[In this series, Dr. Chengalva Ramalakshmi and Mr. Boddapati Chandrasekhar introduce renowned Telugu short story writers.]
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Many Shades of a Pen – Creative Versatility of Sri Vihari
“Setting my foot in Bandar (Machilipatnam) I found myself overwhelmed with emotion, as I recalled the footsteps once graced by literary legends like Tirupati Venkata Kavulu, Malladi Ramakrishna Sastry, Viswanatha, Adavi Bapiraju, and Katuri Venkateswara Rao, I bowed to that sacred soil.”
That’s how Vihari, the illustrious Writer, reminiscences about his first visit to that place. The name Vihari is quite familiar and very popular in the literary world.
In the rich tapestry of Telugu literature, Vihari stands as a vibrant and multifaceted voice.
This article explores many hues of his imagination, the range of themes he touches upon, and the unmistakable signature of Vihari’s pen.
Glorious Literary Journey:
His ceaseless dedication and creative vigour inspire an overwhelming sense of admiration. Be it short stories, poetry, epics, plays, essays, literary criticism, conducting crossword puzzles , mentoring in story writing workshops, or orations at literary gatherings—every stream of literary expression flows into the confluence that is Sri Vihari.Even now, this octogenarian continues to do so. Such is his love and passion for the written word !
Early Life and Education
Born on October 15, 1941, in Tenali to Smt. Sridevi and Sri Jonnalagadda Medha Dakshinamurthy. Though named Satyanaraya Murthy, he assumed ‘Vihari’ as his pen name. The hardship of poverty he suffered early iViharih developed in him resilience and determination. Although he finished SSLC with good marks, he could not continue his education . He entered a job to lead the family, pursued his studies and did his PG. A voracious reader and deep thinker as he is , his introspection and literary sensibility were shaped through extensive study.
Inspiration and Influences:
Eminent writers Tripuraneni Gopichand, Chaso and Madhurantakam Rajaram had a profound impact on him. While being well Conversant in Indian literature and its trends, he is well-read in English and world literature. This has refined his literary sensibility.
A Blossoming Career :
Assuming..Vihari..as his pen name, he began his literary journey. His first short story ‘Raaga Jyoti’ was published in the weekly ‘Chukkani’.
Since then, he wrote voluminously. Driven by his passion for literature, Sri Vihari carved out a distinct space and a niche for himself in Telugu literary world. He excelled in every genre he ventured into. With a blend of talent and determination, he evolved into a master storyteller, critic, and orator, becoming a beacon for aspiring writers. His works permeates the fragrance of creativity, like the blossom of a literary Parijata.
Creative Output:
He began his literary journey in 1962.So far he has published 17 short story anthologies , 7 novels, several critical essays, a literary anthology, and 5 poetry collections. He also composed the
- Yoga Vasishta Sara and
- the Sumantrudu..a khandakavya (minor epic).
His essay compilations like Sameeksha, Katha Kruthi, and Navalaakruti Veekshanam received wonderful appreciation. The breadth and richness of his contributions to Telugu Literature in all its genres is quite amazing.
Awe-inspiring, indeed!
Marvel of Literary Creation:
Sri Vihari’s literary ocean flows in two magnificent streams – prose and poetry. For decades, he has carved a niche as a master of expressive writing, earning accolades and soaking in a rain of praise for his effortless yet profound creations.
While all his other works weigh down one side of his literary balance, Sri Pada Chitra Ramayanam and Jagannatha Pandita Rayalu alone tip the other side with equal weight. Why? Let’s examine.
First, Sri Pada Chitra Ramayanam, comprising over 6,500 words, is a visual delight in verse. With vivid word-paintings, he brings to life each character, their attire, and their inner worlds. From Valmiki to Vishwanatha, and beyond – how many, how far, how rich the tradition!
With poetic meters like Manibhushanam, Druta Vilambitam, Rajamarālam, and Swāgatam, he even experiments with innovative prosody like Jagaddhitam, crafting verses of rare rhythm and resonance. He uses madhyakkara prayoga (mid-syllabic echo) with striking skill and elegance:
“Pongindi pongindi ganga, pongi uppongindi ganga,
Sankeerna hankāra garva sankeerna chakrāntaranga..”
Describing the swelling of the sacred Ganga in just three verses, he stirs the reader’s mind into waves of wonder. Through this poetic epic, Sri Pada Chitra Ramayanam, Sri Vihari has attained wide renown, his name shining bright among great creators of classical verse.
The second novel is ‘Jagannatha Pandita Rayalu’. Vihari penned a serialized biographical account of the great scholar Jagannatha Pandita in this literary magazine.. Sanchika. This earned him both acclaim and popularity. In making
Lavangi’s character remains framed within the canvas, Vihari has shown a lot of propriety and discretion.. preserving the towering literary grandeur of Jagannatha Pandita Rayalu.
His sharp research skills and remarkable narrative style, enriched with poetic language, made the work captivating. As the episodes unfolded, they mesmerized both lay readers and literary connoisseurs alike, drawing praise from scholars and critics for their depth and literary finesse.
It is now available as a novel.
‘Jagannatha Pandita Rayalu’ is a marvellous novel that awakens aesthetic delight and evokes rasa in the hearts of readers. The linguistic flourishes and vivid similes within it stand as glowing examples of Vihari’s refined sensitivity and rich imaginative power. More than mere embellishments, they become an integral part of the narration, enhancing its lyrical charm.
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**Enjoy these gems of expression:
*The night trembles gently in its indigo hue.
*A new civilisation unfurls its wings.
*Delhi curls up beneath a blanket of snow – ‘sharayi’, a word beautifully tuned to the place and the context .
Such is the greatness of these novels.
No wonder.. the LITERARY WORLD unanimously regard them as Vihari’s ‘Magna Opera’.
VIHARI’S KATHASILPA OR TECHNIQUE:
Vihari opines that society, human life, place and time are the four pillars on which Katha is structured. It is truly reflected in his stories.
As a Storyteller:
Sri Vihari has penned over four hundred stories. personality and worldview. From this vast body of work, twenty-five select stories that truly capture his essence have been compiled under the title “Vihari Kathalu”. These were read and acclaimed by readers and literary luminaries alike.
Some of these stories have been translated into Kannada, Tamil, and English.
Let us look at two stories from this collection:
1. Kottha Neeru (New Water)
Sri Vihari tells his stories with the fewest possible words, yet evokes the greatest possible meaning. This quality – minimum words, maximum essence – is what gives his writing its striking beauty, regardless of genre. When we read between the lines, we see the deeper truths unfold.
Let’s take a look at how the story begins:
> “It was cool outside. But inside, there was heat and smoke. The weather outside was pleasant. Inside, it was gloomy.
Outside was open and vast. Inside, cramped and narrow.”
In just a few lines, he contrasts the atmosphere outside the house with the turmoil inside it – both literally and emotionally. The phrase “inside, heat and smoke” reflects the tension simmering among the people in the house. “Inside, it was gloomy” hints at the irritability clouding their minds. “Inside, cramped” symbolises the suffocating emotional space and internal conflicts.
Have you observed how skillfully Vihari has created the ambience for the story at the outset?
This is a wonderful for katha Silpam or TECHNIQUE.
Now, about the title of the story..
Kottha. Neeru (New Water). katha Silpam
Sometimes it can be in the very title as in the present story. Just like fresh water flows in, pushing the stale water forward, in the river of life, new thoughts emerge but eventually become old. That’s inevitable. This story reflects the emotional turbulence across three generations – like the unstoppable flow of a river, it captures their inner upheavals.
2. Bathukanta Chaavu (A Life Full of Death)
Rangamma’s life is one of struggle, with no support from a man. She gets her livelihood by working as a domestic help. Her alcoholic husband died due to his drinking. She has a daughter, Karuna, who is pursuing her studies.
One day, Karuna arrives at her mother’s workplace and tearfully recounts how her teacher scolded and beat her for not bringing her books, and how her classmates mocked her.
> “There’s never any money for books. But there’s always some for food.
‘What kind of girl are you growing up to be?’ he said, giving me that look.. ugh..”
These words stun Rangamma. And look at how Vihari captures her internal grief in just a few lines:
> “Inside the mother’s heart, it was raining – heavily. A flood. She was drowning. Powerless.”
Such powerful, layered emotion – so simply put. Again, when Karuna mentions that look from the employer’s son, a chill runs down Rangamma’s spine. He had evil intentions. The mother, terrified, takes action:
> She gets her daughter to join her in work.
“I’ll make her do what I do. That’s safer.”
The story narrates Rangamma’s helplessness and inner turmoil with piercing brevity:
The story title “Bathukanta Chaavu” – a life full of death – is metaphorical. If death means suffering, Rangamma and Karuna live in a continuous state of it. Pain, hardship, and the hellish existence they endure is their daily life.
The portrayal of inner struggle, emotion of the characters is what is described as Katha Silpam. The final lines of the story are a testimony to Sri Vihari’s literary maturity and his skill in brieviety.
> “Hands without fists – what stories can they tell?
The mind must speak.”
*Essay Collections:
His collections of literary essays – Sameeksha, Kathakruti, and Navalakruti Veekshanam – have earned high praise from critics for their insightful analysis and depth.
As a Columnist:
He has contributed to various magazines with columns under diverse titles such as Parichayalu – Paramarsalu, Batuku Geethalu, and Katha Viharam. His writing particularly resonates with the youth – a group close to his heart. After all, they are the future of the nation! With the intent to inspire and guide them, he penned a series of thoughtful essays under the title Yuva, focusing on nurturing a positive outlook and aiding personality development. These essays have proven especially meaningful and impactful for young readers.
Research on His Works:
Three scholars have been awarded Ph.D. degrees for their research on Sri Vihari’s life and literature – one from Osmania University focusing on his overall literary journey, another from Andhra University for his contribution to short fiction, and a third from Nagarjuna University for his poetic work Sreepada Chitra Ramayanam.
Additionally, two scholars received M.Phil. degrees – one from Nagarjuna University for the study of his essay collection Kotta Neeru, and another from Madras
University for research on his short story anthology ‘Kitiki Teriste’.
Virtues of Humility:
Sri Vihari is known for his gentle nature and measured speech. These qualities are often highlighted and admired by fellow writers, literary enthusiasts, and acquaintances alike. His serene temperament and graceful composure lend him an air of simplicity and sincerity, enabling him to connect with both scholars and common readers in equal measure. These very traits have earned him the affection and respect of many. This is what it means when wisdom is guided by discretion — a rare and admirable quality worthy of emulation.
“Very affable and amiable as he is, Vihari is both soft-spoken and sweet-spoken. His simplicity and unassuming nature are quite admirable — a truly endearing quality.”
*A Mark of Maturity and Literary Finesse:
These reflections stand as strong testimony to Vihari’s literary maturity and his rare ability to express profound meaning in just a few words. He is a writer who doesn’t believe in spoon-feeding every detail to the reader – nor should he. A good writer knows when to step back and leave room for the reader’s imagination and interpretation. In doing so, he not only elevates his own writing but also enriches the reader’s literary sensibility. Sri Vihari belongs to that rare league of writers.
In fact, the story Mouna Lipi (The Silent Script) from this very collection was highly appreciated by the renowned storyteller Sri Munipalle Raju, who felt it stood on par with the works of Gorky, Anton Chekhov, and William Saroyan.
*As a Critic and Mentor:
Sri Vihari is known for encouraging budding writers with a gentle pat on the back and honest, yet sensitive, feedback. He points out their flaws with grace and tact, helping them grow without discouragement. Many who received his guidance have gone on to blossom into fine writers. After all, it is only when a bud opens and unfolds its petals that we can truly experience its fragrance!
*Essay Collections:
His Kathakruti (The Art of the Short Story) series, spanning three volumes, introduces and analyzes the works of hundreds of writers – both men and women – with deep insight into their short stories and novels. These essays not only earned Sri Vihari the affection of aspiring writers but also remain valuable critical studies of literary art.
*His contributions to Telugu literature – particularly Vihari Kathanika Vasturupalu (Narrative Forms in Short Stories) and Navalakruti (The Structure of the Novel) – are invaluable. These works can rightly be regarded as treatises on the art and craft of literature.
Such a rich literary backdrop, profound creative skill, and versatility across literary forms – all mark Sri Vihari as a towering figure in Telugu literature.
*Honours, felicitations, and awards :
The Yugakarta Gurajada Award, the Sripada Subrahmanya Sastry Literary Award, the Ajo Vibho Kandalam Foundation Life Achievement Award (worth one lakh rupees), and the Ravi Sastry Literary Award – these are just a few among the many honours that Sri Vihari earned.
His short story anthology.. Palla Chakram.. won him the State Sahitya Akademi Award in 1977. He also served as a member of the Sahitya Akademi for a period – a testament to his stature and contribution to literature.The breadth and richness of his contributions to literature in all its genres is quite amazing.
Jayanti te sukṛtino rasa-siddhāḥ kavīśvarāḥ |
Nāsti teṣāṁ yaśaḥ-kāye jarā-maraṇajaṁ bhayam ||
