2.) Manasaithe Krishna nee kandu maatalaithe indu
Nenaru thelisenika ninnu nenu nammajaalanu

In the above Daru, Satya gives counters to both RukmiNi and KrishNa.

Then KrishNa tries to convince Satya in the form of a Daru.

―Ele mudduguma vale yo satyabhaama

Ele vidanaade vadele ele‖

In this Daru KrishNa asks Satya, how can she suddenly become so rude to Him after
being so affectionate to Him till now.

Satya: ―Cheluvunda itlela neevu palikithivi RukmiNundanga‖

KrishNa: ―Tolutha inthe maatalu ala guNammu unnadaa neekipudu
Elami aa rukmiNi kanna hecchu kaadatave thanaku—‖

In this Daru, KrishNa tries to console Satya and says that He loves Satya more than
RukmiNi.

This makes RukmiNi angry, as her Husband praises her co-wife Satya in front of her
and He seems to be more affectionate towards Satya rather than her.

Then RukmiNi along with her maid tries to make a move from that place. KrishNa
tries to convince RukmiNi in a Daru.

Daru1: ―AlugakaaraName alugakaaraName

AliveNi nee daasuni alahanthanu ne mecchinadi
Jaalamani telisi‖

126
Daru2: ―Palukavadele nenu ni praaNeshunda kaadate
Palukuchoo noti muthyamulu chindunatave—
Emantinee ninnu nemi neramu sesithi
Raamaa maNi nannipudu rammanaveme dayanu‖

In the above Daru, Krishna tries to convince her with His words and says in the
following way. RukmiNi, you are my very life. Why don‘t you speak to me? If will
you lose if you open your mouth and talk to me. What mistake did I commit?

Saying so, KrishNa follows RukmiNi. Then she replies to Him which is mentioned in
a Daru.

―Ikkadakela vacchevuraa
Chakkani Satya neekipudu satamai undagaa neeku
Tacchana maatalaaduku raa
Mucchu vagalu maani nee mohanaangi vaddaku pora—‖

In the above Daru, RukmiNi asks KrishNa why he is following her as He already has
the beautiful Satya with him. She sternly asks Him to go away to Satya.

As both the wives leave KrishNa, He remains alone and feels the pain of separation of
them. Krishna expresses his sorrow in the form of a Daru

―Emani taadudu evariki telupudu

Komaluliddaru kopaginchiripudu
Kaamuni siramula kaakaku taaLanu
RaamaamaNi okathaina rammanadaayenu
TaruNula kopamu thalana deerchedanani
Guruthugaa naa madi korika koranga
Verapimpa boyi thaa veruchukunna yetlu
Arudenchi vaariche nagadaithi yipudu—‖

In this way, KrishNa become weak and sad, and leaves that place. Then RukmiNi
realizes her mistake and thinks of KrishNa in a Daru.

127
 ―Mosapothi gadave aasincha vacchinapude
Athaniki lokuva gaaka pagalu reyi naathudu
Alugavaddani palukachundedu napudu—
Chakkani gopaaluni Oo cheliyaro
Sarasa guNaseeluni kosaruchu nenu
Munuvale goodakamadini‖

Satya also suffers the pangs of separation of KrishNa, that is expressed in a Daru.

―NeelavarNuni baaya nimishamokke daye—

Aluka deerchanaithi gaa ayyayyo pohi gaa
Gopala raayani guNamu teliyaka madini
Rapela chesithini rathi benaganaithini‖

Satya too realizes her mistake and repents for what she has said to KrishNa. Her maid
asks Satya to apologize RukmiNi in a Daru.

―Seyave vibhuni daayave –

Kommaro rukmiNi cheri vedukommu satyabhaama ee sari
Lemmu thaamasamela sammathigaa nitlu—‖

Satya thinks that she being younger to RukmiNi, herself comes and apologizes to
RukmiNi. This is expressed in a Daru.

―Chanavu cheli tho vagameera vacche

Satyabhaama rukmiNi chera‖

Satya reaches the place of RukmiNi, and their conversation is described in a

Samvaada/Uttara-Pratyuttara Daru.

Satya: ―Akkaro nenu neeku mrokkedane

Nenanina maatala negguseyake‖
RukmiNi: ―Chakkani chellela neevemanina gaani
Ekkuva thanakidi thakkuva kaade‖
Satya: ―Chinnadaana nemi theliyane
Nee chitthamerigi naduva nerane‖

128
RukmiNi: ―Ennaraani nee neramu lenni jesina gaani yedi
Ennikagaa nencha mannana sethune‖
Satya: ―Cheluvundu manakintha kayyamu jesi
Alasinanduku velapu telupave‖
RukmiNi: ―Cheliyaro manamiddaramekamai krishNuni
Velaya vedi munuvale goodi undaamu‖

In the above Daru, Satya apologizes RukmiNi in many ways and RukmiNi , being the
elder co-wife, excuses her and treats her affectionately. They together go to Lord
KrishNa. This is described in a Daru.

―Sarasuraalaina RukmiNi satyabhaama yu guudi

Theerugaa krishNuni alukadeerpa vacchi‖

In this way, RukmiNi and Satyabhama repent for what they have done and speak to
Him in a soothing way. Further they say to him that,

―Chakkani sri krishNa yaluka maanu neeku

Mrokkedamu mrokkedamayya‖
Pakkanundi mammu laalinchu vaadavu
Paluka kunnaavemaya ee veLa
1.) Ninnintha yedabaasi nappude maakoka nimishamu yedaadayyenayya
Maa kannulaana idi nikkamu maa meeda karuNa inchevemayya
2.) Entha neramu memu sesinam gaani sahinchi mannincha vayya
Panthamu chaalinchi gopala raaya mammu baaga guudumayya‖

In the above Daru, RukmiNi and Satya appeal KrishNa.

O Krishna. Don‘t be angry with us, we bow to you. Our separation with you for a
minute seems to be a year. Please forgive us despite any number of mistakes we
commit.

Then KrishNa replies to them in a Dwipada.

―Ela naagalaara meeriddaru monnu

Chalamuna kalahinchi chanuventha leka
Thappu naa yanduinchi thagaveedanaadi
Ippudu meeriddarekamai magadaa
Tittavacchithiremo thelise ee manasu—‖

129
In this Dwipada, KrishNa talks to both his wives in this way. You both initially
quarreled with each other and now you both unite and try to blame me.

Then, RukmiNi and Satya repent, as mentioned as a Samvaada/Uttara-Pratyuttara

Daru (the first two lines in this Daru are missed).

Wife-1: ―Cheluvuda eeventha paliki –

----------------------------------- neeku sri KrishNa
KrishNa: Chetulaara nanu vidanaadina vallanu
Chellu kadave naatho chelimika nela
Wife-2: Ninu nallani vaadani vidanaadithimaa
Neela meghundantimi kaani
Krishna: Konakoni nallani vaadani vanchanal
Gollavaadani tittaledate meeru
W-1: Gollavaadani ninnu vidanaadithimaa
Maa gopaaludantimi gaani
K: Gollavaadanavalena nannu mikkili
kallareedani palkaledate meeru
W-2: Kallareedani memu palkithimaa memu
Kapata naataka suutrudantimi
K: Kallareedanavalenaa nannu Gopala
Kanyala battinavaadanaleda
W-1: Golla bhaamala battinaadantimaa ninnu
Gopikaa vallabhundantimi
K: Gopikaa vallabhundanavalenaa chimni
Komalini mrucchilina vaadanaleda
W-2: Komalini mrucchilina vaadantimaa
Mammelu saamantiminthe gaani
K: Saamanavalenaa meeriddaru kalahinchi
Jagadamu naa valena vacchenana ledata ne

130
The above Daru is very composed in a very interesting and a heart-touching way. The
conversations in this Daru takes place in a humorous way i.e., KrishNa speaks about
the way he was blamed, and as a reply his wives try to convince Him by giving a
funny or a witty reply.

For instance, KrishNa feels hurt and says that, you (both the wives) left me saying
that I am dark in complexion. In reply the wives say, we never said that you look
Dark (black in color).

Second instance, KrishNa says he was insulted as a shepherd boy for which they give
a witty and convincing reply.

Third instance, KrishNa says that He was blamed as a cheater and tricky in nature.
The wives reply that He is very wise instead.

Fourth Instance, KrishNa says that He was balmed as a playboy enjoying with
Gollabhaamas (shepherd girls). In turn the wives reply that, He praised as Gopika
vallabha (the protector shepherd girls) etc.

In this way, the two wives apologize KrishNa in many ways in the form of a Daru.

―Neramenchedavela nenaruna ee veLa

Kuurimi meera chaalaa gopaala deena paala—
1.) Proddaaye maa paini pola yelikalu maani
Buddhi lekunna gaani diddukovale gaani||
2.) Aada vaaralamintha yagadu koorvamokintha
Maataadumu Srimantha mammeelu roopavanta‖

In the above Daru, the two wives say in this way. Instead of blaming us, why can‘t
you take care of us. Don‘t get angry on us and rectify our mistakes in case we commit
any. Being women, possess a bit of temperament. In spite of all these qualities you
should take care of us.

Then KrishNa gets convinced and showers his love towards them. This is expressed in
a Daru.

―Kommalaara muddu gummalaara pooni maataadeda gaani—

----------------------------------------------------------------------------‖

131
Then, the two wives sing the following Vruttha Daru expressing their devotion for
Him.

―Cheluvuga nee paada seva sesedamu nee

Palukulu vini memu paraga nadachedamu
Poluponda idi nijamu poovilthu padamaana
Haayinka velayanga mammelaraa Sri Krishna
Veduka meeraga raaraa‖

Thus, the Yakshagaana is concluded. In this, there is no Naandi part and MangaLa
geethas at the end unlike the other Yakshagana-s. The story begins with a kathaa
sangraha and concludes with a Vruttha Daru. There are more Darus compared to
Dwipadaas in this Yakshagaana. In some instances, there are some
Samvaadam/Uttara-pratyuttarea Darus seen.

Vruttha Daru is a special type of composition which is seen only in this Yakshagaana.

14. JALAKREEDALU: The story of this Yakshagaana is extracted from the Gopika
VastraapaharaNam scene of Bhagavatham with some imagination added to it. It
starts with a MangaLaacharaNam, a prayer on Lord KrishNa that begins with Jaya
Shabdam. It includes MangaLa geetham on Mahishaasura mardini and Ishta Devatha
praardhanaas in the form of Sanskrit verses.

The Kathaasangraha Dwipada contains the story in brief. The Dwipada is as follows:

―Gopikalellanu gumpu goodukuni

Eepuna Jalakreeda limpondanaada
Vacchutayunu thama valuvalu teesi
Yachhugaa gattuna amara nunchutayu
Chinni krishnudu vacchi cheeraletthukuni
Ponna painunduta puubuuNulapudu
Voluvala naduguta vanajalochanudu
Pilichi cheeralosangi pendlaadutayunu
---------
Nanuvonda jalakreeda navya naatakamu----
Ghanudu Sahendrudu gaavinche bhuvini
Sarasa satkavivarul sannuthi seya
DharaNi lo naachandra taaraarkamuganu‖

132
The meaning of the above Dwipada is as follows. The Gopikas go to a lake to take
bath. They remove their clothes and go into the water. In the meanwhile, little
KrishNa steals those clothes and climbs up the Ponna tree. On the request of Gopa
sthrees, KrishNa gives away their clothes and marries them. The poets praised and
blessed this drama written by Shahaji, to remain forever on this earth.

As per the tradition, this Yakshagaana beings with a Vighneswara Paatra pravesa
Daru. The story begins with a Suutradhaara vachana. The Gopalaka (shepherds)
caution everyone to stay away as the Gopakanyaas (shepherd girls) are coming to the
Srungaara vanam to take bath in the lake. The appearance of GollvaaLLu (shepherd
boys) is described in a Daru.

―Nalla kambaLi thana nadumunu chuttukuni

Chilla kolanu chetha jimmuchu, nudutanu
Thellani naamamu theerunu merayaga
Mella mellanu vaacche gollavaadipudu‖

The meaning of the above Daru is as follows. The shepherd wore a black woolen
cloth and a held a stick in his hand. He has a Tirunaamam (a vertical Bindi) painted
on his forehead. Then the Gopika-s (Shepard ladies) arrive which is described in a
Dwipada.

―Srungaaramulanu raajilluchu mena

Bangaaru sommulu baagugaa betti
Telivonda nudutanu tilakambu diddi
Velayanga jada ninda viri sarul daalchi—
Kalayanga ratnaala kammalu chevula
TaLa taLamanuchu vinthagaa kaanthuleena
KankaNamulu thama karamulayandu
Pokambugaa buuni puuboNulapudu----
Kaatuka kannula ghanthatho deerchi
Alaranga jala kreedalaada kanyakalu—‖

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The same is described in a Daru

―KanakabhooshaNamu lallaraa
Thanaraga gopa kanyalu vedaleriiveLa—
Andelu ghallu ghallani athiseyillaga
Indumukhulu muodamandu kolavagaa‖

In the above Daru, the beauty of Gopa sthrees (shepherd girls) is compared
with the arrows of Cupid. Their ornaments are made up of precious gems and gold.
With the sound of their anklets, the beauty of eyes after applying collyrium to them,
the bindi applied with kasthuri, the shepherd girls appear to be more than Rambha,
Urvasi (i.e., Angels in heaven).

Shahaji described the Chaitra masa or Vasantha ruthu in a Dwipada, in a wonderful

manner.

―Maaninulaaraa ee madhumaasamandu
Puuni vrukshambulu pushpinchi nadiyu
Cheluvaina lathalella chigirinchi nadiyu
NaLulu jhummani chelagaaduchunnadiyu—
Yendathaapamu theeranika jalakreeda
Laada boyedamu raare yandambu gaanu‖

It means, all the trees are fully covered with flowers. The creepers are filled
with budding leaves. The bees making a humming sound. The girls prepare
themselves to take a bath in the lake in order to overcome the heat of the Sun. Among
them, two of them go to get some Jasmine and other flowers generating fragrance.
The girls enter the water by calling each other with their names, as described in Daru.

―AliveNi raave raayincha gamana rave || Jalakreedalaadudamu

Chilakala koliki raave chittaru bomma raave || --do--
Kuluku miTaari raave kokila vaaNi raave || --do--
Jalajanayana raave Chandra vadana raave || --do--
Malayaja Gandhi raave maruvompu molaka raave || --do--

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The beauty of the girls taking bath in the lake, is described in a Daru.

―Jalajamane vadanamu chelaregagaa

Meti kaluvalane kanugava kaanthuleenaganu
ALulane nerikurulu atiseyillaganu
Alalaneti vaLulu andamu meeraganu—
Pekkaina saikathamulane pirudulu velayaganu—
Jalapakshula ravaLanedi palukulu merayaganu
Aaakanjamula patramulanu paLLelamula—
Kolanu devatha manakedurkoni thana thona
Jalakrredalaada rammanu chandaana nunnadi chuudare‖

The above description is about a beautiful and picturesque lake. The beauty of the
lake is compared with an angel. Then all the girls leave their clothes at a point on the
shore and get into the lake. They play in the water. This is known as Jalakreeda,
which is described in a Daru.

―Kanyaro nee chinni channulamelaina

Panneeru challeda baagu meeraganu
1.) Sannuthaangiro nee thinnani menuna
Vanyavasanthamu vagagaa jalleda
2.) Pallava paaNi nee baagaina momuna
Mellana puuthene challedanippudu
3). Mollanu Gandhi nee vaalu kannulayendu
Challani jalamulu challedanippudu‖

In this manner, the girls play in the water.

In another scene, KrishNa and his friends reach to a place which is beautifully
described in a poem.

―Melagu nora gunde pai minnalu dera Mayura pinchamunan -------

Go - paaludu vacche gopavara baalura thodutha naatalaadagan‖

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KrishNa comes along with Gopalakas (shepherd boys) to the Shrungaara vanam.
This is described in a Daru.

―Vinthaga ratnaala kunda chethanu nemali

Pinchamenthayu thejarillaga santhasamuna
Panthamu meera Gopala baalakulu koluvaga
Jhamtarikita dhimikitathaka thaLaangu jhaNu jhaNu
DaNa thaka yani yaaduchu vacche chuudare Govindudu‖

This is continued in the next Daru

―Munduga paadamulandunu ratnaalayandelu gajjelunu

Ponduga mroya Govindudu vinthaga
Dhim dhimi dhimi dhimi yanu tha aadeeni chudare Govindudu‖

These two Darus describe the beauty and appearance of Lord KrishNa. It means as
follows. The color of KrishNa is blue as that of a Dark cloud. He shines with an
effulgence of Sun. He wears anklets embedded with precious stones.

In this way, Lord KrishNa comes to the Srungaara vana joyfully, playing with his
friends. The two Daru mentioned above are known as Jikkina Darus. These naughty
boys make a bet, to get the belonging of anyone from a near distance. One boy goes to
the lake and comes back shockingly to know that some women are taking bath in the
river. The boy says to KrishNa that he has seen a wonderful scene, in a Dwipada.

―Panivadi sri krishNa padhetthaboyi

Kani nokavintha kanyakaamaNulu
Cheeralu gattuna cheluvoppa nunichi
Arayanga jalakreedalaaduchunnaaru
Kannula pandugagaa chuudumipudu
Chennuga vaarini chera raavayya‖

The naughty boy says that, the girls are taking bath and you will feel happy if you see
this scene. Then krishNa speaks to His friends very happily, in a Daru.

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 ―Melu bhaLi sebaasu raa! Gopaalulaara!
Melu vaarthalu vintinoyi chaala santoshamaayenoyi
Gopaalulaara chakkani sekunamu laayenoyi—‖

In the above Daru, KrishNa asks the other boys to sit quietly in that place, and He
leaves that place. He silently walks towards the lake holding the anklets in his hand
tightly in order to prevent them to sounding. The same is described briefly in a Daru.

―Muvvalu gajjelandelu mroyaka patti krishNudu

PuuvuboNula cheragaa navvuchu vacchen‖

Then, KrishNa robs all the clothes kept on the shore and climbs the Ponna chettu
(ponna tree).

As the Gopakanyalu (shepherd girls) still did not complete their bath and come home,
their parents send a girl Thimmakka. The appearance of Thimmakka is described in a
humorous way as she walks towards the lake, in a Daru.

―Doppa chevulu guuni vippunu

Bukki norunu doni kadupu thanara
Dhappu chuupulu chuuchuchuu kanyala bilwa\
Pappu thimmakka vacchenu‖

Thimmakka says she has come to bring all the girls back. She asks them to stop
bathing and get ready to come back home. Agreeing to Thimmakka‘s words, the girls
ask one among them to get the clothes from the shore. That girl is shocked to see the
missing clothes on the shore, and this is expressed in the form of a Daru.

―Cheeralu gaaname yo yammalaara!

Mana siggulu boye gadave yammalaara ---‖

In the above Daru, the girls talk to each other about their lost clothes. They express
different feelings and think of various possibilities about how their clothes were
disappeared.

Then all the girls search for their clothes in the garden which is depicted in a Daru.

―Valuvalu gaanamu vanamandu chutamu kanyalaara--‖

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In this search, one girl notices the footprints of a boy and says to her friends in a
Daru.

―Chuuthamu raare kanyakalaara

Thadayaka baaluni adugulu teliseeni
Adugula padma rekhala mari yunnavidigo
Eedanu veNu naadamemo vinabadeeni—‖

In the meanwhile, Pappu Thimmakka notices the clothes on a Ponna tree and says to
the other girls. They feel happy and go to the tree. As they see KrishNa, they get into
the lake with a feeling of shy. KrishNa comes down from the tree and steals a gantha
(a kind of soft cloth) from Pappu Thimmakka and runs away. She speaks in a Daru.

―Gantha dochukupoyene thandanana krishNudu--‖

The girls in the lake speak to KrishNa in the form of a Daru.

―Kolanilo mementhasepu konkuchunundumu raa

Voluvalanu daya seya raa orori krishNa—‖

The girls say that, it is not good on His part to take away their clothes. They request
Him to give back their clothes. Then KrishNa speaks to the girls in the form of a
Samvaada Daru.

KrishNa: ―Jalajaakshi ro neevu kolanu gattuku poyi valuvaladugavamma—‖

Gopika: ―Cheliyaro gattuku pova thanaku chaala siggouchunnadi—‖
----
Gopika: Magavaadu yeduta nundaga nannu pommanuta taganatave -----"

In this way KrishNa asks the girls to come out of the lake and take their clothes from
Him. All the girls try to convince Him in many ways. Finally, KrishNa agrees to give
away their clothes, if they all raise and fold their hands and pray to Him. This is
described in a Daru.

―Mrokkemuraa oo muddula krishNa nee che

Jikkithimi ikanaina maa cheera leerendu chethulaa
Proddu poyera indlaku povale maa cheeraleeyaraa
Thaddayunikanaina maa pai daya yunchu saami neeku‖

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Then the girls pray and request Him to give away their clothes soon as it is becoming
late for them. KrishNa replies in the form of a Dwipada.

―---- Arayanga nannu pendlaadithireni

Iravanda cheerala icchedanipudu‖

In the above Dwidapa, KrishNa asks the girls to marry Him if they want their clothes
back.

Then, Thimmakka says to the girls in a Samvaada Daru.

Thimmakka: ―Ippude pendlaadedamani yopparee meeru‖

Girl: ―Thappumaatalela musalidaanaveevu pove‖
Thimmakka: "Abbabba pendlikoppaka athadu cheeraleeyade meeku‖
Girl: ―Pappu thimmakka yoppithe oppedame memu‖

The meaning of the Daru is as follows. At last, the girls agree to marry KrishNa as it
is accepted by Thimmakka as well.

At this point, Shahaji adds a little humorous conversation between Thimmakka and
KrishNa. As KrishNa gives away the girls‘ clothes demanding them to marry Him.
Similarly, Thimmakka asks KrishNa to marry her and in return, He can give back her
Gantha (soft cloth). In reply, KrishNa simply refuses her request.

In the conversation between KrishNa and the girls, the girls express their fear of their
marriage without the consent of their family members. But krishNa convinces them
for a Gaandharva vivaaham (a marriage in the style of Gandharvaas which does not
require any formalities or any other rituals as performed in a usual marriage). The
girls readily accept to it and get back their clothes in return.

All the above conversation is written in a Samvaada Daru. Then KrishNa asks them
to tell the identify their respective clothes and the girls reply to it. This is described in
a Samvaada Daru.

Girl1: ―Bangaaranchula cheeraraa chinni krishNa

Naadi niggu bangaaru ravika raa‖
Girl2: ―Pagadapoosala cheera raa oo chinni krishNa
Naadi sogasaina poola ravika raa‖
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In the above Daru, the girls say about the color and other marks of their clothes.
KrishNa tease the girls in many ways and at last give away their sarees.

Then comes the husband of Pappu Thimmakka, Paapaavadhaani. This is mentioned in

a Daru.

―Panchaangam chetha batti patte vardhanam petti

Enchaga purohithudu ethenchenu ippudu‖

In the above Daru, krishNa gives away the Gantha of Thimmakka and marries all the
girls.

Later, KrishNa speaks to the girls in a romantic manner, in the form of a Daru.

―Kuudi yundamu raare komalulaara

Vedukalu chaalameera –‖

As KrishNa marries all the girls in a gaandharva way, all the Gods including
Devendra (King of all the Gods), Bramha and Siva attend the marriage. Other
demigods and sages viz., Narada, Kinnera, Kimpurushaas sing the MangaLam in the
form of a Daru.

―Mandara dharuniki maadhavuniki

Nandakumaaruniki narahariki
Ponduga gopakanyalanu -- mangaLam‖

This concludes the Daru.

Unfortunately, the last few lines of the MangaLa Daru are missing. In this
Yakshagaana, several Samvaada Darus can be seen. The language used in this
Yakshagaana is simple and in an easily understandable way to all the people who are
familiar with Telugu language.

15. TYAAGA VINODA CHITRA PRABANDHAM:

This Yakshagaanam is also known as SankarakaaLi Natana vaada mahaanaatakam.

This contains six ankaas (scenes). Its specialty is that it contains Maratha language
along with Telugu and Sanskrit.

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 In the first scene, the Sutradhara makes a comment on this Yakshagaana, in
Maratha language. This is mentioned in a Dwipada and contains references about
Andhra language. The fourth scene contains a complex Daru known as Savyaapa
savya samapada leelaa Daru. Similarly, in the sixth scene there is a Daru known as
Krama sapthaswara varnaardha leela Daru. This Daru is composed in the ragas
Todi, Kapi, Kalyani and Sankaraabharanam. This Yakshagaana concludes with a
Jikkini Daru.

This Yakshagaana is dedicated to his beloved deity i.e., to Sri Tyagesa. The
theme of this play is that, Goddess BhadrakaLi overwhelms with pride thinking
herself to be the greatest dancer. Then the Sage Narada plans to suppress her ego and
invokes Sri Tyagesa who is a form of Lord Nataraja. Then a Dance challenge will be
held between Goddess kaLi and Sri Tyagesa. They both compete equally at all levels
and finally the Goddess gives up and accepts her defeat. At last, He marries Kali. This
is the theme of this Yakshagaana.

*Unfortunately, the Yakshagaana is not found anywhere. The above script is written
based on a summary of Dr. S.V Jogarao‘s Andhra Yakshagaana VaaNgmaya charitra
(Vol-I, HOD, Dept. of Telugu, Andhra University, Visakhapatnam, April 1961).

15. KRISHNA LEELA VILAASAM:

This story belongs to the Prasiddha category. The theme of the story is taken from
Bhaagavatham. The plot of the story is that, Lord KrishNa incarnates through Devaki
Devi. His childhood pranks, and his marriage with Satyabhama constitutes the main
part of this Yakshagaana.

Unfortunately, the script of this Yakshagaana is not available. The above summary is
written based on a small passage taken from the book ―Yakshagaanaalu (Thanjavur
vol3, page no. vii) written by Sri S.V Joga rao.

16. DRAUPADI KALYANAMU:

This story is an extract from Mahabharatha and belongs to the Prasiddha category.
The Yakshagana begins with a MangaLaacharaNam and MangaLageetham and
Ishtadevatha praardhana in the form of slokas. Kaivaaram is a type of composition
that includes several praises on the King, by their guards. It follows Kaivaaram,

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Kathaasangraha Dwipada, and the Vighneswara Paatra pravesa Daru which is the
same song used in the other Yakshagana-s.

The story begins with a conversation between Katika and Sutradhaara. The King
Drupada asks the Raja Purohit (court Purohit) in a Dwipada.

―Vinavayya naa maata vipravareNya

Vanajaakshi Droupadi vaikhari chuudanga—
Hecchagu kalyaaNa mika cheyyakunna – yantra
Meenambu sesina metiki thanaya
Nicchedanantine nidi naa pratigNa‖

It means, the King Drupada expresses his desire to perform the wedding of his
daughter. The person who chases the Matsya Yantra will be the person who is eligible
to marry my daughter.

The arrival of Drustadyumna i.e., the son of King Drupada, is described in a Daru.

Drupada orders his son to arrange for Swayamvara and orders to decorate the city to
prepare for the event. Kings from different regions such as Anga, KaLinga,
Kaashmira, kaambhoja, MaaLava, NepaaLa, SouraaShtra, Kukuru, Kuru, KonkaNa,
TenkaNa, KeraLa, GouLa, Kunthala, Kasi, Kashmira, Kiraatha, kethaka, Ghoorjara,
trigartha etc. comes to participate in the Swayamvara. This is described in a Dwipada
as described in the SeethaKalyaNa. Lord KrishNa arrives to watch the event that is
described in a Daru.

―Vacche souri vedka--

Balaraamuni tho guudi cheluvu meera neeveLa‖

Later, the hundred Kauravas along with KarNa, Aswatthaama, Somadattha,

Bhuurishrava, Shruthasena etc. arrive there and it is described in a Daru.

―Vinthaga vedale thammula guudi –

Chenchela kaaryundu maana duryodhanundu‖

As all the invitees arrive, Droupadi is brought to the court by her brother
Drustadyumna. Droupadi is described as a beautiful woman and appears to be a

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Golden doll. The King Drupada introduces all the Kings to his daughter and
announces the conditions of the Swayamvaram.

Many Kings come and display their courage and skills but fail to achieve the target.
Finally, a person comes out from a group of brahmins and makes an attempt to chase
the Matsya yantra. All the kings including Duryodhana makes fun of him as he
appears to be a poor brahmin. He chases the Matsya yantra and the King prepares to
marry Draupadi to him. He is none other the Arjuna in the guise of a brahmin. Then
the King tells his daughter about the moral values and explains the code of conduct of
how a traditional daughter-in-law should behave with her in-laws in the form of a
Daru.

―Poyi raavamma maa yamma

1). Attha maamala patla batthi tho naduvumee—
2). Pathiye daivamani bhaavimpu mee---‖

In the meanwhile, Duryodhana along with his supporters wage a war against Drupada
for marrying his daughter to a poor brahmin. Then Arjuna and Bheema try to support
the King Drupada for which Dharmaraja doesn‘t give his consent. At last, they both
convince Dharmaraja and go in support of Drupada. Arjuna targets KarNa, and
Bheema fights with Duryodhana, and win over them. They both join the rest of their
group. They are the Pancha Paandavas in the guise of brahmins. They join their
group and return to their city Ekachakrapuram where Mother Kunti resides.

Then Arjuna speaks about Draupadi to his mother in a metaphorical way. He says that
he brought a strange and a precious fruit in the form of a poem.

‖Nira Teevula kaladamma

Dorala sikhaamaNulakaina dorakanidamma
Tharuvuna podamanedamma
Thiramuga noka vintha phalamu thecchithinamma‖

He says that, the fruit he brought is very precious, it has not come out of a tree and
stays with us forever. Mother Kunthi replies that, all of you share the fruit and eat it,
without any disputes among yourselves. After Kunthi sees Draupadi, she understands
what she spoke earlier and regrets for it.

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 Then each of the five sons discuss among themselves. Dharmaraja says that, as
the Matsya yantra is chased by Arjuna, he is the right person to marry Draupadi.

Arjuna says that, one should not transgress one‘s own mother‘s word. In this way they
discuss among themselves.

On the other hand, the King Drupada feels sad that he married his daughter to a poor
brahmin and sends some spys to know their whereabouts.

As the secret agents move nearyby they hear the conversation of these five persons
about the Matsya yantra chedana, fight with Duryodhana and such matters. They
could also see an old woman along with them. They could identify those five persons
as Pancha Paandavaas and convey the same matter to King Drupada. Then the King
Drupada asks his son Drushtadyumna to bring all the Pancha Pandavaas and Kunthi
devi along with Draupathi. This is mentioned in a Daru.

―Drupada suthundu vedale – Paandu nrupathi nandanula piluva‖

Then Drushtadyumna respectfully takes all of them to the place of Drupada. The King
Drupada invites all of them happily and praises them after finding out their identity, in
the form of a Dwipada.

―Chanda vikramulaara sadguNulaara

Paandavulaara dorbalayukthulaara—
Tholutha meevithamu nisthula vrutthi meera
Teliyaka dwijulani deenudai yunti
Dharmanandana, purandara thanuujunaku
Permi tho jeyumu pendli ee veLa‖

In the above Dwipada, the Drupada King expresses his happiness to know the identity
of Pandavaas and feels excited to marry his daughter to Arjuna.

Then Dharmaraja expresses his Dharma sandeha about the conversation they had at
their home, in the form of a Daru.

―Thagavu kaadidi chuuda – Dharmambu gaadu

Nagare itlaithe mu – jjagamuvaarella

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1). Balavairi thanayudoka phalamu thecchthinanuchu
Paluka saripaalugaa – panchukommanuchu
Thelipe maa thalli i – ttheragu gaavimpumika
Thalli thandrula maata java – daata bhuupaalaa ||
2). Harahara! Idiyemi – aidugurinoka kanya
Variyinchutettu lee – vaavuletlu
Purushunikidi chellu nen – dara bhaamalainanu
TharuNi koka purushude – dhaatha Kalpana yitlu ||‖

In the above Daru, Dharmaraja says that in this world a man can marry any number of
wives, but here it is vice-versa. How can this happen. With reverence to a mother‘s
words, can five persons marry a single woman? How can this act be approved by the
Mullokaas (the three worlds)? Thinking so, he feels very sad.

Feeling in this way, all the people present there including King Drupada feel very sad
about it. In that situation of a dilemma, he sage Vyaasa enters. This is described in a
Paatra pravesa Daru.

―Vyaasulu vedaliri bhaasura muganu

Paayaka madilo kaasi pathini smaraNa jesi
Maayanu thega kosi maini bhuuthi puusi ||
Hari naama Sudhanu groli yaanandamu na deli
Parama puNya saali padmasambhavu boli ||‖

The above Daru describes the appearance of the Sage Vyasa. The one who thinks of
Lord Kasi Visweswara in his mind, applies Vibhuthi (sacred ash) on his body, chants
the name of Lord Hari and appears as Lord Brahma i.e., as the one who has gone
beyond the Maya (illusion).

Everyone in the court humbly offer their salutations to the Sage. The King Drupada
also offers his respects to the Sage in the form of a Daru.

―SaraNu saraNu bhavanaasa - SaraNu saraNu swaprakaasha

SaraNu saraNu haridaasa swami - SaraNu saraNu vedavyaasa‖

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The King praises the sage and puts before him, the doubt expressed by Dharamaraja.

Then the Sage explains all the past, present and future births of Draupadi and says it
in the form of a Dwipada.

―— Varamincche naa prabhaavamuna nee bhaama

Parama pathivratha paanchaali yayye
Chathuratha minchina sankaru krupanu
Pathulairi ee pancha paandavulipudu
Daiva kruthambidi thappimpa tharame!
Kaavuna lagnambu gaavimpu vega‖

In the above Dwipada, the Sage Vyaasa describes about the past birth of Draupadi. He
says in this way. A wife of a sage serves her husband sincerely but feels very sad as
she does not have a satisfactory family life. She prays to Lord Siva day and night.

Impressed with her devotion, Lord Siva appears and asks her for a boon. She asks for
a husband. The Lord blesses her saying that she will have five husbands who will look
after her with love and affection, in her next birth. Thus, she becomes a Pathivratha
and Paanchaali.

The sage Vyasa says that Draupadi is the same Paanchaali who is blessed with five
husbands in this birth.

After listening to the words of Sage Vyaasa, Drupada happily marries her daughter to
the Pancha Paandavaas. At that time, all the people sing MangaLam on this happy
occasion.

Darus are less in number compared to Dwipadaas, in this Yakshagaana. In some

instances, the traditions that prevailed in those times are depicted in this Yakshagaana.
Thus, Shahaji proved himself as a great composer, from the literary beauties seen in
this Yakshagaana.

17. SATI PATI DAANA SURAMU:

This is a completely imaginary story which was never heard before. This
Yakshagaana contains MangaLaacharaNam in Todi raaga and a MangaLa geetham

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on Lord Tyagesa and Ishtadevatha praardhanaa slokas followed by Kathaa sangraha
dwipada and Vighneswara Paatra pravesa Daru. The MangaLa Geetha begins with
these lines:

―Mahaneeya tyagesuniki MangaLam—

Bhosala saahendra bhaasura kula devuniki
Maa siva tyagesuniki MangaLam‖

The above Daru is written in praise of his beloved deity Sri Tyagesa. In this
Yakshagaana, the Ishta Devata praardhana slokas are taken from the old scriptures.
They are:

1). Saraswathi sthuthi – ‗Yaakundendu tushaara haara—'

2). Mahaa VishNu sthuthi – ‗Saanthakaaram bhujagasayanam—'
3). Parvati, Parameswara shuthi – ‗Gangaa taranga kamaniya—'
(Viswanathaashtakam)

In the Kathaa Sangraha Dwipada, he very briefly introduces the story of the
Yakshagaana. A Bramhin person falls in love with a Maathanga woman and proposes
her to marry him. As she is already married, she does not accept his proposal. After
having a long conversation with the women, her husband arrives, and he too argues
with the Bramhin in support of his wife. Finally, the Bramhin realizes his mistake and
apologizes both. The story ends with the Lord Parameswara giving Moksha
(liberation) to all of them and gives the Phalasruthi of this story. The Dwipada is as
follows:

―Sree ramaNeeyamai cheluvondunatti—

Kramamugaa navuchunda khandendu darudu
Vacchi prathyakshamai vaari naluguriki
Mucchata teeraga mokshamicchutayu
Anedi kathalache namari raajillu
Chunu minchu sati daana suura naatakam
Virivigaa Saaha bhuuvibhudu gaavinche
DharaNi lo naachandrataaraarkamuganu‖

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It follows the Vighneswara paatra pravesa Daru which is the same song taken from
the other Yakshagana-s. This Paatra pravesa Daru is tuned in Todi raga. The story
begins with the conversation between Sutradhaara and Katika. The Katika says that
he is going to Champaka vanam (garden) to prepare for the Nityotsava pooja (the
daily worship) of Lakshmi sametha Sri Rajagopala swamy (the Lord along with his
consort). This is mentioned in a Daru set to Kambhoji raaga and Aadi taaLa.

―Velayu Sree senkha chakramulu hasthamulan jalaga

Suluvaina garuda vaahanamu pai vishNuvu vedale
Abhaya varahasthamu lamaranga disalandu
Subha peethaambara prabha sobaganda sourivacche‖

The above Daru describes the charm of Lord Mahaa VishNu who holds the Sankha,
Chakra and comes on Garuda vahana (the Garuda bird as a vehicle) and comes to the
court present in the Champaka garden. Then a Maathangi sthree arrives to that place,
to serve the Lord. Her beauty is described in a Paatra pravesa/VarNana Daru written
in Aahiri raaga.

―Pallavambula bolu bhaamapaadamulu

Pillaandlu mettelu birudu pendembu
Gajjelu nandelu ghallu ghallanaga—
Thinnagaa kaatuka deerchi ninnuduta
Thelivonda Kasturi tilakambu diddi—
Chelulirugadalanu sevalu seya
Saarasalochanotsavamu chuudanga
Garimatho maathanga kanya thaa vedale‖

The above Dwipada describes the beauty of Maathangi woman. She appears to be a
traditional village woman. She offers her prayers to the Lord and returns. A Brahmin
named Morobhattu comes to that place along with his disciple which is described in a
Paatra pravesa Daru set to Madhyaaavathi raaga and Aadi taaLa.

―Veda saastramulu chaduvuchu vishNudevuni thalachuchu

Modamutho vedalenu mukhyudaina moro bhattu‖

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On the way, this brahmin sees this maathangi woman. He fells in love with her and
speaks to her in a rubbish way. This is mentioned in a Daru set to Aadi raaga (the
raaga not mentioned).

―Kommo puula remmo bangaaru

Bommo maruni serammoo leka
Maruvampu molako rati cheti chiluko
Muddula kaliko‖

Later, a lot of arguments take place between the Guru (brahmin) and his disciple in
which the disciple offends the acts of his guru. But the guru still cannot turn his mind
away from her. After several arguments, the disciple gets vexed with his Guru and
accuses his Guru for his ill thoughts towards the woman. Then, the Guru finally
approaches the woman and asks about her details, in a Daru in Naadanaamakriya
raagam set to Aadi taaLam.

―Sakala sobhanamasthu santhathaabhi vruddhi rasthu—‖

In this Daru, the Guru asks her details. Besides this, the disciple curses the Guru in
many ways. Then the woman replies in a Daru in Naadanaamakriya raaga.

―Antaraanivaaramayya –
Para duushithulamayya baapanayya—
Kallu trragudumayya kadajaati vaaramayya
Malina dehulamayya mariyaada heenulamayya‖

In the above Daru the woman says that, they belong to the lower caste and are
treated as untouchables. They drink Kallu (unrefined alcohol). They do not maintain
physical hygiene and they are not treated with respect, in the society.

Even after listening to her words, the brahmin doesn‘t give up his desire for her. She
replies to this, in the form of a Daru in Ghanta ravan set to Aadi taaLam.

―Bammanayya vaareelaagu brathimaaludu raa

Immaaletha vesamu – eesamu kaadaa‖

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 In the above Daru, the woman asks the brahmin not to get mesmerized for her
beauty, and she tells about all her dirty habits to him.

The woman and the disciple try to convince the Guru in several ways, but he doesn‘t
pay heed to them. The woman also tries to teach him philosophy saying that, the body
is transient, and one should give respect to Dharma. She also says that she is already
married. She mentions all this in the form of a Daru.

―Samsaari kaanataraa baapanayya

Samsaari gaana ee sarasamela naatho—‖

Then the Brahmin starts accusing her husband. As a reply, she describes the valor of
her husband in the form of a Daru.

―Pathinedabaaya raadayya Oo baapanayya

Satulakidi dharmamu kaadayya
1). Pathini vanchimpa ihaparaminthaina ledayya
Kulaheenudainanu kaani Oo baapanayya
GuNa rahithudainanu gaani – ||
2). Kallu traaguvaadaina gaani gadusu vaadaina gaani
Kalimi leni vaadaina gaani Oo baapanayya
Balimi leni vaadaina gaani ||
Tuluvaina gaani balu dushtudaina gaani
3). Magade praana bandhund gaadaa.o baapanayya
Magade pennidhaaname gaada
Agadela yanedidi tagavaa, Oo baapanayyaa II

In the above Daru, she describes about the rules to be followed by a Pathivratha.
She says that, the husband may be a Kulaheena (one who disobeys the rules of a
community), guNarahitha (one who has no morals), one who consumes alcohol, one
who doesn‘t possess any physical strength and wealth, but still a husband is the very
life of a woman. One cannot accuse her husband Infront of her.

Still the brahmin does not realize his mistake. His argument with the woman takes
place in the form of a Samvaada Daru in SankaraabharaNa raaga set to Aadi taaLa.

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Brahmin: ―Vagalela chesave naathona nagaraadatave paducha‖
Maathangi: ―Nagavulu endaina Oo baapanayya
Maganaaliki tagunaa—‖

After listening to the cheap and lustful words of the Brahmin, the Maathangi gets
vexed and admonishes him.

Baapanda yeraa, yituvale - Balukanga meraa..

1. Kula heenamaina gunaseelamu vidichi
Yalaru nillaalu velyaalaunaa
Ila janulaku jaatulecchu koladulintee gaani
Talacha dharma bhedamu gaadaa verri II ….

She continues to give an account of her husband‘s physical strength. The brahmin
replies to her in the form of a Daru in Todi raga set to Chaapu taaLa.

―—Japa thapamulu snaana sandhyalu kalavaada

Kupithudaithe vaani sepiyunthu anthe kaani ||
Taruniro vaaniki nenu veratunatave—"
The brahmin says out of pride that, he is an orthodox brahmin who performs Japa,
Thapa and Sandhyaavandanamu and he has the power to curse to her husband.

On the other hand, the Sishya (disciple) tries many ways to convince his guru not to
behave in such a manner with the woman. But all his efforts to motivate his Guru
goes in vain.

In another scene, the husband of Maathangi comes to the Chempaka vanam. His
arrival is described in a Paatra pravesa Daru described in Pharaju raaga set to Adi
taaLa.

―Ide maadiga vaadu vacche--

Kallu traagi sokkuchu mellane ---‖

The above Daru describes the appearance of Maathangi‘s husband. He comes in a

drunken state after consuming alcohol.

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The husband says that he searched extensively for her in many places. This is written
in the form of a Daru in Vasantha bhairavi raaga set to Aadi taaLa.

Later, she explains whatever has happened to her husband, in the form of a Daru.

―Veravaka telipeda vinu naa theragu

Kari
Varadu thirunaaLLaku vacchithinoyi
Theravuna nee baapana devara nannu juuchi
Paraga doraga thiruga palikenoyi—‖

In the above Daru, the woman says that she has come to offer her prayers to the Lord
Mahaa VishNu. On her way back this brahmin confronts her. The brahmin expresses
a lustful attitude towards her which she rejects and tries to avoid him in several ways.

The husband talks to the brahmin in the form of a Daru in Raamakali raaga set to Ata
taaLa.

―Maganillaalitho neeku maataletiki raa

Thagunaa baapana saalle dharmamu those—
Parasathula ponduta paapam kaadaa
Sarasa saastramulella chaduvaledatara--‖

In the above Daru, the husband warns the brahmin not to have bad desire on a
Parasathi (any woman other than one‘s own wife). He gives two instances from the
epics where a person with a lustful attitude towards a woman was subjected to death.
The first instance is about Keechaka‘s misbehavior with Draupadi in
Mahaabhaaratha which lead to his own death. The second instance is about the cause
of RaavaNa‘s death in RaamayaNa.

Then the Maadiga (husband) becomes furious and prepares to beat the brahmin.
Immediately the Sishya intervenes and pleads the Maadiga to spare his Guru and
punish him instead.

From the next conversations, the Maadiga‘s knowledge in the scriptures and his
command over the Dharma saastras is known, from the way he speaks.

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The Maadiga speaks to the Sishya and quotes a sloka from the Dharma Saastras and
explains its meaning as well.

―Prakruthi siddham idam hee mahaathmaanaam‖

It means, scholarly people who possess extensive knowledge in their field of

education have many good qualities, but sometimes have a single negative quality in
them which brings a black mark their character. In this manner, both of them converse
about many righteous conducts and moral values mentioned in the scriptures.

In the meanwhile, the Guru speaks about his desire towards the woman, in the form of
a Daru in Bhairavi raaga set to Ata taaLa.

―----
Kaama saastramureethi memu naduvagaanu
Manasunchinapude adi thana sathi kaadaa—‖

In the above Daru, the Guru‘s words speak of his lustful attitude towards women. We
(the brahmins) perform rituals merely to seek pleasure from the angels (Rambha,
Uurvasi and Menaka).

In this context the Maadiga teaches essence of all the scriptures. He says that with
sense control, a person can achieve anything in this world. He further says that a
brahmin is highly virtuous and knowledgeable person and such a person‘s desire
should always be focused on the Parabramham (the ultimate state to be achieved).

In another context, the Maadiga teaches Vedantha and Vairaagya to the Brahmin. He
says that this body is transient. As it grows, it loses its beauty. It is merely a skin
covered with flesh and blood. The physical body can be compared with pot with a
hole, and a dirty hut. He says that, they reside inside the untidy and muddy huts
whereas you (i.e., the brahmins) reside in clean places and you should stay away from
such ugly thoughts and should not go behind the sensory pleasures.

The brahmin replies saying that Moksha (liberation) is only associated with the body
but not beyond it. He further says in a Daru in Devagaandhaari raaga set to Ata
taaLa.

―Ee haayi kanna mari ye haayi yunnadi

Aahaa deeninokka saari yeshananga valadaa—
Neevemi chesinaa ne veravanu raa‖

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The Guru says that he is fearless and does not compromise. He is ready to face
anything to satisfy his desire.

Then the Sishya says that, a person of your stature is capable to doing penance in the
Himaalayan mountains even in such severe cold weather and remains in union with
the state of Bramhan. In such a highest state, the person is not even aware of the
presence of wild animals that roam in the nearby regions. You are such a meritorious
person and you should not succumb to such worldly desires.

The Sishya further says that, you are like a yogi who always possess Vairaagyam
(dispassion). He finally says to his Guru, knowing what is good and what is bad, and
having the knowledge of all the Sastras, is it right on your part to become a slave for
such worldly pleasures.

Even after listening to all these morals and values, there is no change seen in the
behavior of Brahmin. After listening to the arguments of both the Guru and Sishya,
the Maadiga realizes that this Brahmin is even prepared to give up his life but cannot
control his desire on Maathangi. Thinking in this manner, he comes to a conclusion
that the only way in front of him is to give away his wife to the Brahmin, in the form
of charity. By doing so, he at least gains the Daana phalamu or Daana suram (the
merit of donation) for offering it to the brahmin. In this way, he feels that his sacrifice
and fame exist forever on this earth and speaks the same with the Brahmin in the form
of a Daru.

―Brathimaala valadayya baapanayya

Sathi dhaara poseda saami baapanayya--
Daana maanamu thamavaarike kaladu
PraaNamadiginanitthu bhaamanadigedi heccha
Thanuvu samsaaramu dhanamasthiramu chuuda
Thana keerthi sthiramu dhaara pattumi neevu ||‖

In the above Daru, the Maadiga says to the Brahmin that, he is prepared to do a
Daanamaanam (sacrifice the woman) to him. He also gives an instance of the King
Harishchandra who sells his wife to keep up his promise. He says that, you (the

154
brahmin) are a learned person. If you ask me, I am even prepared to give up my life
and sacrificing my wife for charity (Sathidaanam) to you is not a matter.

The Sishya finally teaches his Guru, some moral values in an ironical way. He says
that, as per Maadiga‘s sacrifice, you accept his wife so that your desire gets satisfied.
You better get contented with it and do not long for any more such evil desires. From
now at least get satisfied with what you have, lead a virtuous life in a way as
prescribed in the Veda Sastras (scriptures), understand the subtleties mentioned in the
scriptures, focus towards attaining Moksha (salvation) and lead a life respected by
everyone.

After having heard the words of Maadiga and the teachings of the Sishya, a ray of
realization arises in Guru‘s mind. The Guru repents for his bad thoughts and bows to
his Sishya. This is said in a Sanskrit slokam:

―PreeNaathi yessucharithaihi pitharam saputraha

Yadbhartureva ithamicchathi tatkaLatram
Tanmitra maa padi sukhecha samakriyam ya
Dethathrayam jagathi puNya krutho labhanthe‖

The meaning of the above sloka is as follows: A son, who, with his virtuous character
makes his father happy, is said to be a real son. A woman who thinks of the welfare of
her husband, is a true wife. The one who stands as a support and shares the difficulties
and happiness of a person is said to be a true friend. The one who is associated with
such meritorious people is known as a PuNyaathmaa (Virtuous).

In this way, the Guru praises his Sishya in many ways and salutes him for preventing
him to commit any mistake.

The Sishya in turn apologizes his Guru for what he has said.

Then, the Guru speaks to the Maadiga and repents for his mistake. He praises the
great qualities of the Maadiga that is described in a Daru, in Bhoopala raaga set to
Aadi taaLa.

―Ila neevanti vaaninindu ne gaana

Thalapa puNyudaveeve dhanyuda veeve—‖

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In the above Daru, the Guru praises Maadiga that he hasn‘t seen a person with such
noble qualities till now. A person generally gives charity in the form of Dhana
(wealth), Dhaanya (paddy). But, the type of charity that you prepared to give is
incomparable. Though you said many times that you belong to low caste. As you are a
pure-hearted person, no impurities will harm you. The Guru further says that he is a
brahmin and studied many Veda-s. Now I got realization, and cannot accept
Sathidaanam (i.e., charity of wife).

The Maadiga replies to him in the form of a Dwipada.

―Vinu baapanayya ee viswambulona

Vinayambu meeranga vipramukhyulaku
Nicchedanannadi yeeya lekunna
Necchaina sampadalellanu tharugu
Yashamulellanu maayu, napakeerthi vodamu
Viduvaka paapambu vembadi dodaru—‖

The Maadiga explains many Dharma suutraas. He tells about the sin of not keeping
up the promises given to a Brahmin. Such a person loses all his wealth. He loses his
respect and fame. He remains sinful forever. He also says that, the Guru desired for
his wife, at first. Upon his request, the Maadiga promises to give away his wife in
charity and now he cannot go back on his promise. In such a condition, unable to
decide how to proceed further, the brahmin prays to lord Parameswara. This is
described in a sloka and a Daru.

Daru ―Kata kata emi sethu paramesa—

Vitudanaithi mohinchithi paramesa—ee
Vetha tholagajeyave paramesa
1. Maadiga vaadaithe paramesa – ee
Maguvanu kommaneni paramesa
Kaadante bedirincheni paramesa –
Nannu kaavumeeveLanu paramesa
2. Velimi poyenu paramesa
Vedamulu poyenu paramesa
Maala gaakundaanu paramesa – abhi
Maanamu gaavale paramesa‖

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In the above Daru, the brahmin conveys to Lord Parameswara with devotion, all the
above things that had happened, and prays to Him.

The Maadigaa also prays to Parameswara in the form of a Daru.

―Buddhi ga mosamaayane
Boochula yekimeeda
Koddi baapadu sati gori icchedanante
Duddu petti vaddaneni—
Baapure naa satyabhangamu valananu
Paapamu vadame kadaa
Kori daana bhangamu gaakunda cheyumu
Kondaveeti jangamma—‖

In the above Daru, the Maadiga conveys his worry to the Lord and prays Him that his
Sathidaanam (charity of wife) should happen uninterruptedly.

Then the Maathangi woman prays to the Lord Parameswara and explains her
condition to Him and seeks refuge.

―Ibbandi brathukaaye – dabbu baapani maata

Thabbibbaaye naa magadu – mabbu kaadai nannu
Dobbeni nebovanante – debbateeyaga vaccheni –
Kattadi baapanayya titteni raavaddani
Ottu vetteni magadu, pattenu kommapoye
Mettina komma poye – gattu vilthudaa kaavave
PraaNamu kannanu maaname ekkudu
Naanaavidhamula chuudanu
Maanamu heenamaina maanini brathukela
Deenuraalanu kaavave‖

In the above Daru, the Maathangi lady expresses her sadness and prays to Lord
Parameswara through this Daru. She feels that, for a Pathivratha (an orthodox
traditional woman) character is more important than life. So, she cannot leave her

157
husband and go with another man. She prays Lord Parameswara to protect her from
this situation.

In this way, all the three people pray individually, expressing their grief and seeking
refuge at the Lord. Impressed by their devotion, Lord Parameswara along with
Goddess Parvathi appears in front of them.

Firstly, the Lord addresses the Maadiga in the form of a Dwipada.

―Vinavoyi maathanga veeraagragaNya

Ninu bolanevvaru neraru jagathi—
Polathiyu neevunu pudami vardhilla
Evvaru neekadha nerpada vinina
Nevvaru nee kadha nelimi chuuchinanu
Vaariki thanayulu vaibhavonnathulu
Gaaravambuna nitthu kalyaaNamuganu‖

In this Dwipada, Lord Parameswara says to Madiga that no one can match you in
DaanaguNa (act of charity), as you were prepared to give away your wife as well, for
charity to a Vedic Brahmin. For having such a pure mind, you are blessed, and all
your sins are washed away. As a Phalasruthi, those who listen to this story will be
bestowed with wealth and will reach higher positions.

The Lord says to Brahmin in a Vruttha Daru.

―Vinavayya Oo vipravarya –
Thanara saayujyamiccheda nee veLa—‖

Lord Parameswara asks the Brahmin as to why did your mind get polluted to such an
extent. Inspite of it, you have not committed any sin, and so you are blessed. As you
have not deviated from following your Dharma (DharmaBhanga), you are blessed
with Saayujya. The Lord also blesses Maadiga, since his vow of charity is not broken
(Daanabhanga) by granting him Saaruupya.

Then the Lord blesses the Maathangi lady with Saameepya, as she remained herself
without losing her character (Pathivrathaa bhanga).

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At last, the Lord blesses the Sishya and praises him for protecting his Guru from
committing a sin, even though he is a child. Parameswara blesses the Sishya with
Saalokyam (stay in the place of Lord) which is even desired by Lord Brahma and
other Gods.

In this way, Lord Parameswara blessed with the Brahmin with Saayujyam,
Maadiga with Saruupyam, Maathangi with Saameepyam and the Sishya with
Saalokyam.

In this occasion, Narada and other Kimpurushaas sing MangaLam written in a

poem.

―Meti saaha raja virachitha

Naataka rathnamuna melagu nalugurilonan
Paatimpa pedda yevvaru
Tetaga vidvaamsulaara telupaga valayun‖

The moral of this Yakshagaana is that, the character is more valuable than
one‘s birth i.e., the caste, creed and community. This is proved in many occasions.
during the conversations of Maathangi and Maadiga. On the other hand, a highly
learned person like the Guru, unable to control his senses had to learn lessons from
his disciple. This is depicted beautifully by Shahaji. The Sishya is described as the
one with high respect towards his Guru.

In this manner, all the four characters have performed their duties sincerely and for
this reason, they are granted liberation by the Lord Parameswara. This brings an end
to the Yakshagaana. This is a completely an imaginary story (Kalpitham). Vulgarity
in seen in some occasions of this Yakshagaana. The main rasa of this this
Yakshagaana is Srungaaram. The explanation of Dharma Sastras by Maadiga, and
Pathivratha dharmas by Maathangi exhibit Shahaji‘s command over the Vedic
scriptures and traditional values.

18. SACHI PURANDARAM:

The story of this Yakshagaanam is taken from the PuraNas which is not a very
popular one. Similar to other Yakshaganaas, this also begins with a
MangaLaacharaNam in Naata raagam set to Jhampe taaLam. Following it is the

159
IshtaDevatha praardhana in the form of slokas, and the Naandi part in the form of a
Dwipada. The Kathaa sangraha Dwipada gives a summary of the story.

―SriPurambuna munisishyundokkarudu
Thaapasula nupanatthari vakradanthu
Danuvaadu vedka tho narudenchutayunu
Anuvonda Kapila kaNvaadulacchatiki
Thapamonarimpaga tharali vacchutayu
Kupthudai yappudu kumbhodarundu
Munula thapovignamulu seya vaaru
Kanali kumbhodaru garvamaNachutayu
Nadiyella vini pulomaasurudegi
Mudamuna munulanu mardinchutayunu
Munulu devendrunitho moralida nathadu
Vini pulomanu jampa vedalu Margamuna
Devendrudunu Sachidevi anyonya bhaavamul
Mikkili paraga chuuchutayu
Sachi kanyakaku nindra sachivuna kapudu—
Pani vadi aanandabharithudai chaala
Ghanudu sahendrudu gaavinchu bhuvini
Sarasa sathkavi varul sannuthi seya
DharaNi lo naachandra taaraarkamuganu‖

The meaning of the above Dwipada is as follows. The Sages Kapila, KanVa and
others prepare to do penance at Sripuram. Kumbhodara being angry with them,
creates many obstructions to their penance, and in turn the sages defeat him. By
listening to it, the demon named Pulomaasura becomes furious and he too creates
hurdles to the Sages‘ penance. The Sages pray to Lord Indra for protection. Indra
defeats Pulomaasura and marries his daughter Sachi devi. Their marriage is
performed in Thanjavur, which is ruled by Shaahaji. This is the brief summary of the
Yakshagaana.

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This follows the GaNesha Paatra pravesa Daru which is same as that in the other
Yakshagana-s. Then the story begins with the Suutradhaara vachanam.

The Maharshis (sages) Kapila, KaNva and others, order their Sishya (disciple)
Vakradantha, to search for a convenient place to do penance. This is depicted in a
Paatra pravesa Daru.

―Gunisi aaduchu chaala gonkuchu beduruchu

Panasalu chaduvuchu paka paka naguchu
Munula dalachi thappu mrokkulu mrokkuchu
Thanaraga nitu vakradanthudu vedale‖

While searching for a suitable place, Vakradantha meets the Suutradhaara. He tells
the Suutradhaara the reason for his arrival. The Suutradhaara tells about a place in
the Kingdom of ChoLa located on the bank of the river Kaveri, which consists of
several pilgrims. Then Vakradantha decides to go to that place and check its
suitability to perform penance. There, he could feel the sacredness of that place and
describes the pilgrims in and around that region. He decides to go and convey his
Gurus about the place that he has seen, in the form of a Daru.

―Vinaroi vedkatho vinnavinchedanu

Jenulella mikkili sannuthi seya
Manjula navaratna mayamaina yeti
Thanjaapurambuna thanruchu nundu
Sakala Saahitya lakshaNa saara vidulu
AkaLanka maanasundathi dayaa parudu
Satya sandhudu sadaachaara sampannu
Dathyantha nayasaali yathula sadguNudu
Baagugaa Saaha bhoopaala sekharudu
Bhoga devendrudai poluponda nelu—
Laalithamagu kamalaanagarambu
Adi thapoyogyamounani nischayinchi
Mudamuna poyeda munula pilvaganu‖

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In the above Dwipada, Vakradantha describes the glory of the ChoLa King Shahaji
and his majesty. He determines that the region Kamalaapuram is a very suitable place
to perform penance and conveys the same to his Gurus.

The appearance of Maharshis is beautifully described in the form of two poems.

―Siramuna kemjedal cheluvu meeraga jutti

Poluponda menula bhuuthi puusi
Peda peda rudraaksha perulu dhariyinchi
Vilasillu japa sarambulanu batti
Maanugaa danda kamandaluvulu puuni
Sarasa kaashaya vasthramulu gatti
Malayuchu vyaaghra chermambulu chankanu betti
Sankaru dalachuchu santhasamuna‖

With their long hairs tied on top of their heads, smearing their body with the sacred
ashes, wearing Rudraakshaas (sacred beads), holding Danda Kamandalaas (the
traditional objects used by a sage), wearing orange clothes, holding a roll of tiger‘s
skin, chanting the name of Lord Sankara in their mind, the Sages arrive to
Kamalaapuram, to perform penance.

These sages begin doing penance, desiring the welfare of the world.

In another scene, Pulomaasura, a demon, appoints his assistant, Kumbhodara to

disturb the penance of the Sages. This is described in a Paatra pravesa Daru.

―Suulamu chetha batti sottamuuthi ega betti

Kolaahalamu seyuchu Kumbhodarudu vacchenu‖

Holding a trident in his hand, and making a lot of noise, the demon Kumbhodara
arrives to the place where the Sages are doing penance.

Kumbhodara troubles the Sages in that region to stop chanting the name of Hari. He
then sees the Kapila, KanVa and other Maharshis, and asks them to stop their penance
otherwise he would kill them with his trident. He says this is the form of a Daru.

―Orori munulaara ugrathapambu

Meeru chesedarela menulu mariachi—
Mee raktha maamsamul medadu tho guurchi
Boranu bhujiyinthu bhuuthamul pogada‖

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In this way, the demon frightens the sages.

The angry sages come out of their penance and punish him with their Dandam. The
injured Kumbodhara runs away and reports this matter to his master Pulomaasura.
Then, the demon Pulomaasura becomes furious and comes to punish the Sages,
which is described in a Daru.

―Ghora ruupamuna vacchenu Pulomudu—"

The demon Puloma with his ferocious looks comes and asks his followers to punish
the Sages, disturb their penance, destroy all their belongings. His assistant
Kumbodhara and other followers torture all the Maharshis in several ways. Unable to
bear the sufferings put by the demons, all the sages headed by Kapila and KaNva start
to the abode of Lord Indra seeking refuge. At that time, Lord Indra arrives to his
court. His charm and arrival are described in a Paatra pravesa Daru.

―Cheluvu meeragaa vacchenu devendrudu‖

Then arrives Rambha. Her arrival is described in the form of a Paatra pravesa Daru.
As this describes the beauty of her, this is also a VarNan Daru.

―Rambha vacchenapudu sourabhamu nanu—"

Then comes all the Sages running towards Lord Indra, to protect them from the
demons. The Sages appear to be injured and disturbed from their normal appearance.
Then Lord Indra asks them the reason for their condition, in the form of a Daru.

―Vinumu maa vithamella vinnavinchedamayya Nirjarendra—‖

The Sages express their sorrow in this way. For the welfare of the world, they aere
doing Tapas, and their penance is disturbed by the demons under the leadership of
Pulomaasura. These Sages request Lord Indra to protect them from the demons and
see to that their penance continues without any disturbance. Then Indra gives
assurance to them, in the form of a Daru.

―Thaapasa varulaara nenepuna mee bhayamella

Baapedamu balamu chuupedanu –
Chanudi mee thapovanamu cheragaa vedka meeraga

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Having got the assurance from the Devendra, they return to their place. Then, Lord
Indra asks the Deva Senaadhipathi (Lord Kumaaraswamy) to come to his court. The
glory of Lord Kumaaraswamy is described in the form of a Paatra pravesa Daru.

―Panthamu meera vedalenu baagugaa nemali nekki—"

Indra explains the situation stated by the Sages, to Kumaraswamy. Indra also calls all
the thirty-three crore gods along with Lord Chandra. The arrival of Chandra is
described in the form of a Paatra pravesa Daru in Asaveri raaga set to Ata taala.

―Pacchani duppati gatti pasidi paavaalu metti

Vacchenu chandrudu puula vanki chetha batti—‖

In another scene, Sachi devi, the daughter of Pulomsara comes to Sringaara vanam
along with her companions to play Kolatam. This is described in a Paatra pravesa
Daru.

―Voyaaramuga vedale nandamu meera—‖

The way she plays Kolatam with her companions, is described in the form of a
VarNan Daru.

―Neri kurulanu viri saramulanu velayanu

Sarasatha paiyeda jaaraganu—
----
Sarasudaina yeti Saaha rajendruni pari pari vidhamuna paaduchunu‖

Lord Indra sees Sachi devi and falls in love her. He says to Chandra in the form of a
VarNana Daru in SankaraabharaNa raaga set to Aadi taaLa.

―Kanugonti ve Chandra kanyaneeveLa

Manasija seramu ee baala—‖

Indra describes the beauty of Sachi devi in the above Daru. He also sends Chandra to
find out the details of that girl and let him know about it.

In the meanwhile, Sachi devi sees Indra and falls in love with him. She feels the pain
of separation from him which is expressed in the form of two Darus.

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 ―TaaLa jaalane cheliyaro
TaaLa jaalane muddugumma‖

In the meanwhile, Chandra approaches her and asks about her details. Their
conversation is in the form of a Samvaada Daru.

Chandra: ―Ichata nee trova boyina indrudaathaniki ne

Sachi undaa naa peru chandrunde sakhiya‖
Sachidevi: ―Indrudippudu vegame echata bovuchunnaadu
Chandraa telpumu naaku sarasatha meeraa—‖

In the above Daru, both introduce with each other.

Later, she comes to know that Lord Indra has come to fight with her father,
Pulomaasura. Sachi knowing this, requests Indra not to kill her father.

In another scene, Indra notices Pulomaasura and roars in anger that he would kill
Pulomaasura for the sins he has committed towards the sages. His conversation with
Pulomaasura is described in a Samvaada Daru in Mohana raaga set to Aadi taaLa.

Pulomaasura: ―Chaalura ee maatalelara Devendra

Suulamuche ninnu kuulakrummeda‖
Devendra: ―Ee laagu garvamuletiki puloma
Vaalaayamuga ninnu vadhiyinthunori—‖

In this way, the both fight with each other. In that war, Devendra defeats
Pulomaasura and is about to cut his head. At that time, Chandra stops him from
killing the demon. He gives an advice to Indra not to kill him, as his daughter is in
love with you. Then Indra says that, he would first kill Pulomaasura and then marry
his daughter. Chandra replies to him in the form of a Daru.

Chandra: ―Danujuni champina tharuNi praaNamulicchu

Munulakai veenini champanela‖

In the above Daru, Chandra says that if Pulomaasura is killed, Sachidevi also gives
up her life. So better do not kill him.

Indra: ―Munulendu bothenemi danujundendu bothe nemi

Vanajaakshi kaligithe chaalu--‖

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In the above Daru, Indra doesn‘t show any concern either towards the Sages or
towards the demon Pulomaasura. He merely shows interest and love towards
Sachidevi.

Then Indra asks Chandra to get him married to Sachidevi.

On listening to this proposal, Pulomaasura feels happy and agrees to get his daughter
married to Indra. This is said in the form of a Daru.

―Dhanyudanaithi neeveLa vannemeeraganu

KanyaamaNi nicchedanu gaikonumindra‖

In reply to the demon, Indra asks him to perform the marriage in Thanjavur which is
ruled by the King Saahendra.

All these marriage discussions are conveyed to Sachi devi through one of her
companions. She feels immensely happy.

In another scene, Devendra prepares to go to Thanjavur along with his relatives and
friends. This is described in a Daru.

―Suralu khecharulu kinnarulu sannuthi seya karinekki vedukanu

Aruduga Sachi ni pendlaadaga vedalenu puruhuuthudunu thanjaa puramu
cheraganu—"

Then Pulomaasura arrives to Thanjavur along with his daughter. This is described in
the form of a Daru.

―Thanaranga thana bandhu thathulella koluvagaa

Thanayanu pucchukonighana vibhavamuna
Ghanudu pulomudu Garima meeraganu
Chanudenchenipudu tanjaapuri cheranu‖

Then Devendra contemplates on Lord Parameswara and requests Him to perform his
marriage. Then Lord Siva appears along with His consort Gouri devi.

―Deva devudu vedale srimahaadevudu vedale

Devudu sri sankarudu Teevi meeraga nipudu

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 Sri vrushabha vaahanamupai vedukatho nekki
Ganga jedalalo tarangamulu meera
Angaja harudu divya mangaLaa kaarudu ||
Naaga charmotthareeyamu naaga bhuushaNamulamara
Naaga mada mardanudu naaga sobhilluchu ||
Baala chandra chandrikalu phaalamuna velasilla
Laalitha rudraaksha maalika lalara ||
Suula Damaru chaapamuluc kela avadharinchi bhaktha
Paaludaina Sree Saaha bhuupaalu daivamaina yaadi ||
|| Deva devudu vedale ||

On the prayers of Devendra, Lord Siva arrives to Indra‘s wedding. Lord MahavishNu,
Brahma and others too arrive to the wedding. The Devarshis chant
MangaLaashtakaas. Narada, Kinnera and Kimpurushaas sing MangaLa geethaas on
Sachi-Devendrulu.

―Gouri ki ramya vihaariNi ki – korikalosagedu guNa nidhi ki || Sobhaane

Devuniki mahaa devuniki bhaashaadhipanutha bhaavunaku
Shree vaibhavamula paavanudai thagu sevaka nidhi yagu sivunikini ||
Bhosala saahaaji bhuu vibhuni bhaasillu premanu paalinchu
Vaasiga shobhana vaibhava santhathi dhee sampadalidu devunaku ||
Sobhaane

In this manner, the Sachipurandara kalyaaNa naatakam written by the King Shahaji
gives happiness to the scholars and bestows happiness to all those who listen to this.
This is the Phala shruthi of this Yakshagaana. Shahaji dedicated this Naatakam to
Lord Tyagesa. He says that in the form of a concluding line.

―Sri tyagesa saamab sivaarpaNamasthu‖

In this Yakshagaana, the prose content is more compared to the poems. A bit of
vulgarity is included in the story for the sake of humor. For many Darus, the raagas
are not mentioned, and for some others it is mentioned that the Darus are to be sung
as a Maatruka (?).

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19. RATHI KALYAANAM:

This is a story based on an epic which is not so popular one and belongs to the
Prasiddha category. The MangaLaacharaNam starts with the Jaya sabdam. The
MangaLa geetham in this Yakshagaana is written in praise of Lord KrishNa.
Following the Ishta devatha praardhana, a special type of poem known as Naandi
Dwipada, is present in this Yakshagaana. After this, the Kathaa sangraha dwipada
begins.

―Mahithamou tatkathaa Marga metlanina

Rahini manmadha mahaaraaju vacchutayu –
TaraLaakshi ratee devi daadiyu sakhulu—
Shaaha naadhudonarinche navya naatakambu
Aa chakra vaaLaacha laachalaachakra
Maa chandra taaraarkamai yoppu gaatha‖

It means, the Manmadha maharaja arrives to the court followed by Chandra,

Vasantha and Pavana respectively. The spies get the information about Rathi devi and
convey it to the King Manmadha. Chandra gathers the complete information from the
maids of Rathi devi and arranges Manmadha‘s marriage with her. This Nataka is
written by the ‗Udaara srungaara vesha bhaashaa vibhuushitha‘ King Shahaji. It
contains the Vighneswara Paatra pravesa Daru as in the other Yakshagana-s. The
story begins with a conversation between Suutradhara and Katika.

The King Manmadha arrives to his court. This is described in the form of a
Daru.

―Puvvula vankee chebatti – puvvula duppati gatti

Puvvu vilthudu vacche deva – puvvu boNi surati veeva
Pongaaru manmadhudu vacche – Bangaaru sommula thecche‖

Then arrives Chandra, Malaya maarutha and Vasantha, the followers of the King.
Their arrival is described in three Paatra pravesa Darus respectively.

Chandra: ―Chandanamula vannela chandaala nigguleena

Chandamaama chittajuni sabhanu cheravacche‖

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Malayamaarutha: ―Thaavulu vedajallunatti puuvula kommalu patti
Bhaavajuni koluva niccha – pavanundu badalika lallaraa‖
Vasantha: ―Vintha puuvula needu lenna -- koka vallevaatu
Kaanthulu dikkula heccha – ghanudu vasanthudu vacche‖

Then arrives the Vesyaas (Koluvu bhogaalu – the court dancers) followed by Katika
vaadu, Gundodarudu etc. to the court. Next comes the Vegulu (spies) who report the
happenings in the Kingdom, to the King. They say that their country is prosperous
with timely rainfall, enough availability of food, and people are happy under your
rule.

At one place, there is a beautiful woman doing penance. Her beauty is described in a
Dwipada.

―Vinavayya deva ee viswambunandu

Kanugonti vinthayokkati apuurvamuganu
Chanduru kanna Prasanna mou vintha
Indeevarammula niinuvismayamu—‖

The same is described in a Daru.

―Ayyaa vinavayyaa yevvathoo – aa bangaaru bomma—

Bhoja kanyakayo deva – raja kanyakayo
Raja kanyakayo bhogi – raja kanyakayo—"

She is a stunning beauty who is following Mouna vratham (taking the vow of silence)
and is in a deep penance. Another woman is providing the materials required for her
worship.

Then, the King replies, in the form of a Daru.

―-- Vaarini chuuchina vaaralu leru

Naa mahimalerungaka – naadu viswaamitrudaa
Menakaku daasudaayegaa Chandra‖

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The King shows interest to see that lady and boasts himself by saying that he
possesses the ability to change the mind of anyone and turn her towards him.

He along with his three companions viz., Chandra, Vasantha and Malayamaarutha.
This is described in a Daru.

―Saari vedale maarundu hoyalu meera—‖

In this situation, a funny scene is added to the story in the conversation between an
old woman and an old Vedic brahmin. This is due to the Pushpa baaNam (i.e., an
arrow of flowers) shooted by Manmadha on the old couple. This scene is added to
exhibit the power of Manmadha and his capacity to attract anyone irrespective of their
age.

As Manmadha along with his companions move forward, they notice this girl along
with her friends playing Bommalaata (a game of puppets). She is described in the
form of a Daru.

―Vacchenu kanya thana nicchelula thoda vintha

Mucchatalaaduchu nipudu – bommala peLLi seyaga‖

In this context, some influence of Kannada Yakshagaana is seen the Suutradhaara

vachana. Rathi devi performs a Basavani nomu (a worship native to Karnataka
region).

After the Basavani nomu, she plays Kolaatam which is written in the form of a Daru.

―Neri kurulanu viri saramulu merayanu –

Paruvadi giri raja padamulanu
Sarasudaina yeti Saahendruni
Pari pari vidhamuna paaduchunu‖

The above Daru describes the way they sing and dance during the Kolaatam. In this
game, some girls dress themselves as a boy, and then play the game.

―Brahmachaari kattuu gatti – paina darbha munja gatti

Brahmachaari vedale chetha – patina pusthakamlara‖

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The above Daru describes the way the Baalika bramhachaari (the girl in the guise

of an unmarried boy) plays in Kolaatam.

The King Manmadha sees the Baalikaa brahmachaari and says to his companions
that he is going to shoot Manmadha baaNam (an arrow of attraction) on these girls
and display his power once again.

Due to the power of Manmadha, the girls and the disguised boys gets attracted to each
other. This is described in the form of a Samvaada Daru.

In another scene, the arrival of Rathi Devi to the Srungaara vanam along with Daadi
(maid), which is described in a Daru.

―Mutthela kamma chaaya chekkilla

krotta vennela gaaya
Chittaru bomma chaaya vacchenu
Srungaaramu heccha vedukanu - Sree Rati devi daaya‖

There she performs Gouri puja along with her maid AliveNi. It is described in a
Mangala geetham:

―Jaya jaya MangaLam Subha mangaLam----

Aa Chandra mukhi momu – ne juuchinadi modalu
Naa chittamu vasamayenu –"

From his spies, Manmadha comes to know about the Gouri puja being performed by
Rathi devi. He then orders Chandra to find out the details of the girl.

On his order, Chandra visits the Srungaara vanam to see the girl and gets
mesmerized by seeing her beauty. He returns to Manmadha and conveys it to him.

To see the beauty of Rathi devi, Manmadha himself comes to the garden. This is
described in a Daru.

―Paccha viltundu vacchenu – hoyalu meera –"

Her beauty is described by Manmadha in a Dwipada.

―Aurauraa! Yee komma yaparanji bomma –‖

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The same is described in a Daru.

―Sommoo puvvula kommoo chittaru

Bommoo ee muddula gummo –‖

Rathi devi sees Manmadha and becomes astonished by his charm. She shares it with
her maid in the form of a Daru.

―Chuudave Cheliya, yee vagakaani

1). Indrudo kaaka yupendrudo eethadu
2). Narudo kaaka kinnarado eethadu
3). Nalakuubarudo kaaka naludo eethadu
4). Kanthudo kaaka jayanthudo eethadu

In the above Daru, Rathi devi amazed by his charm compares Manmadha with some
of the handsome persons described in the epics i.e., Indra or Upendra, Nara or
Kinnera, Nalakuubara or Nalaa, Kanthu or Jayanthu.

Her maid asks Rathi to prepare to go back to their home as they are already late. With
a lot of unwillingness, she accompanies her maid. This is described in a Daru.

―Vagakaadau maruni nagavu – mogamu tirigi juuchuchu—‖

Unable to forget her memories, Manmadha shares his feelings with his three
companions in the form of a Daru.

―Chelikaada! O Chandrayyaa – chelini juuchinadi modhalu—"

Manmadha out of deep feeling of love towards Rathi, expresses his feelings to his
companions and says that, his Manmadha baaNas (love arrows) are affecting him in
turn. His companion Pavana, unable to see the pangs of separation of Manmadha,
suggests Chandra to find out the details of Rathi.

Then Chandra enquires the details of Rathi from her maid. She replies saying that,
Rathi did penance and Gouri pooja to be blessed with a good husband. Then she takes
him to Rathi where he directly conveys the feelings of Manmadha to Rathi.

Chandra says this to Rathi devi in the form of a Daru.

―Ratidevi! vinumammaa – Ratanaala bommaa…‖

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After listening to Chandra‘s proposal, Rathi agrees to it with a feel of shy on her face.
AliveNi who understood her feelings says to Chandra in the form of a Daru.

―Manasaara pendli kumaaruni bandhu

Janula thodi themmu Chandrudaa
Raajillu shree saaha rajendru thanja
Raajadhaaniki vega raavayya ||
Ala sobhana dravyamula thoda memu
Chelagi thanjaapuri cheremu
Memu maa chuttalu premanu saaha
Bhuumeesu cheremu mudamuna‖

Then AliveNi asks Chandra to come along with the groom (i.e., Manmadha) to
Thanjavur, the place ruled by King Saheendra. She says that she along with the bride
and other relatives will arrive there and make all arrangements.

Chandra returns to Manmadha and explains all that has happened, in a Samvaada
Daru.

Manmadha: ―Nee vanti chelikaadu nenaruna kaluga

Nee vedka chekuude ninnela kaluga‖
Chandra: ―Ve vega sree rathi devi kalyaNa
Mee veLa nagunu rammee panchabaaNa‖
Manmadha: ―Alaage neevu chuttaala pilipinchu
Laalitha leela kalyaaNa monarinchu‖

In the above Daru, Manmadha firstly thanks Chandra for his key role in arranging his
marriage. He orders his companion, Malayamaarutha, to invite all the Gods and
relatives to his marriage.

Lord Devendra, Bramha, VishNu and Parameswara along with other Gods come to
attend Rathi-Manmadha KalyaaNam. On this occasion, all the Gods sing MangaLa
geethas as mentioned below.

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 ―Gouri ki ramya vihaariNi ki – chaaru krupaa rasahaariNi ki
Meerina premanu – dheerula brochuchu
Korikalosagedi guNanidhi ki
Devuni ki mahaa devuniki devaadhipa nutha bhaavuniki
Sree vaibhavamulu thaga paavanudai thagu
Sevaka nidhi yagu sivuniki ni
Bhosala Sahaaji bhuu vibhuni – bhaasilu premanu baalinchu
Vaaniki sobhana vaibhava santhathi
Dhee sampada lidu devuniki sobhaname sobhaname‖

This YakshagaaNa written by King Shahaji is completely based on Srungaara rasa.

In this, Shahaji mentions about Basava vratham, a worship usually performed in
Karnataka. In this context, he also mentions few lines of Kannada language which
shows his knowledge on the other languages of South India.

7.1.1 Daruvu-s and other Compositions of Shahaji

Songs in Operas or Dance Dramas or Yakshagaana-s are known as Daru-s. The term
Daru is derived from Ancient word ‗Dhruva‘. The Dhruva Gaanam has been
explained in Bharatha‘s Natya Sastra. He mentioned that the songs sung during the
Natyam (Drama) are known as Dhruvas. He classified Dhruva into 5 categories. They
are: Praavesika Dhruva, Aakshepika Dhruva, Praasaadiki Dhruva, Antara Dhruva,
Nishkraamika/Naishkraamika Dhruva. He specified a raaga, Jaathi Gaandhaaroo
Dichyeva for singing the Dhruva Gaanam. The theme of the Daruvu may be a praise,
related to love or a description or a person‘s invitation etc. The words are as simple as
a normal conversation. A Daruvu has many Charanaas (stanzas with similar music).
But in Operas (or Sangeetha Naatakas) such as Prahlaada Bhakthi Vijayam, Noukaa
Charitram of Tyagaraja, the music is highly classical. Based on the Theme or
meaning of the Sahityam, the Daruvus can be classified as:

1. VarNana Daruvu: a song on a location or person or a character

2. Paatra Pravesa Daruvu: a song of a character as it enters the stage

3. Swagatha Daruvu: a song on a character talking to himself

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 4. Swaagatha Daruvu: a song on inviting a character on to the stage

5. Kolata Daruvu: songs on Kolatam or stick-plays

6. Samvaada Daruvu: it can be called as Uttara-Pratyuttara Daruvu (i.e., a

conversation between two persons or two groups in the form of songs)

7. Jikkini Daruvu: It is a song containing Jatis with Sahityam

All the above types of Darus can be seen in Shahaji‘s Yakshaganas.

The Daruvu- s or Daru-s in Shahaji‘s Yakshagaana Prabandha-s are very unique.

Through these Works, the expertise of Music, Literature and Dance is clearly
understood.

1. Sallaamu Daru: Pancharatna Prabandhamu

―Karpoora DhavaLaanga ― in Bhairavi raga – Ata taaLa

2. Prabandha daru: Pancharatna Prabandhamu

―Indu kaLaadhara ― in Bilahari raga – Adi taaLa

*The same Daru with minor changes is used in Tyaaga Vinoda chitra
Prabandhamu as a JikkiNi daru.

3. Padaabhinaya daru: Pancharatna Prabandhamu

―Deva devesa nannepudu ― – in Saaveri ragam – Adi taaLam

4. Avyaapasavya samapadaru : Tyaaga vinoda chitra Prabandhamu

― Kanaru teeru teeruna ― – Regupti ragam – Adi taaLa

5. Kramasaptasvara varNaardha Lilaadaru: Tyaaga vinoda chitra

Prabandhamu

―Tarunu levvaru‖ in Ata taalam (Raga name is not mentioned)

6. Moharam: Pancharatna Prabandhamu

Taalam is not mentioned, just Muktaayis have been given

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 7. GaNapati Kautham : Pancharatna Prabandham

―Karimukha hara sura‖ – Raga and TaaLa are not mentioned.

8. Sollukattu: Pancharatna Prabandhamu

9. Trikala svaram: Pancharatna Prabandhamu

10. VarNa trikaala Sollu: Pancharatna Prabandhamu

11. Jathi: Pancharatna Prabandhamu

12. Svarajati : Tyaaga vinoda chitra Prabandhamu

―Naayaka bhuvana vidhaayaka‖ - Raga and TaaLa are not mentioned.

13. Svara sollu jati: Pancharatna Prabandhamu

14. VarNa sollu jati : Pancharatna Prabandhamu

15. Pancha ghaatam: Tyaaga vinoda chitra Prabandhamu

―Saa padavvaaho ― - Raga and TaaLa are not mentioned.

16. Layagraahi: Vishnu Pallavi Sevaa Prabandhamu

―Keeramulu cheruva vacho ruchulu….‖.

*Ganapathi Kautham: In Sangeetha Sastram, it is mentioned as a Vaadya

Prabandham and looks similar to the composition, Kavitham. In Sangeetha
Ratnaakaram (12th century), the characteristics of Kavitham is mentioned as
below:

Sl: ‗Ithyudgraaha Dhruvou krutvaa svodgraahaantya dale athavaa

Svodgraahe yatra mukthistham kavitham kavayoo viduhu‘

Apart from these, MangaLaas, DhavaLaas, Ashtapadis, Keerthanaas,

Ashtakaas, Heccharikaas and several other compositions are used in Shahaji‘s
Yakshagaanas.

***

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 CHAPTER 8

YAKSHAGANA PRESENTATION IN AUDIO & VIDEO

FORMATS

Unfortunately, among the 20 Yakshagana-s of Shahaji, neither notation nor

tunes are available for any of the songs in these Yakshagana-s. As a result, some of
the music experts have set their own tunes for the songs. In a similar manner, some
Dance experts have also composed Music and choreography for some of the
Yakshagana-s. Late. Dr. UmaRama rao is one such expert Dancer who choreographed
and performed the Yakshagana-s ‗Sri Vighneswara KalyaNam‘ and ‗Seetha
KalyaNam‘ of King Shahaji. Prof. P.Sambamurthy has composed notation and
published them in a book ‗Sankara Pallaki Seva Prabandham of Shahaji‘. The same
tunes were sung by Dr. Suguna Purushotthaman and her team. This is released and
popularized in the form of an Audio CD. Similarly, some All India Radio stations
such as Vijayawada and Visakhapatnam have taken up Project works of bringing the
Telugu Yakshagana-s of various authors into limelight. For this purpose, they invited
the expert composers of Music, made them set Music to these Yakshagana-s, perform
it with several artists, record and archive them for posterity.

In this regard, the researcher has searched for Telugu Yakshagana-s in the AIR
stations such as Vijayawada, Visakhapatnam, Cudddapah, Hyderabad and Chennai.
One such Yakshagana of Shahaji, the ‗Sankara Pallaki Seva Prabandham‘ is
composed by smt M. Sudharani and her team and archived at AIR, Visakhapatnam.

The researcher being a native of Visakhapatnam, approached smt M.

Sudharani to set Music and perform for her Audio CD, as a part of her Project work.

‗Sankara Pallaki Seva Prabandham‘ is the only recorded Yakshagana available in

Audio format. This Yakshagana is released and popularized by Dr. Suguna
Purushotthaman. In this Yakshagana, the notation for the songs are composed by Prof.
P.Sambamurthy as the original tunes and notations are not available.

8.1 VIDEO CD – KIRATHA VILAASAM:

―The Yakshaganam plays are often linked to Kathakkali plays of Kerala or

Kuchipudi plays of Andhra. The latter, in the country of its origin (Andhra) is called

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Yakshagana though its style of Music has now been replaced by the Carnataki style
….. ‖40. For this reason, the researcher has chosen a traditional Kuchipudi Dancer for
composing Dance for the Video Yakshagana.

Submitting a Visual CD of a Yakshaganam that is recorded and presented before the

audience at Kalabharathi auditorium, Visakhapatnam.

This was choreographed by a traditional Kuchipudi Dance artist and Central

Sangeetha Natak Academy awardee Smt. A. B Balakondala rao, a disciple of the
legendry Dance Guru (late) Sri Vempati Chinna Satyam. She is also the founder
director of Kuchipudi Kala Kendram, Visakhapatnam. Music composed by Smt. M.
Pavani, AIR artist and also Kuchipudi Yakshagana Music composer and Dancer. Sri
A. A. B Aditya, an internationally reputed artist and the assistant choreographer for
this program.

This Yakshagana is performed in an auditorium and is released in the form of

a CD by the Hon‘ble Registrar of Andhra University Prof. K. Niranjan. The special
invitees are Sri Pasumarthi Kesav Prasad, Founder Secretary, Akhila Bharatha
Kuchipudi Natya Kala Mandali, Kuchipudi, Sri K.V. Satyanarayana, Vice Chairman,
Andhra Pradesh Sangeetha Nruthya Academy, Andhra Pradesh and Dr. Sri Tadepalli,
Director, Yakshagana Center Member, Sangeet Natak Academy, Ministry of culture,
Govt. of India, New Delhi.

Photos of CD release function and the Yakshagana program

40
“Yakshagana” (p-83)

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180
 8.2 AUDIO CD – VISHNU PALLAKI SEVA PRABANDHAM:

This Yakshagana is being submitted in the form of an Audio CD. The music
for this Audio Yakshagana is composed and performed by Vidushi Smt. M. Sudha
Rani and her team. Smt Sudharani is a Top graded artist in AIR and a performing
artist of international repute. All the participants in thie Audio recording are AIR
artists. The list of songs in this Yakshagana are composed in the following ragas:

S Name of the song Raagam Taalam

No
-- Introduction speech
1. Jaya Ramaa Puravaasa Naata Khanda chapu
2. Sharanu Sharanu Aarabhi Mishra chapu
3. Dwipadha Suddha Dhanyasi, Mohana, Khanda chapu
Hindolam, Saraswathi,
Kambhoji (slokam),
4. Mudhamuna Hamsadhwani Aadi
5. Kanakabhushana Aahiri Mishra chapu
6. Koluy Unnade Pantuvarali Aadi
7. Jaya Daitya Tilang Khanda chapu
8. Kuluku Athaana, Aarabhi (paraaku
song)
9. Kanugonave Amruthavarshini Mishra chapu
10. Akkaro Dhanyasi (slokam), Kambhoji Khanda chapu
(song), Kaanada (slokam)
11. Vedanele Vasantha Aadi
12. Yemani Bilahari Mishra chapu
Vinnavincheve1
13. Maa Manavi Kannada Aadi
14. Anjaneya Kaanada Aadi and
(khandagathi)
15. Sri Ramadhava Behaag Aadi, Mishra chapu
16. Sogasu Pallaki Kaapi Aadi
17. Akkatika Seyavayya Saindhavi Aadi (trisra gati)

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18. Iru dikkuala & Kalyani Aadi
Choodave cheli
19. Mellaney Ananda bhairavi Khanda chapu
20. Hecharika Mohana (sloka), (song) Khanda chapu
21. Padaka Intini Khamaas Khanda chapu
22. Mandaroddharu Kedaragoula, Khanda chapu
23. Kalaya Toorupu Kambhoji Khanda chapu
24. Keeramulu Hindolam Khanda chapu
25. Kaavave Saveri Aadi
26. Haarathulu Punnaagavaraali Aadi
27. Jaya Mangalam Surati Khanda chapu
28. Laali Neelambari Khanda chapu
29. Aaragimpumu Naadanaamakriya Aadi
Raavayya
30. Minchi vennudu Maand Khanda chapu
31. Daya Seyumu Behaag Aadi (trisra gati)
32. Melukonave Malayamarutham Khanda chapu
33. Mangala Dwipada Madhyamavati Khanda chapu

The Researcher with the participants of Audio Yakshagana

***

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 CHAPTER 9

PROJECT REPORT

The Researcher has very interestingly chosen this topic for the UGC-MRP.
The present topic is about the Theatrical works (Yakshagana-s) of King Shahaji.
Shahaji is a Maratha ruler who ruled the Thanjavur region. These Maratha rulers are
great admirers of Telugu literature and language. Though the rulers are the native of
Maharashtra, they showed interest towards the Telugu language, learnt it and in this
way patronized the Telugu language. It is highly appreciable to take deep interest in a
foreign language and write literary works in it. As a gratitude towards them, the
researcher has opted this topic.

METHODS FOLLOWED IN DATA COLLECTION:

I. Interviews of Subject experts and Artists

Interviewed the following Subject Experts and Performers

i. Padmasree Dr. Umramarao, Hyderabad

ii. Smt. Bala Kondala rao, International reputed artist & Sangit Natak Academy
Awardee.

iii. Dr. Bhagavatula Sethuram, Faculty in Dance, PS Telugu University,

Hyderabad.

iv. Dr Maha Lingam, a Senior choreographer, Dance Director & performer of

Dance dramas & Yakshagana-s, Melattur village, Thanjavur, TamilNadu.

v. Sri N. Ramarao, A senior teacher in Yakshagana-s, Selia Mangalam, Tamil

Nadu

vi. Dr. Kesav Prasad, Dance Faculty in Krishna University, Machili patnam & a
Senior teacher in Kuchipudi Academy, Kuchipudi.

vii. Sri M. Hari Rammurty, Director, Kuchipudi kalakshetram a popular

choreographer, Visakhapatnam.

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 viii. Sri Pasumarti Venkata Ramana, popular artiste & guest faculty, Dept. of
Music & Dance, Andhra University, Visakhapatnam.

ix. Smt M. Sudharani

x. Smt N. P Radhika

xi. Smt Vijayaveni

1. Attended festivals on Yakshagana-s :

i. National Yakshagana festival, Kuchipudi, Andhra Padesh in April 2016.

ii. A festival in Hyderabad on the occasion of Nrusimha Jayanti in August

2016.

2. Yakshagana centers:

 Mangalore Yakshagana center in Mangalore University, M‘lore.

II. AIR stations:

Visited All India Radio stations at Visakhapatnam, Vijayawada, Hyderabad and

Chennai for collecting data and to visit the archives library.

III. Libraries:

i. Saraswathi Mahal Library, Thanjavur

ii. Dr. V. S Krishna Library, Andhra University, Visakhapatnam

iii. Sri Potti Sriramulu Telugu Viswa Vidyalayam branch, Bommuru,

Rajahmundry

iv. Sri Potti Sriramulu Telugu Viswa Vidyalayam, Hyderabad

v. Gouthami Library, Rajahmundry

vi. K R Sundaram Iyer Memorial Library, Music Academy, Chennai

vii. Madras University Library, Chennai

viii. Madras Government Oriental Manuscripts library, Chennai

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i. Saraswathi Mahal Library, Thanjavur: They established the Saraswathi Mahal
Library in Thanjavur which is a treasure containing several books, noble works and
literature of different languages including Telugu. This collection also includes
several precious works of foreign languages as well. This library can be regarded as a
Temple of Knowledge. By establishing such a wonderful library, they have rendered a
marvellous service to the aspirants of literature and academics. The researcher is a
great admirer of the Saraswathi Mahal Library and the Maratha rulers who established
it. The most ancient and valuable Sanskrit scripts including Vedas, Lakshana
Granthas like Bharatha‘s Natya Sastras (4th century BC) etc., are digitalized by the
library authorities. The Researcher appreciates the efforts of Tamil Nadu Government
for taking up such a noble activity.
The Researcher visited this library several times to get the information about the King
Shahaji. Most of the material related to the King Shahaji is collected from this
Library.

ii. Dr. V. S Krishna Library, Andhra University, Visakhapatnam:

The researcher found some books on ‗Yakshaganamulu (Thanjavuru)‘ in
Telugu language. These books are edited by Prof. Kakarla Venkata Rama
Narasimham, HOD, Dept. of Telugu, Andhra University, Visakhapatnam.
Interestingly, among these books, very few Yakshagana-s of King Shahaji are found
in this library.

iii. Madras Oriental Manuscripts Library, Chennai

This is also a treasure of knowledge where a vast collection of manuscripts
and books are available.
The remaining material is collected from the other libraries as mentioned
above.

The Researcher studying a Telugu Manuscript at Madras Oriental Manuscripts

Library, Chennai

185
iv. Yakshagana Kendra, Mangalore

Karnataka is regarded as the birthplace of Yakshagana-s. Several Yakshagana

centers took the initiative of preserving these art forms.

There is a Yakshagana Research Center in Mangalore which encourages the

students to do research in these art forms. A beautiful auditorium dedicated for
conducting Yakshagana performances and a museum with a huge collection of idols,
weapons, ornaments etc. used in Yakshagana-s, are displayed. In addition, a library
with a good number of books on this art form, is also constructed. The Director of the
Yakshagana kendra patiently explained many aspects about that Kendra and their
activites in promoting the Yakshagana Art form.

The researcher is very much impressed by the well maintenance of the center by
the University authorities.

186
187
188
v. Attended Programs

The researcher has attended some special programs which are related to the research
topic. They are:

1. Prahalada Charitra Yakshaganam performed by Bhagavatha Mela of Melattur,

in Ahobila Matam, Hyderabad in 2016.

2. Valli KalyaNam Yakshaganam performed by Bhagavatha Mela of Melattur, in

Melattur village, Tamil Nadu, in 2017.

3. Tholu bommalata performed by Appanna and troupe in Bodapadu village,

West Godavari Dst., Andhra Pradesh in 2017.

4. Chindu Bhagavatham performed at Nizamabad in 2018.

189
 5. Seetha KalyaNam performed by Bhagavatha Mela of Melattur, in Melattur
village, Tamil Nadu, in 2018.

6. Thoorpu Bhaagavatham performed in Vizianagaram, 2018.

7. Bhaama kalaapam performed by Sri Vedantam Radhesyam at Vijayawada in

2017.

8. Lalitha – Bhandasura vadha yakshaganam performed by Smt A. B.

Balakondala Rao and team at Visakhapatnam in 2018.

9. SowgandhikaapaharaNam Yakshaganam performed in Bangalore in 2017

D. Interviewed the following artists related to Folk Dance Dramas

 Sri Kompella Srinivas, Bairagi pentapadu, West Godavari Dst., Andhra

Pradesh

 Sri Appanna, Jagannatha puram, West Godavari Dst., Andhra Pradesh

Influence of Sanskrit dramatists and Bhagavata Mela-s on the Theatrical works

of Shahaji

There is a significant position for the Yakshagana-s of Shahaji, in the history

of Indian Visual art forms. Shahaji‘s works are greatly influenced by the Bhagavatha
Mela tradition. He is well versed in Puranas, which can be seen in his works. Some of
his Yakshagana-s are based on very rare mythological stories. For example, Sachi
Purandaram, Santha Kalyanam and Rati kalyanam etc.

Shahaji‘s works contain the below format:

1. The Yakshagaana-s begin with a Jaya sabdam and MangaLaacharanam.

2. The names of Deities to which this work is dedicated to.

3. A brief summary of the story and Phalasruti introduces a Dwipada (a kind of

poem).in the beginning of the Yakshaganam.

4. Following it is the prayer to Lord Ganesa.

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 5. The entrance of Lord Ganesa Character (with Ganesa) in the beginning of the
Natakam is a main item in Bhagavata mela Natakas. Over Centuries the
performers have been following the same tradition.

6. Every character enters the stage with a Patra Pravesa Daru. Their entrance is
preceded by a brief introduction of their role by the Sutradhara in the form of
a poem or a Daru.

7. Generally in Yakshagana-s, the characters speak for themselves instead of a

playback voice behind the curtain. Sutradhara coordinates the drama.

8. Finally, conclusion of the drama takes place with an auspicious ending that
includes a brief note about the author followed by Phalashruthi in a Song or a
Poem.

9. Varnan Darus, Paatra Pravesa daru-s, Samvaada daus, Svagata Darus,

Svaagata darus, Jikkini darus etc. all kinds of Darus can be seen in Shahaji‘s
Yakshaganas.

10. Prosody is well maintained in his poetry.

11. Rasa Avuchityam (Suitability of Rasas for the context) is well maintained.

12. Several kinds of rare Daru-s such as Sallamu Daru, Savyaapa savya
Sampaada leela Daru, Sangeetha Sahitya prayasa leela Daru, Mukta
padagrastha leela Daru etc. are seen in his works. They are a feast to the
scholars.

13. Some linguistic patterns such as Palindromes and others which add beauty to
the meaning of the phrases, are present in his Yakshagana-s.

14. An example for his scholarliness on Music and Literature is the Saptasaagara
Suladi Prabandha leela Daru in Marathi language. It contains Suladi Saptha
tala-s and seven raga-s viz., Narayana Goula, Kedara goula, Malava goula,
Kannada Goula, Reeti Goula, Poorva Goula and Chaya Goula.

It is understood that, Shahaji‘s Yakshaganas are completely based (in the way
/ stream of) on early traditional Sanskrit Roopakas. The above format is seen in
Naandi, Prasthaavana, Naayaka LakshaNam, Sutradhaara vachanaas etc.

191
‗Aasthaana Santoshi‘ is a character acts as a servant to the King, and also as a comic
character in the play. In his Yakshagaanas, few rude conversations can also be seen.
In all his theatrical works, a traditional rule is perfectly maintained. The rule is that,
Mangala Aadi (Auspicious beginning), Mangala Madhya (Auspicious in the middle
of the story) and Mangala Anta (auspicious ending). He dedicated all his works to his
beloved deity, Natavitanka Tyagesa of Tiruvarur.

In this way, King Shahaji as a multi-faceted personality, occupied a prominent

position in the history of South Indian Music.

***.

192
 CONCLUSION

Several Classical and Folk-Art forms existed in South India. Among them,
Yakshagana is one such popular Dance drama known with different names in
different regions of South Indian languages. In Telugu language, very few Dance
dramas such as Sri Krishna Parijatham, Prahlaada Charitram, Usha PariNayam,
Sugreeva Vijayam etc. are popular. Unfortunately, no artist of Tamil Nadu or Andhra
Pradesh have not focused on the Yakshagana-s of Maratha rulers or Shahaji. Even the
present Bhagavatars of Melattur (Thanjavur region), whose ancestors were patronized
by the rulers of Thanjavur, and the Telugu artists of Kuchipudi have not focused on
the Thanjavur Yakshagana-s. In recent times, the researcher could find only (late) Dr.
Uma Ramarao, who worked on few Yakshagana-s of King Shahaji. She has
choreographed for few Yakshagana-s and brought them into light. Sri Padmavathi
Mahila University, Tirupathi has introduced ‗Sankara Pallaki Seva Prabandham‘ in
their M.A Music syllabus. With the efforts of the researcher, the ‗Sankara & Vishnu
Pallaki Seva Prabandha-s‘ of Shahaji have been introduced as optional subjects in
Andhra University.

Saint Tyagaraju is known as the ‗Geya Naataka Maargadarsi‘. He has written

three ‗Geya Naataka-s‘. It is said by Prof. Sambamurthy that, the popular Geya
Nataka of Saint Tyagaraju, ‗Prahlaada Bhakthi Vijayam‘ has been written by the
inspiration of King Shahaji‘s Yakshagana-s. The researcher expresses her deep
concern for such invaluable Yakshagana-s of Shahaji, which were an inspiration to Sri
Tyagaraja, who is regarded as one among the Musical Trinity.

While studying the theatrical works of King Shahaji, the researcher felt that
they are very suitable to be performed as Visual Yakshagana-s by adding Music and
Dance to them. As a part of this project, the researcher is submitting 2 Yakshagana-s.
One is a Visual Yakshagana with the name ‗Kiraatha Vilaasam‘, another is an Audio
based one with the name ‗Vishnu Pallaki Seva Prabandham‘. These 2 works are done
as a justification to the above statement.

The researcher is very happy that, the language used by King Shahaji in all his
Theatrical works is pure Telugu which is very simple and can be easily understood by
everyone. The language contains many prosodical beauties and literary

193
embellishments. Shahaji‘s command over the Telugu language and Puranic
Ithihaasa-s; his usage of expressions in the language; his moral values; his respect
towards the culture and tradition of South India are all clearly seen in his works. His
vast knowledge over the Theoretical and Practical aspects of Music is clearly
understood from his selection of Raga-s set to the Daru-s in his Dance dramas.

The researcher opines that, a lot of scope is there to do research work on the
Yakshagana-s of the Maratha rulers and their contribution to the languages viz.,
Telugu, Tamil and Sanskrit. Similarly, there are hundreds of works authored by the
court poets of Tanjore rulers whose contribution to the fields of Literature, Music,
Dance and Art forms are highly commendable.

Need to preserve the great Art Form:

During this Project work, the researcher observed that the tradition of
Yakshagana is well promoted and practiced in the state of Karnataka. The government
of Karnataka is encouraging the Yakshagana Kala Kendra-s and Bayalata academies
for the protection of this Art form. In this regard, it has established a ―Yaksha Gaana
Parirakshana Kendra‖. The Universities such as Mangalore, Mysore etc., have also
introduced Yakshagana Research Centres. The Govt. of Karnataka has established
centres to study about Yakshagana-s in Uttara Karnataka, Dakshina Karnataka and
Udipi. They are organizing Seminars, Conferences, Workshops and Projects at
National and Internationals levels to encourage this tradition.

In other states of South India, much importance is given to their regional

Dances such as Bharatanatyam in Tamil Nadu, Kuchipudi in Andhra Pradesh,
KathakaLi and Mohini Yattam in Kerala. But the Telugu based Yakshagana-s are not
given much importance. In the region of Andhra, there are other valuable folk art
forms such as Toorpu Bhagavatham, Tholu Bommalaata etc. These art forms are
becoming extinct, as proper care is not taken by the government and the people, for
preserving and promoting this art form.

During data collection, the researcher has come across many performing
artists of folk and classical art forms. Their livelihood in a stake as there is no proper
recognition for these art forms. Their love and respect towards their art and tradition
made them to stick on to their art inspite of their severe poverty.

194
 The researcher is very much moved by the pitiable state of these artists. Through
this work, the researcher would like to make an appeal to the government to provide
proper facilities and look into the welfare of these artists.

***

195
 BIBLIOGRAPHY

1. Dr. Alekhya, Punjal – NatyakaLa, (ed)Potti riramulu Telugu

University, Publications, Madras, 1981

2. Apparao, Vissa – Nrutya sangita Vyaasa Ratnaaali ,

3. Prof. Arun Kumar. Baala – Jaanapada Naatakaaalu, Sri Satya Sai

Printers, Visakhapatnam, 2008. 57

4. Prof. Jogarao, SV – Andhra Yakshagana Vaagmaya charitra,

Andha Viswa kalaa Parishat, Visakhapatnam,
1960.

5. Prof. Venkata Rama – Yakshaganamulu (Thanjavuru) (Tel).

narasimham, Kaakarla Published by Andhra University Publications,
(Ed) Visakhapatnam, 1974.

6. Dr. Mahalingam, R – Bhagavata mela & Ancient Temple Theatre

forms of South India (Ed), Melattur Bhagavata
mela Nrutya Nataka Trust, Melattur, 2011.

7. Dr. Radha Krishna Murty, – Telugu vaari Jaanapada Kalaa RUpaalu, Potti
Mikkilineni Sriramulu Telugu University, Hyderabad,
1992.

8. Rajanikantha Rao, – Andhra Vaaggeyakaara Charitramu (Vol -1),

Balantrapu Visaaalandhra publishing House, Vijayawada,
1958.

9. Dr. Ramadevi. P – Kuchipudi Kalaapas, Pandijyarayil

publications, Secunderabad, 2004.

10. ----do---- – Comparative Study of Chaturvidha Abhinaya-s

between Kathakali and Kuchipudi
Yakshagana, Pandijyarayil Publications,
Secunderabad, 2013.

11. Prof. Sambamurthy, P – A Dictionary of South Indian Music and

Musicians (Vols1 to 4), The Indian music
Publishing House, Madras, 1984.

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 12. ---- do --- – South Indian Music (vols 1 to 6), The Indian
music Publishing House, Madras, 1984.

13. Dr. Seetha, – Tanjore as a Seat of Music, University of

Madras, Chennai, 1981.

14. Prof. Sivarama Karanth. K – Yakshagana , The Institute of Kannada studies,

University Of Mysore,

15. Dr. Sundaram RVS – Andhrula jaanapada Vignaanam, Potti

Sriramulu Telugu University publications,
Hyderabad, 1983.

16. Dr. Unni, NP – Natya sastra (Tekst with Introduction, English

translation and Indices) (Vols – 1 to 4)

Journals & Magazines and Special Editions

1. Kathakali - Published by Central Potti Sriramulu University

publications, Hyderabad Sangit Natak Academy

2. Naatya - Dance festival special Edition 2017, Acharya V

Raamaneeyakam Satyanarayana, Potti Sriramulu University
publications, Hyderabad, 2017.

3. Pagati Veshaalu – Saamskrutika jivanam – (Ed) Prof. Anumaandla

Bhumayya, Jaanapada Vignaana Peetham, Potti
Sriramulu University Publications, Warangal, 2010.
-

4. Telugu Bharati – Silver Jubilee Special Edition (1985-2010), (Ed)

Acharya K. Yadagiri, Potti Sriramulu University
publications, Hyderabad, 2011.

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 Audio CDs

1. Sangita Kalanidhi Smt R Vedavalli‘s ‗Pallaki Seva Prabandham – An Opera by

Shahaji Maharaja‘

Internet and Youtube channels

1. ‗Prahlada Bhakti Vijayam‘ by Sadguru Sri Tyagaraja Swami – conducted by Dr.

M. Balamurali Krishna AIR Vijayawada and broadcaseted in January 1959.

2. Photographs taken from Wikipedia and Youtube

***

198
 APPENDIX

Practice session pictures for Video Yakshagana

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Practice session pictures for Audio Yakshagana

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