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Telugu is more inflected than other literary Dravidian languages. Telugu nouns are inflected for number (singular, plural), gender (masculine and non-masculine) and grammatical case (nominative, accusative, instrumental, dative, ablative, genitive, locative and vocative). [2] There is a rich system of derivational morphology in Telugu.
The Telugu script is also widely used for writing Sanskrit texts and to some extent the Gondi language. It gained prominence during the Eastern Chalukyas also known as Vengi Chalukya era. It also shares extensive similarities with the Kannada script .
His writing style was mostly Telugu, unlike Nannayya whose work was mostly sanskritized. Tikkana used Telugu words even to express very difficult ideas. He used Telugu words and parables extensively. [citation needed] In the colophons of his work, Tikkana calls himself "a friend to both [kinds of] poets" (Ubhaya-kavi-mitra).
Telugu also predominates in the evolution of Carnatic music, one of two main subgenres of Indian classical music and is widely taught in music colleges focusing on Carnatic tradition. [46] Over the centuries, many non-Telugu speakers have praised the natural musicality of Telugu speech, referring to it as a mellifluous and euphonious language ...
The art form was developed particularly by Telugu poets in medieval times. [1] It involves the partial improvisation of poems using specific themes, metres, forms, or words. [2] There is a tradition of mentoring in Avadhanam. The best avadhanis have contributed to the oeuvres of Telugu and Kannada poetry.
Some legends credit Nannaya with writing Andhra-shabda-chintamani ("Magic Jewel of Telugu Words"), a Sanskrit-language work that was the first treatise on Telugu grammar. This lost work is said to have contained five chapters with 82 verses in the Arya metre. [10] Nannaya is said to have written this text with help of his friend Narayana Bhatta ...
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Mahakavi Nandi Thimmana (Telugu: నంది తిమ్మన; c. 15th and 16th centuries CE) was a Telugu poet and an Ashtadiggaja in the imperial court of Emperor Krishnadevaraya of Vijayanagara. He is often called Mukku Thimmana (lit. ' Thimmana of the nose ') after his celebrated poem on a woman's nose.