KUVEMPU

AN EPOCHAL POET
A Life Sketch of Poet, Philosopher Sri Kuvempu

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 Cipher
Lantern
Sri Ramayana Darshanam and Shoes
What is in Kannada?
Laksha- Lakshya
CONTENTS Puttappa and Jatti
If He Was Born Elsewhere
Part 1. Life and Works Part 3. The Thinker in Him
Introduction Medium of Education
Sri. Kuvempu- His Birth, Childhood, and Life Simple marriage for the younger generation
Initiation into Learning- His School Days On Child Marriage
A Poem That Became His Childhood Guru Message of Universal Human
Studies at Mysore The Five Hymns
First English Poem The seven ways
Kannada at the Time of Colonial Rule The song of universal human
Meeting with the Irish Poet James H Cousins Oh! Poet’s peak
Writing poetry in Kannada Come Over to Malenadu
Calcutta Trip His Sayings
Married Life
Teaching and Writing Part 4. Memoirs
Literary Merits The Nest of a Weaver Bird and the Poet -
Works of drama Alige Sannayya Nayaka
Khanda Kavya The Manure Pit- Alige Puttayya Nayaka
The Epic The Upstairs Teacher - Devangi T. Chandrashekar
Complete Works of Poetry Why Call Him A Peon? -Devangi T. Chandrashekar
Prose Works Civet Cat - Devangi T. Chandrashekar
Honours and Awards Goat Hunting – Poorna Chandra Tejasvi
At the End
Part 5. Appendices
Part 2. Few Fascinating Anecdotes
Important years in the life of Sri. Kuvempu
Getting Rid of Rotty Ghost Sri Kuvempu’s Genealogical Tree
Blazing foreign clothes Sri Kuvempu’s Works
Carnage of Bed Bugs
Mugosthra

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 Part 1 : LIFE AND WORKS

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 INTRODUCTION

N o one can write about my life. It has not traversed so

outwardly as to be visible to the eyes of humans,” said Sri
Aurobindo. These remarks serve to warn anyone attempting a
biography. Every man’s life is a product of what is apparent
and what is not. Quite often, biographies document
accomplishments that meet the eye. Inestimable inner conflicts
of the person whose biography someone scripts mostly remain
obscured. It is common. No biography of an achiever can ever
provide an absolute picture of his life, both witnessed and
unseen.
Even though such threats hang about, for many reasons,
we cannot play down the importance of biographies of souls
of great accomplishment. Such people and their lives are
signposts of socio-cultural milieu. The path trodden by them,
and their accomplishments in the sphere of thought and
creativity continually influence both present as well as the
future generations. They come to be recognised as leading
light for generations to come, like what Einstein has said about
Gandhi.

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 The life and works of Sri K.V. Puttappa (Sri. Kuvempu)
has opened up immense possibilities for investigation into
the purpose of human existence, serving a perpetually useful
purpose.
What someone writes about someone else cannot provide
a complete view, much less when the person about whom it is
the one like Sri. Kuvempu.
With all its shortcomings, remembering those who
personify the core values of humanity, that have shouldered
enormous social responsibility, often, is a kind of expressing
gratitude. I present this concise life sketch of Sri K.V. Puttappa,
the poet who is an epoch himself, to the reader with this
SRI. KUVEMPU- HIS BIRTH,
humility. CHILDHOOD, AND LIFE

Sri K.V. Puttappa (Ku.vem.pu: Kuppali Venkatappa

Gowda Puttappa) was born on 29th December 1904. The day
was Thursday, Bahula Sapthami (seventh day of waning moon)
in the month Margasheersha of the year Krodhi according to
the Hindu lunar almanac. The birth star was Uthara. This
happens to be the birthday of Sri Mathe Sharada Devi. (The
Devine Mother is wife of Sri Ramakrishna Paramahamsa) In
fact, it was a matter of great joy and pride for Puttappa.
Puttappa was born in the village Hirekodige, a remote
village in Koppa taluk of Chikkamagalur district in the state
of Karnataka, South India. What we call as villages at the lap
of mighty Sahyadri range of mountains are mostly isolated
single-family houses. Hirekodige like Kuppali is one among
them. Later, Seethamma, maiden mother of a boy baby
Puttappa arrived at the Kuppali house with her cradle bound
child. Then onwards the Kuppali house became his home.

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 Pass past Theerthahalli, house (village) got the name Kuppali: “As one had to hop to
Cross the mother (river) Tunga reach the house, the house got the name Kuppali”. In
My village Kuppali lay Kannada, the word Kuppalisu means ‘hop’.
Nine miles away Kuppali sits on the lap of Sahyadri range of hills of
Not a village, Nay, Malenadu. Dense forests crown these hills. A few yards sneak
For us there from the house towards east takes us to the forest through the
A village meant a house hill. Towards northeast and south lay hills of great heights
The Kuppali house was more affluent and happier than that lift the horizon to mid sky. There are hills toward the
the parental house of Seethamma. People valued the Kuppali west too. However, they are about a mile away. There are
house as ‘Dodda Mane’ – a mansion- and the Kuppali family patches of forest in between. There is an areca plantation
as ‘Dodda Jana’ - great people. Rice fields, areca plantations, between the house and the eastern hill. Bordering the
cattle heads, workers, the power of ‘Patel’ hood -it had plantation, there is a tank that belongs to the Kuppali House.
everything and aplenty. It rests calmly at the foot of the hill. Huge trees, bushes and
The hinterland of Kuppali house thrives with bounty of the bamboo thickets have grown around it.
nature. This provided space to the inner life of Puttappa. It The balcony of the Kuppali house opens to the east sky.
nurtured the budding poet’s heart in him. That was enough Though there are windows on walls covering all sides, it is
for him to later blossom into a great poet. from the balcony that one can see the vast and dense forests
Though nature had bestowed splendour upon Kuppali, it and the range of hills in their enchanting beauty.
had equally cursed the life of commoners with diseases and Just in front of the house, commencing from the areca
the ignorance. In the beginning of the twentieth century, the plantation and stretching into the mid sky, lay the steep hill,
Malenadu region drew some solace for this privation by giving majestically encircled by dense and ever-new-looking forest.
birth to Puttappa, for he would become the forerunner among From the backyard one can see it stretch into the sparsely
the intelligentsia that attempted in the modern times to put vegetated Kavi Shaila –the pinnacle of the ‘poet’s hill’. These
up scientific approach to jostle against the ignorance. That have breathed, like critical lungs, vital air into the young life
made Puttappa -Sri. Kuvempu- stand tall among his that would some day be a great poet. It appears, convincingly,
contemporaries. that the destiny would not have created a better canvas for
Kuppali house is a mansion that looks like a small fortress. blooming of the bud into flower than this.
A huge front door, massive compound wall, and the walls built
paying more attention to endurance than appearance make it
look so. There was a need for keeping them so; they have to
withstand and survive the torrential rains, thunderbolts and
blowing winds. Sri Kuvempu satirically describes how his

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 “That was the time the British Empire had begun to establish
its roots in the Bharatha Khanda- the Indian subcontinent. The
rulers had brought order to the administration system. They
wanted our own people as work force to assist them in running
the administration properly. They therefore introduced a
convenient and befitting education system. Among their
initiatives, most important are introduction of English teaching
and establishing English as the medium of instruction for the
natives.
“… So, shall we stop studying Kannada? In the reign of
Englishman, can we do without learning English? But, who
INITIATION INTO LEARNING- will teach us English, the language of the lords? … When the
HIS SCHOOLDAYS people from Malenadu were busy engrossed in finding answer
to these questions, the missionaries who had the aim of
spreading their religion and converting people to their faith
Sri Kuvempu’s initiation into learning began on the day of entered the Malenadu as vanguards of the British Empire as
‘Saraswathy pooje’ that fell during the Navarathri days. An well as the Christianity and opened schools and hospitals.
Ayyagolu (teacher) from South Canara district initiated the They said to people convincingly, ‘We will show the light to
boy into learning by drawing an auspicious letter on sand. It you who had been Hindus and yet rejected by the Brahmins
was a long drawn ceremony. They gave the boy a ceremonial as Shudras. You are naïve and are in the shadow of ignorance.
bath; sanctified him; taught how to rest the index finger over We shall deliver you from your slavery to the Brahmins.’
the mid finger and to learn each letter by overwriting it many
“The missionaries took the children of the Shudras to their
times. Thus began the learning. Ayyagolu died sometime later.
educational institutions at Mysore and Bangalore; they gave
Then one Nagappa Shetty came from Udupi as a teacher.
them free food, clothing and education and won the admiration
Within six days of his coming, he went to the shandy of Koppa
and gratitude of their parents and their kith and kin. With all
only to disappear from there. He had run away unable to bear
this amity and the closeness they gained, the Christian priests
the never-ending Rama- Ravana battle of the children of
graced the balcony school of the Kuppali house with the
Kuppali house. Someone else came to fill his place. That was
services of an English teacher. His name was Moses. This man,
a drunkard, and a non-stop smoker. Frightened about the fate
Moses was the first teacher to generate interest and
of children left in his hands, the family asked him to leave
inquisitiveness for learning in Kuppali children. His arrival at
immediately. Of course, learning nothing was better than
the balcony school fully wiped out the nomenclature ‘Aigalu’
learning from him.
and installed the noun Master over the throne. Thus, the

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modern world of western influence moved into the balcony school the quiver it created even touched the Kuppali house. Puttappa’s
of the Kuppali house. uncle Ramanna had gone to Madras market at the same time
“The elders that went to Bangalore and Mysore under the the German ship fired at the lighthouse.
influence, encouragement and help of missionaries and He had taken with him areca nuts worth tens of thousands
returned home, had consciously grown a desire to put their of rupees. He had purchased the nuts from farmers with the
wards to schooling, though their own desire to learn English money brought on credit envisioning a huge profit. The people
had died down early in them. who had been to Madras had to run away leaving aside their
They were not certain about the purpose; yet, they had merchandise in order to save their lives. The loss brought untold
thought that the children would never have a future of their misery to the family. They were in huge debts. Differences
own in the British ruled country unless they learnt the language cropped up between the relatives. Puttappa’s father Venkatappa
of the rulers. Because of this understanding, the children from Gowda left Kuppali and went to Theerthahalli to live in the
Kuppali joined the ‘iskool’ at the Theerthahalli town.” hut where the children were staying.
Puttappa’s primary and middle school studies commenced Within two days of his going to Theerthahalli, Venkatappa
with his admission to the Anglo-Vernacular school at Gowda fell ill. Uncontrolled cold, cough, and fever invaded
Theerthahalli. He was in this school when the world fought his body while the turbulence in the family that broke the
its First War (1914-1918). He was growing up with his undivided family distressed his mind. His physical suffering
schoolmates and playmates during those days. grew multi fold. In the result, Puttappa lost his father at a
very early age, in the year 1961.
The war left an indelible mark on his life.
That was the time Danamma, Puttappa’s sister, (eldest
We all know well how the First World War devastated the
among his younger sisters) joined the Theerthahalli School.
lives of people by its direct and indirect consequences and
His mother Seethamma too joined them with his youngest
how people suffered the aftermaths of the war. But, totally
sister to cook food for them and to take their care. Puttappa
obscured from that history, and trivially, the family of Kuppali
stayed at Theerthahalli between 1918 and 1920 and he got
suffered very badly. That is a real tragedy.
through the Kannada and English Lower Secondary
The undivided Kuppali family broke unable to recover from Examinations. It was his desire to continue studies at Mysore.
the losses it suffered owing to the war. Puttappa was then at
After the death of Venkatappa Gowda, Puttappa’s uncle
Theerthahalli pursuing his studies and wandering about the
Ramanna Gowda had taken up the reigns of Kuppali house.
forests around as pastime occupation.
Puttappa’s desire for higher studies did not meet his approval.
Even at this distance of time, one can easily imagine the Ramanna Gowda suggested Puttappa that the joint family
havoc played by the war: A German war ship named Emden, property need be partitioned and hence he should stay back
which had participated in the world war, shot a firearm to take care of the house. Puttappa had implacable ambition
targeting the Madras lighthouse. The impact of shooting and to continue studies come whatever may.

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 About the same time, C.R. Reddy who was then the Principal
Officer in Education Department of the Mysore Province came
to Theerthahalli on an inspection circuit. He was from vokkaliga
community and was keen on development of non-Brahmins.
Therefore, he wanted to meet Devangi Ramanna Gowda who
was most popular among the Gowdas of Malenadu area. Ramanna
Gowda was then a member of the Mysore Praja Prathinidhi Sabha.
Ramanna Gowda summoned his son in law Manjappa Gowda to
converse with Reddy in English. Manjappa Gowda understood
Puttappa’s sheer interest in learning English. He spoke to Reddy
about this. Reddy took interest in further studies of Puttappa at
Mysore. Thus, his dreams to go over to Mysore for further studies A POEM THAT BECAME HIS
came true. CHILDHOOD GURU

Manjappa Gowda who had observed Puttappa’s gifted talent

introduced the poem “A Psalm of life” of noted poet H. W.
Longfellow to him. This was of greatest influence on Puttappa’s
life. It gave him a direction towards acquiring a pattern for his
life.
A Psalm of Life
Tell me not in mournful numbers,
Life is but an empty dream!
For the soul is dead that slumbers,
And things are not what they seem.
Life is real! Life is earnest!
And the grave is not its goal;
Dust thou are, to dust thou returnest,
Was not spoken of the soul.
Not enjoyment, and not sorrow,
Is our destined end or way;
But to act, that each tomorrow

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 Find us farther than today.
Art is long, and Time is fleeting,
And our hearts, though stout and brave,
Still, like muffled drums, are beating
Funeral marches to the grave.
In the world’s broad field of battle,
In the bivouac of Life,
Be not like dumb, driven cattle!
Be a hero in the strife!
Trust no Future, howe’er pleasant!
Let the dead Past bury its dead!
Act, - act in the living Present! STUDIES AT MYSORE
Heart within, and God o’erhead!
Lives of great men all remind us
We can make our lives sublime, Puttappa’s studies continued at the Wesleyan High School,
And, departing, leave behind us Mysore. The English literature he read from the textbooks as
Footprints on the sand of time; a part of the school curriculum greatly attracted him. The
Footprints, that perhaps another, book ‘Studies in Literature’, edited by Pritchard was the first
Sailing o’er life’s solenm main, book that influenced him enormously. This collection of
A forlorn and shipwrecked brother, selected parts of great poetry of great poets unveiled a new
Seeing, shall take heart again. horizon of English literature before him. It introduced him
Let us then be up and doing, to the works of Shakespeare, Milton, Carlyle, Gibbon, Daniel
With a heart for any fate; Depot, and Ruskin.
Still achieving, still pursuing, Puttappa stepped into the Mysore Public Library in search
Learn to labor and to wait. of wealth of English literature. He narrates what he found
- Henry Wadsworth Longfellow there:
“Some were standing near the racks right in front of me
As Puttappa has claimed for himself, this poem was his
reading news papers. Some were sitting in chairs around a big
childhood Guru, the one that opened the eyes of his inner
table reading monthly magazines. I passed past them and
self. It became historically significant as the initiator Guru
entered in. I was amazed. There were plenty of books neatly
after being the childhood Guru. It created a new awareness in
arranged in the cupboards with glass doors. Those books with
him, the one that we see exactly in the above poem.
calico covers of different hues adorned the cupboards. They
were seductively attracting. Their titles were glowing in golden

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colour. The English letters stood flashing like the soldiers in Siddeswarananda. By then his works ‘Beginner’s Muse, Kindari
drill. Tennyson’s poetry, Shakespeare’s plays, Milton’s Paradise Jogi, Amalana Kathe, Haaluru and many others had been
Lost so on. From bottom to the top, wherever you see there published.
were books, books and books! I looked at them repeatedly Between 1920 and 1927, Puttappa studied at the
and the thirst remained unquenched. It was as if the Mother Wesleyan Mission High School and the Maharaja College.
Saraswathy, the splendidly affluent, has just pushed the loose Those days the family problems tormented him. His mother
end of her sari aside and stood there holding her golden cupola died in 1924. Within a few years, his two sisters who had
like ambrosia filled breasts out to her beloved poet son, asking been married by then too died at a young age. Those days he
him with love ‘come on son, suck the milk.’” had a greatly disturbed mind. In such a frame of mind, he
At one end, Puttappa’s life at the high school had even proclaimed himself as Swami Vivekananda.
surrendered to the richness of the English literature while the Most important of literary events in Puttappa’s life occurred
strong current of freedom movement had begun to draw him while he was in the second form of high school. It created an
towards it. A keen study of his writings reveals the influence impulse in him to write the poem ‘Bommanahalli Kindari
of these forces on his works. Jogi’. Sundara was his English teacher then. Once he was
The high school days earned him good friends. It was an teaching the poem Pied Piper of Hamlin to the class. He did
ideal atmosphere for literary activities. The Lotus Leaf Union not just read the poem; he enacted the sequences and explained
started with Bhoopalam Chandrashekaraiah and other friends the sections of the English poem charming his students, while
laid a firm foundation for literary discussions and readings. himself laughing heartily. Pied Piper of Hamlin occupied
Puttappa even served as secretary of this union that was more Puttappa for its dancing rhythm and the exquisite humour
like an academic association. During this time, Puttappa met that made the children laugh so much that it entered his poetic
many literature lovers and their intimacy developed. Na. world and sank into his Bhavakosha. He wrote the poem
Kasthuri was one among them. While he was the secretary of ‘Bommanahalli Kindari Jogi’ in the year 1926 at Shivamogga
the union, Puttappa became a bit familiar with Swami based on that story. That was after 6-7 years. He was
Siddeswarananda of Mysore Ramakrishna Mutt who was convalescing from a sickness. He did not have the original
keenly observing Puttappa’s aptitude. He accommodated poem with him. Many people wrongly believed that the poem,
Puttappa at the hostel of Ramakrishna Mutt. It offered a which he created based on a story heard in the classroom, was
solution for the problems of food and accommodation he was a translation of the Browning’s narrative poem although it
then facing. was neither a translation nor an adaptation of Browning’s work.
Thus, the Ramakrishna Mutt became shelter to Puttappa Puttappa himself had expressed his anguish about the wrong
for over next twelve years. Until he completed his education, notion people carried.
became a teacher, and built a house for him, he stayed at the
Ramakrishna Mutt nursed by the love and affection of Swami

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 Aurangazeb. That was his way of preparing for the examinations.
But, everything evaporated as quickly as he learnt it. I told him:
“I will write the substance of history in English in the form of a
poem with rhythm and meter. It will be easier to read and learn a
poem by heart. If you recite the poem, and understand it, it will
be much easier to write.” He happily agreed. I constructed few
lines under a caption Akbar’s tomb or Aurangazeb’s tomb. The
blessed one easily learnt it by heart and begged for more. I did it
assuming me as though I am an angel granting boons. I later
learnt that it helped him in the examinations. Whatever it is,
that laid foundation for my writing poetry in English.
HIS FIRST ENGLISH POEM

Stranger is the fact that Puttappa, though had such influences,

began to compose poems from a non-poetic influence. He
reminisces:
“As I remember, my first poem came into existence under a
most non-poetic influence. A friend of mine was a student of
history. As it is, history is not a subject that per se troublesome
to the students. We were at the lower secondary class. A book
entitled ‘Hindu Deshada Charithreya Sulabha Patagalu’ (Easy
lessons of the history of the Hindu Nation) was the textbook.
We read the book and enjoyed it as if we were reading a story or
a novel. However, the difficult part of it was remembering the
list of years and the list of Governor Generals that was of little
use to us. We read the life history of Shivaji and the events
related to the war of Panipath the same way as we enthusiastically
read the novels. Even to a student like I who enjoyed reading
stories, poetry, drama, and novels in English, reading history in
English was too disenchanting. Then imagine the fate of other
students who never touched any book other than their textbook.
That friend of mine learnt by heart the issues related to Akbar or

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 for the English language. Firstly, I was mesmerised by the
wealth of its literature; attracted more by its poets for the
reason that the English poets were superior to our poets rather
than the attractive teaching of English poetry in classes. Added
to that the modernity of the subject matter of English poems,
their lyrical qualities, and the beauty of subjective delineation
of the experiences were more captivating than the mythological
narratives of our poets. Secondly, when my thirst for knowledge
had set me on a voyage in search of the ocean of nectar to
quench it, the Kannada literature, I can say, was a desert. At
least for me it was so.
KANNADA AT THE TIME The English language first supplied the food for the
OF COLONIAL RULE philosophical interests and the subjective discourses that had
naturally grown in me from my childhood days. The subject
matter was Indian, but I could first get it only through the
Mahatma Gandhi returned from South Africa and entered English language. I had no belief in the present day rituals of
the socio-political arena of the country. That laid a firm the Vedic Hinduism; instead, I abhorred it. I had hatred against
foundation for renaissance and took roots in the physical and the dictum of the Manu Shastra that dictated the concept of
psychic life of people of entire nation. Even though the the superior and inferior, the caste system, that the Brahmin
epicentre of that churning lay in the British India, the high is the superior being that has come from the mouth of the
tide waves that rose from its effects travelled far. They did not Brahma, Shudra should not study Sanskrit and if he listens to
spare the regional provinces. The student community that anyone reciting it, (punish him with) ‘pour molten lead into
always kept its faculties open to newer rumblings opened itself his ears’ and thousands of such contrived and ridiculous
to all these influences. The poet-soul in Puttappa too opened thoughts.
all its windows and invited the energies of the east and the
I first heard the voice of Swami Vivekananda through the
west. Interestingly, the first fruit of his literary expression did
English language. He was like an axe to all such hostility. The
not emerge in his mother tongue; it came out in the foreign
voice of Vedanta of our ancient sages who declared that self is
English; in the language of those people whom India had been
no different from the Shiva Tatva, sang the reverence, purity
determinedly fighting to drive away. Sri Kuvempu broaches
and esteem of Atman so wondrously that we comprehended
the social, political, and educational environs at the time of
it and it sank deep into our hearts, gained entry into my
colonial rule thus:
conscience only by the grace of the English language. Thirdly,
“Twice or three times more the hatred I had for the British it was the English who had conquered India and brought a
for their oppression and exploitation, I had love and respect

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kind of order to its political anarchy and the Indians who had
studied the English history and the English literature and
were influenced by the English culture who prompted the
Shudras and other downtrodden people living like the dust
under the feet of Brahmins and others from upper castes for
thousands of years admitting the enslavement as god given,
to stand up and stare the oppressor in their eye.
For the first time, English as administrators’ official
language had bound entire India into one and graced the Pan
Indian cognitive till then found only on the religious canvas
to establish itself in political and other arenas. Though just a
quarter or half percent of the people knew that language, it MEETING WITH JAMES H COUSINS
acquired an all India spatial extent. It gained respect of
everyone. Like the Englishmen, English-speaking persons too
Puttappa received applauds from the fellow students and
became revered ones, kings, and sahibs. This was also the reason
teachers for the poems he wrote imitating the English poets
why English established its sovereign rule over the young
he had read and those he wrote for occasions like farewell
minds like mine and earned veneration for it.”
parties and school anniversaries. Greatly infatuated by the
encouragement he got, Puttappa, who had been enchanted
by the treasure of literature in that alien language continued
to write poems in that language without any guidance from
anyone. While he was in the SSLC class, that was at his age of
18 (1922) with the encouragement of his friends he brought
out a 16-page poetry collection entitled “Beginner’s Muse”
that included the poems so written thus far.
Even after the publication of the Beginner’s Muse, the
creative activity of Puttappa continued in English language
alone. As he puts it, the second day of July 1924, a Wednesday,
was an unforgettable day in his life, especially in his literary
life. M.H. Krishna Iyengar who taught history at the Maharaja
High School and the then Vice Chancellor Brajendra Natha
Sheel told him about James H Cousins, an Irish poet who

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had come to deliver special lectures and asked him to meet Mr. invent new meters, coin new adages with great possibilities
Cousins and show his poems to him. and write literature of a new kind. When we find that the
The very next day Puttappa went to the guesthouse where literature you have created is great, we will translate it into
Mr. Cousins was staying and gave the manuscript into his our language, like what we did in case of Ravindra’s literature.
hands. Mr. Cousins leafed through the script; raised his head You cannot produce creative literature in English. That is an
to look at him who was clad in Khaddar from head to toe alien language for you. Great creative writing can come in the
responding to the call of Swadeshi Movement. The language that is yours by birth. Certainly, no one can write
conversation between them, in the words of Puttappa, went the best in poetry in a language that is not his own. You will
on like this: never know that. But it strikes us, the native speakers, how
ridiculous a creation it is.’
“Mr. Cousins spoke in a tone of displeasure, ‘What is this
stuff?’ he asked me. ‘From tip to toe you are clad in Swadeshi “He said a few more words of wisdom, returned the
clothes. But, this is not Swadeshi. Have you written anything manuscript and bade good-bye to me. I came out dejected
in your own language?’ and furious.
“I was getting angry with him for his tone and style of “I concealed from my friends who were waiting for me
talking to me. I had wished Mr. Cousins too will like them outside what I had perceived as humiliation. I told them rather
and praise me as my friends and teachers had done. I was satirically that, Mr. Cousins wanted, I being a nationalist, to
feeling disappointed and humiliated. Though I had written write in my Swadeshi language, Kannada and had said that it
Amalana Kathe and attempted a few poems in Kannada by would be a symbol of my patriotism.
then, I replied haughtily, ‘No. It is not possible to put “Though the advice of Mr. Cousins had been rejected by
profound thoughts and great ideas in Kannada Language unlike my mind in the foreground, luckily, my inner self appears to
English. The level of that (Kannada) language is too low. The have had accepted it. There was the blessing of the Goddess
meter is archaic and old, like Kanda, Vritta and so on. There of Kannada words. Utilising the opportunity she lifted this
is no variety of meters as we find in English.’ child of hers to her milk filled breasts.”
“Mr. Cousins heard my answer which now seems to me as From then Puttappa resolved to write in Kannada. As he
arrogant, foolish and ridiculous and he, the experienced and has said, ‘it was a historic event.’
wise, said to me in a soft, consoling voice: ‘It is not so. No
language is capable by itself. It may appear so to an incapable
writer until a capable one arrives. In the hands of the capable,
it can work wonders. See the Bengali Language now. It was
fitting to your description of your own language. Then
Ravindranatha Tagore arrived. He wrote in a new style, invented
new meters. He got the Nobel Prize also. You should also

16
 During 1926, Mysore University commenced postgraduate
courses. Puttappa was inclined to take M.A in Philosophy,
but bowing to the pressure of Prof. A.R. Krishna Shastry, he
joined Kannada M.A course. There were stalwarts among those
teaching Kannada to M.A. students like A.R. Krishna Shastry,
T.S. Venkannaiah, B.M. Srikantaiah, Subbaraya Shastry, C.R.
Narasimha Shastry and R. Anantha Sharma. Important figures
among the classmates in the first year course were
D.L.Narasimhachar, D.K. Bheemasenarao, N.
Anantharangachar, K.Venkataramappa,Mutha Nageshachar, B.
Nanjundaiah, B.S.Venkataramaiah and M.A. Alasingachar. All
WRITING POETRY IN KANNADA of them excelled in their area of interest in the vast field of
Kannada literature. In the beginning days of his university
education Puttappa wrote the play Jalagara. Then Yamana Solu,
The year 1924 can be termed as the year of revolutionary Beralge Koral, Smashana Kurukshetram, all works of drama,
transition for Sri Kuvempu as well as the cultural context of followed it in succession. Yamana Solu was staged at Kalburgi
Kannada. The poet-soul that had had the great influence of in the year 1928, during the 14 th Kannada Sahitya
the western poets, philosophers, saints and sages turned Sammaelana. It so happened that the actor who was to play
towards the swadesi. The happening, certainly, was the role of Satyavana did not turn up. T.S. Venkannaiah
groundbreaking. summoned Puttappa over wire, to start immediately to
Under this influence his poem Poovu was born. Thus began Kalburgi and take up the role. Thus, Putappa had to play the
a new chapter in his life as a poet. Puttappa had written role of Satyavana. He won the appreciation of the spectators
Amalana Kathe before he met Mr. Cousins. After that historical too. In 1928 that was on December 15th A.R. Krishna Shastry
meeting, the poetry of Puttappa, greatly influenced by the convened a student poets’ meet under the auspices of Karnataka
English literature subjected Kannada poetry to a variety of Sangha of the Central College, Bangalore. Under the duress
experimentations. of A.R. Krishna Shastry’, Puttappa had to accept, inevitably,
His stay at the Ramakrishna Ashram from 1926 provided the invitation to preside over the meet. His presidential address
an atmosphere conducive to achieve perfection in his poetical at the meet was later included in his book of criticism entitled
and philosophical pursuits. Thus, in the year 1926, his works Sahitya Prachara.
Modannana Thamma, Haaluru, Bommana Halliya Kindari It was during those days that he published the historically
Jogi came out. By then Puttappa’s name had spread across the important anthologies of poetry Kiriya Kanike in 1928 and
land. Thaliru in1930. These anthologies included poems of Thi.

17
Nam. Srikantaiah, A.K. Puttaramu, L.Gundappa, Pu.Ti.
Narasimhachar, D.L.Narasimhachar and Puttappa himself.
The unique work of poetry of the 20th century, Bommana
Halliya Kindari Jogi came out for the first time in this
collection. The instant popularity it gained took Puttappa
nearer to more people across the land. Around the same time,
the literary magazines of repute like Prabhudda Karnataka
published his prose writings, Nanna Gopala, Sanyasi Mattu
Ithara Kathegalu, and Malenadina Chitragalu. After
completion of his master’s degree course, Puttappa joined the
Maharaja College, Mysore as lecturer in Kannada. It was a
time the colonial influences had relegated Kannada language CALCUTTA TRIP
to an abysmal low. The credit of bringing the Kannada
language to a respectable position certainly belongs to B.M.
In 1929, Sri Kuvempu became a teacher. During the Dasara
Srikantaiah, D.L. Narasimhachar and Puttappa. By their hard
holidays that year he went on a trip to Calcutta and Belur
work, the common people began to feel proud of Kannada
Mutt with Swami Siddeswarananda and Devangi Manappa.
language, its heritage, and literature.
He also obtained an initiation from Swami Shivananda. He
became much more cheerful by these experiences and his love
for the metaphysical-Adhyatma- unfolded many times
thereafter.

18
 As if it was an event foretold, after 16 years, in 1937,
Hemavathy entered Udayaravi with Sri Kuvempu as his
Sahadharmini. In fact, Puttappa had desired to leave
Ramakrishna Ashrama and live in his home Udayaravi after
Swami Siddeswarananda left Mysore on a transfer. Sri Kuvempu
spent rest of his life at Udayaravi until he breathed last on
10.11.1994, except the period from 1939 to 1945 while he
was at Bangalore as Assistant Professor in Central College.
Udayaravi became the seat for his philosophical and literary
advancements. Their ideal married life got them four children.
They are Poornachandra Tejaswi (1938), Kokilodaya Chaitra
MARRIED LIFE (1941), Indukala (1943) and Tarini (1945). Poornachandra
Tejaswi is an outstanding writer in Kannada. Sahitya Akademi
award winner, Tejaswi is renowned for the quality and style of
Many people believed that Puttappa after initiation into his literary works. He has developed his personality and created
sanyasa would live an ascetic life away from the familial his works uniquely. Kokilodaya Chaitra lives in Australia as a
bondages. However, he had to bow to the advice of friends, famous design engineer. Indukala did her M.A., and married
well-wishers and the relatives and get into familial life. to famous orthopaedic surgeon by name Dr. K T. Surendra.
Puttappa married Hemavathy, daughter of Devangi Ramanna She chose to live at Bangalore. She died recently. Tarini married
Gowda in the month of April 1937. to Prof. Chidananda lives in Udayaravi. She has recently penned
It is interesting to know that it was Puttappa who gave a book on her father. These are all well-educated families. They
that name to Hemavathy while she was still a baby in the live an ideal, simple, and hospitable life. Their children are
cradle. Puttappa had been to Nambala with Ramanna Gowda, also well educated.
while he had been to Kuppali during holidays. Puttappa was
studying at Mysore then. Hemavathy was still a baby in the
cradle. By then, the relatives had held English learning poet
hearted Puttappa in esteem. They respected him. Incidentally
the day he went to Nambala happened to be the day chosen
for the ritual of putting the child into the cradle. Between
their conversations, Ramanna Gowda asked Puttappa to
suggest a name for his girl child. Puttappa named the child as
Hemavathy.

19
 Maththu Ithara Kathegalu; Nanna Devaru Maththu Ithara
Kathegalu(with an introduction by Srinivasa (Masthi Venkatesha
Iyengar)-1940); Atmashreegagi Nirankusha Mathigalagi, Kogile
Maththu Soviet Russia, Shudra Tapasvi-1944; Kavya vihara,
Kinkini, Agnihamsa, Prema Kashmira,-1946; Beralge Koral, Mari
Vijnani, Meghapura, Nanna Mane-1947; Balidana-1948; Sri
Ramayana Darshanam vol.1-1949; Sri Ramayana Darshanam
vol.2-1952; Thaponandana-1951; Jenaguva-1952; Vibhuthi
Pooje-1953; Chandra Manchake Baa Chakori-1954; Ikshu
Gangothri-1957’ Krithike-1959; Draupadiya Shri Mudi-
1960; Raso Vy Saha-1962; Anikethana-1963; Chandrahasa-
TEACHING AND WRITING 1963; Shashti Namana-1964; Malegalalli Madhumagalu-
1967, Vichara Kranthige Ahvana-1976; Nenapina Doniyalli-
1980.
Sri Kuvempu’s first poetry collection, Kolalu came out in the
Puttappa worked with the Bangalore Central College as
year 1930 on January 7 with the encouragement of Masthi, C.K.
Assistant Professor From 1936 to 1945. He joined Maharaja
Vankataramaiah, I.H. Krishna Rao and Thirumale Srinivasacharya.
College, Mysore as Professor in 1946 after A.R. Krishna Shastry
B.M. Sri wrote foreword to the book. Kolalu assumes a significant
who held that post retired from service. He had a special interest
place among all his representative poetry collections. B.M. Sri
in teaching poetics with the background knowledge of modern
has rightly noticed, in the beginning itself, the quintessence of
science, psychology, eastern and western philosophies, and
soul and the life in the poems that ultimately endowed it with
aesthetics. Puttappa strongly believed that the comparative
the eternality. Around this time, the works Swami Vivekananda-
study of the literatures and likewise the comparative study of
with an introduction by D.V. Gundappa-1929, Birugali- with
poetics are exigent in the context of Kannada. Therefore, he
an introduction by T.S. Venkannaiah, also came out. Soon
evinced lot of interest in teaching poetics. He paved way for
Maharathri, Smashana Kurukshetram, Jalagara (1931) and
newer experimentations by juxtaposing the theories of the
Rakthakshi (with the introduction by A.R. Krishna Shastri) came
eastern and western Mimamsakas. He trod a new path in the
out. The creative urge in him ensured that he continued to write
field of criticism espousing the new thought that he had viewed
ceaselessly. Between 1933 and 1980, Puttappa published several
as necessary.
works even while taking care of the family and the profession.
The long list of his works include, 1933- Panchajanya, Malenadina In the year, 1955 the Sahitya Akademi honoured Puttappa
chitragalu; 1934-Navilu, Sri Ramakrishna Paramahamsa; 1936- with its award for his work SriRamayana Darshanam. It was
38- Kindari Jogi Maththu Ithara Kathana Kavanagalu (with the the first ever Sahitya Akademi award for Kannada. The Kannada
foreword by B.M. Sri),Chitrangada, Kanuru Heggadithi, Sanyasi people individually and through their institutions celebrated
the honour. People all over the state felicitated him. In the

20
same year, Puttappa became the principal of Maharaja College. University conferred on him honorary doctorate and the Karnataka
He organised the 33rd Kannada Sahitya Sammelana- literary Government adorned him as Rashtra Kavi-The Poet of Nation.
meet in the campus of the Mysore University. In 1956, Mysore In the year 1968, Puttappa received the top most literary
University conferred on him the honorary D. Lit. The State award of India, the Jnanapeetha award. This was again the
Government, in the same year, appointed him as the Vice first Jnanapeetha award for Kannada. The State Government
Chancellor of Mysore University. The Kannada people crowned him with the first Pampa award set up by it in the
acknowledged this as an omen for their land and complimented year 1988 and with the title Karnataka Ratna in 1992. The
Puttappa for this feat. Kannada University announced Nadoja award for him in the
Not all was well when Puttappa took the reigns of Mysore year 1995, but he did not live until it was conferred. However,
University. It was a storehouse of problems. Puttappa had to the university posthumously conferred the award on him.
face embarrassments at times in his efforts to reform the Sri Kuvempu breathed his last on 10th November 1999.
administration. Some employees of the university were unable The hearts of Kannada people cried. Thousands of people from
to digest Puttappa’s career advancement. They began to create all over the state queued up in front of Udayaravi to pay last
problems for him. Regardless of these hurdles, he succeeded respects to their revered poet-philosopher. His mortal remains
in liberating the university from its tribulations. The greatest were then taken to Kuppali and cremated there with full state
achievements of Puttappa as the Vice Chancellor of the honours.
university are introduction of Kannada medium and setting
Karnataka government has declared the Kuppali House and
up of Manasa Gangothri for postgraduate studies and research
its environs as National Monument after Puttappa’s death. It
in the Mysore University.
has also created a trust in his name. The trust is active in
The Kannada Sahitya Parishat chose Puttappa as president facilitating studies in literature, research and nature related
of the 39th Kannada literary meet, an honour conferred on a issues.
rare person of letters, held at Dharawada. The President of
India conferred on him the coveted Padma Bhushana title for
his contribution to the society in the field of literature and
education.
Puttappa retired as Vice Chancellor of the Mysore
University in the year 1960. Dr. Rama Manohara Lohia, a
socio political thinker of incomparable intellectual stature,
met him at Udaya Ravi around then. Surprisingly, both pro-
Nehruvian Puttappa and Nehru’s political adversary Lohia held
the same views on the policies related to language, caste,
reservation, and equality. In quick succession, the Karnataka

21
 other narratives. They are verily universal and hence, very effectual;
the campaign is ever dynamic and is an issue at the forefront.
The study of works of this kind helps us to understand the
conflicting life and thoughts of an Indian of his times
entrapped in the web of neo modernity.

LITERARY MERITS

The foremost responsibility of an educated person born and

brought up in the varnashrama system of India is to fight against
all sorts of inhuman conditions the system has bred. The
responsibility of exploring the divides it has created and assailing
its tenets that altered direction of his life, and building a sane
society system rests with such a person. It is not in the realms of
everybody to shoulder such a responsibility; nevertheless, the
socio-cultural documents do provide information about people
doing exactly that. In the context of Kannada, we see philosophy
that flows as an under current in Sri Kuvempu’s works precisely
do that but most honourably. We witness today several changes
at social, political, religious and community levels. It is because
of the arduous campaign undertaken by a class of people who
uncovered humanly aspects that lay within a system that practiced
the disparity. This is a kind of exploration of the Desi -native-
elements. We have seen this kind of campaigning in life and
works of Mahatma Gandhi, Lohia, Jayaprakash Narayan and
Ambedkar but they deal with the socio-political aspects; whereas
in case of Sri. Kuvempu, it has emerged as poetry, novels, and

22
 Smashana Kurukshetram-1931, and Shudra Tapasvi-1944.
Beralge Koral-1947, Balidana-1947, Kanina-1974, created a
foreground for a new kind of literary and cultural campaign.
Sri Kuvempu interpenetrated a creative feel to the thoughts
of great thinkers like Vivekananda, Paramahamsa, Gandhi, and
Ambedkar towards laying a firm foundation to the movement,
and thereby authored a complex socio-cultural conflict. We
may see this conflict overtly run through his plays Jalagara
and Shudra Tapasvi and as an undercurrent in Sri Ramayana
Darshanam. It is not easy to make out and understand this
undercurrent. The eastern and western thoughts are
WORKS OF DRAMA interwoven in these works. Quite a number of works of Sri
Kuvempu have this kind of weave and that makes them unique
and complex. This matrix has gifted a grand satire to his works.
The ways in which Sri Kuvempu showed interest and Humour takes expression at different layers. We see in him
disinterest towards Indian and western schools of thought are the playwright satirically addressing community specific issues,
very complex. Therefore, we find in Kannada literary criticism and then the political, social, philosophical, and moral issues
many a hurried reader hastily arriving at decisions concerning becoming the target. However, the risk that runs is that such
the central idea of Sri Kuvempu’s works. The core objective of work includes what seems to be an inevitable prospect; the
his works was to ensure people live a humane life. He sought sheath of humour that covers the subtle ideas might mask the
to find an environment conducive to achieve this through his essence and the idea might go unnoticed by many an
literature. It is for this reason that we see him engaged in undiscerning reader. Let us examine a piece from Jalagara:
disapproval of the inhuman attitudes and at the same time
The trail of the plough
revelation of the humane elements within the Brahminical
Reveals to me
order in the Indian cultural circumstances.
The path of salvation
Sri Kuvempu’s sensibilities gained moral force while he The end of the beginning
reviewed, re-interpreted, and explained the religious and That with all their leaps
mythological texts like Ramayana and Mahabharata. We see Towards the sky
from his works, whose subject matter has been drawn from The Vedas have failed to know
the epics, that through these landscapes he enters the Indian I learn the truth in action
mindscapes, tries to deconstruct the belief constructed thus And see the heaven in religion
far, and attempts to bring it face to face with the eternal truth. - Jalagara
New sensibilities conjoint in his works Jalagara-1928,

23
 Sri Kuvempu has given subtle, beautiful, and potent expression We find an urge to sweep away the caste system and build a
to a traditionally accepted complex thought and to meet the new order in Jalagara. The character of the sweeper in Jalagara
demand he conscientiously renews the language, its form and throws up several challenges to our sensibilities. The thoughts
content. His works assimilate the cause he wants to endorse and of Gandhi and Ambedkar, the philosophy of work instructed
they are enriched by his use of immense possibilities offered by by the Vacanakaras have found a new voice in the play. Worship,
the language. A section of the Kannada criticism has shown a God, and religion obtain altogether different connotation in
kind of reservation about Sri Kuvempu of Shudra Prajne accepting this work. Let us examine this conversation in Jalagara:
a language of the elite as medium of his expression. This genre of Jalagara:
critics, it appears, has lost sight of the fact that Sri Kuvempu has
Work is prayer; serving is worship
conscientiously employed in his works the subject that strongly
For me, broom is the diva
opposes the Brahminical order while it couches his idea in the
Sweeping is my adoration
lingua franca of the same elite.
…………………………….
His is a distinct voice in the contemporary Kannada drama. My heart is the temple
He brings the epic characters face to face with the present- My love, the veneration .....
day situations. He employs an imagery that seems to be
deliberate and at the same time inevitable. He has no love Beggar:
either for the realism theatre or for the Pratikriti metaphor. Sties are these temples
Sri Kuvempu had to make, necessarily, this kind of a choice as Of sinners and perverts
a reaction to the Brahminical order; the Shudra Prajne in him Worship is the chant
created this inevitability for him. It is a cultural tragedy; but Of black magic
it had to be so for him. Kailasam and Sriranga who came from What puts the religious mind
Vedic Class followed the course of realism; but Sri Kuvempu To sleep in the swing
was unable to choose the Shudra Prajne as vehicle of expression In many such conversations, Sri Kuvempu foregrounds the
because a social order conducive to such writing had not been ritualistic style of worship, gods, and temples and advances
created by then. his own discourse about them. The play ridicules a system
The reason behind critics cavilling about his plays is the that pretends to be modern and religious. One of the cruel
tenets his works intend to probe. The cruelty unleashed by doctrines of Brahminical order is that a Shudra would be
the caste system, religions practising hatred, plethora of gods, committing a crime if he learns; it would be a sin, a grave sin.
social and political imbalances, tragedies cropping up due to Sri Kuvempu critically examines this traditional belief in his
imperialism, smothering nationalistic thoughts, man-woman Shudra Tapasvi and Beralge Koral plays. An appraisal of innate
relations, concern for the life of common people are, principally, capability, individual hard work, passion for experimentation,
the areas of his exploration. eagerness, and commitment to learn, the ascent of man through

24
his learning from the vivid experiences avowed by nature and the Ekalavya pays penalty for learning something reserved for
gory of systematic exploitation of the nature is at the core of this Kshathriyas by offering his thumb; here Shudra Shambuka
play. The exploitation of the unschooled but creative, instinctively loses his life. This anecdote is clearly an add-on to the text of
thoughtful and responsive, and life-loving villagers’ society forms original Ramayana. In Shudra Tapasvi, Sri.Kuvempu’s
the background of this play. It gives voice to lives visited by the sensitivities examine the attributes of human mind that makes
pre-meditated barbarism of selfish, neo-civilised people inclusion of such anecdotes in epics like Ramayana. An
camouflaged in the apparel called literacy. interesting point in this play is that it works towards educating
Both Shudra Tapasvi and Beralge Koral, subject the follies a foolish Brahmin thus picking up the human aspects present
showing up in epics Ramayana and Mahabharata to deep in the system.
analysis from a humane angle. In Beralge Koral, the protagonist The adversities man has to face due to selfishness and
Ekalavya is deprived of learning because he is from a lower egotism in him and the resultant graveyard-like life that would
caste. Nevertheless, he learns archery with his own astute efforts remain for him at the end is at the core of Sri Kuvempu’s
and acumen. He pays for the adventure in the form of offering another play, Smashana Kurukshetram. Sri Kuvempu
his thumb as Guru Dakshine –fee to the teacher- to someone dramatises the whole thing subtly employing images from
who had declined to teach him. This Sri Kuvempu sees as a Mahabharata. The Kurukshetra war was fought at the time of
reaction to the purohitashahi and imperialistic culture. transition between two yugas – eras -, end of Dwapara and
Ekalavya who loses his thumb, without which the art of archery beginning of Kali. While the achievements of one era end up
is a waste, represents the oppressed classes. His mother cries: as ash applied to the body of Rudra, the vanguard of the
‘Oh! There (was) the sacrifice of my child’s finger*, graveyard, another era rises from the same ash and in the same
graveyard. It reveals the eternal truth of how the imperialistic
There be the sacrifice of the sinner’s head**’
and power hungry forces push the common person into utmost
(* Beral=Thumb, ** Koral=neck/throat i.e. head for the inhuman predicaments. We see in this work, that the
finger) accomplishments of an era ironically come to an inevitable
This resonates an anxiety suggesting that the system, which end in graveyard, synonym of destruction. The greed for power
allows such mistakes to happen has to, imperatively lose its and the hunger for expansion in a single family weave a web
own head. This makes an important statement about the ‘woods in which the entire humanity and the nature become
culture’ suffering untold misery from the brutality of the entrapped and suffer the agony. This truth and the remorse
modern society. It is relevant for today and forever. It voices what we find in the characters are intricate. Inhuman regimes
the penitence the modern man has to offer for his dual sins of drive common person to fight wars. Such indulgences are
destroying the harmony of the societal life and the eco-wealth critically examined here. It therefore is an important anti-war
and his contradiction in coming to terms. drama of our times.
One more tragic story of this kind is the account of When Sri Kuvempu began his literary career, India was
Shambuka appearing in Ramayana. In Mahabharata, Shudra under the control of the British. Contradictions had cropped

25
up in all the spheres of public discourse: political, social, religious They can see the history as an absurd chronicle of chain of events
and cultural. At one end, there was the pull of the western thought that pass by but not as an energetic blossoming of cultural life of
and at the other end, the thoughts of Vivekananda, Paramahamsa, humankind. Conflicts between classes have gradually built the
Gandhi, and Tilak had intensely pervaded the minds of people history of humankind. One can also see them as fight within the
inviting to the on going struggle for freedom. Sri Kuvempu’s races, tribes, and clans. It is true in the global level also. The
intellect had absorbed the thoughts of the west as well as the experiences and memories of Shudras and classes yet below them
east. Thus, his creativity lent voice to the complexities of the slowly emerge from their subconscious and move up towards
period and as a result emerged the images of Shudras and the finding literary expression. The conflicts between races, tribes,
exploiting class. Rationalistic and scientific views came to the and clans have become instrumental in kindling the creative ability
help of common people in their attempt to frustrate the monstrous of these people.”
evil social systems. With this, the natural endowment of rebellion These words of Tejasvi provide a deft background necessary
in Sri Kuvempu and others like him ventured out for finding for study of Sri Kuvempu’s literature and at the same time
out a new order of thought for effectively confronting the offer a fitting reply to people who commented on merits of
traditional value system. Sri Kuvempu’s literature.
Sri Kuvempu’s works display a strong dislike and opposition Sri Kuvempu’s poetry substantiates that the creative
to the lifelessness found in the social and religious order. To sensibilities of a Shudra are an offshoot of a cultural conflict
understand this one has to bear in mind that in the process of with a system that crooked the universal values of a culture
his indulgence in learning and writing, a Shudra assumes and made people believe that the contorted history is itself
numerous responsibilities. Sri Kuvempu’s intellectual life took the true one. Apart from questioning the surreptitious act of
up these responsibilities. Thus, we see in his works how his sowing the seeds of ill-omened thoughts and rituals, Sri
sensibility shaped by the cultural conflicts reacted to the world Kuvempu had to take up the responsibility of awakening
of his time. people so that they got out of the clutches of the elite. In his
“Sri Kuvempu is the first Shudra in Kannada literature to collections of poetry like Panchajanya, Kogile Maththu Soviet
have risen to that height. It should be remembered that in Russia, Kriththike, Pretha and Queue, Sri Kuvempu has
the premises of Brahminical order a Shudra did not have the adopted this stance.
privilege to learn letters, leave alone any entitlement to reading. Freedom from the colonial rulers was one among the many
In the circumstance, for a Shudra, writing itself was a sign of issues the Indians were fighting for at that point of time. The
rebellion. That is the trumpet of revolution blown against the bards of India supported this cause. This struggle finds intense
tradition and legacy. expression in Sri Kuvempu’s poetry. His poetry works towards
“It is difficult for people who call Sri Kuvempu an anti- spiriting people to join the ongoing struggle for liberating
Brahmin or a pro Brahminical theologian to understand the the country. It becomes creative towards attracting the youth
essence of Kannada literary history and Kannada tradition. to the movement.

26
 Yet another objective of Sri Kuvempu’s poetry was to expose the attention he gets, and the relationship of pure love and
the perils of social inequality. In his poems like Kalki, and friendship he establishes with the nature in the process. We
Devaru Maththu Pujari, he lends empirical forms to dark faces see these everlasting expressions in Sri Kuvempu’s works.
of social absurdities. Kalki stands out among the poems of Sri Sri Kuvempu’s poetry seems to be engaged in the task of
Kuvempu. In the first quarter of the 20 th century, this finding solution to conflicts arising from the influences of
momentous work shook the conscientious society to awake western culture on our society of the time. The afflictions of
from its slumber. The society was greatly disturbed by the greed, the hunger for materialistic pleasure, consumerism,
personified Kalki, the 11th incarnation of Vishnu. The poem mechanistic way of living affecting the quality of life, and the
dramatised the cruelty unleashed by the social absurdities. A resultant mechanical relationships, family and the personal
sanguineous image holds mirror to millennia long history of problems arising from them have created an ever-increasing
ignorance, inequality and the tyranny of the social order. The and intense desire in man to return to the nature. The
atrocities on ignorant masses and their pathetic conditions sensibilities that have worn out because of the lifeless living
wake the poet up from the dream. The awakening makes the and weariness it has brought, crave for going back to childhood
poet turn towards the reality. This is the major canvas of the memories and place one has come from. We see this image
poem. It stands firm against the aggressors and searches repeatedly occurring in Sri Kuvempu’s poetry. The poems
alternatives. This awakening is very important aspect of his Hoguvenu Nanu and Prakriti upasane verily demonstrate this.
poetry. One of the important attributes of this kind of poetry is the
Outwardly, Sri Kuvempu’s poetry exhibits an indomitable tendency to crave for going back to ones own place.
trait of nature worship, yet it carries deep within a much I Go There
complex vision. Poems in Kolalu, Kalasundari, Navilu, and Where the plants rise
Pakshikashi collections have shown us the kind of Malenadu Splashing green to the eyes
and the kind of people inhabiting it. That is the Malenadu he Where the fields sway
had seen and lived with. The vision we find in the adjuration To the breeze like waves
of Kadu Golla manifests various dimensions of his poetry. The Where the wide eyes of the maids
music of Kadu Golla’s flute strikes a chord to pervade Of hills wander through
everything, like the real life experiences of Malenadu; it Where afloat in joy
becomes the essence of what people of Malenadu did love and The time pass quiet
listen. Sri Kuvempu gave expression to the memories of his I go there I go,
childhood Malenadu, converts the regional singularity of life
and memories concerning them into metaphors. The love for Here wearied I am
the region stares at the urban culture and through this the Heart ablaze to wander
poetry explores the quintessence of richness of the life of Through hills and the woods
Malenadu, the happiness one derives in his relation with it,

27
 I go there I go, Life of the city
To the nest of my love Like an immense forest grown up
Lush green, bright sun, From hundreds and thousands
Cool birds’ songs Of branches of a single tree
From Pakshi Kashi
We see here the complex images of yet complex urban life,
We find here the poet’s intense desire to set him, and thus the barrenness of heart of those people stemming from these
others, free from the maxims and incongruity of the banal complexities that prevents them from looking at the nature
city life and return to his nest of love. The poem describes the with the reverence it deserves. The eternal truth- Satya- and
active life of Malenadu and simultaneously expresses its dislike the cosmic beauty-Siva-have merged with the beauty of the
for the mechanical city life and the weariness it carries with it. nature. The one who has experienced nature can never have
The yearning to return to the storehouse of experiences and barrenness of heart. In its place, he possesses a bearing to carry
the springs of his poetic inspiration builds up in the heart of the creative forces with him whereby he will be able to see the
the poet. Even though the urge to return is irresistible, he is exuberant spirit even in the most lackadaisical.
framed in the predicament of being unable to do so. This
reality has not spared Sri Kuvempu. Nonetheless, Sri Kuvempu
makes his dream come true by reminiscing on the experiences
from wherever he is. The image of this return has found
expression in Prakrithi Upasane. The sensibility in the poem
Ontikoppalina Jalashayada Dibbadalli (on the hillock off the
water pool at Ontikoppalu) that witnesses the sunrise from
the hillock by the side of the pool takes us to the point of
countenance ‘which hutment is better than this temple earth’
where the sketches of the citified and the nature are laid
opposite to each other.
Look, as though at my feet
Has fallen the civilised city life
Its hundreds of mouths
Hands, body, and limbs
Resembling the awful demon
Of long nails and longer teeth
…………………………………
Thus has spread the colossal

28
 KHANDA KAVYA THE EPIC

Sri Kuvempu’s Chitrangadha(1936) is a Khanda Kavya (short Sri Ramayana Darshanam (composed during the period 1936-
epic). He composed it before he sat down to create the epic Sri 1951) received the Sahitya Akadmi award in 1955. It was chosen
Ramayana Darshanam. This work is in 6 cantos and 2496 lines for the Bharathiya Jnanapeetha award in the year 1967. The
long. The story of this work is traced to Vyasa Bharatha. It later citation of the Bharathiya Jnanapeetha praised Sri Ramayana
appeared in medieval Kannada poet Lakshmisha’s Jaimini Bharatha Darshanam as an outstanding work published during the period
in Kannada and in Tagore’s play Chitra in Bengali. Sri Kuvempu’s between 1935 and 1960 in any of the Indian languages. This is
Chitrangadha interacts with these works of peers but presents a the first ever work to have brought the Jnanapeetha to Kannada.
fresh view. The old story undergoes several changes by Sri In this colossal and illimitable work, Sri Kuvempu lends the
Kuvempu’s flair for constructing a majuscule image and it makes mythological characters of epic Ramayana a progressive,
the work available to us with a fresh fragrance. personalised, and symbolic meaning. The poet in Sri Ramayana
Darshanam is at the same time a mythological man and the
modern man inclined to become the super human of the future.
In a way, this epic creation is the metaphysical expression of the
collective consciousness of a fearsome and war-torn modern age.
“Sri Kuvempu is an achiever; he attached a high value for the
freedom of an individual; he had the desire to create a work that
the future generation would not forget. Milton fought against
the church in England; Sri Kuvempu revolted against the caste

29
system, religion, and injustice in our society. from the manuscript of the work in his handwriting that he
“This work, which Sri Kuvempu created in over a period of wrote most part of the work at Udayaravi in Mysore and his
ten years, is likened to Shabari, a character in Ramayana who residences at Visweswarapuram and Malleswaram while he was at
long waits for Rama. It has magnitude, dimension, unique power, Bangalore.
a challenge to write the best, and dedication towards the work Between 1945 and 2000, Sri Ramayana Darshanam saw eight
undertaken. All these appear through out the work. For those reprints, including its manuscript photo edition. First edition
who say that the romantic poetry is easier to write, here is the came out in two volumes, first volume from Kavyalaya (Mysore-
challenge. This work does not lend itself to easy interpretations.” 1949) and the second one from Udayaravi (Mysore-1951).
So said P. Lankesh, noted Kannada litterateur. This speaks Thereafter Udayaravi brought out two more editions of the work.
volumes about the multi dimensional sensibilities of Sri Between 1971 and 1978, the Prasaranga of Mysore University
Kuvempu’s poetry. published its two low priced popular editions. After conferment
of Pampa award on him, in 1990, the Karnataka State
To the poet of the epoch
Government published another popular edition through its
The poet of the world
Kannada and Culture Department. Kannada Book Authority
Who would not bow his head?
published two popular editions between 1992 and 2000. In the
Who at the sight
year 1997, the Kannada and Culture Department published a
Of Sri Ramayana
large photo print volume of the work of handwritten copy of
Would not fold his hands
Sri. Kuvempu. The manuscript has notes made by Sri Kuvempu
And bow his head? (To him)
over the years after first publication of Sri Ramayana Darshanam.
Thus spoke yet another Jnanapeetha awardee, poet Bendre It provides information on the dates and places of writing a
(Ambikathanaya Datta) about Sri Kuvempu. Bendre has particular part of the work and has interesting notes made as
expressed his admiration for the virtues of the poet Sri reaction of the poet while he was writing to the happenings
Kuvempu and reminded us how one has to respect a work of around.
great literary and cultural merits. Sri Ramayana Darshanam is not just a chronicle of the history;
Sri Ramayana Darshanam is a work in four cantos named neither a story retold. The original story of Sage Valmiki is just
Ayodhya Samputam, Kishkinda Samputam, Lanka Samputam an organic frame; the poem of Sri Kuvempu is the soul that
and Shree Samputam. These cantos are further divided into needed a body to dwell and it chose the story of Ramayana. The
fifty parts that are spread over 22298 lines. Sri Kuvempu soul is the exposition of contemporary cultural life. In the cage
employs the Desi (native) meters of Kannada and modern of the story of Rama, there is Parama Purushothama who has
chandolayas to create a Maha Chandas. taken the form of Rama and is in the cosmic play; this is what
Sri Kuvempu started working on this work in the year 1936 the work shows us. The work that imbibes the collective
and completed it only in the year 1945. We have come to know consciousness of the east and the west, of the past and the present

30
provides a contemporaneous vision; the vision of Samanvaya,
Sarvodaya and Purna Drishti appears all through the work.
Already the work has produced criticism of thousands of pages.
Praise and denigration have been pouring into the basket. Yet we
need have studies on the cultural history that the Sri Ramayana
Darshanam embodies.ete

WORKS OF POETRY

In the year 2000 Kannada University, Hampi published

complete works of poetry of Sri Kuvempu in two volumes.
The first volume was released at the Vishva Kannada
Sammelana held at Houston in US during first week of
September 2000. The Kannada University released the second
volume on Sri Kuvempu’s birthday observed by the Sri
Kuvempu Trust, Kuppali. These volumes include thirty-one
poetry collections in Kannada, two collections of poetry in
English, forewords, blurbs, after words and notes written for
Sri Kuvempu’s poetry collections over a period. These volumes
also include notes on the important events in the life of Sri.
Kuvempu, particulars of his genealogy, sketches, alphabetical
index of poems, and their first lines.

31
 psychic displacement. The external influences had stood
confronting Indian culture. A new atmosphere had begun to
take shape. An upheaval seemed imminent. Because of these
developments, a resistance to the worthless values persisting
in the native culture began to grow and this heralded the
emergence of a new awareness intended to cleanse the filth
that the system had adorned as though it was an invaluable
fabric.
The British education system came in as an adjunct to the
motive of the imperialists to strengthen the political
relationships. Nevertheless, it assisted the Indian psyche to
PROSE WORKS cast the design of its cultural life in a humane mould. Likewise,
a sensibility that questioned the tyranny of internal and external
feudalism began to develop during this period. All these
Assumption of a responsibility of reinterpretation of the
conflicts have found expression in the works published in the
‘religion’ and the ‘religious’ that stand as great obstacles to
relevant times and they have the conflicts as central to the
the development of humankind is one of the main concerns
evocation of new awareness attempted through them. In Sri
of the Navodaya (renaissance) school of thought in Kannada
Kuvempu’s mega novels Kanuru Heggadithi and Malegalalli
literary milieu. Sri Kuvempu’s works in prose, such as
Madumagalu, the contemporary political developments are
Atmashrigagi Nirankusha Mathigalagi, Vichara Kranthige
submitted to a critical examination.
Aahwaana have propounded the same philosophy. They bring
about a confrontation of the intellect of society that gained The spread of Christianity and English education system
not the light but the gloom from the Vedic culture with the are the most important among the aggressive strategies of the
rational and scientific truths to change it into ‘a great weapon colonial rule. The novels Kanuru Heggadithi and Malegalalli
in the hands of man’. This is an important contribution of Sri Madumagalu depict the conjurations played for establishing
Kuvempu’s thought. We find this kind of advocacy in many the Christianity with the support of the ruling class. These
of the sonnets included in Krithike, his collection of poems novels further record and examine, rather subtly, but with an
and other well-reasoned articles in prose. element of resistance, the attempts made towards slickly
pushing the Christianity into the stricken environs of
The end of the nineteenth century and the beginning of
Malenadu and the resistance the vanguards of the covert acts
the twentieth was an important period of transition in the
had to encounter.
history of India. It was the time India understood the effects
of occupation of alien political forces. Those forces had These novels sketch a delicate and veiled picture of the old
meticulously intruded into our cultural life also. There was a system of learning prevalent in Malenadu area losing ground

32
and the new system gradually occupying its place. They uncover lay the human and the inhuman relations arising from this conflict
the colonial designs that played a deceit through the missionaries opposite each other. This positioning creates a more refined and
under the guise of social service in establishing religious, wider awareness in the reader that helps him to appreciate the
educational, medical, and other amenities, and facilities catering work and make finer distinctions. In the same way as they
to general needs of people while in the meantime pursued their question the colonial sensibilities, the novels question the
agenda of establishing the Christianity firmly in the region. At meaningless beliefs the other society is carrying in its psyche and
another level, these novels envision the situation where the ask them to engage in critical social and cultural arguments.
purohitashahi had pushed the downtrodden society on to the The prose writings of Sri Kuvempu portray, as a cultural
altar of the religious conversions. discourse, the fermentation that took shape of a revolt against
The novels Kanuru Heggadithi and Malegalalli Madumagalu the outside influences and many contradictions that lay within
are the greatest works of literature of our times. They are also our tradition. He calls the dead and the living aspects in our
the chronicles of the dynamic cultural history in transition. Thus, tradition into a crucial debate. He puts the elements like
they are comprehensive discourses of the social, religious and perception of god, heaven, hell and religious beliefs that were
community life of their times. They unearth countless details of active in our culture and those exposed by the other culture
the process of transition and the displacement that was taking to a subjective analysis. We find all principal schools of thought
place in the nation in general and the rural set up in particular of his time like Gandhism, Humanism, and socialism, and
under the colonial rule. emplacement of the perceptions of class, caste, and creed
Sri Kuvempu’s creativity has given voice to all upheavals in bearing specific cultural context in all Sri Kuvempu’s stories.
the Kannada culture of his time, at the same time adding up With this, Sri Kuvempu’s prose writing- especially the stories
his vision to the sensibilities of the pan Indian thought. His -have drawn the man and his several metaphysical questions
two novels examine in detail how a creative mind subjects the into its orbit. The novels are fine examples for how by exploring
essence of our culture, various conflicts arising from the politics and analysing the complex relationships of human beings a
of religion and the religious institutions to an analysis. They literary work can become an exhaustive treatise on the society
reflect on the happenings around in the period and the while at the same time remaining a rich and comprehensive
dynamics of the thought of that age. metaphorical creation.
These two works of Sri Kuvempu insightfully delineate at Though Kanuru Heggadithi is Sri Kuvempu’s first novel,
the physical level and at the familial and societal levels the the story belongs to a time later than that of his second novel,
difference between the impacts of conflicts between two Malegalalli Madumagalu. Sri Kuvempu got down to writing
cultures. The creativity in Sri Kuvempu analyses the drawing Heggadithi on 9th September 1933. Between 1936 and 1938,
close of the traditional and the new value systems and the Kavyalaya Prakashana, Shivamogga published this book under
resultant conflicts. Both novels examine the relationship the title Kanuru Subbamma Heggadithi. Artist Ananda (A.
between the traditional value system vis a vis the colonial. They Seetharam) designed its covers with the picture of a pair of
Kaajana birds. These Kajanas later became the logo of Udayaravi

33
Prakashana. Before confirming the title Kanuru Heggadithi, Sri the demands of his teaching profession and his family life.
Kuvempu had thought of naming his work as Malenadina Thereafter Sri Kuvempu took up writing Malegalalli
Muleyalli or Kanuru Subbamma Heggadithi. Kavyalaya Madumagalu. That was around 1939-40. Vichara Vahini
Prakashana, was publishing a magazine called Vichaara Vahini published a few pages of the book in its second issue of second
from Theerthahalli under the editorship of Kudali volume. However, Puttappa completed the work only during
Chidambaram who also owned the publication house. The 1967, after he finished writing Sri Ramayana Darshanam.
magazine carried an introductory note about the book in its Somehow, the genre novel did not attract Sri Kuvempu as
maiden issue in the year 1939: much as the drama and poetry did. He had a kind of contempt
“...At one end is Chandrayya Gowda, for novel. However after he read the works of Leo Tolstoy,
a mean minded person, so shaped owing to the tradition Hardy, Dostoevsky, and Galsworthy he determined to write
gifted ignorance, thinks self is everything, and lives an arrogant epic novels in Kannada. The result of this determination was
and egoistical life. At the other end is Huvayya. He has a that two great novels appeared in Kannada. Theses novels are
broad mind due to his association with new traditions and indeed modern epics in our context born from the inspiration
thoughts and is ever prepared to help others considering service of great works of the world.
to the world as the basic tool in his hands. In between them is Sanyasi Maththu Ithara Kathegalu-1936, Nanna Devaru
Ramayya who had escaped from the meanness of Chandrayya Maththu Ithara Kathegalu-1940, and the belatedly published
Gowda but could not achieve the broadness of Huvayya’s heart. Kathegalodane Arambadalli -1985 are works of his short fiction.
There are women Nagamma, Seethe, and Subbamma too. All these he wrote between 1930 and 1940. They include
Sri Kuvempu has created several minor but unforgettable popular stories like Salada Magu, Dhanvanthariya Chikitse,
characters to make the novel a history of life of people of Minakshi Mane Mestru… Many of the stories in
Malaenadu and not the life history of few characters. Kathegaloddane Arambadalli appear to have been written
“Main streams of the story are three. The great Kanuru under the influence of Tolstoy and Tagore.
house splits. Each piece lives in its own vicissitudes, faces Malenadina Chitragalu is a book of essays presenting us a
tragedies. These tragedies bring them together. Along side, vivid picture of his childhood days and the serene beauty of
there is rise and fall in the attitudes of Chandrayya Gowda the Malenadu.
and Huvayya. The second story is the account of tragic love of Sri Kuvempu’s prose writings, like his poetry, are works of
Huvayya, Seethe, and Ramayya. The mutual love of Seethe great cultural importance. In his works like Sahitya Prachara,
and Huvayya does not seek the physical pleasure whereas Atmashrigagi Nirankusha Mathigalagi, Manuja Matha Vishwa
Ramayya’s love is lust driven. Third story is the life story of Patha, Vichara Kranthige Ahwana, Janatha Prajne Maththu
Subbamma of Kanuru.” Vaicharika Jagruthi, and in forewords written to several books,
Sri Kuvempu wrote this book in over four years, amidst and in his various speeches he emphasises the need for
cultivating scientific temperament and rational attitude. At

34
the same time, he abominates the social evils like caste system, However, Sri Kuvempu never belittled the usefulness of English
Varnashrama, untouchability and gets into exploration of language. He knew it as a language to learn science, and a bridge
humane values. that connected us to the outside world. He told people that we
Sri Kuvempu responded intensely to the regional concerns would not be able to drive the English language away from the
the same way as he responded to the national concerns. Among country same way as we drove out the English from the country.
the regional concerns, his focus points were the importance of ‘But,’ he warned us, ‘it is an important matter that would require
regional languages, the attention they required, and the a continuous thinking and debate as to in what proportion we
questions related to the medium of instruction. He continued should retain English and in what form.’ By this, he meant that
to think about these issues. In his writings, he thoroughly there should be a proper execution of this conscious thinking.
detests our inept attitude of sticking on to the British colonial Works like Kavya Vihara, Taponandana, Drowpadiya
education system, our enslavement to the inappropriate value Shrimudi, Raso Vy Sahah, Shashti Namana, and Vibhuthi
system the colonials have left behind. For him the Kannada Puje are the greatest contributions Sri Kuvempu made to
language and the work related to it were labour of love. Kannada poetics and literary criticism. They are equally
Sri Kuvempu strongly believed that the development of valuable in the global scale. He created a new tradition of
the country becomes unattainable unless we modify the reading by his examination of the eastern and western poetics,
education system that the alien people had created to suit and the criticism in the context of Kannada language of his
their local needs. They left it behind and we still use them. time.
‘Until that remains with us (unchanged) we cannot get rid of Swami Vivekananda, Shree Ramakrishna Paramahamsa,
the enslavement; we have to make the regional languages as Janapriya Valmiki Ramayana, Nenapina Doniyalli belong to
our medium of instruction,’ he said. He called attention of the genre of Sri Kuvempu’s prose writings. His biographical
our people to his thought that, ‘our faculty of knowledge, works (Swami Vivekananda and Shree Ramakrishna
Jnanakosha would not develop; the lamp of innate capability Paramahamsa) and autobiography (Nenapina Doniyalli)
would not glow, the Bhavakosha would not broaden, and uniquely trace the social and cultural history of India and the
concisely, we would never achieve an all-round development world around. His autobiography (Nenapina Doniyalli) is a
so long as we adopt alien languages as the medium of our contemporary history of a Kannada sensibility that examined
instruction.’ Drawing examples from great thinkers in the field the conflicts of eastern and western philosophies by bringing
of education like Gandhi and Aurobindo to support his views, them face-to-face in a period spanning over one century.
Sri Kuvempu told the people that until the language of the
land reigns as the medium of instruction one cannot catch
the glory of knowledge in our people and, their innate
capability and greatness will not become known, they will
not gain possession of liberty to think.

35
 for his colossal work Sri Ramayana Darshanam. The Bangalore,
Kanpur, Gulbarga, Mangalore, and Sri Kuvempu Universities
have conferred on him honorary Doctorate degrees. Karnataka
Government has honoured him with the first Pampa Award
(1988) and first Karnataka Rathna award (1992). Kannada
University of Hampi honoured him with Nadoja award
posthumously.
Numerous award and the honours were offered to him as a
token of respect for his excellence. All along the Kannada people
have loved him and held him in esteem.

HONOURS AND AWARDS

Throughout the 20th century, poet laureate Sri Kuvempu was

honoured with several awards both at the state and nation level.
Even as a student he was chosen chairperson of poets meet held
at Bangalore (1928). He has the credit of getting several state
and national awards first.
He was chosen to preside over the poets meet in the 19th
Kannada Sahitya Sammelana held at Hubballi during 1933.
In the year 1955, he was conferred Sahitya Akademi award
for Sri Ramayana Darshanam. In the year 1956 the Mysore
University conferred the honorary D.lit degree upon him. In
the same year he assumed charge of the Mysore University as
its Vice Chancellor and was chosen as the invitational president
of 38th Kannada Sahitya Sammelana. Thereafter in the year
1957, he was chosen as the President of 39th Kannada Sahitya
Sammelana. The Central Government conferred Padma
Bhushana award on him in the year 1958. The State
Government honoured him with the title Rashtra Kavi in the
year 1964. In 1966, Karnataka University honoured him with
a (honorary) Doctorate degree. He got the coveted Jnanapeetha

36
 great’ course of criticism and those who could not explore the
vision of the poetry by hard work and devotion.
Surprisingly the works of Sri Kuvempu, especially
Smashana Kurukshetram, Beralge Koral, Kanuru Heggadithi,
Malegalalli Madumagalu, his innumerable poems and Sri
Ramayana Darshanam have been presenting new possibilities
to the younger generation for newer understanding of the
world around. These works are engaging connoisseurs of great
literature, critics, as well as flatterers. Whatever may be the
criticism, there is increased need for us to appreciate the great
works of our time created by greatest poets like Bendre and
AT THE END Sri Kuvempu.
Rises, The Sun Rises
The conflict between the Buddhi and Bhaava pervades life. It There He rises, the new shine of the day
has appeared in literature also. There is Kshatra and Thamasa in Over the peaks of Sahyadri
criticism that puts up competition- this poet V/S that poet, this The dark has eloped and the dawn smiles
poetry V/S that poetry and so on. There may be Vadhama people Cool breeze plays, sweeps
who attribute greatness to the trivial and get into brooding. The golden glow over his face
Either way people are accustomed to the anarchy and the banter, He loves the land of hills
cleverness in ridiculing, a maha mantra of ‘what has this poetry Awake and listen, it calls
to lick’ and the arrogance that you can get anything written up if The transition for a life anew
you had money…they still have some social repute. The time is There She rises, the goddess of new age
not ripe yet for appreciating the poetry, the people are not yet Slicing through the fallacy and the nescience
liberated from their enslavement to the meaning, and labour has With the steel of knowledge and sentience
not yet acquired the qualities of art.” She reveals, new Kali
Valour and strong body and mind
These words of Bendre at once question the capability and
You gain and ascend
literary proclivity of people indulging in the politics of
To the new radiance and peace,
sycophancy by raising the questions such as who is great and
Open your eyes
who is not that seek to create some definitions about the poetic
Live O’ sons of change
sensibilities. They also appear to be the resistance offered to
people who had stage-managed a competition between the
poetry of Bendre and Sri Kuvempu and trod ‘search for the

37
 Part 2. :
FEW FASCINATING ANECDOTES

38
 about his victory. He set out to the battle with bubbling self-
confidence. He began to devour rotti with sumptuous serving
of ghee and chutney. Before he finished a quarter of one rotti,
he called for coffee and got it. One of the mothers there warned
him not to eat so much of chutney as it would ‘make him
drink more water.’ Puttappa suspected that they were trying
to befool him; heedless, he had some more ghee and chutney
served.
Before he had finished just one rotti, his face turned pale.
The stomach refused to take in any more. There were still
eleven more rottis over the large plantain leaf. His mother
GETTING RID OF ROTTY BHOOTHA watched the helplessness on the face of Puttappa as she
continued to bake rottis. She took the stick she had kept within
her reach into her hand and beat it on the ground, and warned
Sri Kuvempu has left behind his memoirs that include some
him not to ‘try to run away leaving anything.’
fascinating accounts of his childhood. One of them describes
how Puttappa got rid of the Rotti (Roti) Ghost. Puttappa “Why did you serve so much of ghee and chutney, did I
was well ahead of others when it came to eating rottis. Among tell you that I would eat them all?” Puttappa protested.
all children, he always asked for more rottis. All mothers in “You have asked for it. Did I not tell you not eat them so
the family hatched a plan to teach him a lesson. Puttappa had much” the other mother teased him.
too much confidence in his capacity to consume. Quite Unwilling to accept the defeat he started eating again.
unaware of the plans of mothers, he took a challenge that he However, by the time he finished a one-half more, he began
would eat a dozen of them. The time and day was fixed for to feel that his jaws, tongue and the stomach are too tired to
the show. It would be the next day afternoon at the coffee continue the campaign and started to think about ways to
time. Puttappa eagerly waited for the tomorrow and the flee the place.
afternoon coffee time to come. He gulped in the remaining coffee. His mother was
Tomorrow came. Without any plans for the afternoon absorbed in baking rottis. Puttappa thought it was the precious
event, as usual, Puttappa had his morning coffee, breakfast time to run away. He quickly got up, and without even washing
and the full afternoon lunch. his hands, jumped out, ran into the front yard, and
In the afternoon mothers called all children in and gave disappeared in the threshing fields where other children were
them rotti with chutney and ghee as usual. They laid a wooden playing. His mother who saw the vacant seat and ten and a
seat especially for Puttappa; spread a large plantain leaf before half rottis lying haphazardly in the plantain leaf cried out,
him and served twelve Rottis, a large lump of solid ghee and ‘catch him, catch him; Puttu has run away.’ It raised a wave of
a small heap of chutney. Puttappa never had an iota of doubt laughter in the house.

39
 The speech of Gowrishanakara Mishra went on
uninterruptedly. The police men whom we wishfully thought
would come did not turn up. It was announced that after the
speech there would be burning of western clothes. The bonfire
programme began in front of the stage. The fire rose. The
boys who were greatly impressed by the speech began to throw
caps, coats and if they wore knickers and pants, them too,
into the fire. The caps were not necessarily their own; they
even threw into fire those caps over the head of someone else
standing by their side. There was ruckus following this. They
coerced the poor boys that were reluctant as they did not
SETTING FOREIGN CLOTHES ABLAZE have another coat to wear for school going to throw it into the
fire and chided, and branded them as traitors. Few boys
removed their caps and hid them. Some pretended as if they
1920. Puttappa was in high school those days. Mahatma were throwing the coats but concealed it under their armpits
Gandhi had announced launching of ‘Asahakara-non- and escaped through the mob. Poor boys! They did not know
cooperation- movement’. All over the nation there were that the patriotism was such an expensive thing.
harathala–protest-meetings, ‘setting the foreign clothes ablaze’
“Whether it was on account of being caught in the
programmes and other kind of agitations. Their influence
maelstrom of patriotism intentionally or for the fear of being
spread to the Mysore province also. The heat touched school
branded as a traitor, I took out my newly bought felt cap and
and college students. The student class determined to drive
threw into the bonfire. But immediately I felt bad; I had
the British out of the country.
bought that cap with the savings from the little money sent
As a result, processions were taken through the main roads from my house for my monthly expenses. What to do? That
of Mysore city. Slogans were raised to hail the movement and was the call given by Gandhi. When many of my friends have
to condemn the British rule. A large number of people had blazed their foreign clothes and even their boots if they found
assembled at the town hall grounds eagerly waiting to hear them to be near foreign, how can I become some one fit to be
the people from north India and the Kannada speakers of called as a black sheep?
Mysore province from elsewhere. The meeting began with
“When I had stood there worrying after offering the cap to
denouncing the Maharaja of Mysore and condemning the
the fire, some of my friends urged me to throw the coat also;
British rule. The police stopped the meeting because of this.
it is not wrong if I say that they in fact ordered me to do so.
It was then decided to continue the speech in the hotel where
At least some among them had 4-5 coats made from expensive
Gowrishanakara Mishra, the speaker for the day was staying.
foreign cloth. Even after they threw the coat they were wearing,
Therefore, people gathered at the hotel.

40
there was nothing to worry for them, as there were still many
coats to wear. But, for me that was the only coat I had to wear
at the school. When I stood there, undecided whether to or
not to, someone chided me, ‘What sir, you write patriotic
songs crying…Bharatha Maathe… Bharatha Maathe, but
when it came to throwing foreign clothes you look hither and
thither. Shame on you. Shame on you …’ I could not bear
that any longer. I took off the coat and gave it into his hands.
He threw it into the fire. The next day I went to school in a
shirt without wearing coat or cap. I looked into the classroom!
All my friends who had thrown their part of fuel to the bonfire
adorned the seats flashing more expensive coats and caps! Some CARNAGE OF BED BUGS
even got new coats stitched that were much better and more
expensive than the ones they had thrown into the fire! When
questioned they bolstered their action, ‘What to do. In the he life within me was becoming richer as it had imbibed
house they took me to task’. However a few of us avowed that the spring. But the life outside was getting afflicted due to
we would thenceforth wear only Khaddar clothes and Gandhi bad living conditions. The mind that was charmed by the
Cap.” newness, enthusiasm and the aura of the inner world neglected
the unhealthy, unhygienic, and nasty outer life. Engaged in
the process of contemplation with the athm-shree i did not
care about the deterioration of the deha-shree. I never cared
even when someone drew my attention to it. Though i lived
in an accommodation filthier than ananda mandira, the body
that had just come from the village endured its ill effects. But
gradually it was subjected to many kinds of afflictions though
they were of minor nature.
“We were not following even the fundamental principles
of health and hygiene. We mean co inhabitants of our room.
The room would not be swept for 10-15 days. Everyone always
asked the other to do it but no one did the work. We spread
the mat over the dirt and dust, unrolled the bed over it and
slept. The bedspread was not washed even after it long before
became filthy. In the mornings we got up, rolled the bed and

41
did the reading and writing work leaning over the bed. In biting, Saturns, hurry, light the lamp.’ ‘Let them bite. Bear with
addition, we used to sniff the snuff and wipe our hands by it for some time. Let all of them congregate. We shall kill them
rubbing it against the wall. The colour of dried up snuff- all with one sweep,’ replied Ramappa the second. They began to
coloured mucous patches was everywhere on the wall making invade my bed also. Sleep ran away from me. I cautioned the
it the dirtiest; not for us, for others. The number of mosquitoes fellows, got up, and lit the lamp. We removed our blankets and
and bedbugs was enormous. The result: malaria fever, scabies, looked at the bed sheet. There were bugs running across the
stomachache, apses, constipation… describing one or two dirty white bed sheet like the sheep herd attacked by wolf running
incidents may help readers get the picture of our condition hither and yon. (Bed sheet meant the dirty dhotis we wore going
better. to school. In those days, we did not wear trousers. We wore
“That was a room measuring seven by seven or eight by dhotis. When they became so dirty that we cannot wear them to
eight feet. It had a roof of wooden planks. They too had become school, we put them to use as bed sheets. Were we paying the
weak. To support the roof so that it did not fall down, they dhobi free money? We were not that foolish as to extract less
had given a prop of an inferior wooden pole. Even that pole work from him; it should be commensurate with the money we
had several crevices. The roof and the pole had become black gave. We used the dirty dhoti until it became so dirty that even
because they were old. Due to the smoke from the hotel we, ourselves, began to feel wary about it. We then took them to
kitchen, they had become still darker. In their crevices the washing saloon. What right does the washer man have to feel
thousands of denigration. That did more damage to us than queasy about it?) We swept them with our hands to the centre of
the loss of blood. the bed sheets. All the three of us rubbed them with six palms
with all the force focused on the job. We rubbed, wiped, brushed,
One night! We had spent a long time playing cards, a sport
scrubbed, and scoured them working with such vigour that the
we had learnt lately, and gone to beds. It appears the bugs
verbs failed to describe. The bed sheets were full of stink and
had become very angry at the cards game because they could
stains. Red blood, black blood, deep blue blood, blood in several
not come out when the lights were still on. Poor creatures!
crooked designs! The smell of bedbugs was not new to us.
How long could they have waited with hungry stomachs?
Therefore, that did not deter us. Our palms had become nasty
No sooner we put out the lamp and the darkness occupied and acquired the colour from the blood of bugs. We did display
the nook and corner of the room, the bugs, unable to bear the a kind of disgust for their smell holding the palms near our
hunger, lost patience to descend through the prop pole and nostrils but did not surrender to the civility of going down the
began to drop from the roof. Ramappa cried, ‘Oh. They are stairs to the tap and wash our hands. We put the lamp off and
falling. Mundevu (offsprings of widow).’ Another Ramappa went back to sleep.
shouted, ‘Wait. Let them all fall down.’ It was late night and
my eyelids were heavy. ‘Let them drink blood today. Tomorrow
we can go to bed a little early and hunt them all,’ I thought.
Ramappa the first cried in a whispering voice ‘Ho! They are

42
 When we came to Theerthahalli for schooling, we were greatly
attracted by the snuff bottles in the town that were looking
lovely for our toddlers-eyes and we developed a desire to keep
such bottles with us as our elders did. What is the use of
keeping them empty? We filled snuff into it. Thus drawing
snuff became a habit with us that we were unable to kick.
After we came to Mysore, we began to use black Madras
snuff instead of red Mangalore snuff. The Mugosthra was not
‘as much required’ at our village or Theerthahalli as it was in
Mysore. We wiped the mucous to the tree or to the inner end
of the dhoti. There were instances of cleaning the hand with
MUGOSTHRA remnants of snuff and mucous by wiping it to the back of
some idiot friend under the guise of expressing friendship.
But after coming to Mysore, we cultivated the habit of keeping
We called that piece of cloth as Mugosthra in the language of
kerchief in our pocket, as we cultivated the habit of wearing
our environs. Just like the word Anga vasthra (Anga-body-
chappals.
vasthra-cloth) became angosthra over the tongue of locals
Mugu(Nose) vasthra had become Mugosthra, as if to conclude But how can that piece of cloth of the size of palm be
that it was fit for wiping mucous from the nose alone. The enough for wiping out the mucous from the nose that has
civilised called it kara (hand)vasthra. After the English language drawn Madras snuff that too the black mucous from black
came to be used, it became ‘Hand Kerchief ’. Then it became snuff. Within one or two hours all its white areas became so
mini and came to be called as Karchifu. However, at least for much dark without even leaving a streak of white that even
us, its purpose did not change; it remained as Mugosthra with nose loathed to allow it near. Therefore, we confined the use
its use limited to wiping the nose. of Mugosthra to the classrooms. When we were at our living
room, we never went to use it.
Right from the primary school days, with many of my
playmates I had cultivated the habit of using snuff. I started I have already told that the dhoti became bed sheet once it
it not for its taste, but as fashion. When we were still the became dirty. We removed it after it became dirtier with the
students of Ayya on the balcony of the upstairs of Kuppali bloodstains of bed bugs, and scars of blood and pus from our
house, we stole a pinch from the muddy snuff tin of scabies, rolled it and kept besides the bedroll for using it as
grandfather. We stole the small, coloured, glittering bottle of Mugosthra after each draw of snuff. That lasted for a week.
snuff of dodda chikkappa, removed the paper in the amulet When it became so dirty that it could take no more filth, we
attached to the silver thread tied to our waist, filled it with beat it to the wall so that the dried snuff powder fell off and
snuff from the bottle and slyly drew it through the nostrils. then gave it to the washing saloon. Until another bed sheet

43
got ready for obligation, the opposite wall would become target wall. Pungent dust filled the room. The door had been serving as
for the mucous flow. The mucous on the wall dried up showing window too. As it was closed, dust filled the room, arousing
on the wall as black patch of different shapes. Sometimes they sneeze after sneeze from us. We forced opened the shutters of
appeared like animals and human beings. Often we used to the ventilator that had firmly struck to let the dust go out
appreciate and criticise the artistic talent displayed on the and a little air come in. Somehow, in the speed of the blitz we
canvas called wall and that would raise bouts of laughter. But sanitised the room, opened its door, and stood ready to invite
we never went to clean the walls. After we left for summer the guests, with a sigh of relief of having succeeded this time.
holidays, anyhow, the house owner would sure clean the room
as a part of their responsibility. Do we pay rent for nothing?
Why should we do their job?
Disarm holidays had begun. We wanted to see Dasara and
none of us went home that year. There was one more reason.
We had received a letter indicating that Dodda chikkappayya,
Kuppali Ramanna Gowda and Hosamane Manjappa Gowda
would come to Mysore. However, we were not sure when they
would.
One day we were still lying in the bed; we had the doors
bolted from inside. Someone knocked at the door. We shouted
from where we were, ‘who is it that is disturbing us so early in
the morning knocking so loudly at the door.’ The voice from
other side replied, ‘some people from your side have come.
They are sitting in the hotel office.’ We hurriedly rose to our
feet. Hosamane Ramappa went down to see who it was and
came up hopping. He said ‘our brother and your Dodda
chikkappayya have come. We are finished.’ Turning towards
Govinahalli Ramappa he instructed, ‘you go down. Show them
the bathroom to wash their face. Arrange for their coffee and
breakfast there itself. By then we will scrape the walls and
clean the room’ and he virtually pushed him down.
We immediately bolted the room from inside so that they
did not come in until we finished our work. He took out the
broom and from its back scratched the snuff stains on the

44
 Puttappa was desirous of doing something to spread the fame
of his land everywhere. He wrote an article condemning the reply
under the pseudonym Kishora Chandra Vani and sent it to the
Daily Mail published from Bangalore.
No sooner than it appeared in the Daily Mail as a lead article,
the news spread like wild fire among the students and the teachers.
It created turbulence in the palace. Each one had a doubt that
some student of college must have written it.
Puttappa’s friends who knew who had asked that question to
the speaker in the end, reasonably suspected that it was possible
only for Puttappa to write in such poetic and flowery English.
CIPHER The next day and the day next to it also, the cipher continued to
be the subject matter of any discussion.
An interesting and memorable incident occurred around the B.M. Sreekantaiah who had the title Rajasevasaktha was the
commencing days after Puttappa joined the Maharaja College. president of the union. The incident similar to the blasphemy -
In the college union, a speech had been arranged. The speaker Raja ninda – taking place when he was the president of the union
was D’ Souza who had returned from England completing his was a rude personal shock for him. All his efforts to trace the one
higher studies. Young, enthusiastic and humour loving he was, who sent the article to press went vain. The name Kishora
his speech raised frequent bouts of laughter in the audience. After Chandra Vani was not found in any of the attendance registers of
the speech was over, the secretary of the union rose to ask the the college.
audience that if anyone had a question he might put that to the Three-four days passed thus. By then very close friends of
speaker. Puttappa got up and asked, ‘What position does Mysore Puttappa came to know, somehow, the truth that Puttappa
hold in the mind of British public?’ had written that article. They begged him and took him to
‘Cipher’ the answer came. Entire audience shouted ‘Ughe, Professor D’ Souza’s room whose subject they had chosen as
Ughe’. The sound fell on Puttappa’s ears as though the walls optional.
of the union building shook and reverberated. He sat down ‘I did not know that he would publish my letter as lead
hurriedly as if he had fallen down to avoid thousands of eyes article. More over he has added his own commentaries like
that looked at him scornfully. bravo lad and has incensed the language and the feelings in
Though the answer ‘Cipher’ given to the question of it,’ Puttappa said.
Puttappa was cent percent correct, the young patriot mind ‘I was tired. I wanted to shorten and close the issue. I said
perceived it as contemptuous and denigrating. so because of that. If you were to ask me after the speech, I
would have explained you in detail. What can we do now?

45
Srikantaiah, president of the union is anguished by all this. The
matter has reached the palace and has given rise to rumblings. I
will take you to Srikantaiah and introduce you to him. You
please do as he says’ said Professor D’ Souza and took him to
B.M. Shri’s room that was by the side of his’ and explained the
whole thing to him.
B.M. Shri liked the language of the article, the feeling it
contained and the excerpted parts of the poetry used there.
‘The editor has written as though a government official has
spoken to deprecate the province. Therefore you have to write
a letter to him yourself ’ he told Puttappa and placed a pen
and paper before him. LANTERN
‘I do not know what to write. I will write as you say’
Puttappa said. nce in a class, Sri Kuvempu explained a stanza from poet
B.M. Shri began to dictate and Puttappa sat down to take Nagavarma’s Kadambari Sangraha and the interest it held. A
it down. However, B.M.Sri stopped dictating, took the paper student got up and told that he could not understand it. Sri
and pen from him and wrote the letter himself. Kuvempu explained it again. The same student got up once
Puttappa read the letter B.M. Shri had written and again and said he could not still understand it. Sri Kuvempu
suggested removing certain sentences. Those sentences explained it once again. The student sang the same song again.
appeared to hold a view that it was incorrect on the part of Sri Kuvempu then told him, ‘See, with any number of lanterns
the editor to have published the letter as a lead article, and for lit, you can not remove darkness from the Dandakaranya.
that reason, the act of the editor was deplorable.
It appears B.M. Shri had thought Puttappa would simply
sign whatever he wrote. His ego received a blow when Puttappa
decided to correct it. He took back the letter from Puttappa
and told him, Okay leave it. I will write to the editor as the
president of the union.

46
 SRI RAMAYANA DARSHANAM WHAT IS IN KANNADA?
AND SHOES
It was a function held to release the books, Kannada
Sri Kuvempu’s ‘Sri Ramayana Darshanam’ had just been Bharathi collected under the principal editorship of Sri. N.
released. The cover price of the volume was thirteen rupees. A Anantha Rangachar and Paschatya Gambhira Natakagalu by
dignitary came to see Sri Kuvempu. Between their Professor S.V. Ranganna. Kannada Bharathi was a book of two
conversations, he asked Sri Kuvempu if the price of book was thousand pages on royal size paper. Likewise, the work of
not high. Sri Kuvempu asked him what price he paid to buy Professor S.V. Ranganna was also great in terms of both the
his shoes. The dignitary replied, ‘Eighteen Rupees.’ Then Sri size and the content. Sri Kuvempu was present at the function
Kuvempu told him that his Sri Ramayana Darshanam was to release the books. Speaking about the books he released,
cheaper by five rupees than those shoes and asked him if the Sri Kuvempu said, ‘If you hit people who ask what is there in
value of Sri Ramayana Darshanam was less than the value of Kannada on their head with these books, they will know what
the shoes he wore. is in it.’

47
 LAKSHA- LAKSHYA PUTTAPPA AND JATTI

Kannada Sahitya Parishat felicitated Sri Kuvempu when he Some time during (nineteen hundred) fifties the opening
was awarded the coveted Jnanapeetha award. Poet Sri. Bendre ceremony of the First Grade College of Hassan was held. Sri.
delivered the felicitation address. That year the Jnanapeetha award B.D. Jatti presided over the programme. Sri Kuvempu was
was shared between two writers. The prize money too was shared invited to inaugurate the programme. There was a large
at fifty thousand rupees each. Pointing to this Bendre said that gathering. In his inaugural speech, pointing to lean looking
though Sri Kuvempu got one half laksha (lakh) rupees, because Sri B.D. Jatti, Sri Kuvempu told the audience, ‘You might be
of him Kannada got the (full) Lakshya (attention). thinking that I am Jatti (a wrestler) and he is Puttappa (small
person). It is not so. He is Jatti and I am Puttappa.’ The
audience broke in to laughter and clapped.

48
 and his work sees the fruits of labour.’
Lohia had once asked Puttappa to enter Parliament, ‘Come
and tell your Nehru all this on the floor of Parliament.’ It was
Lohia’s real wish that thinkers like Kuvempu need enter
Parliament.12.

IF HE WERE BORN ELSEWHERE

It was in the year 1953. Puttappa was invited to inaugurate a

seminar on journalism. The secretary, delivering welcome speech
said, ‘If Puttappa were to have born somewhere else, his position-
socially, financially, economically and politically- would have been
much better.’ Explaining his stand on this point Puttappa said,
‘I do not know, in his point of view, what constitute the ideals
of life. But, I took birth here. If I were to be elsewhere, I would
not have got a better position than this. I am not saying this just
to say this. This is true and real. Everywhere there is fraying. It
is there in every individual; every community. Personal ego,
arrogance, and racing for popularity are the major causes for
this. Once they get into us whatever might be the position you
are occupying, the status and the glory you live in, you will
never feel satisfied. The reasons we attribute to money are the
futile reasons; arrogance and egotism are the causes. Let the organ
of Kannada be blown here. It need not go to London. It need
not go to Hawaii islands. Let the people around here read and
enjoy, let it become fruitful here. It is then the writer feels happy

49
 Part 3 : THE THINKER IN HIM

50
 MEDIUM OF EDUCATION

While he was the Vice Chancellor of Mysore University, Sri

Kuvempu brought a proposal before the academic council that
in this Kannada Nadu (land), Kannada should become the first
language; in every stage of education, Kannada should become
the medium of instruction, and Kannada textbooks should be
prepared in all subjects to help all round development of Kannada
children. He wanted the approval of the council for its
implementation. The council had mostly members from science
and science related faculties. They wondered whether it is possible
to teach science subjects in Kannada and threw a ridiculing
laughter at Sri. Kuvempu. Sri Kuvempu has reportedly told the
council, ‘Though India got its freedom six seven years ago, our
people have not freed themselves from that enslaved mindset.
We have not understood the difference between respect and
dishonour. Where to find pride in people who are devoid of it?
A dog chained to a post eats the leftover bones and grows fat.
Even if you unchain it, it revolves round the post without knowing
the value of freedom. Our people who are Manasa Puthras of
English are still stumbling in the dark without knowing the value

51
of independence and the worth of our language.’
The tragic aspect is our education system is that it remains at
the same stage even after fifty years after Sri Kuvempu mouthed
those words.

SIMPLE MARRIGE FOR

THE YOUNGER GENERATION

Marriages shall not become a burden for anybody. A marriage

means the bride and the bridegroom in love with each other or
chosen by the elders take the vow of togetherness in presence of
the elders and the almighty. This has to take place in a dignified,
harmonious and spiritual atmosphere. But what is happening
today? The musical instruments and records cry through
microphones and amplifiers robbing the peace of the neighbours.
The priests mutter hymns unintelligible to the couple, the elders
and even themselves. In that bedlam, nobody listens to what he
utters. In many cases, the bride’s parents are coerced into feeding
thousands of people. It is better not to speak about the dowry
and customary treatment offered to the groom.
Mantra Mangalya* is not just the name of a collection of
hymns, it is a way of conducting the marriage. It is a desire
that it should be the way of life. The bride and the bridegroom
shall not indulge in robbing each other. There is no galore of
expensive clothes, no deafening music, no pandal, no temple,
no counting of auspicious or inauspicious time like Rahukala,

52
Gulikakala and Yamagandakala. There is no line after line supper 4. As people born and brought up in this society, we will
or dinner for hundreds, thousands of people. The marriage could help it as much we can, as gratitude for what it has given
be held on a day decided by the bride, the bridegroom, and their us.
parents, at a place mutually agreed, in presence of the elders and 5. We will reject all irrational and unscientific rituals held
before the picture of almighty that they believe in. It is better under the guise of customs in the name of gods, religion,
the number of people is limited. It shall not become a disorderly and spirituality.
mob. The marriage has to be held in a peaceful atmosphere. The
6. We reject all notions of fools that divide the day as
hymns here are not to be recited by the priest, enough if the
Rahukala, Gulikakala, and Yamagandakala. The beginning
bride and the bridegroom or the friends read it.
of the day is always auspicious.
After the bride and the groom garland each other, the groom
7. We will encourage people around us to observe simple
ties the Mangalya to the bride as a token of dedication to
marriage so that the extravagance does not burden the
mutual, inseparable love.
parents because of dirty practices like dowry, bridal money.
Thus, the bride and the bridegroom invite in that golden
8. We understand that the marriage a sacred vow; and vow
movement through mantras the power that is the symbol for
to live the married life with self-restraint is the heavenly
values India had been respecting as great and worshipping it
revelation and self-actualisation, and the service to the
for millennia.
society and the nation is the aim.
The symbol of pure, traditional marriage ritual that shuns
9. We the couple, from this day live in the society with pure
exhibitionism, arrogance, and exploitation shall illuminate the
love, bound by our devotion to the truth, unbound (from
life of millions more.
dogmas), and untouched by difference of caste, creed and
Acceptance of family life by bride and bridegroom as devotion religion.
1. We, in presence of the elders, who are equal to god, 10. We will bind ourselves to the national policy of two kids
assembled here, vow and accept today our family life as per couple.
husband and wife as Dampathya Vratha- the ritual of 11. We will educate our children whatever be the obstacles.
family life.
The way of conducting the maarriage
2. We who are taking the oath of good family life today will
live a life that is equal in all respects, devoid of the feeling ÖImportantly there should be a Kalasa, Mangalya, two
greater or lesser. garlands, and Mantrakshathe.
3. In the journey of our married life, we live together equally ÖThe marriage code should be administered to couple.
sharing the sweet and the bitterness, with the ÖThe couple can worship the Mangalya.
understanding that we are for the society and the society ÖThe parents of the bride and the bridegroom shall be present
is for us. on the stage.

53
 ÖThe bride and the bridegroom shall garland each other.
ÖThe bridegroom shall tie the Mangalya to the neck of the
bride.
ÖThe parents shall bless the couple with the Mantrakshathe.
ÖThe couple shall then bow to them.
ÖThe people present may then come in a queue and bless the
couple with the Mantrakshathe.

ON CHILD MARRIAGE

Any amount of critique falls short of explaining the ill effects

of this custom. By this, our Bharatavarsha has become weak.
It is continuing. Young boys and girls are falling prey to the
venomous pests before their life begins. Who would not mourn
for this? They have lost the sparkle in the eyes, the peace of
the mind, the aura of the face, the strength of the mind, the
energy of the body, and the sprightliness of the heart and
they appear like dead. What is their use to the country?

54
 of time and then faded away to make way for another religion.
Thus several religions have been metamorphosed into faiths
only to divide the human race into several; they have ignited
the passions leading to warfare, and have become fundamental
cause of social upheaval. The age of science has given us the
practical vision. The ignorance spread by the faiths, therefore,
would not be acceptable. As Vinoba Bhave said earlier, the
age of faiths and politics is over. The age of Adhyatma –
metaphysics and the science has to usher in.

THE MESSAGE OF UNIVERSAL HUMAN

Every child takes birth, indeed, as a universal human. As it

grows up, we transform it into “a petty unimportant man”. The
responsibility of education is to return it, to its original state of
“universal man again.”
We shackle the child who took birth as universal human with
encumbering notions such as Nation, language, religion, caste,
creed, and colour. To liberate it from such bondages and transform
it into “the Buddha, that is to say “the universal human” has to
be the foremost objective of our education system, our culture
and our civilization. Every child born on this earth has to become
unbound or unconfined in order that the world survives, continues
to live, and prosper.
Along the course of evolution of human civilisation, great
people have taken birth to complete their part of job at their
period of time. Voices of some of them have assumed the shape
of religion, then to become faiths. The words spoken by the
great souls to unite human beings have taken shape of intoxicant
faiths. There are instances where the religion of one era, which
was essential then, came to be inconsequential over a period

55
 there are human beings. And, it could pave way for each of the
individuals contributing towards development of humanity as
such.
The song of the Universal Human expounds this.

THE FIVE HYMNS

Religion of Humanity, Universal Path, Emancipation of

Everyone, Conjunction and Total View. These five hymns shall
become our objectives of the future. That is to say, what we
want hereafter is not this religion or that, but the religion of
man; we do not want this path or that, we need to have a
universal path; not just the emancipation of one or two, but
total emancipation and evolution of every human being that
has born on this earth; it is not breaking away in opposite
directions, it is an integration and conjunction; a total view
that is founded from the limiting partial view of faiths. The
feel, and the passion that is germane to entire mankind shall
not confine to a particular caste, creed, faith or a group or a
nation. They apply to every one, every space and time and so
they are the fundamental values. These values would lead
human beings towards unity and prosperity. They would never
indulge in factionalism. The vices are the sins of politics.
It upholds the value of individuals’s freedom and grants it.
It is possible that this view would allow as many religions as

56
 that we will have as many faiths or religions as many are the
people. No one should join other faith and bring strife among
the followers of that faith.
7) No scripture is sole and more sacred than others are.
Individuals must read as much as he or she can, explore,
understand them and construct a religion of his own.

THE SEVEN WAYS

1) Accept unequivocally that “mankind is verily one community.”

Do not try to reform the caste system. Instead, eradicate it
completely.
2) Let distinctions among us such as Brahmans, Kshatriyas,
Vysyas and Sudras, Antyajas, Shiites, Sunnis, Catholics,
Protestants, Sikhs, Nirankaris be eradicated completely.
Denounce and eliminate caste systems that might exist
in any country and religion.
3) Faiths’–religious dogmas-should vanish. Metaphysical
thought-philosophy- should be recognized as scientific
way.
4) The Religion should expand as the religion of Humanity’;
the way should become the ‘Universal Path’; and man the
‘Universal Human’.
5) Faith should not lead to polarization or factionalism. No
one should subscribe to any organized faith (as matter of
inheritance or following).
6) He should find out the one that is his own. It is then

57
 Touch not the end
Be endless, unbound
Oh! The spirit of mine
Unbound you become
He is the sage
That forever unshackles him
Unshackled you become,
Oh! Unbound you become,
And be that, Oh! The spirit of mine
Unbound you become
THE SONG OF UNIVERSAL HUMAN

Oh! The spirit of mine

Unbound you become
Pass the countless forms
Pull the million names
As the spear of emotion
Strikes the heart open
Oh! The spirit of mine
Unbound you become
Blow off the chaff
From hundred faiths
Rise beyond the bounds
Of the doctrines all
Leap beyond the boundless sphere
Oh! The spirit of mine
Unbound you become
Stop not anywhere
Build not a house

58
 Sitting alone
Sat there, alone, over the flat rock
The forestland all around
Clear sky over the head
The unending traveller
Is singing dancing over the rocks
Her murmurs inviting me
In the past when I was a dream
And was mumbling, you had flown
The same way. When the spoor
Of the centuries, eras, and more
OH! POET’S PEAK Engulfs me, you’d call someone
Flow away sparkling
Murmuring the same way ahead
Oh! Poet’s peak Oh! Brook, let the worry that gets
How can I sing the glory Pain to the heart be there afar
Of your richness in this poem I know not what lies ahead
In the mornings and the eventides, Today I’ve come to your lap
In the autumn and the spring To escape the sun and the heat
In the rains and the fog I lie under the cool shade of the tree
In the days and the nights Let your song-stricken ripples
You script the vivid in the sky Sing for me.
You are my heaven, oh! Poet’s peak
Talking is inauspicious
Oh! My friends,
Speech is ominous here
Be silent
Silence is cosmic in this eventide
In the descending darkness
Of the dusk
Sunk in deep meditation
This great sahyadhri

59
 to work for us if they died.
O For the lazy festivals are boons, for exploiters they are the
useful tools, temples are the repositories of the religions,
castes and creeds. The religions and the castes are
devouring the soul of humankind.
O Ideals are there to be like that, to become that.
O The one with health is happiest. He has no boredom.
One may have plenty of money, plenty of property, it’s
all homa performed over water.
O This body is god’s abode. It is every man’s duty to keep it
HIS SAYINGS clean. The god will bless more if one spends his money
on soaps, soap nut, and oil instead of spending on gods
and demon. God likes the simple bhakthi of the heart,
O A poem is the cry of the poets’ soul. My desire is that not the money we have in our iron vaults.
everyone experiences my sensibility. O Oh! Doctors, is the hospital a garage? Are you machines
O Nowhere the extreme is good. Excessive derision may turn or doctors? Are the patients coming to you are broken
worse than the excessive flattery. machines?
O Those days there was the guru behind us, and the aim O The English medium is the Shani clutching the Sarvodaya;
ahead. Hence, the battalion of valiant people raced ahead. and the thunderbolt that has struck.
Now there is no guru behind us and no aim ahead. In O The beauty of the nature is inviting us, waving its hands,
the middle, the band of cowards runs. to the better life.
O Partial view is very dangerous. Only from the total view, O We have to examine now: how far we have resolved the
best is ensured. The total view is the only true, eternal poverty; how far we have removed the differences between
and the best philosophy. the religions and castes; how much of the gap between
O The best answer to a meaningless question is silence. the haves and the have-nots we have been able to narrow
O We have spent the tax money of the poor on creating or bridge; what steps have we taken to make the common
many kinds of extravagant and luxury items. We have people understand the concept of socialist democracy;
thrown coppers at the villagers to escape from the how much of the temperament of scientific outlook and
accusation that we forgot the villages and the farmers for rationalism?
the pleasure of the rich living in luxury in big cities and O The ability and the boon to appreciate the work of art do
to save them from death because we don’t have anybody not come free and just our way. It needs culture and hard

60
 work. O The mind of the poet is the garden of heaven, nectar of
O If something great has to come out, it should be in the bliss. Here even the sin is the vehicle for punya. Grief is
mother tongue. servant of pleasure and death is an eternal journey.
O Good literature should become ground for broadening O The life in a city is harrowing even if one has millions;
and emancipation of the self. the life in a village is happiness even without money.
O The crop wouldn’t be gotten unless the land is ploughed, O Is the pain because the dagger is foreign?
seed is sown, and the crop is nurtured. It won’t come Will that be a flower if our people make it and stab?
realised unless you toil and sweat. There are no shortcuts O Like the creation of a work, its appreciation is also a creative
in the realm of knowledge. None can obtain the wealth activity. All activities that are not creative end up
of knowledge by cheating. One has to go hungry to buy uninteresting.
the book of one’s liking. He has to forgo his sleep to read O Raise your hand for Kannada, your hand will become the
it and to win over he has to sweat, burn the oil, forego Kalpavriksha (the tree that gave whatever was asked of ).
many pleasures, and indulge in tapas of studying. Raise your voice for Kannada, your voice will become the
O We need to sweep the filth hitherto accumulated in the Panchajanya (Lord Krishna’s conch) even if you lift your
field of education with brooms held in both the hands. little finger, it will become the Govardhana Giri (the hill,
We have to treat those who oppose this cleaning which Lord Krishna lifted with his little finger to save
appropriately with the same brooms and proceed with the Gopikas from rain showered by demons.
the job. O In Kannada land, Kannada should become the first
O When you read a great book, you derive the same benefit language as well as language of the land. Kannada should
you derive from the friendship of a mahatma. be the medium of instruction at all levels. All sciences
O The meeting of the eyes of loved is more sacred than the have to be taught in Kannada. We have to achieve this
meeting of Tunga and the Bhadra, and Ganga and goal.
Yamuna, greater and mysterious than that. O Karnataka is one among the daughters of Mother India.
O It’s a relishing job to wait for the loved one. Andhra, Tamil, Malayala, Maharashtra, Gujarathi,
Bengali…are all her sisters. Mother cannot grow if the
O Between the love and the intelligence, the way of emotion
daughters are suffering.
of love is one thing; the shrewdness of intelligence is
different. O For me work is worship, service is Puja, broom is the Arathi,
and sweeping is worshipping the God.
O You have filled all my being; there is no space for anyone
else. O For anyone who doesn’t have the eyes that can see art,
Kavi shaila is a rocky forest. For an artist it is the heavenly
O The only heart I had, you stole; what do I have to give
abode.
others?

61
O To relish the art one needs to have the vision of art. In his O In unity is the life
work a poet tries to propound, reflect and bring to life The opposite is painful, agony
the blissfulness and the beauty of the nature, and to O Won’t you forget me after I die
unravel the mysteries of the nature as much as his feel, Won’t your heart be someone else’s property
his emotion, his natural endowment can realise. Forget; forget me, even if you do
O Some people take more pleasure in other’s fall than their I won’t, I won’t, I won’t forget you
own raising. O Oh, love of my life, my sweetheart, my melody,
O The mermaid of art is at the same time the harbinger of Oh, enchantress and the beau idéal of my mind
joy and the emancipator of the soul. This earth without you is inert, captivated,
O The finest incarnation of the mermaid of art is the poetry. Burden and looks forsaken
O The blade of grass you see O Oh, poet’s peak,
The stone you stand upon How much can my poem describe you?
All are abode of heaven In daybreak and eventide
The presence of god everywhere In spring and autumn
In rain and fog, in day and night
O A poet is like the nightingale
Creating the grotesque pictures
That sits in the dark
You are the heaven for me on this world
And sings to make its aloneness
The lovely song O For the ultimate silence
Why such a long preface
O Today is for today
For the soul, that has not a form
Yesterday for it
Why the golden mirror of this earth
And be tomorrow for tomorrow
O What a pain and what a death
O Everything vanishes
We are mad of gods
Only the gifted art savours the eternality
Death is sugar
For an empire, inscription
In the mix of neem and sugar
On an inert tablet remains
for my soul art is the elixir
O Anywhere you are
O Look at the people
Anything you are
That has decorated the neck
You shall be the Kannada
With the garland of sweet lies
O What is the use Made a thief the pontiff
Of your belief in scores of gods Offered the money of the poor
If you don’t believe in yourselves And celebrate the religion

62
O The god’s presence O Dynamism is the sign of spirit. To be ever aware is the
Has unfolded like a sphere symbol of being awake. The mind engaging in new
In the ears of corns delighted thoughts is first step of evolution of mind.
The wave, the bush, and the tree O The need for praise is for the wild goddess that haunts
Have become unto themselves For the one that’s the treasure of compassion, love is
The hill rising to the sky enough
That’s his face
O It’s a mistake to say that there is one Ramayana for the
O In the process of creation, poetry is half the job. Not world
even half, perhaps. The creation by the connoisseur is It’s also a mistake to say that poet Valmiki is only one for
the remainder, for they are the people that carry the poet’s the world
work further. Those who say that Rama is one for the entire world are
O Who is a poet? A poet is one who becomes, by the grace fools.
of his fortune, a flute that is namesake an instrument for O The voice that awakens the mass comes from the
the divine voice of his divine song. literature. The literature describes the contemporary world
O Oh! You the cuckoo, who is singing and determines its future course. The youth that have
Kuhu-kuhoo in the divine voice begotten education should pen down their dreams and
What are you singing aspirations, read them, repeatedly tell society so that the
Hidden in the sprouted mango birches message gets into the minds of the people, and arouse
O Come out leaving the temples, the quest.
churches and mosques behind O If the people have to acquire the awareness of new culture,
Come out to rout out the literature that has imbibed the said culture should
the impoverishment from the world spread among the people. The development of the nation
O The literature that has given up the eternal values would is possible with this. The development and the change
not survive for long. The pessimistic life cannot become a that has come about in several countries like Japan much
value. The problems that we have to engage in war are owe to its writers. Whenever the literature of new
untouchability, casteism, ignorance, the problems perspective and dimensions are produced, the countries
germinating from the varnashrama dharma and the bestowed with such souls open their eyes.
corruption. O Don’t curl oh common man
O Beauty is god You multiply the least with the endless
Love is worship You will become vast and endless

63
O Love is Shiva-God O Whatever you wish to achieve in this life, you must first
God is love- Shiva sow that in your mind.
To love is the way of spirit. O It is not splitting away in opposite directions, but
O Those who traverse through just the (material) life don’t becoming integrated. It is not the partial view of limited
like and for that reason don’t relish the profound. The consensus, but a total view that sees all with divine view.
Deeksha that the poetry has assumed is to make such O Love and affection leap beyond the religion.
people reminiscent and savour the essence of life.
O All humans are offspring of god; therefore, they are all
O The brilliance without the penance is like the lust sans friends
love.
O Speech is my art; silence is my base.
O A poet who doesn’t meditate, observe penance is a bad
O Man is a traveller in this world; his life is a journey
poet. The poem without a vision is chaff; froth bubbles
O The religions have become like the ready-made dress. You
upon the tides of the sea and not the pearl in its womb.
Froth is truly beautiful but it is momentary. It is not have to wear them whether they are short or long. We
permanent as the pearl is. The weightless poetry entertains have to have the liberty to have our dresses stitched to
for a while and vanishes. The poetry of vision that emanates our liking. If the world can accept this, there will be peace
from the meditation of the poet is a lamp that’s never- on this earth, everywhere.
put- out and it eternally illuminates the life. O The science, in its true form is not against poetry.
O When every human being thinks that he or she is a cosmic O Students should be like the growing fields, not the filling
person or person of the world, most of the political, social sacs.
and economical problems extenuate. The society will have O The hungry animal needs the gruel in the dish, not the
peace of mind. picture on the wall.
O The house is open O While travelling in a canoe, one has to check whether it
Come in has holes. There is no use crying when it is sinking.
Oh! My guest O Does injustice become justice merely by virtue of its
Usher in a new life enactment by the government?
Of new light, and new air
O If the death wipes me out from here, I will shine as a star
Oh! My guest
there.
O A country that strives on farming will be happiest forever;
O The question is not whether we want English, but how
there is no destruction for it.
much of it we need.
O God has given the man liberty to analyse; that being so,
O Give me something to eat, leave me alone; enjoy what I
let it be a saint, or a cult leader, we need to analyse them.
sing, that’s what I wish.

64
O The old time is waning, heralding the new; a new vision is
arriving, with the desire for the new.
O We need to light the lamp called education in every one’s
heart.
O If we worship god we become god; if we worship demon
we become demon.
O The sunrise and the moonrise are the endowments of god
(I have said). There is no exaggeration in this. For me god
and nature are not two.
O As you reproach it, truth becomes wider. It sparkles. It is
like the fire under the smoke; like the red-hot coal covered
by ash.
O How can someone who cannot cross a stream cross the
river. Part 4 : Memoirs

65
 THE NEST OF A WEAVER BIRD
AND THE POET
- Alige Sannayya Nayaka

Once Kuvempu, his brother-in-law Rathnakara and I, three

of us went to the areca garden. Kuvempu was keenly observing
the lush grown areca palms and enquiring with us about the
kind of nourishment we gave them and several things
connected to the farm. After that, we crossed the Tunga Bridge
and walked back towards the forest intending to return. Then
Ratnakara cried out to us, ‘Ho! I forgot the hatchet there. You
keep going. I will come back with it’ and ran back. Kuvempu
called me and said, ‘Come here. I will show you a wonderful
thing.’ He showed me the nests of weaverbirds hanging at the
tip of twigs of a thorny tree near the canal and said, ‘You see.
Man claims that he alone is very intelligent; God has given
mental faculties to him alone. You tell me in what way the
intelligence of this bird is inferior to the intelligence of man.
Look at the place it has built the nest; you will understand its
idea. The tree is on the banks of the flowing canal. It has

66
bowed towards the canal. Added to it, it is a thorny tree. The
enemy cannot cross the water-filled canal. Even if the enemy
crosses it, it has to climb the thorny tree. Even if it climbs the
tree, it can’t touch the nest. It is because the bird has built its
nest on the twig that is as thin as a broomstick. How did that
bird think of all these things? Look at the nest it has built.
How beautiful it is! See the kind of grass it has used. How
thin it is! How could it have fetched that? Is such grass available
anywhere? It is difficult. It seems the bird has split the grass-
blade lengthwise into pieces of uniform size with its just one
beak. How skilled it should be to do that. After that, see the
art of weaving it. How amazing and how difficult it is! It has MANURE PIT
to seam each strand. Push from this side and pull it from the - Alige Puttayya Nayaka
other. It means, this bird knows to not only search for and get
the grass but to split it and weave also. It did the carpenter’s
job as well as the weaver’s job. But the nest building is not I often wrote to Sri Kuvempu asking him to come and see
over with this. In addition to finding a place safe to escape Hirekodige, the place where he touched the mother earth first.
from the enemies, it has so shaped the nest as to protect it I also wrote to him that aside the Hirekodige that he relished
from rain and shine and to camouflage from enemies by and revelled during his childhood, he has to see the Hirekodige
opening it at the bottom. To get in from the bottom side and of today that looks like the ruins of Hampi. I was anxiously
to lay eggs there, it contemplated and created a separate room waiting for the moment of arrival of the epic poet.
inside. To make such a plan, that bird, can you tell in which
Once, Kuvempu had come to the house of Rathnakara, his
engineering college it studied and in which institution it
brother in law. Rathnakara wrote to me, as was his practice,
learned its practical skills. You see, man spends much of his
inviting me to his house. He wrote, ‘Putta Bhava (elder brother
lifetime in learning. Much less, he lives the life. But, these
in law-Puttappa) has come. Do come over.’ I went there and
birds start living no sooner they emerge from the eggs. With
invited Kuvempu to Hirekodige. The next day Kuvempu,
all this, see how lovely this nest is. In what way it is inferior to
Venkatesh, Rathnakara, D.T. Chandrashekar and Nagesh
the artisanship of a sculptor. Man can’t learn one form of art
came. We all together went to HireKodige to see the place of
fully. These birds hide so many arts in them and this nest is
Kuvempu’s birth. The garden that once belonged to maternal
an illustration for the degree of their understanding the art.
uncle of Kuvempu is now under the control of Venkatarama
So how can we say or claim that man is more intelligent than
Bhatta. The house of Kuvempu’s mother had flattened. We
animals?
first went to Venkatarama Bhatta’s house and then into the

67
garden. The garden was well maintained. Kuvempu felt happy
looking at the garden and said, ‘I don’t know whether my
own maternal uncle would have maintained this garden so
well. These have kept it well. I am very happy.’
The house where Kuvempu was born is in ruins and it lay
towards a side of the garden. In that, now there is a manure
pit also. Kuvempu saw all that and asked, ‘Where is my birth
place here?’
‘This is the place you touched this earth first’ I showed
him the manure pit. (In fact that was the place where Kuempu’s
Mother gave him birth). Kuvempu burst into laughter, held
his palm to his forehead and said, laughing, Ayyayyo! Did I
THE UPSTAIRS TEACHER
take birth in this manure pit, gentleman? True, he was - Devangi T. Chandrashekar
laughing, but I was crying.
We then walked through the garden. Looking at a coconut
palm that was familiar to him Kuvempu began to laugh Sun had risen to the mid sky like bile rising up to the
clamorously. Struck with curiosity and wonder I asked him head. The afternoon sky was singing aridity. Our car stopped.
why. The conversation went on like this: We had reached Kuvempu’s dearest village, Kuppali. We
parked the car at the Kaki Mane and walked along the bund
Kuvempu: This tree is laughing at me. of rice field. The exuberance, ploom, and lordliness of a woman
I : Why? who has come to her parents were playing over Kuvempu’s
Kuvempu : It is laughing because, it says, ‘See this man face. Sparks of humour exuded amidst our talks. The one joke
whom I used to watch as a young boy. He roamed about here, I cracked failed to explode and died. Kuvempu showed me
urinated at my foot, and played doing this and that. Now he the way, “You see that is the mistake. You have to serve the
has come to me as an old man with his hair turned grey. I am humour right as it appears. The art of breaking the nut and
still like how I was then. enjoying the kernel belongs to the discerning person. One
who narrates it should not try to crack it and spoil the taste. If
you spread out each string of it, it will be like a fabric that has
lost its texture. Instead it should be like an unbroken pearl.”
You might be amazed: can a hand that wrote great books
could pull the oar of the canoe of humour! Yes! Light humour
spills out from his speech. You sit with him and talk; he fills
you hunger with joviality.

68
 We reached home continuing our talks.
It was already the time for dinner. We were invited. All of us
dined together and reached the balcony to rest for a while. Puttappa
was relaxing and observing the forest that seemed to have
converged over the house. He brought us the sweet memories of
the days he had spent there happily. He said, ‘Look. It was here
that the Ayya taught us Aa, Aaa, yi,yee. Do you think learning
during those days was as easy as what it is today? He used to
hold our finger and teach writing by moving it in sand spread
over the floor.’ He was describing the school that was run in the
upstairs. The discussion went on like this and reached the roof.
Pointing to an opening there he said, “See, that was the route we WHY CALL HIM A PEON?
found out to steal. When we sat here to read, finding a moment HE WAS THE HEAD MASTER
no one was at home, we used to creep in, steal copra, jaggery,
and fried bengal gram and devour them. Many times, besides the
- DevangiT. Chandrashekar
eatables, we have eaten lashes too.” He drenched us in laughter.
When the talks reached the subject of hunting, Puttappa Tne summer he came to Shimoga he asked me, “We are
pointed to the areca garden that was visible from the balcony thinking of visiting Kuppali. Would you mind coming with
and said, “I still remember. Once we were sitting here talking. us?” There was an invitation in those words. I said “Yes.”
From that corner of the garden a hollering sound came. It The next morning around seven O’clock they came to
appeared the sound shook the entire forest. Our hair stood Theerthahalli by car. I went with them. When the car had
up. A battle between a boar and a tiger! Once a roar, once a moved a little, I asked the driver to stop for a while. The old
hroom, another roar and another hroom. There wouldn’t have tiger of Theerthahalli, Arakappa (Aarogyam-Aarokkiyam) was
been a dearth for the valour of two warriors like Karna and coming from the opposite direction. I turned towards
Arjuna. At last the hrooms stopped. It still rings in my ears.” Kuvempu and asked him, “Look, Arakappa is coming- do you
He created a picture before our eyes. remember him?” He hesitated a while and remembered a bit
about him. Then he exclaimed, ‘Oho!’ and smiled. Perhaps
the memories of the playful childhood days they had lived in
Theerthahalli had come back to his mind. Arakappa bowed
his head and said, ‘Namaskara my lord.’ His eyes were
sparkling. Puttappa asked him, “What Arakappa, are you fine?

69
Do you still serve in the same school?” “Yes my lord” he said and
then bade adieu.
The car moved ahead. Puttappa’s son Tejasvi asked his father,
“Anna, how do you know him?” Reminiscing those old days
Kuvempu said, “When we were at the school here he was the
peon. Why call him a peon, many times he was the head
master. Like the adage ‘an old patient is better than a new
doctor’, he was better than many new head masters were.
While the teachers taught us inside the classrooms, he taught
us all other things outside the school. Swimming, playing
marbles, collecting honey, making the head master’s stick
disappear- he was the leader to all of us in all these endeavours.” CIVET CAT
- Devangi T. Chandrashekar

Kuvempu’s car coursed across the bridge. Underneath the

River Tunge flowed. Kuvempu took an aerial view of the
outside world. The sandy banks of River Tunge, large river
boulders that flocked there, and the stone step by the side of
Rama mantapa of Theerthahalli, all of them as appearing in
his novel Kanuru Subbamma Heggadithi flash lived within
the frame of his sight and disappeared. By then the car
approached the fourteenth milestone. He stopped the car. The
children asked him why. Puttappa got down, went near the
telegraph pole, and returned. He sat in the car and told us,
“see, this is the pole to which a civet cat always rubbed musk.
So many times we have collected it from here.” Thiralebailu,
tank, Manikere tank and the tank in the novel Kanuru
Subbamma Heggadithi into which a cart falls neared us and
passed by on the way.

70
 is from their home, who is a stranger, who is a thief, and who is
a good person. They ran to whoever came near the house wagging
their tails to lick their feet. We became angry when beggars,
streetwalkers, and sundry people walked into the house without
minding the presence of dogs. We then decided to stop petting
them and instead began to train them to behave doglike. We
made them stand on the gate and pestered them to bark at all
cattle, country dogs, wayfarers by choo-chooing. But how could
the pups know that they should bark when they hear our choo-
chooing? Neither they knew our language nor did we, theirs.
Every now and then, a cobbler visited our home. His name
GOAT HUNTING was John. Everyone called him ‘Janappa’. He boasted of himself
with us of having served in military and participated in the
World War. He showed several scars on his body as scars of
The delight we got when two pups arrived at our home from
gun shot wounds. Once he had come to our home to repair
Shivamogga, making our long felt dreams real, was limitless.
slippers. He saw the pups and called them, “kamandaa,
Many of our school friends, who were unfortunate to have no
kamandaa,” sit down, sit down.” We did not know, then,
pups in their home to bring up, came with us to our house every
correctly what English was, and what Hindi was. We called
evening watched and appreciated them and went home. All our
Hindi as language of sabis (Muslims). When Janappa called
games, which we used to play on the street in front of our houses,
the dogs “kamandaa, kamandaa,” we thought Janappa knew
stopped temporarily as we began to play with the pups no sooner
the language of dogs and pleaded with him to teach dog
we returned home from the school. We just knew only one way
language to us. Janappa did not like us call the few words he
of showing our love to them, that was feeding them continuously
had learnt by heart with great difficulty as dog language. He
and we spent on them much of the eatables we got. Their belly
told us that it was not the dog language but the language
always looked like pot. If someone lifted them, they even found
European lords speak and he spoke to the dogs in that language,
it hard to breath and writhed.
as the good breed dogs do not understand Kannada. He taught
“Don’t get into mischief with their tails” our father had strictly us the English terminology of how to ask the dogs to sit, what
warned Chaitra and me. We did not find any need to convert should we say to make them stand, and what to make them
those pups into a good breed dogs, as they were white and pretty. go away. We learnt them by heart without considering them
Father’s admonition was always there reverberating and hence we as words and that they have meanings and we called the dogs
did not think about docking the pups. When they were young, “kamandaa, kamandaa.”
they were pretty and everybody who saw them caressed them.
Anna was surprised to hear those peculiar commands we
Therefore, they did not develop the sense of differentiating who

71
were giving the dogs. He asked us once what it meant. We told jump, high jump, walking on two legs so on. We thought we
him that it was the dog language Janappa taught us and that the could at least teach acrobatics to our dogs and commenced our
good breed dogs do not understand Kannada. Anna could not exercise from the very next day. We taught them to jump the
get in to the word kamandaa, he was unable to guess from which compound wall to teach them high jump. One of us dragged the
particular word this kamandaa was derived. But the finely dog out with the lasso tied to its neck and the rest of us encouraged
ingrained condemnation towards Kannada behind the thinking the dog to jump.
that Kannada is for native dogs and English for the good breed With our unceasing efforts, the dogs learnt to jump the wall.
dogs must have pained him. He praised the greatness and the But we got the clapper claws from Anna for that effort because
long history of the Kannada language and asked us to “tell Janappa no sooner they were let they jumped the wall and went away to
if he comes again that ‘when the poet called Pampa was writing wander like vagabonds. How can the dogs reared to guard the
epics in Kannada your English lords were wandering the forests house scout if they do not remain in the house? After a very long
living like tribal people covering their trunks with barks of the reflection over the issue, Anna got an idea. Before they were let
trees.”’ Perhaps that was the first time I witnessed the anger in free at nights he tied a piece of wood to their neck just like the
Anna about the Kannada people who lacked love and admiration piece of wood tied to the neck of mischievous cattle. The dogs
for their language. could not jump the wall with the stub. It certainly stopped them
We did not tell Janappa what Anna told us. Then our pups; from jumping out. But our guests were frightened by the sound
they did not appear to have any kind of fondness for either they made while they circled the house dragging the stub
Kannada or English. They ignored whatever we said and they throughout the night. They even went upstairs and circled there
paid attention only to see if we had anything in our hands for dragging the stub with them. While the dogs came down, the
them. stubs hit the stairs and made deafening daba daba sounds. Owed
A circus company came to Mysore and erected its tent. In to this the edges of stairs were damaged. But it stopped the
our classroom, there were talks that it was a renowned company menace of thieves who stole taps, bulbs, and such other items
called G.A. Circus. The roaring of lions and sounds of elephants from our backyard.
reached our house too in the morning hours. Apart from that When we grew up a little, we learnt to make our catapults.
to announce the arrival of the circus company, they took Prafulla Chandra who was at Shivamogga was our guru for all
procession of Elephants, horses and camels around the these arts. Prafulla is my mother’s brother. My mother used
mohallas. Anna took us to circus rather unable to bear the to go to Shivamogga to her parents during summer vacations
trouble we gave him. We three, I, Chaitra and Kala, went to taking us with her. There Prafulla was training us in hunting
the circus. Tarini was too young and so we did not take her skills. He was elder to us. He made catapults for each one of
with us. us. While coming back to Mysore we prayed, cajoled him for
What drew our attention primarily was the acrobatics they rubber tubes and at home we made our own catapults. We took
made the dogs perform. The dogs performed many things; long our dog to the fields around our home, chased and hunted garden

72
lizards and rats and quenched our thirst for hunting. not know what to do. We began to cry loudly. We made Tarini
Once we were caught in a very big hazard because of those and Kala to run home and get Anna telling him that the dogs
dogs. That was a day of some festival. It normally got late for were killing the goat. Hearing our screams two elderly people
lunch on festival days. Chaitra and I put the catapult into our came out. One among them asked us from a distance why we
pockets and set out for the fields. As Kala and Tarini pleaded were crying. I replied him, still crying, that the dogs have
to accompany us, we took them also with us. They did come caught the goat. From the way we were crying, they thought
with us usually as there were custard apple plants in the fields. that the dogs have caught our own goat and they opened their
They came looking for the fruits in those plants. gates and hurried towards us. They also tried to get the goat
rid of the dogs. Even they were unable to open the dogs’ mouth
We wandered through the field right up to Gokula and we
to free the goat. At last, they took a brick and banged it on
were returning by road. A goatherd came from our opposite
the nose of the dogs. It was only then that the dogs loosened
side. We were so unworried about our dogs because they were
their hold on the goat. No sooner was it released from the
both so docile and non-violent that we did not bother to watch
mouth of the dogs the goat ran away crying pitiably. They
them or the goatherd. In fact, the dogs had never in the past
scared away the dogs that once again tried to attack the goat.
paid heed to our provocation; they had all along stayed back
putting their tails between their thighs. But there was a sudden One of them asked, “Is that goat yours?”
change in the behaviour of our dogs. They stared at the goats. “No” we both replied him.
Their hair stood straight. And they then ran towards goats “Then why are you crying?” he asked us greatly surprised.
like hunting wolves. Goats ran hither and thither crying
“The dogs are ours,” we said.
myaa... myaa... The dogs ran chasing the goats and we, four
of us children, ran behind the dogs shouting cautions to them. Once the goat was out of dogs’ seize, we ran towards our
Until then I did not have a slightest clue that our dogs hid home through passageways. As we reached home before Kala
such a murderous attitude in them. and Tarini did, they did not have the need to get Anna to the
spot. But if they were not available to us as witnesses, it was
By the time it ran a small distance, a tired goat fell to one
certain that we awaited lashes on the surmise that we had let
of the dogs. The dog had caught the goat by its drooping ear
the dog on the goatherd. After that incident, Anna cautioned
and the goat was unable to run fast. Instantaneously another
us not to take the dogs with us while we were out to roam on
dog too fell on the goat and caught its neck. Now the goat
the streets.
was not able to drag the weight of two dogs and it fell into a
gorge by the side of the road. We were so afraid we began to Excerpt from Sri. K.P.Poorna Chandra Tejaswi’s Book
shiver. Our eyes became moist at the thought of policemen ‘Annana Nenapu’
putting us into a jail. We got into the gorge and tried to
rescue the goat from the dogs. But their mouths held the goat
too tightly as if they are locked. We were so perplexed; we did

73
 Part 5 : APPENDICES

74
 IMPORTANT YEARS

1904 Birth: 29th December 1904 at the parental house of

Seethamma, Mother Hirekodige village, Koppa Taluk,
Chikkamagalore district. Father Kuppali Venkatayya
Gowda, Kuppali, Theerthahalli Taluk, Shivamogga
District. It seems Kuppali and Hirekodige families
were previously quite affluent and gradually their
fortunes started dwindling after 1901.
1916 Initiation into learning under a private teacher at
Kuppali house. Birth of sisters- Danamma and
Puttamma, death of father Kuppali Venkatayya Gowda.
1916-27 Middle school education at Theerthahalli, 1919:
Passes through Kannada Lower Secondary, 1920-1927:
studies at Mysore; Wesleyan Mission High School and
Maharaja College. 1927: B.A. Degree. Between this
period death of Mother-1924: and untimely death of
sisters who were married by them; 1926 admission
into Sri Rama Krishna Mutt with the encouragement
of Swami Siddeshwarananda; suffer from small pox.
In a sort of mental disturbance declares he is

75
 Vivekananda himself. Publication of early writings. First 1955 Becomes principal of Maharaja College. Gets S hitya
English collection of poetry, the Beginners muse (1922), Akademi award for Sri Ramayana Darshanam
and writings in Kannada get published. 1956 Accepts the honorary D. Lit degree from the Mysore
1928 Presides over the Poets Meet at Bangalore. University, appointed as its Vice Chancellor, chosen
1929 Visit to Kolkatta, getting initiation from Swami to be invitational president of 38th Kannada Sahitya
Shivananda (08.10.1929), passes through M.A. Sammelana held at Mysore, Karnataka unified.
examination, Joins Maharaja College as faculty. 1957 Presides over the 39th Kannada Sahitya Sammelana
1930 Publication of first poetry collection in Kannada- held at Dharawada.
Kolalu. 1958 Accepts Padma Bhushana Award from the President
1933 Chairs Poets’ Meet convened as a part of 19th Kannada of India
Sahitya Sammelana held at Hubballi. 1960 Expansion of Manasa Gangothri, retirement from the
1936 Publication of Kanuru Heggadithi and Chitrangada, post of Vice Chancellor.
latter a work which is an experiment in Mahopame 1964 Accepts Rashtra Kavi title from the State Government.
and Maha Chandassu. 1966 Accepts the honorary D. Lit degree from the Karnataka
1937 Marriage with Hemavathi. Begins life in new house University
Udayaravi at Ontikoppal, Mysore. 1967 Publication of Malegalalli Madumagalu novel
1938 Poorna Chandra Tejasvi, first son born (08.09.1938). 1968 Sri Ramayana Darshanam gets first ever Jnanapeetha
1939 Appointment as reader in Kannada, Central College, award for Kannada
Bangalore; shifts to Bangalore; Teacher Venkannayya 1979 Karnataka Sahitya Academy award for the service
passes away. rendered to the Kannada language and literature.
1941 Birth of second son Kokilodaya Chaithra (02.05.1941) 1982 Wife Hemavathy passes away
1943 First Daughter Indukala born (21.07.1943) 1985 Inaugurates the first Vishwa Kannada Sahitya
1945 Second daughter Tarini born (06.02.1945) Sammelana at Mysore.
1946 Appointed as Kannada professor and head of the 1994 Sri Kuvempu passes away on 10.11.1994
department of Kannada at Maharaja College. Return 1995 Kannada University, Hampi confers on him Nadoja
to Mysore. Award posthumously
1949 Publication of first volume of Sri Ramayana Darshanam
1951 Publication of second volume of Sri Ramayana
Darshanam

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 SRI KUVEMPU’S GENEALOGY SRI KUVEMPU’S WORKS

Mother: Seethamma POETRY

Father: Kuppali Venkatappa Gowda Year Title
Sisters: Danamma and Puttamma
1922 Beginner’s Muse, English poems of formative years
Wife: Hemavathi
SonsDaughter Daughters/sons in law G r a n d 1924 Amalana Kathe, A light imaginary play in verse for
children children
PoornachandraTejaswi K.P. R. Rajeshwari Susmitha / 1926 Haalooru, a long poem
Deepak shenoyIshanye Gnanesh M Kanolkar 1928 Bommanahalliya Kindari Jogi : A long poem
Kokilodaya Chaitra Marlin Simone influenced by ‘Pied Piper of Hamelin’
Indukala Dr. Surendra K.T D r. K . S . Ta m a l a / 1930 Kolalu Kuvempu’s first representative poetry
Sudhir/K.S.Shadhvala collection
Tarini K.P. Pro. Chidananda K.C.Prarthana /
1933 Panchajanya , collection of revolutionary poems
Kishore
1934 Navilu, poems with nature at their core
1934 Kalasundari, poems with nature at their core
1936 Kindari Jogi Maththu Ithara Kathana Kavanagalu;
A collection of narrative poems
1936 Chitrangada- a long poem in free verse

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1944 Kogile Maththun Soviet Russia- collection of 1976 Honna Hotthaare – a collection of poetry
revolutionary poems 1973 Alien Harp: English poems
1946 Nanna Mane- poems for children 1981 Koneya Thene Maththu Vishva Maanava Sandesha
1946 Krithike a collection of sonnets on nature and people 1981 Samudra Langhana- A Khanda Kaavya in free verse
1946 Pakshi Kashi- poems with nature at their core 1985 Maha Darshana Maththu Prayashchitta two Khanda
1946 Prema Kashmira- love songs Kaavyas in free verse
1946 Agni Hamsa- metaphysical poems 1997 Sri Ramayana Darshanam photo print of original
1946 Kinkini- poems in free verse manuscript
1946 Shishu Geethanjali- poems for children
PLAYS
1947 Meghapura- poems for children
1926 Modannana Thamma - A play for children
1947 Mari Vijnani- poems for children
1928 Yamana Solu-play based on the popular tale of
1947 Shodashi- love songs Satyavana and Savithri
1947 Sri Swathanthrodaya Mahapragatha- a long poem 1928 JalagAra- a play of two scenes
on freedom
1930 Nanna Gopala- A play for children
1948 Bapoojige Bhashpaanjali-a poem on Mahatma
1930 Birugali (Adaptation of Shakespeare’s Tempest)
Gandhi
1931 Mooru Natakagalu: Maharathri, Smashana
1949 Ramayana Darshanam vol.1 an epic in Mahachandas
Kurukshetram and Jalagara
1951 Sri Ramayana Darshanam vol.2 an epic in
1931 Maharathri_ the play based on the episode of
Mahachandas
Siddhartha leaving the palace to become Buddha
1952 Jenaaguva- love songs 1931 Eradu Natakagalu-Yamana Solu, and Birugali
1954 Chandra Manchake Baa Chakori- love songs with a foreword of Sri. T.S.Venkannaiah
1952 Ikshu Gangothri-Poems on nation and the society 1931 Valmikiya Bhagya-a play based on the myth of Seetha
1963 Anikethana- Metaphysical poems Vanavasa
1965 Anutthara- love songs 1931 Smashana Kurukshetram- a play that looks at the
tragedies of war, injustice, destruction, violence.
1966 Mantrakshate – other uncollected poems
1932 Rakthakshi(Adaptation of Shakespeare’s Hamlet)
1967 Pretha Q- poems on socio political issues
1944 Shudra Tapaswi- the play that tells the story of
1967 Kuteechaka- Metaphysical poems
Shambooka, a character in Ramayana
1967 Kadaradake- poems with nature at their core

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1944 Eradu Natakagalu- Yamana Solu, Valmikiya Bhagya 1946 Kavya Vihara- essays in literary criticism
1947 Beralge Koral- A play based on the episode of Ekalavya 1950 Taponandana-metaphysical criticism
of Mahabharatha. 1953 Vibhoothi Puje- essays in literary criticism
1947 Balidana-A play in three scenes based on the freedom 1959 Kulapathigala Bhashanagala Aayda Bhagagalu- selected
movement and martyrs speeches as Vice Chancellor of Mysore university
1963 Chandrahasa-a play in verse 1960 Draupadiya Shreemudi - essays in literary criticism and
1974 Kaneena-Play about Karna, a character in poetics
Mahabharatha 1962 Raso Vy Saha- essays in literary criticism and poetics
1995 Smashana Kurukshatram Maththu Maharathri 1964 Shashti Namana- a collection of speeches, articles and
1995 Smashana Kurukshetram Maththu Beralge Koral forewords
Novel, Short Fiction, Prose Works 1966 Shri Sri Kuvempu Bhashanagalu-Binnavathalegalu
1930 Narigaligeke Kodilla –Story for the children 1970 Ithyadi- essays in literary criticism
1933 Malenadina Chitragalu -reminiscences of Malenad 1971 Manuja Matha Vishvapatha a collection of speeches
life and articles
1936 Sanyasi Mathu Ithara Kathegalu- a collection of short 1974 Kuvempu Pathragalu- Letters of Sri. Kuvempu
fiction 1976 Vichara Kranthige Aahvana- a collection of speeches
1936 Kanuru Heggadithi- Kuvempu’s first great novel 1976 Rashtra Kavi Bhashanagalu- a collection of speeches
1940 Nanna Devaru Maththu Itara Kathegalu- a 1978 Janatha Prajne Maththu Vycharika Jagrithi- a
collection of short fiction collection of speeches
1967 Malegalalli Madumagalu- Kuvempu’s second great 1978 Darshanika Kavya Meemamse- a collection of select
novel articles on literary criticism
1985 Kathegalodane Arambhadalli- a collection of short 1989 Munnudi Thorana- a collection of forewords
fiction
1993 Sri Ramakrishna Vachana Veda Nudinamana a
booklet on Sri Ramakrishna Paramahamsa
POETICS, LITERARY CRITICISM,
SPEECHES, LETTERS
1944 Sahaitya Prachara- a collection of speeches
1944 Atmashreegagi Nirankusha Mathigalagi- a collection
of speeches

79
BIOGRAPHY 1968 Kannada Dindima
1932 Swami Vivekananda- a biography 1972 Prarthana Geethanjali
1934 Sri Ramakrishna Paramahamsa- a biography 1973 Kabbigana Kai Butti
1977 Kranthi Kahale
AUTO BIOGRAPHY 1984 Aayda Kuvempu Kavanagalu
1980 Nenapina Doniyalli Bhaga 1- autobiography
1985 Nenapina Doniyalli Bhaga 2- autobiography COMPLETE COLLECTIONS
2000 Complete poetry works of Kuvempu Part-1
TRANSLATIONS 2000 Complete poetry works of Kuvempu Part-2
1933 Viveka Vani: selections from Swami Vivekananda’s 2003 Complete prose works of Kuvempu Part1
writings
2004 Complete prose works of Kuvempu Part1
1934 Vedantha: translation of Swami Vivekananda’s
speeches 2004 Complete plays of Kuvempu
1934 Rishivaani- translations of hymns in Upanishads
1950 Janapriya Valmiki Ramayana- prose narrative of
original Ramayana of Valmiki.
1954 Guruvinodane Devaradige Bhaga 1-discourses of
Swamy Shivananda
1964 Guruvinodane Devaradige Bhaga 2- discourses of
Swamy Shivananda

TEXTUAL CRITICISM
1958 Karnata Bharatha Katha Manjari – Kumaravyasa ‘s
epic in Kannada co edited with Masthi Venkatesha
Iyengar
ABC Savinenapu, Prof. T.S. Venkanayanavara sambavane
grantha

SELECTED WORKS OF POETRY

1965 Kavyarshi Kuvemu Kotta Kannada Deekshe

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COME OVER TO MALENADU Here they come
Milton and Shelly
Gifted poet is here
Come Over to Malenadu
On the lap of mother Malenadu Come here
In the womb of dark clouds Here I am
I dwell in the bolts of thunder The bard
In the sea of lightning In this village
The land of forests Lovely Kuppali
The region of splendour
Lovely ghastly Malenadu

The grandeur of sunrise

And beauty of sunset
The cool gleam of moon
The calm of night
Here a cuckoo
There a pigeon
Parrots in rhyme

Here the gushing stream

Pool to the brim
Hill to climb while you sing
Mountains range to phrase
Sunshine and the cool
Fragrance of flowers
The sweet breast
Of green and of juicy fruit

Here they come

Ranna and Pampa
Revered guru is here

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