Apart from his traditional instinct he had a rare quality of modern thought and expression which has captioned him as an extraordinary genius. His speciality creative literature is equally identified in his critical works also. He achieved a prominent place for his discernable and evaluative criticism which is original and objective.

His multifarious critical works are found in different forms of essays, lectures, prefaces, commentaries, articles in the encyclopaedias and Radio plays which are great both in quality and quantity. He rendered exclusive critical works on classical Telugu Poets Nannaya, Nachana Somana and Allasani Peddana.

“Nannayagari Prasanna Katha Kalitarthayukti” (1954) ably brought out the poetic qualities of Nannaya, the Chaucer of Telugu poetry which has stimulated the emergence of diverse critical works on Nannaya. The peculiarities of Nachana Somana were vigorously exhibited by Vishwanatha in his “Okadu Nachana Somana” (1979). His another noteworthy criticism on the craftsmanship of Allasani Peddana with the name “Allasani Vani Allika Jigibigi” is so marvelous dealing with the Unity of theme and Characterisation of Pravara and Varudhini etc.

In addition to the above, he wrote significant essay on the other classical poets Tikkana, Sri Krishna Devaraya, Tenali Rama Krishna and Bhattumurthy. All his works are authentic and books of rare kind and felt as Talisman on the writing wrists of many who followed his foot prints.

Being a profound scholar in Sanskrit he rendered works on Sanskrit Literature also. His “Sakuntalam Yokka Abhignanatha (1961) is of criticism. He explored the undermined richness of Kalidasa’s world famous drama through his microscopic study and brought out the interlaced sub-themes of the concept viz. The qualities of “Satpurusha”, “Antahkarana” and the curse of Durvasa. He uncovered them successfully laying here the minute but most valuable points implied in it with his rare insight and pungent criticism. His last Chapter dealing with the characterization of Vidushaka (the jester) personifying him with the heart and heart of Dushyanta may be crowned as the best observation.

This book is the best commentary on Kalidasa, the greatest. Perhaps no other book of similar kind in other languages may stand comparison with this brilliant work.

“Vishwanatha Sahityopanyasamulu” (1964) containing three lectures on “Kalidasa and Bhavabhooti”, “Ramayana and Mahabharata” and “Santa Rasa and Karuna Rasa”, is evidence of his wide knowledge in diverse fields of science like Astronomy, Astrology etc., and also of his comprehensive reading of the ancient classics.

His ‘Sahitya Surabhi’ (1969) and “Kavya Pareemalam” (1970) are vivid expositions of the famous poems and topics or events of abounding popularity in Telugu Classics. The qualities of poetry, prabandha and poetic traditions are discussed by him minutely with complete perception and intensive study in the above works. He published ‘Kavyanadam’ also which teaches the principles of Poesy.

Apart from the books, he wrote many critical essays on a number of occasions published in the journals and encyclopaedias. To quote a few of them, his essays on ‘Krityadyavastha’ (1936) on the beginning of a poetic effort and ‘lyrical poetry’ (1939) stand very distinctive.

Prefaces to various books written by Viswanatha Satyanarayana also depict his supreme quality and introvertive capacity. His prefaces which appeared in the MSCO series of popular Telugu classics as well as in different books of modern poetry need to be published as a single collection which will be useful as a treasure of knowledge and masterly criticism. Finally his Radio plays, reviewing the Telugu literature written from the Ancient period to the Modern Age prove his significant outlook and sovereign expression.

Thus Viswanatha occupies a prominent place in Telugu criticism with his sincere investigation of soul and depiction of genius which are missing in the works of many others. His authenticity of expression, indepth scholarliness, critical introspection and inventive talent put him on the top of all critics of modern period. His books on the Sanskrit and Telugu poets are the best examples of applied criticism. 

Another special characteristic of him is that the objective criticism manifested by him outwitted the subjective criticism introduced by C.R. Reddy. With a due respect to the principles of aesthetics, he did not let them dominate and supported the principles cited by Telugu poets individually. His critical attitude always preferred to find a correlation between the analytical, comparative, symbolic and psychological elements with different old and new interwoven methods of critical approach.

He gave a perfect shape of criticism accepting the brightest points of the Western and Eastern lookout. His theories and opinions on classical and modern literature are enlivening evergreen being quoted and referred to in discussions even today one and all.

In short, he is a conscientious critic who strove for the progress of Telugu criticism. The development of criticism started as a bud from C.R. Reddy in the early part of the century and attained glory and perfection as a complete flower with vigour and aroma in Viswanatha who reverentially honoured the language with his gigantic erudition. 

Prof. S V Rama Rao