There is something about Annamacharya’s life that caught my imagination starting from the year 2007, and ever since I am completely hooked. This concluding article, I am certain, is not the last article that I will ever write about him. Initially I planned many more articles that would have included topics on Alimelumanga, Sanskrit compositions, literary works, social compositions, philosophical compositions, comparative studies and so on. This would have been an unending series if not for this reluctant conclusion.
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The mind of a composer can be understood only through his compositions. What he did and what he said verbally matter very little. An outburst of thought, especially when he goes through serious introspection, is conveyed to his beloved Lord in the language that only he and his God can understand; the language of love and devotion. Any other form of communication will fail to convey his true feelings. To truly understand his feelings one has to elevate oneself to that level of devotion and put oneself in his shoes to feel what he felt. By listening to his compositions we get a taste of that love between the composer and his God. At times such compositions take us into a trance and we nearly experience what the composer experienced as tears roll down our cheeks.
The offspring of a pandit rarely turns out to be another pandit. Greatest heroes in the history rarely produced one of their own kind. This is an unexplainable justice that nature imposes on all beings. In the case of Annamacharya, however, this justice was delayed by at least a couple of generations. Annamacharya’s family starting with Himself and two generations down the line produced some of the best known literary figures. They may not have equaled Annamacharya in his fame and caliber, but they carved their own space in the history of Telugu literature. Many important literary works of this illustrious Tallapaka family came to light from the time the copper plates were discovered in the year 1922.