Thursday, February 6, 2020

Kuvempu.

Known by his pen name Kuvempu, he is considered one of the greatest Kannada writers of his time.
The Kannada language is spoken mainly in Kuvempu's home state in India of Karnataka.
  • Kuvempu studied at Mysore University in 1920s, and rose to be vice-chancellor of the university in 1956. He initiated teaching in Kannada.
  • He started his work in English, with a collection of poetry called Beginner's Muse but later switched to his native Kannada. 
  • He is credited for giving Kannada new words, phrases and terminologies. 
  • "Institute of Kannada Studies". He aimed to make Kannada the medium for education. To cater to the needs of Kannada research, he founded the Kannada Adhyayana Samsthe ("Institute of Kannada Studies") at Mysore University.
  • For his contributions to Kannada literature, the government of Karnataka decorated him with the honorific Rashtrakavi (National Poet) in 1958 and Karnataka Ratna (Gem of Karnataka) in 1992.
  • The Kuvempu University in Shimoga, Karnataka was established in 1987.The Vishwamanava Express was named in honour of Kuvempu's idea of "Vishwa Manava" ("Universal Man").

  • EpicEdit

    NovelsEdit

    PlaysEdit

    • Birugaali/ಬಿರುಗಾಳಿ (1930)
    • Maharaatri/ಮಹಾರಾತ್ರಿ (1931)
    • Smashana Kurukshethra/ಸ್ಮಶಾನ ಕುರುಕ್ಷೇತ್ರ (1931)
    • Jalagaara/ಜಲಗಾರ (1931)
    • Raktaakshi/ರಕ್ತಾಕ್ಷಿ (1932)
    • Shoodra Tapaswi/ಶೂದ್ರ ತಪಸ್ವಿ (1944)
    • Beralge koral/ಬೆರಳ್ಗೆ ಕೊರಳ್ (1947)
    • Yamana solu/ಯಮನ ಸೇೂಲು
    • Chandrahasa/ಚಂದ್ರಹಾಸ
    • Balidaana/ಬಲಿದಾನ
    • Kaaneena/ಕಾನೀನ (1974)

    AutobiographyEdit

    • Nenapina Doniyali/ನೆನಪಿನ ದೇೂಣಿಯಲಿ (1980)

    Collection of storiesEdit

    • Sanyaasi Mattu Itare Kathegalu / ಸನ್ಯಾಸಿ ಮತ್ತು ಇತರೆ ಕಥೆಗಳು (1937)
    • Nanna Devaru Mattu Itare Kathegalu / ನನ್ನ ದೇವರು ಮತ್ತು ಇತರೆ ಕಥೆಗಳು (1940)

    EssaysEdit

    • Malenaadina Chittragalu / ಮಲೆನಾಡಿನ ಚಿತ್ರಗಳು (1933)

    Literary criticismEdit

    • Atmashreegagi Nirankushamatigalagi (1944)
    • Kavyavihara (1946)
    • Taponandana (1951)
    • Vibhuthi Pooje / ವಿಭೂತಿ ಪೂಜೆ (1953)
    • Draupadiya Shrimudi (1960)
    • Vicharakrantige Ahvana (1976)
    • Sahityaprachara
    • Ithyadi
    • Raso Vai Saha

    Essay and OtherEdit

    • Manujamatha Viswapatha
    • Kavya Vihara
    • Mantramangalya

    BiographyEdit

    • Swami Vivekananda (1932)
    • Sri Ramakrishna Paramahamsa (1934)

    TranslationEdit

    • Guruvinodane Devaredege
    • Janapriya Valmiki Ramayana

    Stories and poems for childrenEdit

    • Bommanahalliya kindarijogi(1936)
    • Mari vijnani(1947)
    • Meghapura (1947)
    • Nanna mane (1947)
    • Nanna gopala
    • Amalana kathe
    • Sahasa pavana
    • Modannana Tamma
    • Narigaligeke Kodilla
    • Haluru
    • Panchajanya
    • Prema Kashmira
    • Anuttara : Premopanisattu
    • Kutichaka

    MoviesEdit

    DramaEdit

    • Malegalalli Madumagalu (directed by basavalingaiah)

    Awards and honoursEdit

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Wednesday, February 5, 2020

miles

Stopping by Woods on a Snowy Evening

Whose woods these are I think I know.   
His house is in the village though;   
He will not see me stopping here   
To watch his woods fill up with snow.   

My little horse must think it queer   
To stop without a farmhouse near   
Between the woods and frozen lake   
The darkest evening of the year.   

He gives his harness bells a shake   
To ask if there is some mistake.   
The only other sound’s the sweep   
Of easy wind and downy flake.   

The woods are lovely, dark and deep,   
But I have promises to keep,   
And miles to go before I sleep,   
And miles to go before I sleep.
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Friday, January 31, 2020

some scholars

Naṟṟiṇai (Tamil: நற்றிணை meaning excellent tinai, is a classical Tamil poetic work and traditionally the first of the Eight Anthologies (Ettuthokai) in the Sangam literature.The collection – sometimes spelled as Natrinai or Narrinai– contains both akam (love) and puram (war, public life) category of poems. The Naṟṟiṇai anthology contains 400 poems, mainly of 9 to 12 lines, but a few with 8 to 13 lines each. According to Takanobu Takahashi – a Tamil literature scholar, the Naṟṟiṇai poems were likely composed between 100–300 CE based on the linguistics, style and dating of the authors.The Naṟṟiṇai manuscript colophon states that it was compiled under the patronage of the Pandyan king named Pannatu Tanta Pantiyan Maran Valuti, but the compiler remained anonymous.
The Naṟṟiṇai poems are credited to 175 ancient poets. Two of these poems are attributed to the patron king. According to Kamil Zvelebil – a Tamil literature and history scholar, this poetic anthology contains a few Sanskrit loan words and contains 59 allusions to historical events. Many lines from these poems were borrowed into later Tamil works such as the famed post-Sangam Tamil works: Tirukkural, Silappatikaram and Manimekalai. The Tamil legend about Kannagi (Kannaki), one who tore of her breast to protest against her husband's unjust execution, appears in Naṟṟiṇai 

Kalittokai (Tamil: கலித்தொகை meaning the kali-metre anthology) is a classical Tamil poetic work and the sixth of Eight Anthologies (Ettuthokai) in the Sangam literature. It is an "akam genre – love and erotic – collection par excellence", according to Kamil Zvelebil – a Tamil literature and history scholar The anthology contains 150 poems and was compiled by one of the authors named Nallantuvanar. The collection has a different tone, metre and style than earlier Sangam literature, evidence that it is a late Sangam work, likely from the 3rd-century CE or after. Naccinarkiniyar, a Tamil scholar who lived during the 14th-century CE, has commented on this work.
It is unclear whether the Kalittokai was authored by more than one author. Some scholars attribute the collection to five authors, including one by the famed Sangam poet Kapilar. Others, such as S.V. Damodaram Pillai and K.N. Sivaraja Pillai consider it the work of one poet.
The Kalittokai anthology uses the kali metre of varied length. This metre is more advanced and complex than the akaval metre found in earlier Sangam poetry. The kali metre combines aciriyam and venpa, creating opportunities to set dialogues within the metre. The poets who composed the Kalittokai created what comes across as a "one-act plays", sometimes with "coarse, spicy, racy, rude, bawdy, or humorous" dialogues, states Zvelebil. According to Herman Tieken, these compositions are examples of lasya minor dance scenes as described in the chapters 19 and 31 of the Natyasastra. The kali metre has several structural subtypes, each suited for different literary purposes.
The poems include cultured love situations, as well as erotics, folkmotifs and vulgar situations.[1] Its poems are categorised into the five tinais according to the mood and subject matter conforming to the Sangam landscape. The first part (2-36) deals with paalai setting, the second (37-65) with kurinchi, the third (66-100) with marutam, the fourth (101-117) with mullai and the fifth (118-150) with neital. These five section were each written by a separate author. Perunkadunkon wrote the paalai songs, the poet Kapilar is attributed to the kurinchi, Ilanaagan the marutham songs, Nalluruthiran the mullai songs and the poet nallanthuvan the neithal songs.
The Kalittokai poems are notable for the relatively higher number of Sanskrit loan words, lexical and structural innovations, the practice of quoting lines of earlier poems such as Kuṟuntokai 18.5, and the lack the names of chieftains, kings or poets. The anthology is also notable for including allusions and references to pan-Indian love and moral legends found in Epics– and Puranas–genre Sanskrit texts. According to Zvelebil, some examples in the Kalittokai include Duryodhana's evil plans to kill the Pandava brothers in poem 25, the battle of Murugan and Surapadma in poem 27, Ravana of Ramayana epic in poem 38, Bhima in poem 52, Krishna killing Kansa in poems 52 and 134, Shiva's legends in poems 101 and 150, the love story of Urvasi and Tilottama in poem 109, among others.
The poems of Kalithogai show evidence of the ancient music of the Tamil people with its rhythmic phrases.
Goodness is helping one in distress;
Support is not deserting one who is dependent;
Culture is to act in unison with the ways of the world;
Love is not surrendering ties with one’s kin;
Wisdom is to ignore the advice of the ignorant;
Honesty is not to go back on one’s words;
Integrity is to ignore others’ faults;
Justice is awarding punishment without partiality;
Patience is to suffer the ill-disposed.
—Kalithogai 133


Kundalakesi (Tamil: குண்டலகேசி Kuṇṭalakēci, lit. "woman with curly hair"), also called Kuntalakeciviruttam, is a Tamil Buddhist epic written by Nathakuthanaar, likely sometime in the 10th-century. The epic is a story about love, marriage, getting tired with the married partner, murder and then discovering religion.
The Kundalakesi epic has partially survived into the modern age in fragments, such as in commentaries written centuries later. From these fragments, it appears to be a tragic love story about a Hindu or Jain girl of merchant caste named Kundalakesi who falls in love with Kalan – a Buddhist criminal on a death sentence. The girl's rich merchant father gets the criminal pardoned and freed, the girl marries him. Over time, their love fades and they start irritating each other. During an argument, Kundalakesi reminds him of his criminal past which angers Kalan. A few days later, he invites her to a hike up a hill. When they reach the top, he tells her that he will now kill her. The wife requests that he let circumambulate him – her husband – three times like a god, before her death. He agrees. When she is behind him, she pushes her husband over into the valley below and kills him. She feels remorse for killing the boy she once fell in love with and someone she had married. She meets teachers of various religious traditions, adopts Buddhism, renounces and becomes a nun, then achieves Nirvana. Sections of the story are very similar to the Buddhist Pali Therigatha legend.
The Kuntalakeci is one of Aim-perum-kappiyam (lit. "five great kavyas", or The Five Great Epics of Tamil Literature) according to the later Tamil literary tradition. The surviving stanza fragments of the epic are in kalitturai poetic meter. It was likely an epic drama-musical for Tamil Buddhist audience in and about the 10th-century. The work likely ridiculed Jainism and Hinduism, attracting commetaries and debate. Various Tamil scholars dated between 10th- and 16th-centuries have called the Buddhist epic as a work of tarukkavadam (polemics and controversy).

Kundalakesi (lit. The woman with long curly hair) was born in a merchant family in the city of Puhar. She loses her mother during childhood and lives a sheltered life. One day she sees a Buddhist robber and gambler and falls in love with him. The thief, Kaalan, has been sentenced to death for banditry. Besotted with Kaalan, Kundalakesi implores her rich merchant father to save him. Her father petitions the king for the thief's release. He pays Kalan's release, and the king agrees to release him because Kalan's father was also a minister in his court. Kundalakesi and Kaalan are married and live happily for some time.
The love fades, and one day, the sulking Kundalakesi reminds Kalan of his criminal past. This enrages the mercurial Kaalan. He plots to murder her and steal her jewels. He tricks her into visiting the summit of the nearby hill. Once they reach the summit, he announces his intention to kill her by pushing her off the hill. Kundalakesi is shocked and asks him to grant a final wish — she wishes to worship him, her husband, by going around him three times before she dies. He agrees and, when she gets behind him, Kundalakesi pushes him off the summit, killing him.
Kundalakesi feels disgust and remorse with what she did to Kalan. She learns about different religious traditions and converts to Buddhism. She renounces, becomes a nun and achieves nirvana.

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Supreme is the one who initiates learning.

We will wear the flower-like feet of the One with five arms
who represents the meaning of the word ‘Om’

Piranavap porulam peruntakai ainkaran
sarana arputamalar talaikku anivome
Eluttari vitthavan iraiva naakum
Supreme is the one who initiates learning.
Kalvik kalaku kacatara molital
The beauty of learning is to speak without ambiguity.
Celvark kalaku chezunkilai thaankuthal
The beauty of the wealthy is to support their dear relatives.
Vetiyark kalaku vethamum olukkamum
The beauty of a priest is to lead a moral and religious life
Mannavark kalaku cenkol muraimai
The beauty of a king is to rule with justice
Vanikark kalaku valarporu leettal
The beauty of a merchant is to increase his wealth
Ulavark kalaku yer uzuthoon virumpal
The beauty of the farmer is to live by his produce.
Manthirik kazhku varumporuluraithal
The beauty of the minister is to anticipate the future
Thanthitik kazhku thrugan aanmai
The beauty of the commander is to show bravery
Undik kazhku viruntho dundal
The beauty of a meal is to share with the hungry
Pendirk kazhkuyethir pesa thirithal
The beauty of women is to avoid arguments
Kulamakat lazhkuthan kozhunanaip penuthal
The beauty of a good wife is to honour the husband
arinyar kazhku kattrunanth thadangal
The beauty of the wise is to be humble about his learning
varinyark kazhku varumaiyil semmai
The beauty of the poor is to lead an unblemished life
thempadu panaiyin thiralpazhth thoruvithai
vaanura vongi valampera valarinum
oruvar kirukka nizhlaa kaathe
The Palmyra palm though grows sky high from a large seed yet cannot offer shade
even to a single person. (The wealth of a miser is not usefull even to a single needy)
Thelliya aalin sirupazhth thoruvithai
thenneeraik kayathuch sirumeensinaiyinum
nunnithe aayinum annal yaanai
anither puravi aatperum padaiyodu
mannark kirukka nizhlaa kumme
The mighty ‘Banyan tree’ that is large enough to offer shade to battalions of a king’s army, grows out of a tiny seed smaller than a fish-egg. (Many people benefit from those who are willing to give, though they may not possess much wealth.)
Adinum aavinpaal thansuvai kunraathu
The milk does not lose its taste even when heated
Sudinum sempon thanoli kedaathu
Gold does not lose its shine even when burnt.
Araikinum santhanam thanmanam araathu
Sandal wood does not lose its smell even when ground to a paste.
Pukaikinum karakil pollaangku kamazhathu
Agar wood’ does not give a bad smell even when burnt.
Kalakinum thankadal seru aagathu
Sea does not turn muddy even when churned.
Perumaiyum sirumaiyum thaanthara varume
Praises and insults result from one’s own action
Karkai nantre karkai nantre
pichai pukinum karkai nantre
Is is better to get an education even if you have to beg for it.

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