Aatukuri Molla - People's Favourite Ramayana in Telugu

Molla is considered among the greatest poets in Telugu literature although only one work of hers, Ramayanam, is known to us. Until a few decades back it was studied as a text book by school children who learnt it by heart. 

Regional versions of the Ramayana

The enduring appeal of the Ramayana through the centuries shows the common thread that runs through the cultural life of India. Scholars opine there are about 300 regional variations and iterations of the epic. Women have written many of these which are very popular and are referenced in everyday language and the arts. While Chandravati’s version of the Ramayana in Bangla is justly renowned, Molla’s Telugu Ramayanam is equally an element of daily life in Telugu speaking areas even today.

Molla’s childhood

Aatukuri Molla (1440 - 1530 CE) was born during the Vijayanagara rule in Kadapa, now in the Rayalaseema district of Andhra Pradesh. She was the daughter of a potter Keshava Setti whose wife died soon after childbirth.  

Keshava Setti and his wife were devotees of Srikantha Malleswara of Srisailam and named their daughter after the deity’s favoured flower Molla, the Jasmine. In their village they were loved and respected for their generosity and the help they extended to all. Due to this goodwill they had earned, when Keshava Setti found it difficult to bring up his daughter all alone the village got together to help him with the child. 

Molla grew up to be studious and quiet. She was educated in the village school. Even as a youngster Molla showed precocious interest in prayer and spent unusual stretches of time in the temple. When she was fourteen Keshava Setti took her to his guru at Srisailam to be initiated into the religious way of life. The guru counselled him to give Molla all the freedom to choose her own path and that she would be well-respected for her devotion. When they returned home Keshava Setti allowed her to pursue her passion for learning and prayer. 

How Molla wrote her Ramayana

At her village temple one day Molla stated that as she meditating, Sri Rama appeared to her and asked her to write the Ramayana. When she told the priest about this he immediately procured palm leaves, stylus and other equipment for her.  

She set to work and completed the Ramayana in six cantos or kanda, from the Bala Kanda to the Yuddha Kanda. Bala Kanda is the first canto or book of the Ramayana which narrates the birth and childhood of Sri Rama. Yuddha Kanda is the sixth canto which deals with the war that Rama and his compatriots waged against Ravana, and rescued Sita. This is naturally the longest section of Molla's Ramayana since the epic battle is the core of every heroic epic. Scholars consider Molla’s narration of the Sundara Kanda to be unsurpassed in the whole gamut of Telugu literature. Sundara Kanda is known for its poetic description of objects, places and people. 

What is unique about Molla’s version

Literary scholars consider Molla’s Ramayanam to be a poem of considerable excellence and literary merit.

Molla drew upon her years of study and knowledge to write her version of the Ramayana. She undertook the task so that common people would get to know not just the story but also the important values in the epic. With this audience in mind she used language that is simple and easy to understand. She commented in the text that works in regional languages should stand on their own merit and not lean on Sanskrit. Not surprisingly, Molla’s Ramayana has elegant Telugu and not high-sounding Sanskrit.

From her work it is obvious that she knew of other poets who had also written on the Ramayana. She was very aware of her limitation of not being a classical scholar, but her advantage was her years of study and her devotion. However, she credits all her work to the grace of the lord of Gopavaram, her home town.

Molla did not faithfully follow the Valmiki Ramayana but added and deleted portions to make it her own. She began by 'paying her respects to Sri Ramachandra, the Trinity, several other deities and finally Saraswati, for Her power over words and meanings' as Nabaneeta Dev Sen notes. Molla mentioned her gurus with respect and thankfulness at the beginning of her work. She departed from tradition by not dedicating it to the king Krishnadeva Raya which was contrary to the usual practice. Instead her dedication was to her chosen deity Srikantha Malleswara.

Molla described Ayodhya's commerce, its armed forces and goings-on at the battlefield in great detail, adhering to the classic epic narration.

Her belief in the efficacy of chanting Rama’s name was her reason for writing the Ramayana. It’s her clear and simple style imbued with a native flavour which attracts readers to her work to this day.

She used colloquial language. Her aim was for her version of the Ramayana to be read and to bring solace to ordinary people. Her trust was well placed, Molla Ramayanam is among the most read and quoted versions of Ramayana in Telugu.

India Post, Government of India

Molla’s well-earned fame

Not just in the present, even at the time she wrote it Molla Ramayanam became so popular for being easily relatable that Molla’s fame reached the emperor Krishnadeva Raya. Being a writer himself, he was able to appreciate her craft and asked her to appear in court.

At court she was received with all due honour but also had to face the questions of the famed ashtha diggajas, the eight literary luminaries of the Vijayanagara court. The one questioning her was Tenali Ramakrishna, an author of several literary works.

Her answers showed her presence of mind and depth of knowledge. Her poetic talent was tested in court when she was asked to compose on a theme within a few minutes. Her poem floored everybody. She was given the title ‘Kavi Ratna’ and presented gold.

Later life

Molla returned to her village, entrusted her Ramayanam and the gold to the village temple and left for Srisailam where she remained until the end of her life. She lived the life of an ascetic, performing austerities. She was always available for seekers who wanted advice. Molla died in 1530 at the age of ninety. 

Molla channelled all her learning and devotion into her one literary work Ramayanam. Such was the superior tenor and spiritual quality of her poetry that it has bridged the gap between being a classical literary work and well-loved poetry that is intricately woven into people’s daily lives. Not often do writers and poets encompass both high literature and popular adoration so completely.

References - 

1. The Ramayana in Telugu and Tamil - A Comparative Study by CR Sarma

2. http://english.kadapa.info/molla-the-saint-poetess-of-kadapa-district/

3. Great Women of India - Edited by Swami Madhavananda and Ramesh Chandra Majumdar

4. https://archive.org/details/MollaRamayanamu/mode/2up

5. Rewriting the Ramayana - Nabaneeta Dev Sen

Abbakka Chowta - She fought the Portuguese

Abbakka Chowta

She Fought the Portuguese

Europeans in India

In the 1500s, after reports of the successful voyage to India of Portugal's Vasco da Gama reached home, European powers first came to India to trade for spices. Over the next few centuries they were sometimes granted trading rights by some local rulers, fought with yet some others in order to keep and expand their trading rights, and then finally asserted their political power. This progression from traders to rulers saw the Portuguese having to confront many Indian rulers who flatly refused to accept foreign suzerainty and fought to keep their autonomy.

Apart from the Portuguese, Indian rulers had to confront other Europeans also, such as the British, when they started to increase their influence from merely trading to interfering in the political arena. One such ruler who put up strong opposition was Velu Nachiyar of Sivaganga nearly a century after Abbakka Chowta.

Who was Abbakka?

Abbakka Chowta (1525 - 1580s) was one of the earliest opponents to European colonizers in India. She stood up to the Portuguese who constantly tried to take advantage of Indian rulers who could not present a united front. The only exception was the Samoothiri (Zamorin) of Calicut who forged a military alliance with her to fight the Portuguese.

Abbakka ruled from Ullal near Mangalore and was of the matrilinear Bunt community that lived in coastal Karnataka and Kerala. The Chowta were an ancient clan. One of the early Chowta rulers was a feudatory of Krishnadevaraya of the Vijayanagara empire. The Chowta dynasty ruled from 1160 to 1833 CE, had 25 rulers of whom 11 were women. They were a Jain dynasty and ruled from Moodabidri. Ullal was a subsidiary capital. 

Ullal was situated at the mouth of the river Netravathi. This enabled ships to sail from the port of Ullal up the river into the interiors of the mainland, a huge advantage that the Portuguese wanted to capitalise by holding the port. They first tried to tax Abbakka in exchange for allowing shipping. Then they demanded an annual tribute from her. Other kingdoms had capitulated to Portuguese demands and they thought Abbakka would fall in line. But Abbakka had no intention of giving in to extortion.

The Portuguese in India

When the Portuguese first arrived in India the Vijayanagara empire was at its apex. The Portuguese built forts all along the west coast, ostensibly to safeguard their trading interests. They were in contention with local rulers who ruled under the protection of the Vijayanagara empire. The Portuguese were also trading Arabian steeds with the empire through Vijayanagara's ports in Goa and Mangalore, from where they shipped spices and the famed Indian textiles onward to Europe. The spice trade was so lucrative that it was vitally important for the Portuguese to control these ports. 

In a few decades, the Portuguese became extremely powerful with their new naval technology. They were the dominant force all along much of the trade route in the Indian Ocean and levied a charge on all trade using the route. This situation lasted for nearly a century until the British and Dutch started to assert themselves. 

After capturing Goa, and making it their headquarters the Portuguese turned their attention to other ports along the coast. They destroyed the Kapaleeswarar temple at Chennai. In Calicut, they defeated the powerful Zamorin. Daman and Mumbai were captured.

The Portuguese monopoly led to constant fighting with smaller Indian kingdoms that resented their overlordship. One such a kingdom was that of Ullal.

Abbakka’s mindset and fighting spirit

Abbakka and her sister Padumaladevi were brought up to be well-versed in the martial arts and in statecraft. Legend has it that Abbakka was particularly good at sword fighting and archery. When her sister who was the ruler of the Chowta dominions died without children, Abbakka succeeded her to the throne.

Drunk on their military and commercial successes thus far, the Portuguese gave no serious thought to the young queen of Ullal which is about 100 kms from Mangalore. They casually sent a small contingent in boats to capture and bring her to Goa. No boats returned.

Next, a huge fleet under Admiral Dom Alvaro da Silviera was despatched. A thoroughly defeated and much injured admiral returned, minus queen. 

Not to be outdone, the Portuguese sent yet another fleet, but again only a few troops straggled back.

In the meantime, the Portuguese captured Mangalore fort, which made it easier to attack Ullal. Soon another huge contingent under an experienced general Joao Peixoto sailed forth to nab the indomitable queen. 

Veera Rani Abbakka Devi
Special Cover issued 15.1 2003 at MANGALAPEX-2003

Winning tactics of the battle-hardened queen

When they reached the fort of Ullal, they found it deserted. Just as the Portuguese were about to declare victory, Abbakka and her loyal soldiers attacked the fort and decimated the opposition, killing the general. Not resting on her laurels, the very same day Abbakka was on the road to Mangalore and laid siege to the Mangalore fort. Her forces successfully captured the fort, killed Admiral Mascarenhas, had the Portuguese vacate the fort, and rode onwards 100 kms to Kundapura, and captured the Portuguese settlement there as well. 

Unexpected betrayal 

Going by the accounts of Abbakka’s exploits, it appears she would have continued to fight the good fight and rout the Portuguese at every turn. However, the stumbling block she faced, and perhaps didn’t expect, was her estranged husband Banga Lakshmappa Arasa who betrayed her to the Portuguese. This led to her capture and imprisonment. She died fighting in jail.  

Remembered in song and verse

There are three queens in the Chowta dynasty named Abbakka. The queen profiled here is Abbakka II who ruled from 1544 to 1582 and appears in Portuguese and local records. She is known for having fought the Portuguese several times and for her great naval victory against them. 

Abbakka's exploits and bravery made her famous in far-flung countries such as Persia (now called Iran) which was also fighting the Portuguese at the time. The Italian explorer Pietro Della Valle had heard so much of Abbakka from the Shah of Persia that he made sure to stop at Ullal to meet her on his travels. He was struck by her confidence yet simple lifestyle, focussing on the welfare of her subjects.

One of India's Inshore Patrol Vessels for the Indian Coastguard built at Hindustan Shipyard in Visakhapatnam is named Rani Abbakka.

Folklore and Yakshagana enactments have kept the legend and memory of Abbakka alive for nearly six centuries. They commemorate a never-say-die ruler who fought until her last breath.

Reference

1. http://flagsaudrapeaubandeirasandstamps.blogspot.com

2. Selections from The Travels of Sig. Pietro della Valle. Translated by G Havers.

3. Chowtas of Puttige Moodabidri - Dakshina Kannada Jilleya Prachina Itihasa by M Ganapathy Rao. Translated by Mahi Mulki. Tulupedia.com

Gangadevi, The poet-queen

GANGADEVI

The poet-queen

Gangadevi is the author of Madhura Vijaya (also named Virakamparaya Charita). She was the queen of Kumara Kampana Raya of Vijayanagara who conquered Madurai in 1371 and represented the empire at Kanchipuram. It is speculated that the poem was composed approximately between 1375 and 1400 CE.

What is interesting about this poet is that her royal status gave her access to an education not easily available to all women at the time. She was royalty by birth and by marriage. Her guru was the eminent poet Viswanatha. Her learning resulted in a breadth of vision that enabled her to write poetry of a high standard. Gangadevi was well-read as is obvious from her salutations and eulogies at the beginning of Madhura Vijaya.

Style

Madhura Vijaya is nine cantos long composed in 522 verses written in the Vaidarbhi style in Grantha characters. This class of Sanskrit poetry is considered to be a complete style since it requires all guna (attributes) to be invoked, wherein puns and other rhetorical embellishments are absent and no terse words are used. There are no long compound words and alliterations. Instead, soft and melodious syllables convey the sense of the rasa (emotion, mood). Simple and lucid phrases are characteristic of this style. The expertise of the poet lies in being able to incorporate all the guna, to a greater or lesser degree depending on the rasa to be conveyed, and yet bringing the entire work under the umbrella of one unified theme.