8
Tambura, Swaramandala, Ravanahasta, Udukka, Dande, Chengu and showed their dexterity in bandling them. Some other ladies, sang high class Desi or folk music, Dwipadas were sung, Yakshagana music was exhibited by some, while others with Talas sang, Jra, Savvāla, Dhavala. and Ela. (1-24).
In the Marga style, some ladies delicately brought out all the aspects of Gamaka, Sthayi, Raga and Prabandha. "Such is the exquisite beauty of the dances and perfect mastery of the art that even Vidyadharas, the born dancers from heaven wished to come down to the Court, and join with them in human form." Thus concludes Kalakavi. (1–26)
In the realm of Sahitya one lady is mentioned.
KRISHNAMĀMBA.
Krishnamāmba is such an adept in prosody, that she was able to compose in any vritta or metre selected in no less than 134217726 varieties. She was able to complete any given samasya (a pada of verse) both in Telugu and Sanskrit. She is the pupil of Kalakavi.-(1-27)
SĀHITYARÃYA PENDERAMU.
Vijayarāghava was wearing an anklet of gold styled as Sahityaraya pendara, which is an emblem of his victories, not only on his foes in the battle - field but his foes in literary battle-field. It represented his sway over the Tanjore Sāmrājya, as well as Sāhitya Sāmrājya (the realm of literature). Kālakavi describes this in no less than 6 verses-(72-78)
