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Telugu names are usually in two parts, with a third part added if the person has a high-caste status. The first part of the name is the family name, which is used in a formal or a legal context or when the family is referred to. Agni-hotra’s family name is Nulaka. The family name is often initialed at the beginning of the name. For example Girisam refers to himself as N. Girisam, and we are not even told what the “N” stands for. The second part of the name is the given name, e.g., Lubdha, Agnihotra , Ramappa. The third part of the name is a title appropriate to the caste. Avadhanlu and Sastri are titles of Vaidikis. These were Brahmins who performed rituals, studied sacred texts, and were scholars of Sanskrit . Vaidikis in the play tend to be humble, while Niyogis look down upon them as incapable of handling worldly matters. Based on the family names given, many of the Vaidikis in the play seem to be modeled after a smaller subgroup of Vaidikis called Dravidas, though Apparao does not mention that distinction. For instance, Agni-hotra Avadhanlu, Lubdha Avadhanlu, Karataka-sastri, and Girisam appear to be Dravidas. Girisam does not carry a caste title, perhaps because he is still young and does not have a status in society or perhaps he is modern and does not want to carry a caste title. Dravidas are so called because they migrated from the Dravidian (Tamil) area south of Andhra. This is a famous branch of Brahmins from whom some of the greatest Sanskrit scholars came. A number of Dravida families lived in Vizianagaram in Apparao’s days. Dravidas maintained their individual caste identity among themselves, but outsiders generally consider them Vaidikis, as does Apparao. Pantulu is the title applied to the Niyogis among Brahmins. This is a branch of Brahmins who adopted a secular lifestyle and held political jobs. Niyogis were known to be proud of their status. In the play Ramap-Pantulu insists on an honorific “-garu” suffixed to his name when people call him. Setti (derived from Sanskrit tresti) is the title of the merchant caste Vaisyas, locally known as Komatis, as is indicated by the name of Subbi Note on Names and Castes 192 Note on Names and Castes Setti. Komatis are stereotyped as calculating, reluctant to take social risks, and unwilling to take sides in a quarrel. Nayudu is the caste title adopted by Kapus in the area of northern Andhra, a group of land-owning, high-caste non-Brahmins who are proud of their martial spirit and leadership status in the society. Somi Nayudu, the hereditary village chief, and the retired army man Havaldar Acc’anna, belong to this caste. Havaldar is a rank in the colonial Indian Army. Women and low castes have no caste titles; they are known only by their given names. Given names of courtesans often reflect some aspect of feminine beauty, as for instance, Madhura-vani (“One who has an intoxicating voice”). Several women’s names may end in an amma (“mother”); for example, Bucc’amma (Bucci+amma). Asiri, the servant at Lubdha Avadhanlu’s house belongs to a low caste and does not carry a caste title and neither do Manavallayya or Viresa. The latter two persons belong to the non-Brahmin Vaishnava and Saiva castes, called Satani and Jangam, respectively. The Day-Meal-Woman in the play is never referred to by her given name; her profession has become her name. The practice of calling people by their profession cuts across castes. For instance, the Head Constable, whose caste is not identified but who is clearly of a high caste; the Village Head, a non-Brahmin; and the Siddhanti, a Brahmin are all called by the name of their professions. Some people may have their professional title prefixing their given name, as for instance, Priest Gavarayya. In three instances Apparao adopts the style of naming his characters by a positive or a negative moral value they represent, a practice much in vogue among writers of moral tales such as Hitopadeta or allegorical novels such as John Bunyan’s Pilgrim’s Progress. Agni-hotra Avadhanlu is so called because agnihotra (fire) indicates his short temper. Similarly, Lubdha means miserly and saujanya means goodness. Apparao followed this practice when he wrote the first version of the play, which was clearly intended for didactic purposes. He did not change these names when he revised...

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