Modern Kannada literature refers to the body of literature written in the Kannada language, a language spoken mainly in the Indian state of Karnataka. The Kannada script is the writing system used in Kannada literature. In the last forty years, eight modern Kannada authors have been awarded the Jnanpith award, a prestigious private literary award in India. In addition, the Sahitya Akademi Award, the second-highest award for literature granted by the Government of India, has been conferred upon Kannada writers fifty times.
Dawn of modern literature
1800–1900
The nascent beginnings of modern Kannada literature can be traced to the early 19th century under the stewardship of Maharaja Krishnaraja Wodeyar III, the ruler of the princely state of Mysore, and court poets who attempted to steer away from the ancient champu form of prose and popularize prose renderings of Sanskrit epics and plays. Kempu Narayana's Mudramanjusha ("Seal Casket", 1823) can be considered the first modern novel, anterior to English influence on Kannada. Though inspired by Vishakhadatta's Sanskrit original Mudrarakshasa, the work displays a creativity of its own.Murthy in George K.M(1992), p 168
The impetus to modern literature came from a Western-style education and the Christian missionaries who relied on the local language to propagate the gospel. The arrival of the printing press was a catalyst to this process. Among the several early Kannada publications, the first Kannada-English dictionary by Ferdinand Kittel (1894) is noteworthy.Kamath (2001), p 280 B. L. Rice edited and published ancient Kannada classics and compiled a brief history of Kannada literature, while J. H. Fleet compiled a collection of folk ballads including the well-known Sangoli Rayana Dange ("The Revolt of Sangolli Raya"). The most outstanding lyrical poet of this period, whose poems were reminiscent of the medieval mystic Kannada poetry, was Sisunala Sharief.Murthy (1992), p 168
In the latter half of the 19th century, progress towards original works in prose narratives initially gained momentum through translations from Sanskrit, English (Yatrikana Sanchara from "The Pilgrims Progress", 1847), Marathi (Yamuna Paryatana) and Bengali languages (Durgesanandini). Early dramatic literatures were translations from Sanskrit (Shakuntala, 1869) and English (Macbeth, King Lear and Romeo and Juliet).Murthy (1992), pp 168-169
With the standardization of modern prose, the earliest original social fictions were Suryakantha by Lakshman Gadagkar (1892) and Indira Bai by Gulvadi Venkata Rao (1899). With the theme being reform, the latter work critically examines social issues, reflecting an awakening.Murthy (1992), p 169Kamath (2001), p 281 Original plays carrying the same theme include, among others, the Iggappa Heggadeya Vivaha Prahasana by Suri Venkataramana Sastri (1887). Nanadalike Lakshminarayana ('Muddanna') wrote two important prose pieces; Adbhuta Ramayana (1895) and Ramaswamedham (1898). What makes the latter writing historically important is that the epic Ramayana is looked at from a modern sensibility with the author as the narrator and his wife as the listener, the narration being interrupted at various stages with humorous exchanges between the couple, resulting from questions raised by the listener.Murthy (1992), p 170 The transition from the age of verse to prose may be summed up with Muddanna's proclamation "poetry deserves killing whereas prose reaches the heart" ("Padyam Vadyam, Gadyam Hridyam").
The Renaissance
1900-1925
With the turn of the 20th century, B. M. Srikantaiah ('B. M. Sri'), regarded by some as the "Father of modern Kannada literature",Sahitya Akademi (1988), pp 1077-78 gave the call for writing originals in modern Kannada, emancipating the language from ancient courtly classics and stressing the need for the influence of English literature. This period can be considered a seed time, for a golden age to come. His adaptation of lyrics from English were effective, the best known among his works being the English Geethagalu ("English Songs"), a seminal work that set the trend for "Navodaya" (new birth) Kannada poetry to come.Murthi (1992), p 171 Other notable poets who were able to evolve new metrics out of old ones were Masti Venkatesh Iyengar in his poem of love and tragedy, the Madalingana Kanive ("Madalinga's Valley", 1924) and Govinda Pai in the Kavitavatara (1916).
Though Panje Manjesh Rao (1900) is considered a pioneer in the field of short stories, it is Masti Venkatesh Iyengar who is credited for laying the foundation for a generation of short-story tellers with his Kelavu Sanna Kathegalu ("A few Short Stories", 1920) and Sanna Kathegalu ("Short Stories", 1924).Murthi (1992), p 172
The consolidation of modern drama was pioneered by T. P. Kailasam, a towering personality in the field, with his Tollu Gatti ("The Hollow and the Solid", 1918). In contrast to the earlier Indira Bai (1899), this work examines the modern education system from a Gandhian viewpoint. Kailasam followed this with Tali Kattoke Cooline ("Wages for tying the Mangalsutra"), a story that criticizes the dowry system in marriage. Kailasam's plays were mainly concerned with problems effecting middle class Brahmin families; the dowry system, religious persecution, woes in the extended family system and exploitation of women. He represented for the first time in Kannada theatre, a spokesperson for liberal values and is thus considered by some as the one who laid the foundation of amateur Kannada theatre.Sahitya Akademi (1988), p 1077
Summarizing the earlier historicals written in English by B. L. Rice, J. H. Fleet, Robert Sewell and Bhandarkar, Alur Ventaka Rao wrote the novel Karnataka Ghatavaibhava (1917). The work was intended to re-kindle pride among Kannadigas about their glorious past and bring awareness about the great rulers, poets and saints who had originated from Karnataka, its traditions and its heritage in arts and architecture.
1925–1950
Navodaya The Navodaya period saw the rise of acclaimed lyricists who combined mystic poetry of the Vachanas and Kirthanas of medieval times and the native folk songs of oral traditions with influences from modern English romantics. Best known among them are D. R. Bendre, Gopalakrishna Adiga, K. V. Puttappa (Kuvempu), Shivarama Karanth, V. K. Gokak, Masti Venkatesh Iyengar, D. V. Gundappa ('DVG'), P. T. Narasimhachar, M. V. Seetharamiah, G. P. Rajaratnam, K. S. Narasimhaswamy and Adya Rangacharya ('Sri Ranga') and Gorur Ramaswamy Iyengar.Murthy (1992), p 173-175
Bendre is perhaps the most outstanding of modern Kannada lyricists, authoring a collection of 27 poems, including such masterpieces as Gari ("Wing", 1932), Nadaleela (1938) and Sakhigeetha (1940). His poems had a transcendental quality about them which were neither narrative or dramatic.Sahitya Akademi (1987), p 413 They cover a wide range of themes including patriotism, love of nature, conjugal love, transcendental experiences and sympathy for the poor. The Sakhigeetha is an autobiographical poem about his married life and personal experiences.Murthy (1992), p 173 Bendre had sworn that, in his poetry, he would "rather sow stars in Kannada soil than brillian jewels".Sahitya Akademi (1987), p 792
The beauty and grandeur of the Malnad hills strongly influenced Kuvempu, one of Kannada's doyen poets, in his Kalki (1933) in which the poet describes the life of the agrarian community. He further showed his brilliance in using the blank verse in his masterpiece and magnum opus that took him nine years to write, the Sri Ramayana Darshanam (1949) which contains 22,284 lines, divided into 50 cantos.Murthy (1992), p 174 This work marks the beginning of modern Kannada epic poetry. While the poem follows the Valmiki tradition, Kuvempu puts a stamp of originality on it, bringing together the Indian and western epic traditions.
In a departure from the original epic, Lanka (Ceylon) does not burn in the war nor does Sita enter the fire alone (called Agni Pravesha), but rather is followed by Rama. Both however reappear from the fire unscathed giving the mortals a glimpse of their divinity. Not only is Sita's chastity proven, so is Rama's fidelity towards her. Like medieval poet Nagachandra, Kuvempu portrays Ravana as an "evolving soul". He pays homage to all the great poets of the world, including the sage Valmiki, thus placing himself in the tradition of world epic poetry.Sahitya Akademi (1988), p 1182 The work abounds in metaphors and similes and brings home the thought that all living beings will eventually evolve into perfect beings. In the words of a historian, "No one could have imagined that the Kannada language is capable of this complex musical quality, for the first time in this century was Kannada made a language worthy of the gods".Punekar in Sahity Akademi (1992), p 4160
Govinda Pai succeeded in depicting an authentic Christian ambience in the Golgotha (1931). Considered a unique Christian work in Indian literature, Pai narrates in detail, starting from the Christ being taken to Pontius Pilate by a hostile group of Jews demanding his death and the events leading to his crucifixion at Golgotha. The success of this work encouraged Pai to follow with three panegyrics in 1947; Vaishakhi, Prabhasa and Dehali, narrating the last days of the Buddha, God Krishna and Gandhi respectively.Das (1995), p 148 Gilivindu is his first collection of poems. Forty-six in all, they bring out his love for nature, his country and Kannada language while the Nandadeepa, a collection of 37 poems are about devotion to god.
The influence of the west inspired a new genre in writing, the essay. Here, A. N. Murthy Rao's Hagaluganasugalu ("Day Dreams", 1937) is best known.Murthy (1992), p 179
M. V. Seetharamiah came to limelight during the peak of the Navodaya period and was inspired by such well-known writers as B. M. Srikantaiah and Masti Venkatesh Iyengar. A man of many talents, he was a renowned poet (Hakki Hadu or "Bird Song"), novelist ("Robinson Crusoe"), short story writer (Maargadharshaka), painter, musician, literary critic, researcher, dramatist (Swayamvara or "Choice of a Husband"), essayist (Hidi Hoovu or "Handful of flowers") and biographer (Kavi Ranna or "Poet Ranna"). To his credit are twelve collections of poems, ten collections of short stories, nine novels, four collections of essays, and nine plays.Sahitya Akademi (1992), pp 3902-3903
All of Seetharamiah's contributions carry a liberal message of love for his surroundings, nature and mankind. An authority on Kannada grammar and literary history, it is to his credit for researching and establishing that the true author of the 9th century Kannada classic Kavirajamarga may have been poet Sri Vijaya in the court of King Amoghavarsha I. He established a research foundation in the name of his mentor, B. M. Srikantaiah ("B. M. Srikantaiah Prathishtana").Sahitya Akademi (1992), p 3903
Perhaps the closest in comparison to the wisdom poems of the late medieval poet Sarvajna is the Mankuthimmana Kagga ("Dull Thimma's Rigmarole", 1943) by D. V. Gundappa. A successful journalist, he was known for his command over the Kannada language and its classics, with a knowledge of Sanskrit as well, despite his limited education which was limited to matriculation only. These qualities and experiences were to serve him well as a writer. Attributed to him are 60 writings in just about every genre of modern Kannada with the exception of the novel. His adaptation of Shakespeare's Macbeth into Kannada is well acclaimed.Sahitya Akademi (1988), p 1057