[In this series, Dr. Chengalva Ramalakshmi and Mr. Boddapati Chandrasekhar introduce renowned Telugu short story writers.]
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GURRAM JASHUVA- A Great and a distinguished poet
Even as a high school student, JASHUVA felt the urge to write poetry. This innate trait blossomed, and flowered and shed its fragrance. To equip himself, and to gain scholarship, he wanted to read the Hindu scriptures, religious books, and its ANCIENT LITERATURE. But, here his religion stood in the way. Moreover, Christian religious heads viewed it as an offence.
If one is determined to break the iron gates of caste and religion that hinder life’s progress and to fight such discrimination lifelong – no wonder! The greater the opposition, the stronger the resolve. With the help of his friends, not being caught by anyone, JASHUVA read Hindu Religious Books in the dim light of a dilapidated Mosque.
*To read Hindu Puranic Scriptures, stealthily by his religious heads, in a Mosque.. all appears to be a great wonder, doesn’t it? Such is his passion for LITERATURE. Hardships of life may turn us to be bold or timid or heartbroken. JASHUVA learnt courage by surviving the venomous snakebites of caste.
His eagerness to know more about Sanskrit literature, made him search for a teacher who could help him understand the nuances of great books. But in vain! His untouchability stood in the way. None volunteered to tutor him.
But JASHUVA, who was not disappointed in the least, went on finding a teacher.
See how many man-made obstacles for education that wipes out ignorance!
Good and bad reside in man’s heart just as joys and sorrows do. Yet, amidst the deeply disappointing social atmosphere that surrounded him, it was the upper-caste people who patted him on the back and helped him evolve as a poet. This needs to be acknowledged. JASHUVA himself stated this on many occasions.
It was Jupudi Hanumacha Sastri, who taught him Meghasandesam, Raghuvamsam, and Kumara Sambhavam – the Kavya-trinity of Mahakavi Kalidasa.
Through the recommendation of Sri Pada Krishnamurthy Sastri of Rajahmundry, JASHUVA secured a teacher’s post at Kotilingala. Greatly impressed by JASHUVA’s poetic talent, Sri Tholeti Venkata Subbarao gave him a referral letter, addressed to Satyavolu Gunneswara Rao, the organiser of Chintamani Drama Company in Rajahmundry, and asked JASHUVA to meet him. It was through his good offices that JASHUVA wrote the play Rukmini Kalyanam.
While working as a story narrator of Mookies in Rajahmundry, JASHUVA happened to meet the great literary stalwarts, Kandukuri Veeresalingam and Chilakamarthi Lakshminarasimham. They listened to his poetry with keen interest and greatly appreciated his talent.
Not only that – they encouraged him wholeheartedly.
Their acquaintance and moral support filled JASHUVA with immense joy and confidence. Their appreciation became a source of great inspiration and energy for him. But the insults and humiliations he faced were even greater than these. A scholar once said to his face:
“Except those born in the superior caste, no other caste is worthy of becoming a poet”.
At the felicitation meeting of Kopparapu Subbarao, encouraged by his friend, he went onto the stage to render his poems.
At the felicitation ceremony of Kopparapu Subbarao, encouraged by his friend, he stepped onto the stage to recite his poems. But as soon as he began, some members of the audience stood up in anger and walked out of the venue.
So deep and bitter was the prejudice against his caste.
Yet JASHUVA did not let these insults break him. He transformed these wounds into strength, and these experiences into life’s lessons. For the sake of his ideal, he wielded poetry as a weapon – a weapon to awaken society and to affirm human dignity. He condemned the society that tried to brand poets – who belong to the universal human race – with the stigma of caste.
“The stain of caste is such that even a lakh bars of soaps cannot cleanse it.” said JASHUVA. The twin curses of poverty and caste discrimination were enough to break a person’s spirit. But.. Never a strongwilled JASHUVA.
He is said to have once remarked..
“Life taught me many lessons. My two teachers were poverty and caste discrimination.
One taught me patience, and the other how to stand up and fight. But neither could enslave me.By breaking the chains of both, I wanted to prove myself as a human being. I challenged them. Yet, my sword was poetry. My poetry holds no hatred towards society – only on its attitude.”
(As narrated by his daughter Hemalatha in her book My Father)
The society, its trends and changes show its impact in Literature and litterateurs. True LITERATURE mirrors all these.
JASHUVA fought on the two demons..
Poverty and Caste Discrimination. But it was a peaceful one. What for?
For caste discrimination – free society.
In this war.. His Poetry became his ammunition.
The arrival of Gandhiji from England, the Harijan movement, his ideals, the Non-Cooperation Movement, and Satyagraha – all these left a deep impact on JASHUVA.
The Great Depression of 1930, , the exploitation of labour, the attitude of the capitalists gave new thoughts to him. This can be evident in his poetry written after 1930.
A SELECT WORKS OF JASHUVA:
A BRIEF INTRODUCTION:
JASHUVA’s literary output is abundant and remarkable. Let us now look at some of his major works.
FIRDOUSI:
JASHUVA wrote this in 1932. It portrays the life of the Persian poet Firdousi, who spent thirty years composing his great epic “Shahnama”. Firdousi is the central character of this poem. Through his verses, Joshua depicts the hardships, struggles, and unwavering dedication of Firdousi to his art.
Ghazni Mohammed requested Firdousi to write a poem praising his lineage. He also promised to reward the poet with a large sum of money. Firdousi completed the poem, but in the end, the king failed to keep his promise.
Filled with deep anguish, the poet left the city.
Later, the king happened to read a poem that Firdousi had written on the wall of a mosque. Those lines touched the king’s heart. Realizing his mistake, he repented and immediately sent the promised reward.
Alas! By that time, the poet had already died due to ill health.
Firdousi’s mind overflows with intense emotions. He labors tirelessly, pouring heart and soul into every verse, giving each line life with his own blood, yet the king remains ungrateful and blind to the poet’s efforts. The poet wonders if all his sacrifices were in vain – like sprinkling rosewater on ashes. Despite his dedication, the sultan fails to recognize his true worth.
Poetic Excerpts in Telugu:
1.
ఒక్కొక్క పద్దియంబునకు
నొక్కొక్క నెత్తురుబొట్టు మేనిలోఁ
దక్కువగా రచించితి వృథా శ్రమయయ్యెఁ..
Meaning: Each verse was crafted with painstaking effort, each bead of sweat and drop of blood seemingly wasted on a sultan unworthy of poetry.
2.
ముత్యముల కిక్కయైన సముద్రమున
బెక్కుమాఱులు మున్కలు వేసినాడ;
భాగ్యగీనుఁడ ముత్యమ్ము వడయనైతి
వనధి; నను మ్రింగ నోరు వచ్చినది తుదకు.
Meaning: Like pearls cast into the sea and devoured by fish, Firdousi’s poetic treasures were unappreciated, swallowed by fate.
3.
సుకవిదేహంబు ప్రేతభూమికి లభింప
అర్ధమప్పుడె శూన్యగేహమును జేరె..
Meaning: After Firdousi’s death, his body was laid to rest, and the secret of his suffering and injustice remained largely unknown.
4.
అని పశ్చాత్తప్తుండై
వనరి,యతనిపేరఁ దూసు పట్టణమునఁ జ
క్కని సత్రశాల గట్టిం
చె నవాబుఁడు కవి ఋణంబు చెల్లింపగన్
దాని శై థి ల్యములు నేడు గానబడును
పారసీకులు చూచి కన్నీరు విడుతు
రుట మహమ్మదు గారికి నపయశం బు
నిండు సత్కీర్తి కవికిని నిలిచిపోయె.
Meaning: The king, realizing his mistake too late, built a memorial in the Tucu city to honor Firdousi, ensuring the poet’s glory and the sultan’s disgrace remained in history.
Essentially, this poem reflects Firdousi’s devotion, suffering, and posthumous vindication, juxtaposing the poet’s dedication with the ruler’s ignorance and delayed repentance.
GABBILAM: ( BAT) Kāvya
Gandhiji’s brainchild.. Harijan Movement impressed and influenced JASHUVA in no small degree. His khanda kaavya Gabbilam emerged from this background.
For the first time in Telugu Literature, an untouchable became the hero of a Kaavya.
As Kanyasulkam is to Gurajada, Mahaprasthanam to Sri Sri, Gabbilam is to Gurram Jashuva.The literary world recognizes him primarily through Gabbilam. Among his Khanda Kavyas, this work occupies a unique and distinguished place.
This poem is an expression of Jashuva’s inner anguish – a revelation of his soul’s suffering. It stands as a true representative of his personal experiences and emotional world. All the thoughts and feelings expressed by the hero – a bat – are in fact Jashuva’s own.
What is GABBILAM about?
An untouchable, ill-treated and looked down by the society, invites A Bat affectionately, that was considered to be an evil and inauspicious, and narrates his mental anguish. The poet asks it to take his message to Lord Siva. Also asks it to get him an answer from the inhabitant of Kailasa. This is the essence of the book.
JASHUVA feels that the Bat is more honourable than he is as it resides in temples and eats Naivedhya.. the food offered to god. This is grossly denied to an untouchable.
When it is near to the Siva, it has to state the poet’s mental agony. This is the poem that illustrates that point.
ఆలయంబున నీవు వ్రేలాడువేళ
శివుని చెవి నీకు కొంత చేరువగా నుండు
మౌని ఖగ రాజ్ఞి! పూజారి లేనివేళ
విన్నవింపుము నాదు జీవిత చరిత్ర
This work marked a sharp departure from his earlier poetry, bringing something entirely new and fresh to the prevailing literature. This Khanda Kavya, Gabbilam, made JASHUVA immensely popular in Telugu literature.
**Muntaj mahal:
This work praises the beauty of the Taj Mahal in Agra. Muntaj Mahal is a khanda kavya authored by Joshua. It extols the beauty of the Taj Mahal in Agra. The kavya comprises 129 verses.
In Muntaj Mahal, Gurram Joshua beautifully explores both marital love and the grief of separation.
*Marital Love:
ముద్దులరాణి మాటకు విభుండెదురాడడు, ఱేని యాన క
ముద్దియ మాఱుపల్క దదెపో! సహవాస” మటంచునిత్యమున్
బెద్దలు ప్రస్తుతింప నతివేల సుధాప్రణయైకరాజ్యపుం ధరలు
గద్దె నలంకరింతురు మొగల్ మగలమ్మహనీయ దంపతుల్
**భార్యా భర్తల మధ్య ఉండే అనురాగం:
సీ.
ఆ సతీపతులు గాఢాశ్లేషములనుండి
జారిపోయిన నిమేషంబు లేదు
ఆ దంపతులకు నాహ్లాదంబు గూర్పక
తొలఁగిన వెన్నెల తునకలేదు
ఆ ప్రేమజీవుల యనురాగవృద్ధికై
రుత మొనర్పని పరభృతము లేదు
ఆ శుభాకృతుల నెయ్యంపు ముద్దులచేత
తీపి కెక్కని ద్రాక్షతీఁగ లేదు
ఆ.వె.
అవధి లేని వారి యానంద కేళికిఁ
దోడుపడని పూదోట లేదు
వారి కూర్మిపెంపు వలచి వర్ణనజేసి..
Joshua portrays the deep affection between a husband and wife, emphasizing that it is not limited to Mumtaz and Shah Jahan, but is a model for all marital relationships. The bond is so intimate that not a single moment of their love is lost; no worldly pleasure can surpass it. There is no obstacle to the growth of their love, and the sweetness of their companionship is continuous and unbroken. The poet vividly captures their intimacy, devotion, and mutual care, presenting a universal ideal of marital harmony.
*Shah Jahan’s Grief After Mumtaz’s Death:
జీవన తారవై యమరసీమల నీవు సుముజ్జ్వలింప మా
యావృతమైనవిశ్వవలయంబున,శాశ్వత శోకమూర్తినై
జీవితమూని, యీచరమ జీవిత నాటకరంగమెక్కి..
*After Mumtaz’s death, Joshua conveys Shah Jahan’s intense sorrow. The poet captures the mental agony of a husband separated from his beloved, turning it into a universally relatable expression of grief. Shah Jahan’s life becomes a dramatic stage where loss overwhelms him, and the world itself seems shrouded in illusion, amplifying the magnitude of his suffering. Through these verses, Joshua transforms personal mourning into a profound, cosmic experience, showing how love and loss resonate beyond individuals to touch the human heart universally.
*Of the many Khanda Kavyas that JASHUVA wrote, GABBILAM, Firadousi, Muntazmahal and Christ’s History are very famous.
JASHUVA received the Central Sahitya Akademi for this poem..
**Graveyard.. (స్మశాన వాటి)
Among JOSHUA’s Khanda Kavyas, the poems in స్మశాన వాటి is a rare very popular and memorized by most Telugu people.
Hereunder are some of them and their Analysis.
As long as humans live, there are two places they dread visiting: one is the hospital, and the other is the cremation ground, also called the Rudra land. “Death is certain for everyone.” Every being born is destined to die. No one can escape death. Even though all must one day rest on this earth, just hearing the name “cremation ground” makes the mind uneasy, and fear stirs in the heart. People avoid going there, whether at night or in the afternoon. It is this very cremation ground that the poet Joshua has chosen as the subject of his poetry. A poet observes the world around him differently, with deeper insight than others. He presents his understanding and emotions in words for readers.
In the verses of this poem, the meaning of words penetrates straight into the reader’s heart, weighing it down, evoking feelings of detachment and introspection. It confronts the ultimate truth of life directly. This Khanda Kavya contains eight verses, all like precious pearls of poetry.
Joshua begins this poem by highlighting the stillness of the cremation ground:
ఎన్నో యేండ్లు గతించిపోయినవి గానీ,యీ శ్మశానస్ధలిన్
గన్నుల్ మోడ్చిన మందభాగ్యుడొకఁడైనన్ లేచిరాఁ,డక్కటా!
యెన్నాళ్ళీచలనంబులేని శయనం? బేతల్లు లల్లాడిరో!
కన్నీటంబడి క్రాఁగిపోయినవి నిక్కంబిందు పాషాణముల్
(Translation: Though countless years have passed, none of the fortunate souls buried here have risen. How long will this motionless slumber last? Tears have hardened into stone.)
Nature moves as usual: dark clouds gather, ghosts stir, owls hoot, and crows make a ruckus. Yet here, fear has no place. Everything is silent… the cremation ground is silent. Joshua observes:
ఆకాశంబున కారుమబ్బుగము లాహారించె,దయ్యాలతో
ఘూకంబుల్ చెరలాడసాఁగినవి;వ్యాఘోషించె నల్దిక్కులన్
గాకోలంబులు; గుండెఝల్లుమనుచున్నంగాని యిక్కాటియం
దా కల్లాడిన జాడలే;దిచ్చట సౌఖ్యం బెంత క్రీడించునో!
(Translation: The dark clouds loom above; ghosts stir and screech, crows shout; yet here, no trace of fear remains. Peace plays quietly in the midst of chaos.)
In this Rudra land, there is no distinction between the good and the evil, the master and the servant. The slain and the slayer are equal. Poets, kings, women of households, artists – once their life ends – they all must rest here. Shiva is the rhythm-maker of creation, and what pleases him is the Tandava dance. This cremation ground is perfectly suited for the Shiva Tandava. The poet even sees it as the throne where the angel of death reigns.
ఇచ్చోటనే సత్కవీంద్రుని కమ్మని
కలము,నిప్పులలోనఁగఱగిఁపోయె!
యిచ్చోట;నే భూము లేలు రాజన్యుని
యధికారముద్రిక లంతరించె!
యిచ్చోట; నే లేఁత యిల్లాలి నల్లపూ
సలసౌరు,గంగలోఁగలిసిపోయె!
యిచ్చోట; నెట్టి పేరెన్నికం గనుఁగొన్న
చిత్రలేఖకుని కుంచియ,నశించె!
Meaning: Here, the pen of the great poet burns in the flames; here, the land erases the stamp of the king’s power; here, the pride of noble women fades; here, the brush of the famed painter crumbles to dust.)
At night, the cremation ground is filled with darkness and silence. In one corner lies a new grave, on which an oil lamp flickers like dancing sparks:
ముదురు తమస్సులో మునిఁగిపోయిన క్రొత్త సమాధిమీదఁ బై
బొదలు మిణుంగురుబురువు పోలిక వెల్గుచున్నదివ్వె,ఆ
ముద ముడివోయినన్ సమసిపోవుటదది దీప మందుమా?
హృదయము సుమ్మి,నిల్పిచనియె న్గతపుత్రిక,యే యభాగ్యయో
Meaning: Amid the deep darkness, on the new grave, a small flickering lamp glows. Is this light from the heart of the young girl resting there? How fortunate she is to be comforted by this flame!)
The poet reflects on the unity of life and death. Dreams of poets, the melodious voices of gifted singers, all rest here, merging with the elements of nature. Birth is from the mother’s womb, and the mother herself is nature’s creation. The body, buried in the soil, decomposes and merges with the earth, blending with its grains. Perhaps even the dust of great poets like Kalidasa and Bharavi mingles with the clay on the potter’s wheel:
కవుల కలాలు,గాయకుల కమ్మని కంఠము లీ శ్మశానపుం
గవనులఁ ద్రొక్కి చూచెడి;నొకానొకనాఁడల కాళిదాస భా
రవుల శరీరముల్ ప్రకృతిరంగమునం దిపు డెంత లేసి రే
ణువు లయి మృత్తికం కలిసెనో కద! కుమ్మరి వాని సారె పై.
Meaning: The dreams of poets, the melodious voices of singers rest here; perhaps the bodies of poets like Kalidasa have merged with the earth, their essence mingling with the soil on the potter’s wheel.)
Joshua also observes the tragedy of orphaned children and poverty. Seeing the graves of children who died too young, the heart melts. Which child rests peacefully? Which mother carries her grief in her womb? Vallakadu knows no untouchability; here, religion, caste, or color makes no difference. Equality prevails, and even a tiger cannot harm the goat here—this ground teaches impartiality and dharma.
వాకొనరాని గొప్ప ధనవంతుని నిద్దపుఁ బాలరాతి గో
రీకడఁ బారవేయబడి ప్రేలికలం బొరలాడు ప్రేత మే
యాకటి చిచ్చునన్ గుమిలి,యార్చి,గతించిన పేదవాని దౌ
నో కద! వానికై వగవఁ డొక్కడందు; దాఁచదు కాటినేలయున్
Meaning: Even the wealthiest cannot prevent the death of a child; the orphaned poor are left without care. How cruel is poverty, how merciless fate!)
Joshua portrays death, grief, equality, and the ultimate unity of life and nature with profound depth. The cremation ground becomes a meditation on life, death, and cosmic balance, rendered through the poet’s sensitive and observant heart.
Summing Up:
Joshua’s poetry was influenced by the movements of the 20th century, as well as by the political, social, and economic conditions of his time. He was a poet who studied classical literature meticulously. The influence of earlier poets like Tikkana, Srinadha, and the Prabandha poets can be seen in his work.
He was a unique poet who conveyed modern ideas through traditional verse. Joshua achieved the remarkable feat of popularizing metrical poetry among the masses. His works such as Gabbilam, Swavandam, and Musafarlu engage readers continuously and keep them interested.
Joshua’s style is simple, direct, flowing, and crystal clear. As one reads, his thoughts and emotions penetrate straight into the reader’s mind.
Andhra University felicitated him with the title Kalaprapoorna in 1969.
The Government of India bestowed Padma Bhushan on him in 1970.
THE MOST DESERVING POET INDEED!
THE BEST TRIBUTE FOR GURRAM JASHUVA WOULD BE FROM HIS POEM ONLY..
“రాజు మరణించే నొక తార రాలిపోయె
కవియు మరణించే నొక తార గగన మెక్కె
రాజు జీవించే రాతి విగ్రహములందు
సుకవి జీవించే ప్రజల నాలుకల యందు.’’
(JASHUVA’S Kottha Lokam..)
*Rendered into English as..
**When a king dies, a star falls from the sky,
When a poet dies, a star ascends to the heavens.
The king lives on in stone statues,
The true poet lives on in the tongues of the people.**
Explanation:
This poem beautifully contrasts temporal political power with the enduring influence of literature and art. While a king’s legacy is preserved in statues and monuments, a poet’s legacy is dynamically in the hearts and speech of the people. JASHUVA elevates the poet’s role, suggesting that literary immortality surpasses worldly fame.
Apart from this JASHUVA beautifully penned many wonderful poems. One of them is Sisuvu. It is a ‘ a must read’.
Let’s get acquainted with some of it.
*నవమాసములు భోజనము నీరమెరుగక,
పయనించు పురిటింటి బాటసారి
చిక్కు చీకటి చిమ్ము జానెడు పొట్టలో,
నిద్రించి లేచిన నిర్గుణుండు
నును చెక్కిళుల బోసినోటి నవ్వులలోన,
ముద్దులు చిత్రించు మోహనుండు
అక్షయంబైన మాతృక్షీర మధుధార
లన్నంబుగా తెచ్చుకొన్న యతిథీ
*బట్ట కట్టడు, బిడియాన బట్టువడడు,
ధారుణీ పాఠశాలలో చేరినాడు, (కానీ)
వారమాయెనో లేదో మా ప్రకృతి కాంత
కరపి యున్నది వీని కాకలియు నిద్ర!
బొటవ్రేల ముల్లోకములు జూచి లోలోన
నానందపడు నోరులేని యోగి
తల్లి తండ్రుల తనూ వల్లరీ ద్వయికి వ
న్నియ పెట్టు తొమ్మిది నెలల పంట
అమృతంబు విషమను వ్యత్యాస మెరుగ
కాస్వాదింప చను వెర్రిబాగులాడు
అనుభవించు కొలంది నినుమడించుచు మరం
దము జాలువారు చైతన్య ఫలము
*భాష రాదు, వట్టి పాలు మాత్రమె త్రాగు,
నిద్రపోవు, లేచి నిలువలేడు.. (చిన్ని నాన్న)
ఎవ్వరెరుంగ రితని దేదేశమో గాని,
మొన్న మొన్న నిలకు మొలిచినాడు!
*గానమాలింపక కన్నుమూయని రాజు
అమ్మ కౌగిటి పంజరంపు చిలక
కొదమ కండలు పేరుకొను పిల్ల వస్తాదు,
ఊయేల దిగని భాగ్యోన్నతుండు
ఉ ఊ లు నేర్చిన యొక వింత చదువరి,
సతిని ముట్టని నాటి సాంబమూర్తి
ప్రసవాబ్ధి తరియించ వచ్చిన పరదేశి,
తన ఇంటి క్రొత్త పెత్తనపుదారి
*ఏమి పనిమీద భూమికి నేగినాడొ,
నుడువ నేర్చిన పిమ్మట నడుగవలయు
ఏండ్లు గడచిన ముందు ముందేమొకాని,
ఇప్పటికి మాత్ర మేపాప మెరుగడితడు!
*ఊయేల తొట్టి ఏముపదేశ మిచ్చునో,
కొసరి నొంటరిగ నూ కొట్టుకొనును
అమ్మతో తనకెంత సంబంధమున్నదో,
ఏడ్చి యూడిగము చేయించుకొనును
పరమేశ్వరుండేమి సరసంబులాడునో,
బిట్టుగా కేకిసల్ కొట్టుకొనును
మూనాళ్ళలోన ఏప్పుడు నేర్చుకొనియెనో,
పొమ్మన్నచో చిన్నబుచ్చుకొనును
*ముక్కుపచ్చలారిపోయి ప్రాయము వచ్చి,
చదువు సంధ్య నేర్చి బ్రతుకునపుడు
నాదు పసిడికొండ, నా రత్నమని, తల్లి
పలుకు పలుకులితడు నిలుపుగాక!
**Gist in English
These lines describe the wonder of a newborn child and the sacred, intimate bond between the baby and the mother.
As the child begins to grow, it slowly learns to observe, to respond, to feel. Even without words, its innocent expressions convey deep meaning. It is like a small yogi who experiences joy silently.
The poem also highlights how the baby, though unaware of the world, learns everything gradually – how to smile, how to cry, how to look around, how to sleep, and how to recognize affection. The cradle becomes its first school.
As time passes, the child will grow up, go to school, learn letters, manners, and the ways of the world. But the mother never stops seeing the child as her priceless treasure – her “golden hill,” her “jewel.”
The central idea is that:
Motherhood is divine, and
The growth of a child from helpless infancy to understanding life is a miraculous journey.
The poem celebrates:
The innocence of the newborn,
The tenderness of maternal love,
And the slow unfolding of consciousness in a child.
*By all standards, GURRAM JASHUVA is an eminent POET in TELUGU LITERATURE.
🌹🌹🙏
