276:. She was therefore paying for a mistake that was anyone's but hers and was being accused of being unfaithful to a husband she did not have. Ramappa Panthulu is a middle man and very incompetent one at that. He tries to twist and turn every situation in his favor, but ends up being entangled in the very mess he himself created in the first place. He is a victim of his own making. Probably, Madhuravani and PootaKoolla 'Munda' are the only characters who have strong moral footing and maintain their stand throughout the play. There are no surprises, shocks, or suspense regarding the characters of the persons and flaws in their characters, if any, are laid out clearly by the playwright.
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society is depicted in a very real fashion, without glorifying it so that it has the effect of being 'in-your-face'. Numerous interesting characters spring up during various points of the play, such as the widowed owner of a local food court, referred to as
Pootakoolla 'Munda' (the word in quotes being an offensive word for a widow, originating from 'Mundan', meaning shaving, in
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of
Girisam during the beginning of the play, and that of Ramappa Panthulu in the rest of the play, is portrayed as a very righteous, wise, magnanimous and able woman who is willing to even bend over backwards to help someone in need. This way the play sought to take on the prejudices and practices of
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The play also has numerous lighter moments, notably regarding the marriage of the stingy old man, Lubdhavadhanulu. Much of that comedy occurs as dialogue between
Girisam and his various love interests, and also during the marriage of Lubdhavadhanulu to a boy disguised as a girl. Contemporary Indian
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Brahmin and a key player in the play, barbarically slams his food plate onto the face of his young, widowed daughter, when she requests that he reconsider his decision to marry his pre-pubescent daughter to an old man. The practice of parents arranging the marriages of their pre-pubescent daughters
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and Telugu, because during that period, a woman had to shave her hair off after her husband's death), the debauched and widowed daughter of
Lubdhavadhanulu, Meenakshi, and the son of Lubdhavadhanulu. They are very much similar in their notions and prejudices to the people one may see in any Indian
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In
Girisam, we can see that kind of a young man who is opportunistic, yearns for momentary pleasures, desires easy money and is unwilling to work, for the simple reason that he is too fickle-minded to hold any particular job for a considerable amount of time. He is so unwilling, in fact, that he
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preface to the first edition states: "Such a scandalous state of things is a disgrace to society, and literature can not have a higher function than to show up such practices and give currency to a high standard of moral ideas. Until reading habits prevail among masses, one must look only to the
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wouldn't think twice about taking the easiest path to fulfilling his desires, even if he is trampling upon someone else's life while he is on his way. He claims to be a progressive, but claiming is all he does. In
Meenakshi, we may see a woman who might have been widowed even before she hit
78:; these works could only be understood by the educated elite. Gurajada's mission was to reach out to the masses, so he broke with tradition (he called the literary dialect "doubly dead" in his preface) and wrote in the vibrant and colorful spoken language of the day.
259:, with a particular character in the play even shrivelling away from everyone and everything like a touch-me-not, lest he might lose his sanctity. (He even has to perform some "religious cleansing" for the things someone touched before he can touch them.)
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in Telugu-speaking areas of southern India. Controversial in its time, this play continues to be one of the most popular Telugu literary works of all time. A number of expressions used by
Gurajada in this play are still popular in modern-day Telugu.
109:. It deals primarily with the lives of the "upper caste" Brahmins of the area, although it offers a few insights into the lives of other people as well. The play centers on Gireesam, an
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who takes her morals seriously. Although it maintains a surface of humor through satire, the play conveys the "disgrace to society" that outraged
Gurajada.
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stage to exert such healthy influence." Traditionally, Telugu literary works were written in a highly stylistic language with complicated words and
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contemporary Indian society head-on. The play includes a few gut-wrenching scenes such as one where
Agnihothravadhanulu, an
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Gurajada wrote this play to raise awareness about what he felt was a scandalous state of affairs in society. His
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Narala, Veerayya. "Kanyasulka
Punahsrushti". In Modali, Nagabhushana Sharma; Etukuri, Prasad (eds.).
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to old men for cash was very prevalent during those days, and was referred to popularly as
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drama has 2 versions, both written by Gurajada Apparao 15 years apart. The 2nd version of
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252:, literally meaning "money in lieu for a girl", which also forms the title of the play.
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20th Century Telugu Luminaries, Potti Sriramulu Telugu University, Hyderabad, 2005
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The play also depicts, amusingly, the practices of orthodox Brahmins, such as
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language, and it is the first Telugu play to deal with social issues.
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461:. South Delhi Andhra Association – via Google Books.
485:"The life and greatness of Sri Gurajada Venkata Apparao"
487:. Vignana Sahiti Publications – via Google Books.
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in 1892. It is one of the earliest modern works in an
322:, Chaya Devi and Hemalatha, under the direction of
165:a.k.a. '"Mahesam"', Disciple of Karataka Sastri
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419:Apparao, Gurujada Venkata (1 January 2002).
387:"Gurajada's patriotic song set to go places"
368:"Gurajada's literary contribution recalled"
385:Sarma, G. v Prasada (22 September 2016).
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222:"'Siddanthi"' Friend of Ramappa Pantulu
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483:Suryanarayana, Peri (1 January 1968).
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56:) which was common among the priestly
457:Rau, M. Chalapathi (1 January 1976).
406:"Time we perpetuated Gurajada memory"
159:, Brother-in-law of Agnihotravadhanlu
141:, Elder daughter of Agnihotravadhanlu
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404:Gopal, B. Madhu (26 December 2012).
366:Staff Reporter (22 September 2016).
177:, Widowed daughter of Lubdhavadhanlu
500:Kanyashulkam Noorella Samalochanam
105:(Vijayanagaram) princely state in
48:The play portrays the practice of
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353:"ಗುರಜಾಡ ವೆಂಕಟ ಅಪ್ಪಾರಾವ್ – ಚಿಲುಮೆ"
294:with an ensemble cast including
171:, Ramachandrapuram agrahareekudu
129:, Krishnarayapuram agrahareekudu
540:Indian plays adapted into films
459:"Gurazada Commemorative Volume"
502:(in Telugu). pp. 102–112.
425:. Book Review Literacy Trust.
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23:Kanyasulkam (disambiguation)
135:, Wife of Agnihotravadhanlu
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535:Telugu-language literature
308:Vinnakota Ramanna Panthulu
284:The play was adapted into
189:, cousin of Lubdhavadhanlu
153:, Son of Agnihotravadhanlu
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435:– via Google Books.
213:, Mantrikudu and vaidyudu
16:1892 Telugu-language play
312:Govindarajula Subba Rao
101:The play is set in the
93:was published in 1909.
52:(roughly translates to
408:– via The Hindu.
545:Telugu-language plays
268:village even today.
193:Saujanyaravu pantulu
21:For other uses, see
225:"'Panta Siddanthi"'
280:In popular culture
199:Bheemaravu pantulu
525:Indian literature
304:C.S.R. Anjaneyulu
245:male-chauvinistic
234:Madhuravani, the
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217:Madhuravani
91:Kanyasulkam
87:Kanyasulkam
54:bride price
30:Kanyasulkam
530:1892 plays
514:Categories
330:References
230:Characters
151:Venkatesam
115:prostitute
82:Background
391:The Hindu
372:The Hindu
175:Meenakshi
139:Bucchamma
65:Objective
265:Sanskrit
241:egoistic
201:, Vakeel
195:, Vakeel
187:Gireesam
163:Sishyudu
145:Subbamma
133:Venkamma
58:Brahmins
316:Gummadi
300:Savitri
274:puberty
111:English
97:Setting
71:English
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205:Nayudu
43:Indian
35:Telugu
76:meter
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427:ISBN
257:Madi
236:muse
288:as
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