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SrI:
SrImatE rAmAnujAya nama:
SrI lakshmI narasimha parabrahmaNE nama:

dear SrI vaishNavAs,

The following is the description of one of the
greatest telugu vaishNava and a poet, SrI tALLapAka
annamAchArya. It is an article published in saptagiri
magazine of TTD. 

dAsOham,
SrIperumbUdUru vEnkaTa vinOd.
-----------------------------------------------------
The Legacy of Tallapaka Poets 
T. Kothandaramaiah (saptagiri magazine of TTD)

Tirupati is not only a place of pilgrimage, but a
place of great literary activity also. The Poets of
Tallapaka family sang the glory of Lord Venkateswara
in song and verse for over two centuries. From the
times of Annamayya (I5th century) who was the
progenitor (Mula purusha) of the family, they were the
honorary court poets of Lord Venkateswara. Even to
this day there is a tradition in the temple at
Tirumala that a descendant of the family of Annamayya
sings a song composed by Annamayya, tuning a Tambura
at the time of Ekanta Seva, the last ritual of the day
in the temple when the God is put to sleep.
Annamayya's first wife Timmakka wrote
'Subhadrakalyanamu' and historians consider her as the
first poetess known in Telugu Literature.
Narasinganna, his eldest son who was identified to be
Sankusala Nrisimha Kavi, the author of
'Kavikarnarasayanamu' was also a poet of great merit.
The third son Peda Tirumalacharya continued the
tradition of his father in composing' Padas ' in
Telugu on Lord Sri Venkateswara. Chinna Tirumalayya,
the eldest son of Peda Tirumalayya was also a great
poet. Peda Tiruvengalanadha, Chinnanna, Tiruvengalappa
were also celebrated poets of the family. Revanuri
Venkatacharya, the author of 'Sakuntalaparinayamu' and
'Sripadarenumahatmyamu' was a descendant of
Annamayya's grandson by his daughter. Thus the
contribution of the family of Tallapaka poets forms a
significant part in Telugu Literature.
The image of Annamayya having a Tambura in his hand, a
holy cap made of cloth called' Kabbayi kullayi'
usually worn by saints in those days in a standing
pose of a devotee, is a matter of interest to the
lovers of Telugu Literature. The image of Annamayya
and that of his son Peda Tirumalayya are engraved on
the stone wall to the either side of 'Tallapaka Ara'
in the Tirumalai Temple. These images are of great
interest as we have no images preserved of any early
Telugu poets. 

'Annamacharya Charitramu', the biography of
Annamacharya written by his grandson Chinnanna in
Dvipada metre was discovered and printed in 1948, As
the work was written by the grandson of the poet, we
can believe the authenticity of the biographical
information furnished in the book. 

Annamayya, a Nandavarika Niyogi Brahmin, was born in
the village 'Thallapaka' of Cuddapah district in the
year 1346 of the Salivahana saka (1424 A.D.) in
Visakha Masa in Visakha star. It will be interesting
to note that Sathakopayati alias Nammalwar, one of the
twelve Vaishnavite saints (Alwars) was also born in
the month Visakha and in Visakha star. Visakha star in
Visakha masa ordinarily falls on Purnima, the
full-moon day of the month. 

Visakha Purnima is also the birth day of Lord Buddha.
Annamacharya died in 1503 A.D. on Bahula Dwadasi of
the month Phalguna in Dundubhi year and hence he lived
a full and useful life of 79 years. It is said of
Vedanta Desika that he was born as an Amsavatara of
the Big Bell in the temple. Likewise Annamayya is said
to have born as an Amsavatara of the sword (Nandaka)
of Lord Vishnu. His father was Narayana Suri.
Lakkamamba was his mother. From his boy-hood Annamayya
was a devotee to Lord Kesava, a local deity at
Thallapaka. In his sixteenth year he had a vision of
Lord Venkateswara and from that day onwards he began
composing songs on the Supreme Lord. Whatever he
uttered was becoming a poem (kavya), whatever he sang
turned to be excellent music. 

On one fine morning, without even informing his
parents, he left for Tirupati on a pilgrimage on foot.
He reached the place in a few days. Unaware of the
tradition that one should not climb up the hills with
foot-wear on, he walked up but felt tired' and asleep
in the midway of the hill. While he was asleep the
consort of Lord Venkateswara appeared in his dream and
advised him to climb the hills barefooted. He wondered
at the vision, he had. Overwhelmed with joy Annamayya
composed .one hundred stanzas extempore in praise of
the Mother Goddess. As the stanzas were with the
Makutamu of 'Venkateswara ' it was later on known as,
'Sri Venkateswara Sathakamu.' Then he climbed up the
hills, took his bath in the sacred Pushkarini, went to
the temple and had darshan of Lord Venkateswara. He
visited the holy tirthas-Gogarbham, Akasaganga,
Papavinasanamu and so on and had a holy bath in those
places. At every bath he used to compose sathakas on
Sri Venkateswara extempore before his clothes got
dried up in the sun. One day he came late to the
temple by which time the doors of the temple were
closed. Then Annamayya sang in praise of God
requesting him to give him darsan and to the surprise
of one and all assembled there, the doors opened of
their own accord and Annamayya got in and worshipped
the Deity. A similar incident is said to have happened
in the life of Thyagarajaswami also. 

Annamayya lived on the hills for some days during
which time he got himself admitted into the fold of
Vaishnavism. Adhi Van Sathakopa Jiyyar at Tirumalai
took him as his disciple and made him study the
Sampradaya Grandhas i.e., the works relating to
Visishtadvaita Philosophy. He had the Mantropadesa of
the sacred 'Ashtakshari' and Mudradharanam-the
preliminary rites to be observed at the time of
conversion to Vaishnavism having the marks called
Dwadasa Tripundras (The twelve vaishnavite marks) on
his body. He studied Mahabhashyam, Nalayiram-the
Dravida Prabandha and other works of the ancient
Alwars under the feet of the revered Jiyyar. 

While he was thus engaged in the study of Vaishnavite
thought, his mother Lakkamamba came in search of him.
She persuaded him to come back to the village. But
Annamayya refused to do so, saying that he would be
losing the benefit of service to the God. But at last
on the advice of his learned Guru, the Jiyyar - he
agreed to go along with his mother. After the marriage
with Tirumalamma and Akkalamma he stayed in the
village for a short period and again went to Tirupati.
>From there he went to Ahobalam where he composed his
songs based on Valmiki Ramayana. During this period
after marriage, he composed many romantic hymns which
were called Sringara Sankirthanalu' on Lord
Venkateswara. 

Annamayya was famous for his musical compositions. It
is only at this time that he came into contact with
Saluva Narasinga who was a Chieftain at Tangutur.
Saluva Narasinga came to know of Annamayya's talents.
He invited him to Tangutur. They were moving so
closely as the people of the village compared them
with Arjuna and Sri Krishna. Annamayya used to compose
songs on Lord Venkateswara and sing them in the
presence of his friend, Narasinga. Narasinga had all
appreciation for the poetic talents of Annamayya. 
One day Saluva Narasinga sent word to Annamayya and
asked him to compose songs on him similar to those on
Lord Venkateswara. Annamayya was shocked to have such
a request from his friend. He refused very boldly,
saying 
'Hari Mukunduni Goniyadu nii jihva 
Ninu Goniyiidanga Neradu.....' 
which means: My tongue which is accustomed to sing in
praise of God will not sing in praise of a human
being. 

A similar incident occurred in the life of Pothana
also who wrote Bhagavathamu in Telugu. Narasinga got
wild and ordered him to be punished by 'Mururayara
Ganda,' His hans were tied with shackles and he was
thrown into prison. Then Annamayya sang a song and to
the surprise of the gate-keepers the shackles '
Mururayara Ganda '-fell down on the floor. They
informed this to the king. The king ordered them to
present Annamayya before him. He was brought before
the king. The Mururayara Ganda was once again put on
his hands. Annamayya sang the same song. He got
himself relieved from Mururayara Ganda. Narasinga
repented for his ill-treatment to the poet and
apologised to him. Annamayya excused him
whole-heartedly and continued his friendship with him.
Afterwards Annamayya made Tirumala as his permanent
abode and led a happy and long life in the service of
the Lord. 

It was his practice to compose not less than one song
every day from his 16th year during which he had the
vision of God. In Annamacharya Charitramu it is said
that Annamayya composed thirty two thousand hymns on
Lord Venkateswara. During the time of his son, Peda
Tirumalacharya, the hymns were inscribed on copper
plates and were preserved safely in an apartment
called 'Sankirthana Bhandaramu' inside the main
temple. When Annamayya grew old, Purundara Dasa who
composed several thousands of songs in Kannada and who
is said to be the exponent of Karnatak Music, came to
Tirumala and paid his respects to the great
saint-poet. Purandara Dasa praised Annamayya that he
was the incarnation of Venkateswara himself and
Annamayya in turn praised Purundara Dasa that he was
the incarnation of Sri Panduranga Vitthala. 

The musical compositions of Annamayya are divided into
two divisions 'Adhyatma Sankirthanalu' and 'Sringara
Sankirtanalu'. There are some more works written by
him both in Sanskrit and Telugu. Venkatachala
Mahatmyamu and Sankirtana Lakshnamu are his Sanskrit
works. His Sankirtana Lakshnamu in Sanskrit was
translated into Telugu by his grandson Chinna
Tirumalayya. But it is unfortunate that the Sanskrit
version of the book is not available at present.
Dwipada Ramayanamu, Sringara Manjari, Venkateswara
Satakamu are his works in Telugu. Among these works
the Dwipada Ramayanamu is not available. Annamayya
Jola, a lullaby composed by Annamayya is very popular
in Andhra that every mother sings this to make her
child asleep. The beginning of the lulluby is as
follows: 

Jo Acyutananda Jo Jo Mukunda .....

Annamayya Lali, another lullaby is also popular in
Andhra. He is said to have composed twelve satakas in
praise of the presiding deities at different places,
but Sri Venkateswara Satakamu alone is available now.
The other works are lost to us. 

The musical compositions of Annamayya and others of
his family are treasures of great poetic beauty. They
were inscribed on copper plates under the direct
supervision of the poets themselves. Hence they form
an authentic record of the language of the 15th and
16th centuries. The compositions were mostly extempore
in spoken dialect unlike in the classics of the age
which were written in the classical (Grandhika) style.
It is seen in the musical compositions that the poets
never hesitated to profusely make use of forms
traditionally not acceptable to Grammarians of the
day. The large number of the musical compositions of
Tallapaka family forms a valuable source for
linguistic study of Telugu of the medieval times. 
------------------------------------------------------



                
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