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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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Bathing and praying,Or frisking and playing,

A model of saintliness,

Or model of comeliness,

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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