Re: విశాఖ విద్యార్థుల కరపత్రం
viplavreddy
wrote:
> a new literary organization was born. This organization defined
> the structure and character of Telugu literature ever since, and
> has been the touchstone against which everything has been judged -
> both by its supporters and detractors.
Is it good to have 'an organization' define the structure and
character of Telugu literature as opposed to 'literature' itself
defining the character? Having this benchmark set by an
organization driven by an ideology helped telugu literature?
> this list was prompted to quit అరసం and join విరసం - more
or
> less as a consequence of their answering to the wake-up call from
> this కరపత్రం.
much like one organization replacing another with same people ...
sounds like a lesson for modern politics! i won't be against it,
and I have my reasons.
> Oh by the way, SrI SrI was not an exception to this indictment. He
> was in fact the prime target of the question "రచయితలారా,
> మీరెటువైపు?".
That is an angle I did not think about. Like I said, I am the
single person exploratory committee with serious faults that can
never be understated ...
> became a powerful symbol of the new wave that started with
విరసం,
> and continued with the new trends like స్త్రీ వాద సాహిత్యం,
దళిత
> వాద సాహిత్యం, etc.
I am not sure how many would agree about this...
-viplav-
From uday_shivani@h... Thu Feb 26 14:42:55 2004
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From: "harita_n" <uday_shivani@h...>
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Subject: Re: విశాఖ విద్యార్థుల కరపత్రం
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>
> Is it good to have 'an organization' define the structure and
> character of Telugu literature as opposed to 'literature' itself
> defining the character? Having this benchmark set by an
> organization driven by an ideology helped telugu literature?
>
The character of literature is defined by the people who create it,
and the people who read it, and more importantly, by the people who
read it not for pleasure, but to guide them in their lives. To say
the character of literature is defined by literature itself is like
saying that the nutritional value of food is defined by food itself.
Whether or not it helped telugu literature, my interpretation is that
as a result of the efforts of విరసం, telugu literature certainly
helped the masses. Literature came out of the libraries and
academies, and rediscovered its purpose on the walls and streets of
every town and village of Andhra.
>
> much like one organization replacing another with same people ...
> sounds like a lesson for modern politics! i won't be against it,
> and I have my reasons.
>
That could be one way of looking at it - but the interesting thing is
that the new organization with the same old people immediately became
the subject of intense repression - in the first five years of its
existence, more than half of its publications were banned, two major
conspiracy cases were launched against its members. My question is -
they must have done something right for them to have incurred so much
wrath from the ruling classes.
> > became a powerful symbol of the new wave that started with
> విరసం,
> > and continued with the new trends like స్త్రీ వాద సాహిత్యం,
> దళిత
> > వాద సాహిత్యం, etc.
>
> I am not sure how many would agree about this...
>
> -viplav-
I am sure there will be many who will not agree with the world view
represented by these trends, but I doubt there are any who will deny
the fact that these trends dominated Telugu literature from the '70s
to the present.
Regards,
Uday
Courtesy: http://www.kanneganti.com/
viplavreddy
వ్రొతె:
> ఏంతెరింగ్ అ లిత్త్లె లతె ఇంతొ థె దిస్చుస్సిఒన్, సొ ప్లీసె బీర్ విథ్ మె
వ్హెన్ ఈ సవ్ యౌర్ erupu digani saMjalaM ఈ థౌఘ్త్ థె తిత్లె వస్ తొ
దొ విథ్ థిస్ karapatraM - ఈ దిద్ణ్త్ క్నౌ ఇత్ వస్ అ వర్ం-ఉప్;
ఐథెర్వయ్, ఇత్ ఇస్ గూద్ తొ సీ యౌర్ ఫ్రెష్ ఇన్సిఘ్త్ ఒన్ థె బోర్ద్!
> ఠిస్ ఒనె వస్ దిఫ్ఫెరెంత్. ఈత్ రైసెద్ ఉఎస్తిఒన్స్ ఒఫ్ మొమెంతర్య్
> సిగ్నిఫిచంచె, అల్ల్ రిఘ్త్. భుత్ వ్హిలె థె మొమెంత్, అంద్ థె చొంతెకష్త్
మిఘ్త్
> హవె బీన్ మొమెంతర్య్, థె సిగ్నిఫిచంచె ఒఫ్ థె ఉఎస్తిఒన్స్ త్రన్స్చెందెద్
> థె తిమె అంద్ ప్లచె, అంద్ రెసొనతెద్ ఇన్ అ గెనెరతిఒణ్స్ చొన్స్చిఎంచె.
వ్హిచ్ గెనెరతిఒన్? వ్హత్ చొన్స్చిఎంచె? ఈ వౌల్ద్ లికె తొ క్నౌ ఇఫ్ అన్యొనె
చంగెద్ థైర్ వయ్స్ బెచౌసె ఒఫ్ థిస్ పంఫ్లెత్?
ఠె పంఫ్లెత్ వస్ అ మెరె స్తతెమెంత్ అఫ్తెర్ థె ఫచ్త్ ఇత్ సీంస్ తొ మె -
హవింగ్ నొత్ లివెద్ థ్రు థత్ తిమె - డిగంబర కవులు వెరె అల్రీద్య్ అ
ఫివె యీర్ ఒల్ద్ ఫెనొమెనొన్ బ్య్ 1970; కుటుంబరావు, రావి షస్త్రి,
ఖలిపట్నం, భినదెవి వెరె అల్ల్ థెరె అల్రీద్య్ (దొఇంగ్ వ్హత్ థె
కరపత్రం అస్కెద్ థె రెస్త్ తొ దొ...), శుబ్బరఒ ఫనిగ్రహి వస్ దీద్
అల్రీద్య్!
శ్రి శ్రి వస్ అల్రీద్య్ అ స్తతెమెంత్ అల్ల్ బ్య్ హింసెల్ఫ్.
ఎస్, థె ఉఎస్తిఒన్స్ త్రస్చెంద్ థె తిమె అంద్ స్పచె - బెచౌసె ఇన్
లితెరతురె పెఒప్లె అరె ఇందెపెందెంత్ మిందెద్, థెయ్ హవె అస్కెద్ థొసె
ఉఎస్తిఒన్స్ బెఫొరె థె పంఫ్లెత్ అంద్ థెయ్ విల్ల్ అస్క్ థె ఉఎస్తిఒన్స్ విథ్
ఒర్ విథౌత్ క్నౌఇంగ్ థె పంఫ్లెత్ - థె పపెర్ మెరెల్య్ స్తతెద్ వ్హత్ వస్
ఎక్షిస్తింగ్. ఈత్ ఇస్ ఇంతెందెద్ ఫొర్ థొసె బ్లింద్ పెఒప్లె వ్హొ ప్రెతెందెద్ తొ బె
దీద్!! టొదతె, థెయ్ రెమైన్ బ్లింద్ దీద్. ఠె పపెర్ వస్ అన్
ఇందిచ్త్మెంత్ ఒఫ్ 'అభ్యుదయులూ వ్హొ గెత్ లొస్త్ ఇన్ గర్లంద్స్ - థెయ్ తూ
ఎక్షిస్త్ తొదయ్. వ్హెరె ఇస్ థె రీల్ దిఫ్ఫెరెంచె యౌ అత్త్రిబుతె తొ థె
పంఫ్లెత్?
ఫ్లీసె ఎకష్ప్లైన్ తొ మె, వ్హత్ థె ఎఫ్ఫెచ్త్ ఒఫ్ సుచ్ అ స్తతెమెంత్ వస్ ఇన్
రీల్, తంగిబ్లె వయ్స్ - ఫొర్ థె సకె ఒఫ్ దిస్చుస్సిఒన్.
రెగర్ద్స్,
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raa ! raammaa ! raa !
------------------------
sudeerghamaina vacanamu..
హ్త్త్ప్://వ్వ్వ్.అంధ్రభరతి.చొం/చ్గి-బిన్/శారద/మెస్సగె.చ్గి?ఈద్=304
Courtesy: http://www.kanneganti.com/
Hemantha Kumar
But in Andhra Pradesh itself there appears to be a problem of different types of Telugu. Though I cannot be classified as a "praagjnudu" I can say this much with my extensive travels into the nooks and crannies of Andhra Pradesh. We certainly have 4-5 types of Telugu.
The Telangaana Telugu, The Godavari or the Eastern Telugu with a long drawl in the end of each word or sentence frequently punctuated by a "Aaay", the Krishna-Guntur Telugu, the Nellore Telugu and of course the Raayalaseema Telugu.
Now which Telugu are we supposed to take as standard so that, that can be saved or fought for or debated for (as we prefer to use)?
Certainly,the corruption of Telugu, in my opinion, is not so pronounced in rest of Andhra as it is in Hyderabad. There is a school of thought (as was informed to me by the Paatrikeya Rushi Late G. Krishna) that the real Telugu could be from Telangaana.
There is also a thought that the word Telangaana itself is a 'roopaantharam' of the Tamil root words "Telungu Kaanappadum maagaanam" which means a place where Telugu can be seen or is evident. This became "Telangaanam". If we support our own meaning, we can say "Teluguki Kaanaachi" is Telangaana. By these standards the Telugu spoken in the interiors of Telangaana is still a good Telugu I would say. Words like "nenaru" which could roughly mean "conscious (of responsibilities)" etc are being still used in the daily life in some parts of Nalgonda etc.
The Telugu from Nellore and Chittoor areas smack of heavy Tamil accent. For eg. (pardon me for using this example. But I take liberty in using it since many of the recent movies are using it and in several cases even women are made to say it - I think "Kshana Kshanam". The moderators may please remove this if they find it objectionable) the word "Pudungi". In Tamil, "Pudungu" means "To Pluck". So"Pudungi" means "Peekevaadu" or "Peekedi" If we have to take that Telugu is an offshoot of Tamil we may have to think of debating on this language.
The Raayalaseema accent is also a mixture of Telugu, a little Tamil here and there and so is Kannada.
The Godavari-Krishna-Guntur Telugu may be comfortable to speak, understand, read and write.
The Press and cinema till a few years ago were following this language. But today word in the local accent - for eg. "Saasthannaadu" (for Chesthunnaadu) "Yenakamaala (for Venakaala)" "Aadu-Eedu ( for vaadu-veedu)" is more dominating in the Telugu of this part also. So can we call this a standard?
I personally feel that we should (I mean the Whole of Telugus) have to fix a standard Telugu and work on preserving the same.But I am at a loss to know as to how many strong Telugu supporters are there who can do this with "Trikaranasuddhi"
We should have extremely conscious movement to preserve the language and just not felicitations to a few.
We should also know that except for those who have to make a living from Telugu and for those whoa already have a different living made up for them but just for the love of Telugu, support Telugu, the rest of Andhras (My apologies for this pungent fact) Telugu language is not at all an issue and till such time it becomes an issue with each and every Telugu person or at least a sizeable majority, Telugu will descend from it heights.
Or Telugu should be left as a free for all and stop worrying about the rapid evolution (disintegration in some parlance)and life of the language.
We certainly, unashamedly, have to learn from the Tamils. For an audio cassette they have coined two different words. 1) Isai Pezhai (to read as Isai Pelai) and 2) Oli Naada (Sound Tape). How many of us would like to use the word "sangeetha naada" or "dhwani naada" This is only an example.
Their language is growing and becoming stronger because they are able to innovate, circulate and make acceptable new words in Tamil itself with every new invention in the world. Wherever they use a foreign language word, they do it with regret. But we take pride in using any language, particularly English everywhere.
(Even I am ashamed to write this in English. I, unfortunately, am practicing the "Tikkana" script but am not yet well versed in the same. Hence this anguish in English. This will be only for a few more postings. Sooner I hope to write in Telugu)
Best wishes
Hemantha
Anil Kumar Challa <achalla@u...> wrote:
"yAvadAMdhra dESaM guriMci teliyadu
gAnI, haidarAbAd^ lO maTuku telugu, yuvata kalisi melagaDaM cUDalEdu."
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Courtesy: http://www.kanneganti.com/
Anil Kumar Challa
happened in mid- to late 80s and even in the early 90s? mA taraM
(early to mid 70s lO puTTina vALLu) mIda eTuvaMTi prabhAvaM paDDadO
teliyaDaM lEdu - koMta varakU maMci sinima sahityaM (pATala dwArA)
unnA nAku telisina eMdarO yuvatI yuvakulaku telugu bhashatO
anubaMdhaM lEnaTlugA tOstuMdi. yAvadAMdhra dESaM guriMci teliyadu
absence of literary excitement.
telugu bhAshA saMskRtini daSAbdAlugA pariSIlistunna prAj~nulu EvannA
kaburlu ceppagalarEmO?
Anil
Courtesy: http://www.kanneganti.com/
harita_n
> Which generation? What conscience? I would like to know if anyone
> changed their ways because of this pamphlet?
>
Well, for one thing, on July 4th, 1970, on SrI SrI's 60th Birthday, a
new literary organization was born. This organization defined the
structure and character of Telugu literature ever since, and has been
the touchstone against which everything has been judged - both by its
supporters and detractors.
> The pamphlet was a mere statement after the fact it seems to me -
> having not lived thru that time - Digambara kavulu were already a
> five year old phenomenon by 1970; kuTumbaraavu, raavi shastri,
> KalipaTnam, Binadevi were all there already (doing what the
> karapatram asked the rest to do...), Subbarao Panigrahi was dead
> already!
>
Yes, they were all there, and they were all eminent writers. But,
IMHO, it was to these eminent writers that the pamphlet was
addressed. These లబ్దప్రతిష్టులు were more or less resting on
their laurels, and were getting co-opted into the establishment,
through efforts like the Seven Stars Syndicate's షష్టి పూర్తి
సన్నాహాలు for SrI SrI.
With the exception of bInA dEvi, every one else that you mentioned in
this list was prompted to quit అరసం and join విరసం - more or
less as a consequence of their answering to the wake-up call from
this కరపత్రం.
> Sri Sri was already a statement all by himself.
>
Oh by the way, SrI SrI was not an exception to this indictment. He
was in fact the prime target of the question "రచయితలారా,
మీరెటువైపు?".
>
> Please explain to me, what the effect of such a statement was in
> real, tangible ways - for the sake of discussion.
>
That we are having this discussion after 35 years, to me, is a real,
tangible impact of the కరపత్రం.
As a conclusion, I want to point out one thing. Because the
కరపత్రం was an articulation of a generation's disaffection with
the way intellectuals have been selling out to the establishment, it
became a powerful symbol of the new wave that started with విరసం,
and continued with the new trends like స్త్రీ వాద సాహిత్యం, దళిత
వాద సాహిత్యం, etc.
That is not to say that the కరపత్రం magically caused this
transformation. The transformation in Telugu literature was a
historical necessity, and the significance of the pamphlet lies in
the recognition of this historical necessity, and the articulation of
this historical necessity.
viplavreddy
since it was mentioned three times that the karapatraM would still
be relavant simply because it is being discussed today - each time
that reason was ignored 'cause it could not be a valid reason to
begin with.
a page in history, probably!
the debate about it as a part of literature - could not be, by a
long shot.
mein kompf would still be discussed after two hundred years...would
it still be relavant? not as a piece of literature but yes, as an
example of 'what not to do'...
a ban signifies the horrendous damage it could do to the
establishment? yes, only if the establishment was stupid enough to
act based on an instinct rather than a vision ...
...RSS was banned twice in Independent India...what a horrible dream
it would be, if sangh parivar issued a dictum - much like the
karapatraM - if one likes a saMghaM seeking to impose a standard
with a selective ideology on literature, what moral right there is
left to not condone the other!?
...we will never know the damage to literature, if there was no
boxing in of the talent tied to an agenda - limiting to one or two
organizations, outcasting others - migration is not just a physical
phenomenon, it is equally psychological - migration from low to high
productive areas may improve the GDP in an economic sense, and
forcebly stopping it would negatively impact it, similarly binding
together in an ideological pact would not let the individual talent
seek that higher levels of achievement...averages will do.
yet, consider this - revolution by definition often comes from
unexpected quarters. if the revolutionary is a well-known commodity
with a name tag hanging down the neck that reads like 'ఫలానా
సంఘం', the establishment is bound to move against it sooner than
later. it does not propel the act into some mass movement - it
compels the movement to become obscure for its survival if the odds
are greater which was the case in several instances...
... that is why revolutionaries move with time and space - their
literature and word changes often, positions abandoned, taken and
changed often...much like Shivasaagar - who others blame for
changing too often...and unlike the ones tied to an identifiable
organization...if there was no virasaM - there would have been a
thousand like it - why, digaMbarulu, Warangal poets or vijayawada
kavulu were all independent events...did the movement help or hurt
this cause? I read vipula or catura not because of some saMghaM but
they appealed to my mind and they were accessible even if it was
through a mobile library. And I wish people run away from any
meeting that calls for 'సాహితీ మిత్రులు' - I for one think
సాహిత్యంలో శత్రువులుండటమే మేలు - that atleast ensures honesty.
lastly, many were caught up in it when they were in 11th or 12th
grade ... there is little the literary movement could expect from
these quarters especially by driving them over an edge - unlike
offerring the hope and the optimism - no wonder, many fiction that
begins with exploitation ends in exploitation without offerring a
ray of hope, even as a conjecture...they remain a product of a boxed
in version of some saMghaM's agenda.
We established the following: the karapatraM was not a literary
piece - that it sought to pass judgment and limit the literary
freedom - and last but not least - that it is possible for non-
litrary pieces to judge literature...
...just as on-lookers, not just peers, be able to judge the
character of the karapatraM, without regard to who wrote it.
assuredly resting now,
-viplav-
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Subject: Re: [racchabanda] Re: విశాఖ విద్యార్థుల కరపత్రం
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Hemantha Kumar wrote:
> I personally feel that we should (I mean the Whole of Telugus) have to fix a standard Telugu and work on preserving the same.
During the last years of the fifteenth century, Columbus was
ready to sail to the new world (in search of the old world), funded
by Queen Isabella. Within a few years of the discovery of
America, the Spanish power rose. Even today, geographically,
the Spanish langage is very well represented. At the same
time lived a linguist called Antonio de Nebrija. He was writing
a Spanish dictionary as well as a Spanish grammar. He felt
that after the defeat of the moors and purging of Jews, the
Spanish language must be standardised so that all people
will speak with one voice and remain united. He got luke-warm
response from the Queen, who ultimately seems to have
relented. His grammar is the first grammar in Spanish.
Today there is a university in his honour in Spain.
But after nearly a century, the French took Nebrija's idea
further and even today, like the Tamils and Benaglis in India,
the French will do anyhting to resist the cultural invasion of
the American English. But the Spanish, the French and the
Chinese could accomplish their linguistic experiments as the
rulers were autocratic then. But in a democratic country like
India, people may only be pursuaded, but not forced. Any way,
there is a strong impression that the future lies in the study
of English, not the dead languages. [By the way, I studied
all my mathematics (called Composite Mathematics then)
and science in Telugu till the XI standard (SSLC then). But
science and mathematics were in English when I joined
Intermediate (FA). Except for a month or two in the
beginning there was no problem in making adjustments.]
As for standardising Telugu, which words are we to choose-
Sanskrit-based or pure Telugu words of Dravidian descent?
Language is changing and Telugu too is evolving over ages.
We too had the letter lzha in Telugu before a few centuries
and another that was written like the Greek theta. These
vanished even by the time of Nannaya. In those days,
the vowel R was pronounced more like ri, but later it
became more like ru and today, the letter itself is a museum
piece and so is ara sunna and baMDi ra. Even when ara
sunna was there, it was not clear when sunna or ara sunna
or either could be used. Treatises were written expounding
the usage of sAdhu rEpha and SakaTarEpha.
But as for fears that the language may die, rest assured.
Languages never die that quickly, not Telugu with 50
million or more speakers. While praise may be due to the
Tamils for inventing new words etc., sometimes it was
taken to ridiculous extents. In the administrative building
of Madurai Kamaraj University, all the rooms including the
restrooms have signs written only in Tamil. If a visitor
cannot read the signs, he has to suffer!
Regards! - J K Mohana Rao
Courtesy: http://www.kanneganti.com/
viplavreddy
> the character of literature is defined by literature itself is
like
> saying that the nutritional value of food is defined by food
itself.
>
nutritional content is one thing, value is another. One is real to
an extent and the other is judgmental.
if the karapatram said, degradation in value is affecting the
content & that is not helping people - that would have been
different -
- but I believe it said, the content and the values of the day did
not measure up to the ideology they valued higher than both the
value or the content of literature one was inclined to produce...
- in other words, it would have been sufficient to produce content
that matched the ideology of the organization to satisfy the new
order of the new world (marO prapaMcaM!?) everyone dreamt about, it
did not matter if it had the literary merit or not...much like the
argument sri velchru makes in his ippaTimaaTa.
- by that (also substantially your own) argument alone, karapatraM
had little literary merit but it may have had a lot of what you
wrote below (I am unsure if I will agree at this time for this as
well) - if I substituted one word -
"whether or not it helped telugu literature, my interpretation is
that as a result of 'karapatraM', telugu literature helped the
masses." (reproduction of your para below)
> Whether or not it helped telugu literature, my interpretation is
that
> as a result of the efforts of విరసం, telugu literature
certainly
> helped the masses.
- now whether that value merits literary significance or not is a
scholarly pursuit, which also means - the end of my road, perhaps.
I rest my case, in this regard.
> that the new organization with the same old people immediately
became
> the subject of intense repression - in the first five years of its
> existence, more than half of its publications were banned, two
major
> conspiracy cases were launched against its members. My question
is -
> they must have done something right for them to have incurred so
much
> wrath from the ruling classes.
extending the above argument to this repression - it could not be
for the supreme literary merit, they were banned!
regards,
-viplav-
Courtesy: http://www.kanneganti.com/
harita_n
But to be young was very heaven"
That was William Wordsworth describing the French Revolution. To me,
this is an equally apt description of the seventies in Andhra.
Starting with the షష్టిపూర్తి సభ in Visakha where the infamous
కరపత్రం was distributed, to the formation of విరసం in
Hyderabad on July 4th 1970, to the banning of books like ఝంఝ
and ఇప్పుడు వీస్తున్న గాలి, to the formation of జన నాట్య మండలి,
to the notorious Secunderabad Conspiracy case, to the brutal
repression of the Emergency, to the rousing intensity of cera and
gaddar's songs, to the emergence of serious literary criticism and
the prominence of వచన కవిత్వం, that was a decade to die for.
You asked whether Telugu literature benefited in any way from all
this. Well, let me see if I can answer that question. Until the
sixties, literature was confined to a few magazines, a few
publishers, and the libraries and academies (in the immortal words fo
SrI SrI, "అగాథమీలు"). Apart from high brow publications like
భారతి, a few popular magazines like ఆంధ్ర జ్యోతి, ఆంధ్ర ప్రభ
and యువ published short stories, poems and serialized novels from
the eminent authors of those times. A few publishers from the famous
Elur Road of Vijayawada used to regularly publish novels and perhaps
occasional collections of poetry and short stories. Apart from these,
the aspiring writers of the day had few avenues to get their art out
to their audience. Writers like Sarada had to go through enormous
amounts of hardship to get their work published.
Then came the seventies, and the events that I described at the
begining occured. What happened in the process was that literature -
that too serious, committed literature - suddenly became a marketable
commodity. By the end of the seventies, the number of magazines
publishing serious literature went up by an order of magnitude.
Magazines like విపుల and చతుర dedicated themselves to the
promotion of serious literature. అరుణ తార, సృజన and ప్రజా
సాహితి provided a platform for serious literature like never before.
Magazines like X Ray from Amalapuram provided a forum for the
emerging form of mini poetry. Critics like cE. rA. and nA. rA. (in
fond rememberence of the చే రా నా రా సంవాదం in ఆంధ్ర జ్యోతి)
assumed center stage, and wielded commanding influence on the reading
habits of the Telugu people.
Come the eighties, and daily news papers like ఉదయం and ఈనాడు
carried daily serials and literary supplements. Even newspaper
headlines had literary allusions, and were often written by serious
writers. A సాహిత్య సభ in Hyderabad or Vijayawada typically
attracted an audience of 500 to 1000, often with no other form of
advertizement than word of mouth, and a few hand written posters at
strategic locations.
In fact, I cant think of any other culture that gives such a center
stage to literature in their daily lives. After all, I dont think
Hindi or Bengali or German or Russian newspapers carry a literary
supplement on a regular basis, where the daily cartoon is accompanied
by a poem worth preserving (a la "City Life" in Andhra Jyothi).
All this happened because the people - not the "cultured"
and "knowledgable" "middle class", but the toiling masses - realized
that literature was a potent weapon in their struggle against
repression. Literature became a necessity, not a luxury. And so, the
greatest కావ్యంస్ were written on the walls and on banners, and not
on paper. Some of the most powerful lines of SrI SrI's poetry have
survived not on the pages of మహా ప్రస్థానం, but on the walls of
the cities of Andhra, where they were published not by Visalandhra or
Navayuga, but by the bruised and calloused hands of the student or
the worker who wrote them there in the middle of the night, to
inspire and guide his fellow student and fellow worker.
విరసం did not create the fervor and the force behind this flood
of creativity - it merely reflected that fervor and force; it
channelised that energy, and provided an organized forum for that
deluge. If today we are debating whether or not all of this amounted
to anything, my answer once again would be - the very fact that we
are even debating this is proof of the significance of this
contribution. After all, we would not be debating so long and so
passionately about a flop movie that nobody noticed, and nobody cared
about, would we?
One might disagree with the world view represented by విరసం, but
it is an undeniable fact that you can not speak two meaningful
sentances about Telugu Literature since the seventies without
discussing the influence of విరసం.
And now, like the prosecution, the defence rests the case.