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DEDICATIONTo
His Highiit^s the Maharajah Aiirja
Sri Ananda Gajapati Raj, Alanea Sultan
Bahadur of Vizianagram t0. C. I, E.
May it please Tour High?iess.
It Is fabled that when the ancient demi-ffod of vour noble**-,} *
race was making a causeway across the sea to rescue his consort from*^ *
captivity, the faithful squirrel brought at die end of its tail a few
grains of sand, not indeed hoping to advance the high enterprise, in
any appreciable degree, but to show an inclination to serve. Ten
years ago, when the question was engaging Vour f Tig] mess's attention
of saving a very helpless section of our woman-kind from a galling'
type of slavery fraught with the germs of social demoralisation, anhumble servant made a feeble effort to arouse public opinion on the
subject by exposing the evil in a popular drama. The success that
attended its production on the boards, and demand for copies fromvarious quarters, emboldened him to publish it. No one is better
aware than the writer himself how great are the imperfections ofthe piece, and how unworthy it is of presentation to such an exalted
personage and ripe scholar as Your Highness, but he has venturedto seek Your HIghness's indulgence, as he deems it the highesthonour and his greatest ambition to be permitted to dedicate the
fruits of his intellect poor though In merit, to a Prince with whomknowledge Is an absorbing passion and whose appreciative encourage-ment of letters, has attracted to his coiirt, literary stnrs of die first
magnitude and Inaugurated a brilliant epoch in the history of TcliiguLiterature.
/ have the h moiir lo subscribe myself
May it please Tour Highness
One Ever Loyal to The Ever loyal
PREFACE TO THE FUST EDITION
Under the orders of His Highness the Maharajah of Vizia-
n,i<?;rnrn, a list was pr; pared h-n years a^o, of Bra!imin \nlku warring^,
celebrated in the ordinary iracis of ih.e Viza^aparam District during
three years. Hie lisi is bv no means exhaustive as the parries
concerned were naturally averse to admitting acceptance of bride-
money; but surh as it is, it forms a document of great value and
interest. 'The numbei' of marriages records:! reached one thousand
and thirtv four, giving an average of three hundred and forty four
for the year. Ninety nine girls uv.re married at the age of five
years, forty four at four, thirty six at three, six at two:and three at
the age of one ! the babies in the last instance carrying a price of
from three hundred and fifty to four hundred rupees a head.
Strange, as it may sound, bargains are sometimes struck for children
in Ihe womb. Such a scandalous state of things is a disgrace to
society, rind Ihernture cannot have, n higher function than to show
up such practices and give currency to a high standard of moral
ideas. Until reading habits prevail among the masses, one must
look only to the stage to exert such healthy influence. These
considerations prompted me to rornpos^ LnriyaMflkarn.
I clothed the pla\ in the spoken, dialect, not only that if is
better intelligible to the public than die literary dialect, but also
from a conviction that it is die proper comic diction for Telugu,
Dramatic style Is, no doubt, determined to some extent by usage,V * r
but the absence of rmv real dramatic lltera Sure in Teingu, leaves a
writer free to adopt that outward form which he drcms most
anm'onriate for ihe prcsentat ion of his ideas. The rnelres in us-? inill *
Tclugu, with their allitCTfuive re.siririions, are incapable of imparting
to language conversational ease which Is indispensable in a comedy,
or contimtily in which, as Mr. Ward remarks, lies real life. One
miffht invent new dramatic measures but it world be a, superfluouso *
task, so far at least as comedy is concerned, as prose is gaining
ground all over the world for dramatic purposes.
It has been remarked that the use of what is wrongly termed
the vulgar tongue mars the dignity of a literary production, but tha, t
is a peace of criticism which one need not heed at the prrneru day
VvVuU'i the progress of tli6 Science of Language has c?
11
standards for judging the quality and usefulness of tongues than th<
whims of Grammarians of old linguistic strata. The Telugu literary
dialect contains many obsolete grammatical forms, an inconvenient!)
large mass of obsolete words and arbitrary verbal contractions anc
expansions which were necessitated by a system of versificatior
based both on alliteration and on quantity. A license, which, nc
doubt, has its own advantages of introducing Sanskrit words to ai
unlimited extent has been but too eagerly availed of by poets wh<
brought glossaries into requisition, revelled in fantastic compoundformation, and made the Telugu literary dialect doubh dead. This ij o j */ *
not the place to dilate on the question of linguistic reform; but thin
much might be said. If it is intended to make the Telugu literar
dialect a great civilizing medium, it must be divested of it
superfluous obsolete and Sanskrit elements, aud brought closer to the
spoken dialect from which it must be thoroughly replenished. Thenis not much dialectical difference in the Telugu generally spoken ii
the various parts of the Telugu country ; so a new common literar
dialect can be established with comparative ease if only able writer
set about it in right earnest.
Recently, I happened to read Bmkmamuaham by Rai Bahadu
Viresalingam Pantulu Garti and found that there were some paralle
passages in our plays, a thing perfectly natural considering that hi
piece traversed the whole field of Brahmin marriages. But it wil
be seen that these plays have little else in common, our treatmen
being essentially different. Brahmaviua/iam was meant to ,be a puncomedy of manners, while in Kanyaiulkam humour," characterization
and the construction of an original and complex plot have beei
attempted with what success, it is for the public to judge.
VIZIANAGRAM)
G. V. A.1st January 1897 \
PREFACE TO THE SECOND EDITION
It was my original intention to reprint the play with slight
alterations, but at the suggestion of my friend Mr. S. Sripivasa
lyengar, for whose literary judgments I have great respect, I recast
it. In the process, it has gained considerably in size. In its present
shape it is almost a new work.
The first edition was marked success. The press gave it a
cordial reception and hailed it as an event in the History of Telugu
Literature, and men, women and children read it with interest.
The only exception was Maharaahopadhyaya K. Venkataratnam,
Pantulu Gam who cannot stand two things in this otherwise perfect
world Social Reform and Spoken Telugu. The first edition was
exhausted in a few weeks, and there lias since been a constant demandfor copies. I long postponed the worry of a second edition and I
undertake it now only at the importunity of friends.
In the Telugu country an author has generally to be his own
publisher and book-seller. There is no book-selling enterprise, and
what book-reading enterprise there is, is due entirely to the exertions
of that venerable body, the Board of Studies. The Christian
Gospels do not speak of an eleventh Commandment "Thou shalt
read ! ", but it is given to the Telugu Board of Studies to Command"Thou shalt read!", and straight, thousands of unfortunate youngmen read books that no mortal can read with profit or with
pleasure.
When I wrote the play, I had no idea of publication. I
wrote -it to advance the cause of Social Reform and to combat a
popular prejudice that the Telugu language was unsuited to the stage.
Itinerant Maharata troupes staged Hindi plays in the Telugudistricts and made money. Local companies copied their exampleand audiences listened with delight to what they did not understand.
The bliss of ignorance could not have been more forcibly illustrated.
Kanyasulkam gave little scope to vulgar stage attractions such as
flaring costumes, sensuous dances, bad music and sham fights ; yet it
drew crowded houses and vindicated the claims of the Vernacular.
I am glad to find that Hindi plays are on the decline But
the condition of the Telugu stage can, by no means, be considered
to be satisfactory. There are no theatres worth the name, and no
professional actors who practise acting as an art. There are not
many good plays either. Modern life which presents complex social
conditions is neglected by play-wrights except for purposes of the
broadest farce, and poverty of invention is manifested by the
constant handling of threadbare romantic topics. Few writers
display any knowledge of technique. Such a low level of literary
workmanship is a matter for wonder after fifty years of University
Education and domination of Western Culture, and it can be
attributed only to the defective teaching of English Literature in
our Colleges. A better state of things cannot, perhaps, be expected
until a strong sense of duty impels English Professors and Educa-
tional Officers to cultivate the vernaculars.
The Telugu intellect is also seriously handicapped by the
tyranny of authority of a highly artificial literary dialect, a rigid
system of alliterative versifications and literary types which have long
played out. I shall say a word here about the Literary Dialect.
Since I wrote the preface to the first edition, the spoken Dialect has,
gained ground. My friend, Principal P, T. Srinivasa lyengar
recently started a Telugu Teaching Reform Society among the aims
and objects of which the cultivation of Vernacular Telugu holds a
prominent place, and Mr. Yates, whose name will always be
remembered in the Telugu districts for the introduction of rational
methods of teaching into our schools, has lent weight to the move-
ment by accepting the Presidentship of the Society.
I cannot understand how modern writers fail to see the merits?
of Spoken, Telugu, its softness which elicited the admiration of forei-
gners, and its range of expression. At this moment, the best prosein the language is in the Spoken Dialect. Strange as it may sound,
Telugu prose owes its origin and development not to the patronage of
kings or to the influence of foreign literatures, but to the exertions
of a curious Englishman who stimulated compilation of local
histories in the vernacular during the early years of the last century.The Mackenzie Collections, no doubt, comprise tracts of unequalmerit but for rythm, flow and directness some of them beat the best
work in the Literary Dialect; and, what is rare in Telugu literature,
they reflect the mind of the people and bear impress of the times,
Unconsciously possibly, Rai Bahadur K. Viresalingam Pantulu Garurendered great service to. Telugu by issuing as the first volume of
Collected voils adaptations of English acting plays and farces of
Indian life written in vernacular of various degrees of purity ; and
the choice does credit to his shrewd common sense, because that first
volume contains his very best work, in fact, his only work that took
the public by storm. The credit of deliberately introducing the
vernacular into Telugu drama in keeping with Sanskrit tradition,
belongs to my friend V.,, Yejoiataraya Sastri Garu whose Pratapa-
rudriyam owes not a little of its charm to dialogue in the dialects.
I believe my play is the first ambitious work in the Spoken Dialect
and, certainly, it has not failed; but success or failure of individual
authors is no test of the capacity of a language.
While the vernacular is thus gaining recognition, the LiteraryDialect itself is approximating to the Spoken Dialect in the best
modern prose which manifests great freedom of usage. Rai BahadurK. Viresalingam Pantulu Garu, the most prominent figure in the
Telugu World of letters at the present day, has set the example of
laxity in the observance of the Law of interchange of soft and hard
consonants after a drita nasal. Hardly a modern writer would
escape censure if judged by rules of grammar and established usage,and in the school room, Pandits have relaxed insistence on rigidobservance of rules of Sandhi. The moral of this tendency to break
through traditional restrictions is clear. The old Literary Dialect is
felt to be an inconvenient instrument, and there is an unconscious
effort to form a new Literary Dialect. My complaint is that this
movement is illogically slow.
I view the Telugu Literary Dialect as a great disability
imposed by tradition upon the Telugus. Let those who love fetters
venerate it. My own vernacular for me, the Living Telugu, the
Italian of the East in which none of us is ashamed to express our
joys and sorrows, but which some of us are ashamed to write well.
Literature in the Vernacular will knock at the door of the peasant ;
and it will Knock at the door of the Englishman in India. Its
possibilities are immense.,
No argument in favour of a Vernacular Literature is neededwith persons who are conversant with the history of the EnglishDialects and the Prakrits, and I know it is not arguments that will
evolve a New Literary Dialect for Telugu. A great writer mustwrite and make it. Let us prepare the ground for him.
Vll
The cause of Social Reform has received strong support froma recent decision of the Madras High Court in which a full bench
consisting of ChiefJustice Sir Arnold White, and Justices Miller andMunro ruled : "That a contract to make payment to a father in
consideration of his giving his daughter in marriage is immoral and
opposed to public policy within the meaning of Section 23 of the
Indian Contract Act".
I had to contend with one difficulty in printing this book.There are many sounds in the Spoken Dialect which are not
represented in the Telugu Alphabet. In the present state of Teluguphonetics, I had to content myself with indicating such sounds by ahorizontal line placed over the nearest symbols; and I employed theArdhanusvara after a nasal. The creation of new symbols andtheir adoption into type canjbe effected only after a more widespreadrecognition of the Spoken Dialect.
My best thanks are due to Messrs. G. Ramaswami Chetty &Co., who cheerfully undertook to adopt my innovations, and didtheir part of the work to my entire satisfaction.
"ELK HILL HOUSE '
OOTACAMUND ^ G. V A1st May 1909
Some Press Opinions on the First Edition
.... Mr. Appa Row is, apparently, a man of original ideas in literary
matters He has wisely and happily discarded for the purposes of his comedythe unnatural, stilted, pedantic, literary dialect so much beloved of Telugu
Pandits, and so unduly prized by them, and employed, instead, the simple,
ordinary language of common life now in use among all classes of the population
in the Northern districts of the presidency. The book, therefore, marks a newand bold departure in Telugu dramatic composition, or for the matter of that, in
Telugu composition in general .The literary tendencies of the present time
running, as they do, in such a narrow groove, and being of so stereotyped a
character, it speaks very highly, we think, for our author's literary courage, a
courage bordering on audacity, that he has been able to set at naught the absurd
literary canons of this degenerate age and risen above the prevalent grammatical
and literary superstitions in regard to Telugu composition. But, not only has he
thus boldly used a new literary diction which, though unsanctified by existing
usage among authors, bears the stamp and seal of popular approval and universal
use;but he has likewise shown unmistakable merit in constructing a singularly
original and interesting plot and creating a variety of characters true to life, which,
we are sure, if represented on the stage, will greatly please any Telugu audience,
let alone the reading public who nay peruse the drama in the retirement of the
study or the library. We have, therefore, much pleasure in recommending"Kanyasulkam" to all our Telugu readers. . . .The characters are all boldly drawn
and the whole piece is very happily put together and aristically constructed,
evincing no little originality and dramatic skill on the part of the author. Jhe
People9* Friend, January 21, 1807.
Kanyasulkam ought to be widely read. It is very agreeable reading and wehave read it almost at one sitting. But the naturalness of expression and the skill
of plot are the least of its merits. It holds the mirror up to nature. . . .Such is the
plot of Kanyasulkam. And what scope it affords for the representation of Indian
character in its various aspects, needs scarcely to be pointed out. Nor has Mr.
Appa Row wasted his opportunities .... Jhe Weekly Review, March 27, I8Q7*
The piece, besides displaying much incident and humour, possesses the . very
necessary element of characterization, a trait often conspicuous by its absence in
our old plays Jhe Jelugu Harp.
The play has been acted several times, and judging, from the large audience
which crowded the theatre on each occasion, the author must be congratulated
upon the success which the exhibition of his work produced .... Jhe East
Coast News.
The plot is well conceived and skilfully worked out. The characters are all
aptly chosen. Jhe Indian Journal Education.
11
Mr. Appa Row deserves to be congratulated The Indian Soda! Reformer.
It is full of wit and humour and falls in with the spirit of the times. Thedialogue is lively and very interesting, and we have nothing but praise and admira-
ion for the author DhimanL
Its story which is very humourous inculates wholesome moral lessons.-
Balika.
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The predominating Rasa (emotion) in the play is humour. A careful studyof the book is sure to bring home to the mind of the reader the need for social
reform. As the author mentions in his preface, this work has been written on lines
different from Brahma Vivaha and other social .reform dramas. . . .May this workwhich has been composed for the good of the people, put an end to some of theevils in the country. .. .May this work which is intelligible to the masses, spreadall over the country and help the cause of Social Reform. Chintamanh
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My dear Venkatesazn
Twinkle I Twinkle ! little star,
How I wonder what yon are !
There is a white man in the tent.
The boy stood on the burning deckWhence all but he had fled-
Upon the same base and on the same side of it
the sides of a trepezinm are equal to one another.Of man's first disobedience and the fruit of that
mango tree, sing, Venkatesa, my very good boy,Nounsendingin/or/k change their forfo into ve$.
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THE Wi DO WShe, leaves her bed at A. M. four,And sweeps the dust from off the floor,And hea| s It all behind the door,
The Widow !
Of wondrous size she makes the cafce,And takes much pains to boil and bake,'And 'eats It all 'without mistake,
The. Widow !
through 'fasts and feasts she keeps her health,And pie on pie/ she stores by stealth,Till all the town talk of her wealth,
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The Widow !
And 'now and then she takes a mate,And lets the hair grow on her pate,And cares a hang what people prate,
The Widew !
I love the widow however she be,
again- or single free,
Bo 6 c5ir* o g" $$x> 3-9
Bathing and praying,Or frisking and playing,
A model of saintliness,
Or model of comeliness,
What were the earth,
for her birth ?
The Widow !
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iTRAL LSBRARYAshpK
G52109
Hyderabad City Grandhalaya Samstha
HYDERABAD
Ace No. Call No.
This back must be returned before the date
last stamped below, failing which a fine of 5 Ps.
per day from the date the booK was due will be
charged