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			{{Short description\|18th-century Telugu poet and scholar}}
	{{Use dmy dates\|date=July 2018}}		{{Use dmy dates\|date=July 2018}}
	{{Use Indian English\|date=July 2018}}		{{Use Indian English\|date=July 2018}}
	[[File:~~Tanjore Nayak Kingdom~~.jpg\|thumb\|~~Tanjore Nayak Kingdom~~]]		[[File:Costumes de Differents Pays, 'Bayadere' LACMA M.83.190.203.jpg\|thumb\|303x303px\|Contemporary depiction of an 18th century [[Devadasi]]]]
	'''~~Muthupalzhani~~''' ({{floruit\|{{circa\|1750}}}}) was a [[Telugu language\|Telugu speaking]] [[poetry\|poet]] and ''[[devadasi]]'' attached to the court of [[Pratap Singh of Thanjavur\|Pratap Singh]] (1739–63), the [[Thanjavur Maratha kingdom\|Maratha king]] of [[Thanjavur\|Tanjore]]. Some commentators date her life to 1739-90, and her place of birth as [[Munagapaka\|Nagavasram]] in [[Thanjavur district]].<ref>~~Muthupalzhani~~. (2011). ''Radhika Santwanam—The Appeasement of Radhika''. Trans. Sandhya Mulchandani. New Delhi: Penguin, p. xi.</ref> She is noted as a poet and scholar and particularly for her erotic epic ''[[Rādhikā-sāntvanam]]'' ("Appeasing Radha").~~This book was translated into Tamil by D.Uma Devi from university of Delhi~~		'''Muddupalani''' ({{floruit\|{{circa\|1750}}}}) was a [[Telugu language\|Telugu speaking]] [[poetry\|poet]] and ''[[devadasi]]'' attached to the court of [[Pratap Singh of Thanjavur\|Pratap Singh]] (1739–63), the [[Thanjavur Maratha kingdom\|Maratha king]] of [[Thanjavur\|Tanjore]]. Some commentators date her life to 1739-90, and her place of birth as [[Munagapaka\|Nagavasram]] in [[Thanjavur district]].<ref>Muddupalani. (2011). ''Radhika Santwanam—The Appeasement of Radhika''. Trans. Sandhya Mulchandani. New Delhi: Penguin, p. xi.</ref> She is noted as a poet and scholar and particularly for her erotic epic ''[[Rādhikā-sāntvanam]]'' ("Appeasing Radha").

	==Life==		==Life==
	[[File:Pratap Singh of Thanjavur.jpg\|thumb\|Pratap Singh of Thanjavur]]		[[File:Pratap Singh of Thanjavur.jpg\|thumb\|Pratap Singh of Thanjavur\|280x280px]]
	~~Muthupalzhani~~ was well versed in [[Telugu language\|Telugu]] and [[Sanskrit]] literature, was an accomplished dancer, and came from a ''devadasi'' family:<ref>Pran Nevile, "[http://www.tribuneindia.com/1999/99dec12/sunday/head3.htm The courtesan was also a scholar]", ''[[The Tribune (Chandigarh)\|The Tribune]]'', 12 December 1999, accessed 8 December 2010; Paromita Bose, ‘"Devadasi" Reform in Colonial South India: The Case of ''Radhika Santwanam'' ’, in ''Transcultural Negotiations of Gender'', ed. by S. Bhaduri and I. Mukherjee (Springer India, 2016), pp. 115-21 (p. 116). DOI 10.1007/978-81-322-2437-2_11.</ref>		Muddupalani was well versed in [[Telugu language\|Telugu]] and [[Sanskrit]] literature, was an accomplished dancer, and came from a ''devadasi'' family:<ref>Pran Nevile, "[http://www.tribuneindia.com/1999/99dec12/sunday/head3.htm The courtesan was also a scholar]", ''[[The Tribune (Chandigarh)\|The Tribune]]'', 12 December 1999, accessed 8 December 2010; Paromita Bose, ‘"Devadasi" Reform in Colonial South India: The Case of ''Radhika Santwanam'' ’, in ''Transcultural Negotiations of Gender'', ed. by S. Bhaduri and I. Mukherjee (Springer India, 2016), pp. 115-21 (p. 116). DOI 10.1007/978-81-322-2437-2_11.</ref>

	<blockquote>~~Muthupalzhani~~ was the granddaughter of an exceptionally gifted courtesan called [[Tanjanayaki]], who was not only a talented musician but was also adept at the [[Rasa (aesthetics)\|nava rasas]]. At her soirees, where music and conversation flowed, she entertained learned scholars and aristocrats. But ... she longed to have children. She adopted a boy and a girl, children of [[Ayyavaya]], a man she considered her brother. She raised the young boy, whom she named [[Muthyalu]], to adulthood, and got him married to another talented and beautiful courtesan called [[Rama Vadhuti]]. A staunch devotee of Lord [[Kartikeya\|Subramanya Swami]], Muthyalu named his first-born daughter after the temple town of [[~~Palzhani~~]] where stands a famous temple dedicated to the beautiful warrior son of Lord Shiva. Keeping the surname ~~Muthu~~ before the name, a general practice in the south, ~~Muthupalzhani~~ was thus born into an extremely talented, artistic and devout household.<ref>~~Muthupalzhani~~. (2011). ''Radhika Santwanam—The Appeasement of Radhika''. Trans. Sandhya Mulchandani. New Delhi: Penguin, pp. xi-xii.</ref></blockquote>		<blockquote>Muddupalani was the granddaughter of an exceptionally gifted courtesan called [[Tanjanayaki]], who was not only a talented musician but was also adept at the [[Rasa (aesthetics)\|nava rasas]]. At her soirees, where music and conversation flowed, she entertained learned scholars and aristocrats. But ... she longed to have children. She adopted a boy and a girl, children of [[Ayyavaya]], a man she considered her brother. She raised the young boy, whom she named [[Muthyalu]], to adulthood, and got him married to another talented and beautiful courtesan called [[Rama Vadhuti]]. A staunch devotee of Lord [[Kartikeya\|Subramanya Swami]], Muthyalu named his first-born daughter after the temple town of [[Palani]] where stands a famous temple dedicated to the beautiful warrior son of Lord Shiva. Keeping the surname Muddu before the name, a general practice in the south, Muddupalani was thus born into an extremely talented, artistic and devout household.<ref>Muddupalani. (2011). ''Radhika Santwanam—The Appeasement of Radhika''. Trans. Sandhya Mulchandani. New Delhi: Penguin, pp. xi-xii.</ref></blockquote>

	She became one of the consorts of Pratap Singh,<ref>~~Muthupalzhani~~. (2011). ''Radhika Santwanam—The Appeasement of Radhika''. Trans. Sandhya Mulchandani. New Delhi: Penguin, p. xii.</ref> whose court was noted for its patronage of the arts, and whose predecessors included [[Raghunatha Nayak]] (r. 1600-34), whose court also played host to numbers of skilled female poets and musicians, such as [[Ramabhadramba]] and [[Madhuravani]]:		She became one of the consorts of Pratap Singh,<ref>Muddupalani. (2011). ''Radhika Santwanam—The Appeasement of Radhika''. Trans. Sandhya Mulchandani. New Delhi: Penguin, p. xii.</ref> whose court was noted for its patronage of the arts, and whose predecessors included [[Raghunatha Nayak]] (r. 1600-34), whose court also played host to numbers of skilled female poets and musicians, such as [[Ramabhadramba]] and [[Madhuravani]]:

	<blockquote>Unlike a family woman in her time, as a courtesan ~~Muthupalzhani~~ would have had access to learning and the leisure to write and practise the arts. She would have owned property and expected and enjoyed functional equality with men. Obviously, the esteem in which ~~Muthupalzhani~~ was held and the acclaim her work received can be attributed as much to the contexts, literary and social, she drew upon as to her own talent.<ref>''Women Writing in India: 600 B. C. to the Present'', ed. by Susie Tharu and K. Lalita, 2 vols (London: Pandora, 1991), I 6.</ref></blockquote>		<blockquote>Unlike a family woman in her time, as a courtesan Muddupalani would have had access to learning and the leisure to write and practise the arts. She would have owned property and expected and enjoyed functional equality with men. Obviously, the esteem in which Muddupalani was held and the acclaim her work received can be attributed as much to the contexts, literary and social, she drew upon as to her own talent.<ref>''Women Writing in India: 600 B. C. to the Present'', ed. by Susie Tharu and K. Lalita, 2 vols (London: Pandora, 1991), I 6.</ref></blockquote>

	The ''Rādhikā-sāntvanam'' seems to reflect ~~Muthupalzhani~~'s own experiences of sexual and interpersonal relationships:<ref>''Women Writing in India: 600 B. C. to the Present'', ed. by Susie Tharu and K. Lalita, 2 vols (London: Pandora, 1991), I 117.</ref>		The ''Rādhikā-sāntvanam'' seems to reflect Muddupalani's own experiences of sexual and interpersonal relationships:<ref>''Women Writing in India: 600 B. C. to the Present'', ed. by Susie Tharu and K. Lalita, 2 vols (London: Pandora, 1991), I 117.</ref>

	<blockquote>apparently, her grandmother Tanjanayaki too had been a consort of the king, displaced by ~~Muthupalzhani~~. After a few years, when the king renewed his attentions towards the older woman, the young and petulant Muddupalani is said to have become progressively jealous and taciturn, leaving the ~~kind~~ no option but to appease her.<ref>~~Muthupalzhani~~. (2011). ''Radhika Santwanam—The Appeasement of Radhika''. Trans. Sandhya Mulchandani. New Delhi: Penguin, pp. xii-xiii.</ref></blockquote>		<blockquote>apparently, her grandmother Tanjanayaki too had been a consort of the king, displaced by Muddupalani. After a few years, when the king renewed his attentions towards the older woman, the young and petulant Muddupalani is said to have become progressively jealous and taciturn, leaving the king no option but to appease her.<ref>Muddupalani. (2011). ''Radhika Santwanam—The Appeasement of Radhika''. Trans. Sandhya Mulchandani. New Delhi: Penguin, pp. xii-xiii.</ref></blockquote>

	Little more is known of ~~Muthupalzhani~~'s life, beyond what can be gleaned from the ''Rādhikā-sāntvanam'', in which she says		Little more is known of Muddupalani's life, beyond what can be gleaned from the ''Rādhikā-sāntvanam'', in which she says

	::Which other woman of my kind has		::Which other woman of my kind has
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	::won such acclaim in each of the arts?		::won such acclaim in each of the arts?
	::You are incomparable,		::You are incomparable,
	::~~Muthupalzhani~~, among your kind.		::Muddupalani, among your kind.
	::[...]		::[...]
	::A face that glows like the full moon,		::A face that glows like the full moon,
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	::matching the glance.		::matching the glance.
	::These are the ornaments		::These are the ornaments
	::that adorn ~~Palzhani~~,		::that adorn Palani,
	::when she is praised by kings.<ref>''Women Writing in India: 600 B. C. to the Present'', ed. by Susie Tharu and K. Lalita, 2 vols (London: Pandora, 1991), I 116-17.</ref>		::when she is praised by kings.<ref>''Women Writing in India: 600 B. C. to the Present'', ed. by Susie Tharu and K. Lalita, 2 vols (London: Pandora, 1991), I 116-17.</ref>



	==Works==		==Works==
	[[File:Brooklyn Museum - Krishna and Radha Seated on a Terrace.jpg\|thumb\|Brooklyn Museum - Krishna and Radha Seated on a Terrace]]		[[File:Brooklyn Museum - Krishna and Radha Seated on a Terrace.jpg\|thumb\|Brooklyn Museum - Krishna and Radha Seated on a Terrace]]
	Her best-known work is ''[[Rādhikā-sāntvanam]]'' ("Appeasing Radha"), an [[love poetry\|erotic]] [[narrative poem]] that deals with the marital relationship of the deity [[Krishna]], his female friend [[Radha]] and new wife [[Ila (Hinduism)\|Ila]], and the appeasement of the jealousy of Radha. Much later it was added that she received the concept of this poem when Krishna visited her in a dream and suggested that she write about the subject.<ref>Velcheru Narayana Rao and David Shulman, ''Classical Telugu Poetry: An Anthology'', "~~Muthupalzhani~~", pp. [http://publishing.cdlib.org/ucpressebooks/view?docId=kt096nc4c5&chunk.id=ch24&toc.id=ch13&brand=ucpress 293-296]</ref> The poem became the subject of a censorship controversy in the early 20th century, because of its sexual frankness, and especially, because it portrayed its women characters as taking the initiative in sex.<ref>Susie J. Tharu and Ke Lalita, ''Women Writing in India: 600 B.C. to the early twentieth century'' (Feminist Press, 1991; {{ISBN\|1-55861-027-8}}), pp. [https://books.google.com/books?id=u297RJP9gvwC~~&pg=PA118&lpg=PA118~~&dq=Radhika+Santwanam&~~source~~=~~bl&ots=dmKsdFWoNL&sig=SaeUUMqLNEiD849alYZigpshxwI&hl=en&ei=Cu__TPfwOsOqlAe1r9HfCA&sa=X&oi=book_result&ct=result&resnum=2&ved=0CBwQ6AEwAQ#v=onepage&q=Radhika%20Santwanam&f=false~~ 116-119]~~</ref>~~		Her best-known work is ''[[Rādhikā-sāntvanam]]'' ("Appeasing Radha"), an [[love poetry\|erotic]] [[narrative poem]] that deals with the marital relationship of the deity [[Krishna]], his female friend [[Radha]] and new wife [[Ila (Hinduism)\|Ila]], and the appeasement of the jealousy of Radha. Much later it was added that she received the concept of this poem when Krishna visited her in a dream and suggested that she write about the subject.<ref>Velcheru Narayana Rao and David Shulman, ''Classical Telugu Poetry: An Anthology'', "Muddupalani", pp. [http://publishing.cdlib.org/ucpressebooks/view?docId=kt096nc4c5&chunk.id=ch24&toc.id=ch13&brand=ucpress 293-296]</ref> The poem became the subject of a censorship controversy in the early 20th century, because of its sexual frankness, and especially, because it portrayed its women characters as taking the initiative in sex.<ref>Susie J. Tharu and Ke Lalita, ''Women Writing in India: 600 B.C. to the early twentieth century'' (Feminist Press, 1991; {{ISBN\|1-55861-027-8}}), pp. [https://books.google.com/books?id=u297RJP9gvwC&dq=Radhika+Santwanam&pg=PA118 116-119]</ref>

	Muthupalzhani's other well-known work is ''[[Ashtapadi (Muthupalzhani)\|Ashtapadi]]'', a [[Telugu language\|Telugu]] translation of [[Jayadeva]]'s eponymous work.<ref>{{cite book\|last=Luniya\|first=Bhanwarlal Nathuram \|title=Life and culture in medieval India\|year=1978\|publisher=Kamal Prakashan\|page=159\|oclc=5749542}}</ref><ref>{{cite book\|last1=Madhavananda\|first1=Swami\|last2=Majumdar\|first2=Ramesh Chandra\|title=Great women of India\|year=1982\|publisher=Advaita Ashrama\|pages=338–339\|oclc=9702931}}</ref> She also translated the ''[[Thiruppavai]]'' by [[Andal]],<ref>Paromita Bose, ‘"Devadasi" Reform in Colonial South India: The Case of ''Radhika Santwanam'' ’, in ''Transcultural Negotiations of Gender'', ed. by S. Bhaduri and I. Mukherjee (Springer India, 2016), pp. 115-21 (p. 116). DOI 10.1007/978-81-322-2437-2_11.</ref> and experimented with a form called ''saptapadalu'', seven-lined songs, none of which survive.<ref>''Women Writing in India: 600 B. C. to the Present'', ed. by Susie Tharu and K. Lalita, 2 vols (London: Pandora, 1991), I 118.</ref>

			Muddupalani's other well-known work is ''[[Ashtapadi (Muddupalani)\|Ashtapadi]]'', a [[Telugu language\|Telugu]] translation of [[Jayadeva]]'s eponymous work.<ref>{{cite book\|last=Luniya\|first=Bhanwarlal Nathuram \|title=Life and culture in medieval India\|year=1978\|publisher=Kamal Prakashan\|page=159\|oclc=5749542}}</ref><ref>{{cite book\|last1=Madhavananda\|first1=Swami\|last2=Majumdar\|first2=Ramesh Chandra\|title=Great women of India\|year=1982\|publisher=Advaita Ashrama\|pages=338–339\|oclc=9702931}}</ref> She also translated the ''[[Thiruppavai]]'' by [[Andal]],<ref>Paromita Bose, ‘"Devadasi" Reform in Colonial South India: The Case of ''Radhika Santwanam'' ’, in ''Transcultural Negotiations of Gender'', ed. by S. Bhaduri and I. Mukherjee (Springer India, 2016), pp. 115-21 (p. 116). DOI 10.1007/978-81-322-2437-2_11.</ref> and experimented with a form called ''saptapadalu'', seven-lined songs, none of which survive.<ref>''Women Writing in India: 600 B. C. to the Present'', ed. by Susie Tharu and K. Lalita, 2 vols (London: Pandora, 1991), I 118.</ref>

			''Rādhikā-sāntvanam'' was translated into Tamil by D.Uma Devi from university of Delhi.

	==References==		==References==
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	[[Category:18th-century Indian poets]]		[[Category:18th-century Indian poets]]
	[[Category:18th-century Indian women writers]]		[[Category:18th-century Indian women writers]]
	[[Category:Women of the Maratha Empire]]		[[Category:Women from the Maratha Empire]]
	[[Category:Poets from Tamil Nadu]]		[[Category:Poets from Tamil Nadu]]
	[[Category:People from Thanjavur]]		[[Category:People from Thanjavur]]
			[[Category:Writers from Thanjavur district]]
			[[Category:Indian courtesans]]

->Scorpions13256: Removing from Category:18th-century Indian writers using Cat-a-lot

2021-07-10T05:27:28Z

Removing from Category:18th-century Indian writers using Cat-a-lot

New page

{{Use dmy dates|date=July 2018}}
{{Use Indian English|date=July 2018}}
[[File:Tanjore Nayak Kingdom.jpg|thumb|Tanjore Nayak Kingdom]]
'''Muthupalzhani''' ({{floruit|{{circa|1750}}}}) was a [[Telugu language|Telugu speaking]] [[poetry|poet]] and ''[[devadasi]]'' attached to the court of [[Pratap Singh of Thanjavur|Pratap Singh]] (1739–63), the [[Thanjavur Maratha kingdom|Maratha king]] of [[Thanjavur|Tanjore]]. Some commentators date her life to 1739-90, and her place of birth as [[Munagapaka|Nagavasram]] in [[Thanjavur district]].<ref>Muthupalzhani. (2011). ''Radhika Santwanam—The Appeasement of Radhika''. Trans. Sandhya Mulchandani. New Delhi: Penguin, p. xi.</ref> She is noted as a poet and scholar and particularly for her erotic epic ''[[Rādhikā-sāntvanam]]'' ("Appeasing Radha").This book was translated into Tamil by D.Uma Devi from university of Delhi
==Life==
[[File:Pratap Singh of Thanjavur.jpg|thumb|Pratap Singh of Thanjavur]]
Muthupalzhani was well versed in [[Telugu language|Telugu]] and [[Sanskrit]] literature, was an accomplished dancer, and came from a ''devadasi'' family:<ref>Pran Nevile, "[http://www.tribuneindia.com/1999/99dec12/sunday/head3.htm The courtesan was also a scholar]", ''[[The Tribune (Chandigarh)|The Tribune]]'', 12 December 1999, accessed 8 December 2010; Paromita Bose, ‘"Devadasi" Reform in Colonial South India: The Case of ''Radhika Santwanam'' ’, in ''Transcultural Negotiations of Gender'', ed. by S. Bhaduri and I. Mukherjee (Springer India, 2016), pp. 115-21 (p. 116). DOI 10.1007/978-81-322-2437-2_11.</ref>

<blockquote>Muthupalzhani was the granddaughter of an exceptionally gifted courtesan called [[Tanjanayaki]], who was not only a talented musician but was also adept at the [[Rasa (aesthetics)|nava rasas]]. At her soirees, where music and conversation flowed, she entertained learned scholars and aristocrats. But ... she longed to have children. She adopted a boy and a girl, children of [[Ayyavaya]], a man she considered her brother. She raised the young boy, whom she named [[Muthyalu]], to adulthood, and got him married to another talented and beautiful courtesan called [[Rama Vadhuti]]. A staunch devotee of Lord [[Kartikeya|Subramanya Swami]], Muthyalu named his first-born daughter after the temple town of [[Palzhani]] where stands a famous temple dedicated to the beautiful warrior son of Lord Shiva. Keeping the surname Muthu before the name, a general practice in the south, Muthupalzhani was thus born into an extremely talented, artistic and devout household.<ref>Muthupalzhani. (2011). ''Radhika Santwanam—The Appeasement of Radhika''. Trans. Sandhya Mulchandani. New Delhi: Penguin, pp. xi-xii.</ref></blockquote>

She became one of the consorts of Pratap Singh,<ref>Muthupalzhani. (2011). ''Radhika Santwanam—The Appeasement of Radhika''. Trans. Sandhya Mulchandani. New Delhi: Penguin, p. xii.</ref> whose court was noted for its patronage of the arts, and whose predecessors included [[Raghunatha Nayak]] (r. 1600-34), whose court also played host to numbers of skilled female poets and musicians, such as [[Ramabhadramba]] and [[Madhuravani]]:

<blockquote>Unlike a family woman in her time, as a courtesan Muthupalzhani would have had access to learning and the leisure to write and practise the arts. She would have owned property and expected and enjoyed functional equality with men. Obviously, the esteem in which Muthupalzhani was held and the acclaim her work received can be attributed as much to the contexts, literary and social, she drew upon as to her own talent.<ref>''Women Writing in India: 600 B. C. to the Present'', ed. by Susie Tharu and K. Lalita, 2 vols (London: Pandora, 1991), I 6.</ref></blockquote>

The ''Rādhikā-sāntvanam'' seems to reflect Muthupalzhani's own experiences of sexual and interpersonal relationships:<ref>''Women Writing in India: 600 B. C. to the Present'', ed. by Susie Tharu and K. Lalita, 2 vols (London: Pandora, 1991), I 117.</ref>

<blockquote>apparently, her grandmother Tanjanayaki too had been a consort of the king, displaced by Muthupalzhani. After a few years, when the king renewed his attentions towards the older woman, the young and petulant Muddupalani is said to have become progressively jealous and taciturn, leaving the kind no option but to appease her.<ref>Muthupalzhani. (2011). ''Radhika Santwanam—The Appeasement of Radhika''. Trans. Sandhya Mulchandani. New Delhi: Penguin, pp. xii-xiii.</ref></blockquote>

Little more is known of Muthupalzhani's life, beyond what can be gleaned from the ''Rādhikā-sāntvanam'', in which she says

::Which other woman of my kind has
::felicitated scholars with such gifts and money?
::To which other women of my kind have
::epics been dedicated?
::Which other woman of my kind has
::won such acclaim in each of the arts?
::You are incomparable,
::Muthupalzhani, among your kind.
::[...]
::A face that glows like the full moon,
::skills of conversation, matching the countenance.
::Eyes filled with compassion,
::matching the speech.
::A great spirit of generosity,
::matching the glance.
::These are the ornaments
::that adorn Palzhani,
::when she is praised by kings.<ref>''Women Writing in India: 600 B. C. to the Present'', ed. by Susie Tharu and K. Lalita, 2 vols (London: Pandora, 1991), I 116-17.</ref>

==Works==
[[File:Brooklyn Museum - Krishna and Radha Seated on a Terrace.jpg|thumb|Brooklyn Museum - Krishna and Radha Seated on a Terrace]]
Her best-known work is ''[[Rādhikā-sāntvanam]]'' ("Appeasing Radha"), an [[love poetry|erotic]] [[narrative poem]] that deals with the marital relationship of the deity [[Krishna]], his female friend [[Radha]] and new wife [[Ila (Hinduism)|Ila]], and the appeasement of the jealousy of Radha. Much later it was added that she received the concept of this poem when Krishna visited her in a dream and suggested that she write about the subject.<ref>Velcheru Narayana Rao and David Shulman, ''Classical Telugu Poetry: An Anthology'', "Muthupalzhani", pp. [http://publishing.cdlib.org/ucpressebooks/view?docId=kt096nc4c5&chunk.id=ch24&toc.id=ch13&brand=ucpress 293-296]</ref> The poem became the subject of a censorship controversy in the early 20th century, because of its sexual frankness, and especially, because it portrayed its women characters as taking the initiative in sex.<ref>Susie J. Tharu and Ke Lalita, ''Women Writing in India: 600 B.C. to the early twentieth century'' (Feminist Press, 1991; {{ISBN|1-55861-027-8}}), pp. [https://books.google.com/books?id=u297RJP9gvwC&pg=PA118&lpg=PA118&dq=Radhika+Santwanam&source=bl&ots=dmKsdFWoNL&sig=SaeUUMqLNEiD849alYZigpshxwI&hl=en&ei=Cu__TPfwOsOqlAe1r9HfCA&sa=X&oi=book_result&ct=result&resnum=2&ved=0CBwQ6AEwAQ#v=onepage&q=Radhika%20Santwanam&f=false 116-119]</ref>

Muthupalzhani's other well-known work is ''[[Ashtapadi (Muthupalzhani)|Ashtapadi]]'', a [[Telugu language|Telugu]] translation of [[Jayadeva]]'s eponymous work.<ref>{{cite book|last=Luniya|first=Bhanwarlal Nathuram |title=Life and culture in medieval India|year=1978|publisher=Kamal Prakashan|page=159|oclc=5749542}}</ref><ref>{{cite book|last1=Madhavananda|first1=Swami|last2=Majumdar|first2=Ramesh Chandra|title=Great women of India|year=1982|publisher=Advaita Ashrama|pages=338–339|oclc=9702931}}</ref> She also translated the ''[[Thiruppavai]]'' by [[Andal]],<ref>Paromita Bose, ‘"Devadasi" Reform in Colonial South India: The Case of ''Radhika Santwanam'' ’, in ''Transcultural Negotiations of Gender'', ed. by S. Bhaduri and I. Mukherjee (Springer India, 2016), pp. 115-21 (p. 116). DOI 10.1007/978-81-322-2437-2_11.</ref> and experimented with a form called ''saptapadalu'', seven-lined songs, none of which survive.<ref>''Women Writing in India: 600 B. C. to the Present'', ed. by Susie Tharu and K. Lalita, 2 vols (London: Pandora, 1991), I 118.</ref>

==References==
{{reflist}}
{{MarathaEmpire}}

{{Authority control}}

[[Category:Telugu poets]]
[[Category:Indian women poets]]
[[Category:18th-century Indian poets]]
[[Category:18th-century Indian women writers]]
[[Category:Women of the Maratha Empire]]
[[Category:Poets from Tamil Nadu]]
[[Category:People from Thanjavur]]