Editing Literary Achievements of King Krishnadevaraya (section)

== Krishnadevaraya's poetical works ==
Krishnadevaraya authored numerous literary works, displaying a genius that allowed him to resonate with the contemporary mindset of his readers, audience, or spectators. Whether he was composing poetry, prose, drama, or musical compositions, his ability to connect with his audience was remarkable. Among his works, ''Āmuktamālyada''<ref>https://archive.org/details/amuktamalyada00krissher</ref> and ''Jambavati Pariṇayam'' have been published and are available, while ''Madālasacaritam'' and ''Satyavadhū Pariṇayam'' remain unavailable.  

Krishnadevaraya stressed on women empowerment and promoted projects that empowered women in his empire. Inscriptional evidence shows us that he had constructed education institutions for women, gymnasiums, and dance halls for about four thousand dancers to learn, exercise and stay fit. He encouraged them in their practice of performing arts by constructing theatre schools called ''paṭṭada nāṭaka śāle'' in the royal households.<ref>Saletore, 1934.</ref> Interestingly he has given more women centric titles to his works like ''Āmuktamālyada,'' ''Madālasa Caritam, Jāmbavati Pariṇayam'', ''Satyavadhū Pariṇayam,'' whose target connoisseurs were the people of his country. 

=== ''Jāmbavati Pariṇayam'' ===
In Jāmbavati Pariṇayam, he presented a puranic theme in a dramatic format<ref>Bharatamuniya Natyashastra- 1/14 lecture By Shatavadhani Dr Ra. Ganesh at GIPA available on youtube

</ref> suitable for theatrical performances. This proves that the values preached in the ''purāṇas'' and epics remain ever relevant. ''Jāmbavati Pariṇayam,'' woven from a story in the ''Bhāgavata'', is a five-act drama in which ''Kṛṣṇa'' marries ''Jāmbavati'' during his expedition in search of the precious ''syamantaka'' ''maṇi''. There are some significant aspects of this drama worth noting. First, this drama was specifically written to be performed during the ''Caitrotsava'' of Lord ''Virūpākṣa''<ref>https://www.karnatakatourism.org/tour-item/virupaksha-temple-hampi/</ref> in Vijayanagar, as mentioned at the beginning of the conversation between ''naṭi''<ref>https://sreenivasaraos.com/category/natya/</ref> and ''sūtradhāra'' in the ''prasthāvana'' following the ''nāndi'': 

''<nowiki/>'hemakūṭa''<ref>Hemakūṭa refers to the confluence of three regions namely Penagonda, Andhra and Vijayanagara</ref>''girikatakavāstavyakuṭumbinaḥ karṇārājyarakṣāmaṇeḥ śrī virūpākṣadevasya caitrotsavāvalokanāya saṅgatāpariṣat.'''

''(Ramaraju, 1969)''

The king referring to the entire empire as one family demonstrates his commitment to national unity. This play was composed exclusively for the festive gathering at the ''Virūpākṣa'' temple. The ''Caitrotsava'' at the ''Virūpākṣa'' temple was a grand festival where people from the entire empire congregated to witness the performance<ref>Vāmabhaṭṭa Bhāṇa’s ''Sṛṅgārabhūṣaṇa'' was another play which was presented during ''Caitrayātrā'' ''Mahotsava'' in praise of lord Śiva. We understand various stage presentations techniques in this work.</ref>.

In the conversation mentioned above ''naṭi'' speaks in ''Prakrit'' while ''sūtradhāra'' in ''Sanskrit.'' Unlike the convention of the traditional ''nāṭaka''<ref>Sanskrit drama and performance : Raghavan, V. : Free Download, Borrow, and Streaming : Internet Archive</ref> the author has kept this part simple, specific, and confined to affirmatively explain the purpose of the play. Usage of both ''Sanskrit'' with ''Prakrit'' shows that they were commonly spoken languages. With the genius of a playwright, we constantly see a true patriot in Krishnadevaraya who has not left any stone unturned to install oneness, patriotism and the ''Bhāratīya'' ''sanātana samskṛti'' among his people through his works''.'' 

=== ''Madālasa Caritam'' ===
Theatre arts not only reaches the learned by also the mass audience who are not well-read. He has harnessed this strength of theatre arts by writing these different kinds of plays. ''Madālasa Caritam'' is a story from ''Mārkaṅḍeya purāṇa'' whose ''Madālasa'' ''Upadeśa'' is considered very important. Krishnadevaraya is one of the first playwrights among his contemporaries to write a play based on her. His vision to highlight the strong women while blending it with ''rasadṛṣṭi''<ref>The World of Rasas – Kinds of Heroes and Heroines<nowiki/>https://www.prekshaa.in/world-rasas-kinds-heroes-heroines</ref> is clear through these works. 

=== ''Āmuktamālyada'' ===
''Āmuktamālyada'' is an epic poetry written on ''Godhādevi''<ref>Bhakti and Puranic Traditions in South India c. 700-1200 CE https://www.academia.edu/13012071/Bhakti_and_Puranic_Traditions_in_South_India_c_700_1200_CE</ref> who offered worn garlands to lord ''Śrīnivāsa''. This ''kāvya'' gives all the ingredients required to write up a play around the plot, which is socially relevant, as it is a story of a simple girl, daughter of a priest, who was true to her devotion. The eight verses in the beginning that narrate Krishnadevaraya’s dream are highlight of the work. This dream sequence itself could be developed as a beautiful plot and presented as a ''bhāṇa'' for the very potential that it holds<ref>Adapa Ramakrishna Rao in his work called ''Makers of Indian Litearture'' writes about ''Āmuktamālyada'' as an amalgamation of three different cultures – a ''triveṇi sangama'' of Tamil, Telugu, and Kannada cultures. Srinivasa Reddy who has translated the work into English called ''‘Giver of the worn Garland Krishnadevarāya’s Āmuktamālyada’,'' Penguin books, observes the same about ''Āmuktamālyada''.</ref>''.'' The king in the beginning of the poem describes a dream that he had where lord Vishnu himself came in his dream and asked to write about this story in Telugu<ref>History of Telugu literature<nowiki/>https://pdfs.semanticscholar.org/ddca/fe35eb606567d8e086b258679c9abdc71e35.pdf</ref> language. 
[[File:Shastri page 1907.jpg|thumb|(Shastri, 1907)The verses go as “being well versed in all languages, you composed ''Madālasa Carita, Satyabhāmā Pariṇaya, Sakalakathāsārasaṅgraha, Jñānacintāmaṇi, rasamañjari'' and other ''śṛṅgāra kāvyas'' in Sanskrit and now can’t you in compose in ''Āndhra bhāṣa''?” (Reddy, 2011) . ]]
The dream sequence described here shows the king’s sensitivity to different cultures and intention of binding the two regional cultures. He has done his best to bring the core of Tamil culture<ref>THE POETRY OF THE TAMIL SAINTS https://www.proquest.com/openview/dd99550e4c05e4f80dfcc99a8a266582/1?pq-origsite=gscholar&cbl=18750&diss=y</ref> into Telugu literature. He also states in the beginning that Vishnu asked in his dream to compose this poem to remove the revulsion or disgust that is attached to the fact that he accepted the used garlands; and to compose this in Telugu language particularly. This reflects the king’s social concern. On introspection it is understood that there is a keen intention to remove social discrimination. Here through this the king has also hit the right chords like women empowerment by choosing a female protagonist as his hero in the poetry. He did this by choosing ''Godhadevi’s'' narrative instead of creating some fictional story or abstract concepts in the name of social importance. It can be used by the playwrights of present day to write a ''nāṭaka'' of five acts, as the plot has got all the potential characteristics of a ''nāṭaka''.