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Modern Sanskrit Writings

in

KARNATAKA

Publisher:
Registrar
Rashtriya Sanskrit Sansthan
(Deemed University)
56-57, Institutional Area,
Janakpuri, New Delhi-110058
Tel. : 28520976
Tel. fax : 28524532
Rashtriya Sanskrit Sansthan

Author

S. Ranganath

First Edition : 2009

Edited by

(Late) Prof. Achyutanand Dash

ISBN : 978-81-86111-21-5

Price : Rs. 95/-

RASHTRIYA SANSKRI
T SANSTHAN
SANSKRIT
DEEMED UNIVERSITY
NEW DELHI

Printed at :
Amar Printing Press
Delhi-110009

( iv )

PREFACE
This work by Ranganath introduces 38 representative authors from Karnataka belonging to Twentieth Century. They represent diverse generations of literary personalities in Sanskrit that
have prominently flourished in the past century. Many of them,
like S. Jagannath and R Ganesh just carved a niche for themselves in twentieth century and now they belong to the generation
of most promising Sanskrit authors in this century.
In a journey through the pages of this monograph, we can
feel the changing scenario of contemporary creative writing in
Sanskrit. There are interesting works on the family history of
Mysore kings, the cities of Karnataka as well as on the holy places
and saints of this state. Vivagudaracamp of Venka dhvarin,
composed in seventeenth century AD, has been a trendsetter, which
presented a critique of Indian milieu. Venka dhvarin has encompassed the whole peninsula in its diversity and plurality. Many of
the authors of our age in Sanskrit envisage this broad spectrum. It
is interesting to note that a Sanskrit author from Karnataka Nirpaje
Bhimbhatta, composed works like K m rasandhanasamudyama presenting a resume of Kashmir problem, and
Haidarbda-vijaya on satygraha during British regime at
Hyderabad.
Through this work, we can also understand some of the
nuances and tendencies of present day Sanskrit writings. Gandhism
has cast an everlasting impact on Sanskrit writings of this age.
Realism gets the upper hand. The spark of prose, as a vehicle of
modern sensibility is slowly replacing the repetitive versification,

overloaded with panegyrics and hyperbolism. There is a shift from

versification towards prose, from verbal jugglery towards simplicity; and the tendency to cultivate the age-old language of gods
as a vehicle for expression of contemporary socio-economic conditions.
Karnataka has produced some of the most outstanding
litterateurs of Sanskrit in our times. Galgali Ramachar, Jaggu
Vakulabhushana and many others have composed some of the
finest specimen of creative pieces that can be a part of the golden
treasure of Sanskrit literature. Tradition and modernity go hand in
hand together in these writings. We can also find a blend of classicism and modernity. C.G.Purushottam, H.V. Nagaraja Rao, R.
Ganesh and some others have made new experimentations and
have introduced new genres.
The series on Modern Sanskrit Writings in different states
was planned under SAP in Sanskrit Department of Dr. H.S Gour
University. Rashtriya Sanskrit Sansthan has undertaken the Publication of volumes prepared under this series. This is the second
volume under the series devoted to contribution of different states
to Modern Sanskrit Writings. The first volume by Arum Ranjan
Mishra was devoted to the contribution of Orissa. Other volumes
are also in planning. We hope that this series will bring out a comprehensive picture of perspectives of contemporary creativity in
Sanskrit during the past two centuries.
Radhavallabh Tripathi
Vice Chancellor
Rashtriya Sanskrit Sansthan
(Deemed University)
New Delhi

( vi )

INTRODUCTION
The state of Karnataka is situated in the Southern part of
India. Prior to 1973, it was known by the name of Mysore, its
capital city. Presently the city of Mysore is famous on international map as the city of gardens as well as the silicon city of India.
With its pleasantly moderate climate and a rich cultural heritage,
the state of Karnataka is also known for the pomp and show of
the traditional Dushera (Vijydaam) festival. The Mahrjas of
Mysore have been great patrons of arts, literature and straic
learning. The farsighted Deewans like Deewan Rangadhar, Sesadri
Iyer, Mirza Ismail and others also promoted the intellectual traditions within the state. The state of Karnataka has been the motherland of a genius like Bharataratna Sir M. Visvesvaraih and Nobel
laureate Sir C.V. Raman. The accomplishments of the former in
the field of irrigation technology ushered an era of modernity in
this land, whereas the latter made immense contribution to the
study of sciences. In the field of literature also, the state has produced seven Gyanpith Awardes, like K. V. Puttappa (popularly
known as Kuvempu), D. R. Bendre, Shivram Karanth, Masti
Venkatesh Iyengar, V. K. Gokak, U. R. Ananthamurthi and Girish
Karnad.
Mysore has been a great seat of Sanskrit learning. The
Emperors under the dynasties of Gaga, Cola, Hoysala and
Vijayanagar etc. patronized and promoted pundits by bestowing
agahras and providing grants for the temples. Mysore grew to
be great center of Carnatak music, and at the same time the rulers
did not lag behind in encouraging the growth of Hindustani music.

The Oriental Manuscript Library was founded at Mysore

during the reign of Queen Victoria (1887). The curator of this
Library, Mahmahopdhyya Shama Sastry brought out the
monumental work Kau ilyas Arthstra. Founded in 1916, the
University of Mysore was the sixth University of India, and the
first University under a princely state in the country. This university has produced eminent savants like Sarvapalli Dr.
Radhakrishnan, one of the most outstanding philosophers of modern India; as well as Prof. M. Hiriyanna. The Outlines of Indian
Philosphy by Prof. M. Hiriyanna is an essential work for the students of Indian Philosophy. Amongst the patrons of Sanskrit scholarship, the name of Sri Jayachamaraja Wodeyar, the Maharaja of
Mysore is worth mentioning. He published major puras with
their Kannada translation. gveda Samhit with Syaabh ya,
edited by a group of 35 scholars, was brought out in 35 volumes.
Yogavi tha was translated into Kannada by Devadu Narsimha
Shastry under the patronage of King Jayachamaraja Wodeyar.
Wodeyar himself being a scholar, wrote a work on Datttreya in
English. It was under his patronage that Mahmahopdhyya
Lakshmipuram Srinivasacharya created his classics like
Daranodayam, Mnameya-rahasya-lokavrtikam and so on.
Sringeri Sharadapeeth was established in this state by
akarcrya. Surevarcrya the author of Bhadryakabh yavrtika, Taittirtabh yavrtika and Nai karmyasiddhi was
the first pontiff of this great seat of learning in Advaita Philosophy.
During the course of time, this peetha has produced savants
like Saccidnanda ivbhinava Nsimhabhrat Svm,
Chandrasekhara Bhrat Svm, Abhinava Vidytrtha Svm,
Bhrattrtha Svm. They have been epitomes of erudition and
spiritual values. The Sanskrit commentary of Candraekhara
Bhrat Svm on akarcryas Vivekac mai is the only a
pointer in this direction.

( vii )

( viii )

Be it critical writing or literary creations or translations

from Sanskrit in Karnataka, literary traditions have ever been zealously persued in Karnataka.

(born on 20.10.1891) to R. Ganesh (born on 4.12.1962). There

are authors whose date / year of birth could not be conformed, I
have kept them under the section miscelleneous. This work highlights the contributions of poets who have been honoured with
Sahitya Akademi Award by the National Academy of letters, or
have been conferred the President's certificate of honour or the
title of Mahmahopddhyya by the Rashtriya Sanskrit Sansthan,
New Delhi. Jaggu Vakul Bhushana, author of more than 60 works
in various genres; Galagali Ramachar, the editor of Madhurav,
Kadur Krishna Jois, Ranganatha Sarma, K.T.Pandurangi,
Pandarinathacharya Galagali, Paraddi Mallikarjuna, H.V.Nagaraja
Rao, Ramakrishna Bhatta and atvadhn Ganesh are a few to
mention amongst them.

Karnataka has also been a great seat of learning in Dvaita

Philosophy. Mdhvcrya (1238-1317 AD) was the founder of
Dvaita system. He not only wrote commentaries on ten principal
Upani ads, rmad-bhagavadgt and Brahmastra; but also
commneted upon the first forty hymns of gvda, and composed
an abridged version of the Mhbhrata in verse form. He also
wrote notes and comments on Bhgavata, the Daaprakaraas
or ten philosophical monographs expounding the logic and metaphysics of Dvaita system. His critical exposition of the Brahmastra
is one of the greatest works in the realm of Indian philosophy.
Contrary to popular beleif, there is an astonishing quality
of creative upsurge of writing in Sanskrit today. Modern Sanskrit
writing is qualitatively of such high order that it can easily be treated
on par with the best of Classical Sanskrit literature, It can also
easily compete with the writings in other Indian languages. The
enormous quantity of the published works in Sanskrit composed
during the past two centuries encompasses all forms of literature.
An attempt is being made in the present monograph to account
and evaluate the contribution of Karnataka to Twentieth Century
Sanskrit literature, which convincingly disproves the criticism that
Sanskrit is a dead language. It will hopefully serve as a ready
reckoner for the researchers on modern Sanskrit wriitngs.
The methodology uniformly employed in this book is first
to state the authors date of birth, his family, his qualifications, an
account of his creative or critical writngs as well as the honours or
laurels which he might have received and an assessment of his
overall contribution to literature. The work is devided into nine
chapters pertaining to nine decades during which the authors taken
up here were born. Thus the work stretches from Jaggu Singararya

The contemporary Sanskrit poets of Karnataka have

inculcated the spirit of realism in their writings by depicting the
social evils like dowry, bribery, corruption, unemployment and so
on. They have also suggested possible and plausible solutions of
these evils. H.V. Narayana Shastrys Guaparkaam, H.V.
Nagraja Raos Dmpatyakalaha, Ganeshs Anveaam are
pointers in this direction.
Patriotism and nationalism also occupy a significant trend
of modern Sanskrit poetry wherein we find works being composed on religious saints and national leaders like Basavanna,
Vidyraya, Mahatma Gandhi, Sivakumara Swamiji (the present
pontiff of Siddha Ganga Mutt Bhratya-deabhakta-caritam and
so on. Basavabhskarodaya - an epic on Basavanna by Paraddi
Mallikarjuna, Vidyrayakathtaragii, Gandh oplahar and
Gandhvaibhavam by Galagali Ramachar and K.S.Nagrajan
Siddhagagyh uddhachetana by H.V.Nagraja Rao,
Bhratavaibhavam and Bharatyadeabhakticaritam by
K.S.Nagrajan are some examples in establishing contemporanity
of Sanskrit writings in Karnataka.

( ix )

(x)

Modern poets have been successfully experimenting with

new forms and genres like, sonnet, Haiku, blank verse etc. Ganeshs
akaravivekyam is a dual poem (dvisandhnakvya) and
Antaknti is a novel in blank verse. It depicts the last day of
Viveknanda. Saugandhik is a collection of sonnets in blank verse
imbibing the alien tone of blank verse, Citraculik is a vivid testimony of Citrakvya. Ganesh is known for his extempore poetic
composition (ukavitva) and is also successful in composing
citrakvyas impromptu during his A vadhna and atvadhna
programmes, thus proving the point on hand that modern Sanskrit
poets have come out of their narrow traditional regimentation and
have been successful in imbibing contemporary trends in their
compositions.

wise sayings of mystic poet Kabir under the title Kabra-sktimauktikaml. Five short stories of Premchand, one of the great
masters of modern short story literature, have been rendered into
Sanskrit by H.V. Nagaraj Rao.

Travelogues are also not lagging behind in the contemporary scenario. H. V. Nagaraj Raos raddaranam describes
his visit to ringer. Translations have become essential in a multilingual country like India and they undoubtedly form a major part
of contemporary Indian literature. Many works have been recently rendered from regional languages into Sanskrit. The plays
by Jnaptha awardee Shri Kuvempu have been translated into
Sanskrit by C. G. Purushottam in his Kuvempu-n aka-cakram
Subbanna, one of the most powerful novels in contemporary Indian literature by another Jnap ha awardee Masti Venkatesh
Iyengar, has been beautifully presented in Sanskrit under the title
Subaa by Venkatesha Shastri. The Vacanas of Sarvaja have
been translated by K. T. Pandurangi and C. G. Purushottam as
Sarvaja-vacanni, while Basavaas vacanas have been translated as Basava-vacanmtam by Paraddi Mallikarjuna. S. L.
Bhairappa is one of the most outstanding novelists of present era.
Of his novels, rtha has been rendered by H. V. Nagaraja Rao,
varana by H.R. Vishwas and Dharmar by Janardan Hegde.
Translations from Hindi have also been attempted by Sanskrit writers of Karnatraka. Paraddi Mallikarjun thus presents the

These translations successfully bring out the capability of

Sanskrit to become a vehicle of modern thought and ideology.
Contribution of traditional pundits to modern Sanskrit writing is
no less important. In this regard mention may be made of the
traditional families of Galagali and Jaggu. The former is represented by Galgali Ramachar and Pandarinathachaya Galgali and
the latter by Jaggu Shingararya and Jaggu Vakulabhushana.
I hope this work will be useful for the researchers and
layman alike and will corroborate the fact that Sanskrit is still functioning as a vibrant and potential creative force.

( xii )

CONTENTS
CHAPTER I

3.
4.
5.
6.
7.
8.
9.

(Last Decade of 19th Century (1891-1900 )

1.
2.
3.
4.
5.

Jaggu Singararya (1891)

Chandrashekhara Bharathi Swamiji (1892)
Rallapalli Ananthakrishna Sharma (1893)
Galagali Ramacharya (1893)
Gotur Venkatachal Sharma (1894)
CHAPTER II

CHAPTER IV
1
5
8
11
14
15

(First Decade of 20th Century (1901-1910)

1.
2.
3.
4.
5.

Jaggu Vakulabhushana (1902)

Nirpaje Bhimabhatta (1903)
Hittalahalli Govinda Bhatta (1905)
Venkateshwar Sharma (1909)
Kanaradi Vitthalopadhyaya (1910)

Bommalapur Venkataram Bhatta (1915)

N. Rangnatha Sharma (1916)
M. Manjunatha Bhatta (1916)
K. T. Pandurangi (1918)
Bala Ganapati Bhatta (1919)
M. G. Nanjundaradhya (1919)
Bhimanakone Bhaskara Bhatta (1920)

59

(Third Decade of 20th Century (1921-1930)

1.
2.
3.
4.
5.

Pandarinathacharya Galagali (1922)

Visvesvar Dixit (1924)
Harishchandra Renapurkar (1924)
C.G. Purushottam (1925)
Y. Nagesha Sharma (1926)
CHAPTER V

15
25
26
29
31

46
47
52
53
55
56
57

59
61
62
63
64
65

Fourth Decade of 20th Century (1931-1940)

1. Samba Dixit (14.02.1934)
2. H. S. Pathak (1940)
3. Paraddi Mallikarjuna (1940)
CHAPTER VI

65
66
67
69

6. K. Nanjunda Ghanapathi (1910)

7. H.V. Narayana Shastry (1910)

33
35

Fifth Decade of 20th Century (1941-1950)

CHAPTER III

38

1. Gurupada K. Hegde (28.05.1941)

69

2. H. V. Nagaraj Rao (10.09.1942)

69

3. Areyar Sriram Sarma (28.08.1943)

71

(Second Decade of 20th Century (1911-1920)

1. K. S. Nagarajan (1911)
2. Kadoor Krishna Jois (1912)

38
45

( xiii )
CHAPTER VII

73

Sixth Decade of 20th Century (1951-1970)

1. Bharathi Tirtha Swamiji (11.04.1951)

73

2. S. Jagannatha (12.10.1956)

74

3. Shatavadhani R. Ganesh ( 4.12.1962)

74

CHAPTER VIII

77

Miscellaneous authors
1. Vasudeva Ballala

77

2. Ramakrishna Bhatta

77

3. Basavaraja Sastry

78

CHAPTER I
The five authors taken up in this chapter, i.e., Jaggu
Singararya, Chandrashekhara Bharathi Swamiji, Rallapalli
Ananthakrishna Sharma, Galagali Ramacharya and Gotur
Venkatachal Sharma were born in the last decade of nineteenth
century. They represent the oldest generation that enriched Sanskrit literature in the next century. Multilingualism, which has always been present in the literary scene in this country right from
hoary past, has made an impact on their creativity.

1. Jaggu Shingararya
Jaggu Shingararya was born to Jaggu Thirunarayana
Iyengar and Vengadamma on 20.11.1891 at Melukote. He had
his formal education at Maharaja Sanskrit College, Mysore and
at Melukote Sanskrit College. He was endowed with remarkable
talent and composed a number of works in Sanskrit. A prolific
writer, he produced Camp, devotional lyrics, dramas and a number of anthologies of poems as well as various other writings, viz
Yaduailacamp (1932), Kakathrahasya (poem, 1936),
Darathidarana (poem, 1958), Venkatea-pdvalambanastotra, Kvyakalpam (part I, poems, 1968), Yak apranan akam (play, 1968), ibi-vaibhavam (play), auri-auryam
(play), Dharmavydha-daranam (one act play, 1968), Atimnu astava (devotional poem), Kvyakalpam (part II, poems) and
so on.
He has also written three works in Kannada Nthisrval, Blinabhgya and Vairamu ivaibhava. He has been

Modern Sanskrit Writings in Karnataka

honored by Maharaja of Mysore, Naluvadi Krishnaraja Wodeyar,

by Chandra-shekhara Bharathi Swamiji of Shringeri and Pejawar
Swamiji of Udupi. A recipient of Karnatak State Award, he has
been honored by a number of cultural and religious organizations
with titles like Abhinava-Bhavabhti, Ntana-Klidasa,
Kulabh aa and so on.
What follows is a synopsis of some of his works.

Yaduailacamp

Chapter I

The use of appropriate proverbs has enhanced the beauty

of the poem. For example 1. Pryo npl bahuvallabh hi. (I.6)
2. Sampat puna sampadam abhyupaiti. (I.10)
3. Vidyvihna paureva nnam (I.12)
4. Snehtireka kila ppaak (I.14)
5. Ptreu datt hi phalanti vidy (I.16)

This is the first work by Jaggu Shingararya. It focuses on

Ydavagiri (Melukote), the birthplace of the author. It is divided
into six chapters and is known as a prapaca.

6. Pitur hi putrbhyudaye pramoda (I. 20)

K
akath rahasya

8. Nunam vidhereva garyas ichch (I.37) and so on.

Kaksthrahasya by Shingararya, was printed in Telugu

and Kannada scripts with translation. It was published in 1936
and was prescribed as a text for SSLC students during 1941- 42.
D
arathidarana

Darathidarana was published in 1958. It is divided into

three prapacas (chapters). The first prapaca, entitled as Pdukpa bhieka, comprises 48 stanzas, the second prapaca has
118 stanzas and is named as Citrak odanta. The third one with
91 stanzas is known as Rmapa bhieka. The first chapter is
redeemed with the apt usages of Arthntaranysa alakra, the
second with Yamaka and the third with variegated meters. The
author points out the specific features of his characterisation
Atra prapa catray tmako vibh ga k ta ,
prathamaprapa ce sarv i pady ni arh ntarany slakracitr i, dvit yaprapace yamakamayni, ttye
prapace nnvttacitri ca virjante.

7. reysi nnam bahu vighnavanti (I.33)

Kvyakalpa Part I
Kvyakalpa Part I is a collection of hymns offered to
different deities. Of these the Bhrata-lakmstava has a constant refrain tata kim; rgristuti has a replica of Bhsas
statement pda pyd upendrasya. Ekalok-Rmyaam and
Ekalok-bhgavatam provide the testimony of the genius of the
poet in condensing the episodes of epics. In one of the poems,
Vallabhcryas popular lyric madhurdhipater akhilam
madhuram has been transformed as Yaduailapater akhilam
madhuram.
Yakapranan akam
This play was included in Kvyakalpam part I (1968). It
is a one act play based on the Yakopkhyna of Mahbhrata.
The poet has introduced some new ideas in the age-old episode.
For example the following etymology of the word mother is quite
interestingMsn daa rhv jtakam ste y s mt.

Modern Sanskrit Writings in Karnataka

Dharmavydha-daranam
This play derives its inspiration from the Dharmavydha
Upkhyna of the Mahbhrata. Some lines or phrases from
works like Bhajagovindam, rmad-Bhagavadgt and Abhinavakuntalam have been nicely blended in the dialogues. The author
has also inculcated philosophical speculations in the play. The following statement with a pun on the word moha is an example
patnmoha putramohorthamoha
pthvmoho dehagehdi moha
evam mohair npi saukhyam na nti
jn tasmn naiva muhyatviha e u.
ibivaibhavam
This play was first published in the renowned literary organ of National Academy of Letters (the Sahitya Akademi) named
Sanskrit Pratibh. It portrays the greatness of ibis character.
auriauryam
Of the Puras, Viu and Bhgavata describe the childhood of Ka. The dramatist has derived inspiration from these
and has weaved out an excellent play in five acts. This play has
been published by Surabharati Prakasana, Bangalore. The first
act portrays Kamsas fear and apprehension owing to the birth of
Ka. The fear is further enhanced by the divine voice. The Second act brings out the character of Kamsa as a womanizer and his
addiction to drinks. The dramatist has displayed his accomplishments in music in this act. In the third act, Nrada approaches
Kamsa and preaches him. This act also unfolds the philosophy of
avatra (reincarnation). The fourth act reveals innovations and
new concepts introduced by the author. The character of Kamsa
has been transformed by him and the antagonist is made to appear before Lord Ka to plead for mercy and entreat for being

Chapter I

forgiven. In the last act Kamsa prostrates before the Lord and he
is finally emancipated.
This play abounds the rasas like Karua, gra,
Adbhuta merging with Bhakti and finally culminating in bliss or
nanda.
Atimnua-stava
This is one of the many devotional poems from the pen of
Jaggu Shingararya, The poet has also trans-created it in his
Kannada poems.
To conclude, it must be said that the style of Jaggu
Shingararya is exceedingly simple, lucid and is free from overloading of embellishments. He has enriched Sanskrit language and
literature by formation of new phrases and idioms. Last but not
the least, he has created a harmonious blend of creativity with
sric learning.

2. Chandraekhara Bharat Svmij

Chandraekhara Bhrat Svmiji was born on 16.10.1892
as Narasimha to Gopal Shastri and Lakshamma. He was appointed as the 34th pontiff of Sri Sringeri Sharada Ptham on
6.4.1912. Being an introvert, he was given to meditation and used
to attain samdhi, very frequently. With his remarkable control
over meters, and divine inspiration, he used to compose stanzas.
Only a few of them could be compiled and printed for the benefit
of posterity and devotees. His devotional lyrics include
Pdvalambanastuti, Navaratnaml, To akastotram,
r mad- c ryendrastava , c ryap d valambnastuti ,
Dattanavaratnamlik, Dak imrti-mantramtkstava ,
rsm akam, amukha-bhujaga-stuti, Pacadastuti ,
M n k stuti , M n k stotram, V utakar ama jar ,
rradgtam, radbhujagam, Deikotkara-maja,

Modern Sanskrit Writings in Karnataka

amukhapacaratna-stuti and so on.

Swamji has composed a number of stric works, which
include a commentary on akarcryas Vivekacma (pub.
by Bharatiya Vidya Bhavan). He is reported to have written another scholastic commentary in Sanskrit on the karabhya of
rmad-Bhagavadgt. This commentary is yet to see the light of
the day. Some stanzas can be cited to illustrate the poetic excellence in the writings of Swamiji.
Pdvalambanastuti
This poem comprises 13 stanzas. The very first stanza
evinces charming-expression:
sthitenuprvmakarandapre
jagadguro pdasahasraptre.
Kim anyato dhvasi cittabhga
prayhi tatraiva ramasva nityam.
(O bee! of my mind, when there are the lotus-like feet of
the guru, full of compassion, why do you run around elsewhere?
You should go and always rest there only.)
Navaratnaml
As the very name indicates, this poem contains nine stanzas. The fifth stanza provides a good example of diprsakmdi-g-paricchedana-vajrape
nmvadhta-nikhilghacayo manasv
smdigru parigta-nijasvarpa
dggocaro bhavatu deikar mamu.
(May the Lord Deika appear before me immediately,
who is like Indra destroying by his thunderbolt the six internal
enemies, who dispels sins by his very name, and who is the very

Chapter I

embodiment of the Upaniadic dictum. Let him appear before

me.
rmad-
cryendra-stutih
This is a fine expression of devotion to Lord Deika. We
find a charming utprek at the very out set in this poem
dt vci sarasvatm nayanayor ante ca lakmm tath
citte vkya samastabhtakarum kye ca hemaprabhm.
no yuktam bahubhminsamudaye vsya yatreti te
rmaddeikarjakrtivanit nnam digagnagt.
(The Lord Deika, the woman of thy glory, after seeing
the goddess of speech in your words, compassion for all beings in
your heart and golden complexion in your body, has thought it
improper to reside amidst so many women, and therefore she is
roaming in all directions.)
crya-pdvalambana-stuti
This is a collection of eight stanzas. The fourth one has
remarkable charm of alliteration

amplatsad bhsvara-dehayukta
sampdaymyakhilastra-dhiyam kad v
aknivraapa o namatm narm
rakarrya mama dehi padvalambam.
(When can I acquire the wisdom of all scriptures, O
akara! you are the one who has the lustre like the flash of lightening, as you are capable of dispelling the doubts of devotees,
may you confer your grace on me.)
jar
Deikotkarama
This is a collection of fifteen stanzas. The fourteenth stanza
elucidates the concept of guru of which Swamiji himself has been
a living example

Modern Sanskrit Writings in Karnataka

satyam vci day nateu pa ut dharmrtha-samrakae
saujanyam sujane bham vimukhat du eu yasybhavat
aktir brahmai ninditeu viayev sd viraktir dh
sa svm mama deikas taditaro nmnpi nmnyate.

(Truth in the speech, mercy towards devotees, strength

to maintain the righteous path, showing courtesy towards good
people, maintaining distance from the wicked, establishing a permanent abode in Brahman, renunciation of the mundane - whosoever has these qualities, is indeed my guru and I do not even name
any other.)
Even though he served the goddess of learning without
making any publicity, Chandrashekhara Bharathi Swamiji was a
poet of high accomplishments. He was an epitome for the following statement by Shelley
Poetry beautifies philosophy and
philosophy edifies poetry.
Swamiji became a legend during his life time and he is
said to have performed a number of miracles, like resorting the
eye-sight of the blind, making the dumb speak and so on. He was
supposed to be a sparamtra-guru by his devotees, Sringeri
Muth attained the pinnacles of glory during the tenure of
Chandrashekhara Bharathi Swamiji. Scholars, Philosophers and
statesmen like Savapalli Dr. Radha Krishnan, Dr. Rajendra Prasad
on one hand and kings like Krishnaraja Wodeyar on the other
used to visit and obtain his blessings. His creative writings likewise are blessings to humanity.

3. Rallapalli Anantha Krishna Sharma

Rallapali Anantha Krishna Sharma was born on 23.1.1891
in Rallapalli, a village in Ananthapur District of Andhra Pradesh.
His mother was Alamelu Manganna and his father was

Chapter I

Krishnamachar. He studied Sanskrit under Krishna Brahmatantra

Yatindra. He then served as Telugu pundit in Maharaja College at
Mysore. He is reported to have composed works in Sanskrit,
Kannada and Telugu. His Sanskrit writings include a
Campkvya, a Khaakvya and a collection of poems rmahra-rjydara (1925). Bhrgavpacavimati (1926)
and Ananthabhrat (1927) are his other woks. He translated
Klidsas Raghuvaa and Bhsas Svapnavsavadattam. His
poems in Kannada include Trdev (1911), Mrb (1913),
ampje and a novel - Llvat, and works on criticism entitled
as Gnakale (1952), Shityama u Jivanakale (1954). He has also
translated some works from Kannada into Sanskrit. He has also
written the following works in Telugu :- Vemana (Criticism, 1929),
Gthsaptaatsramu (translation from Prakrit 1932),
Tllapakasankir-tanalu (edited), rmadndhra-bhgavatam
(1953, edited), Srasvata-lokamu (criticism, 1954), Tenali
Ramkrishnaviracita Puraga- mhtmya (edited, 1967).
rmah

rarjybhyudaydara
This is a Campukvya, moulded on Veka dhvaris
Viva- gudaracamp . In the introductory portion the names
of Knu and Vivvasu are given. This work was awarded with
first prize in poetry competition organized on the occasion of
Dpval under the chairmanship of King Krishnaraja Wodeyar.
The work is divided into a number of sections entitled Avataraik,
Doadarana, Guadarana, Purtanasthiti , Idnintanasthiti ,
Setubandha , Vidyut-akti , Suvara-khai , Khani ,
Vidyviaya, Ngaravarana and Samsktavidy etc. The author
also describes the University of Mysore and the surroundings of
the city of Mysore. The section entitled Doadaranam is realistic
one. The poet brings out the increasing commercialization and
loss of values.

10

Modern Sanskrit Writings in Karnataka

nsth puye na nayagatau tau no parrthnuvttau

pctynm avinayapatair vacitnm amm
nirmaryd niravadhimada nityam arntalobha
dharmdharmair vivadata ime krayyavikrayyabhtau
(These people deceived by the influence of the western
people, do not have faith in merits, neither in good policies, nor in
helping others. Thy do not have any limits, their intoxication knows
no bounds, and they are always full of greed. They are debating
for the things to be purchased and sold.)
Vivvasu immediately supplies a rejoinder by saying
guadoasakaravicitratay
jagad eva nirmitam idam vidhin
dinam tapena tamas ca ni,
paribhuyate kimu mudhtra m.
(This world full of wonders has been created by the Creator as a mixture of qualities and blemishes. The day is overpowered by sunshine and the night by darkness.)
The poet has displayed good command over prose
throughout this work.
Anantabhrat
This work was published in 1977 from Surbhrat
Prakana, Bangalore. The portion entitled rgtagovinde
p hapark aam was a lecture delivered by Sharma in Madras
Sanskrit Academy on 19.2.1955, on the occasion of Jayadevaday celebrations.
Sarma is the recipient of many titles like Gnakalsindhu
(Mysore Music Session, 1961), Gnakalprapra (Andhra
Pradesh Sangeet Natak Academy), Sagitakalratna (Bangalore
Gayan Samaj, 1973), Honorary D.Litt. of Sri Venkateshwara
University and Asthna Vidvn of Tirumala Tirupati Devasthanam.

Chapter I

11

An embodiment of music and literary accomplishments

Ananthakrishna Sharma has enriched the literatures of three languages by his contributions.

4. Galagali Ramacharya
Galagali Ramachar was born in 1893 in the village Galagali
on the bank of Krishna River in the Bijapur District of Karnataka.
He studied Kvya and Vykaraa under his elder brother Galagali
Kurmachar. Then he went to Uttaradi Mutt and studied Nyya
under Krishnacharya and Vednta under Sri Satyadhyanateertha
Swamiji. Along with his mastery in these stras, he was also attracted to poetic compositions. He contributed poems to
Samsktacandrik and Sahdaya well known popular Sanskrit
periodicals of those days. He started a Sanskrit monthly
Madhurav with the assistance of his friend Burli
Srinivasacharya in 1935 from Belgaum.
Galagali Ramachar was a prolific writer. His Yaduvama
Mahkvyam though incomplete epic in ten cantos is a masterpiece in classical tradition. Galagali must have planned it in sixteen
or twenty cantos. The first nine cantos provide an outline of the
background of Yadu family. The story of Kas life begins from
tenth canto itself and abruptly ends there. Even though the main
theme could not be completed, the available portion furnishes a
rich feast of poetic excellence. The episode of Yayti and armith
in the beginning is fascinating, Rms story is taken up and the
myth of the churning of the ocean is also described. With this vast
canvass of background we can infer the ambitious plan that the
poet had designed for this epic. Each canto has been given a
name suited to its contents. Ramachars mastery over prosody
coupled with timely proverbs has added to the beauty of colors
on the vast canvass of this epic.
Svarjyaratnkara is another long and ambitious poem
by Ramachar. Happily, the poet has switched over to secular theme

12

Modern Sanskrit Writings in Karnataka

rooted in democratic values and patriotism. The poem is divided

into several sections and these sections have been named on the
symbolic weapons adopted by the Mahatma for his non-violent
struggle against the foreign rule, viz. - Svadealahar,
Gandh oplahar, Carkalahar, Bahikralahar and
Krghalahar. Svadealahar depicts the movement for establishment of indigenous economy and a call for self-reliance.
Gandhian philosophy of truth and non-violence has been effectively pin-pointed here by evoking the spirit of patriotism and self
sacrifice. Gandhi op becomes a symbol of inculcation of these
values. Use of charakh by weaving of khadi is described in
Carkalahar. It also symbolizes the revival of rural industries and
the ideal of independent economy. Krghalahar and
Bahikralahar establish the fact that no government can survive
without the support of the people and non-cooperation of the
mass can lead to the downfall of tyranny. Imprisonment and punishment fail to curb the spirit behind the no-obedience movement.
Dev Vsant and Koham are two prose compositions
by Ramachar. The former presents a historical narrative. There is
a graphic and delightful description of Dushera festival under the
patronage of the first Chamraj of Mysore in the beginning, followed by a graphic narration of revolt against Chamraj. Chamraj,
along with his queen and daughter Vsant is taken away for a
hide by a trusted colleague Najarja in a cave. The description
of the predicament of the royal family is very touching. By coincidence, two brothers Yadurja and Karja arrive on the spot.
Vsant is married to Yadurja. The poet skillfully develops these
historical incidents with the blend of literary grandeur in his fine
prose.
Koham is a soliloquy. It is a loud thinking of a modern
and educated girl who remained unmarried till advanced age. She
is involved in a love affair and then marries without social ap-

Chapter I

13

proval and becomes pregnant. Ultimately she is disillusioned. Her

marriage is not sanctified; her child is unwelcome in the society.
The family is isolated and alienated and they are in search for their
identity in the society, justifying the title of the poem Koham
(who am I?).
Amongst the minor poems of Ramachar, two deserve our
special attention Devamandira-krandanam and Munimenak-samvda . The former describes the deplorable conditions of a temple. Temples were built by the kings right from
hoary past and they have been repositories of the rich heritage of
Indian culture. The poet besides focusing on the plight of this religious institution has also depicted the vandalism that has surfaced
in recent past. Imbibing urgency and pathos, the poem is a call
from the desolated temple.
Muni-Menak-samvda is an interesting dialogue between the sage and the nymph - Vivmitra and Menak. Ramachar
has also composed a number of devotional lyrics like - Phi mm
Muraldhara , Veka e akam etc. The last poem is composed
in the difficult Avadh meter. Satchintdev - a novel and
rmadavadh kvyam are also noteworthy amongst his other
works.
Ramachar edited a number of works like
Alakramuktval of Kakavi, Rgbhya kpraka of
Satyanath Tirtha, Yamakabhrta-k of Naraharitirtha,
rgtttparyaniraya-prakik of Padmanba Trtha,
hnikakaustubhah of nandatrtha and so on.
The anyoktis of Ramachar are also illustrative of his poetic skill and perception. He has symbolized the elephant, the crow
and a lice through the anyoktis. Ramachar was honored by many
titles, such as Mahmahopdhyya of Bharatiya Sanskrit Sansthan
Parishad Prayag, Sahityaratnam by Editorial Board of Samsktam;

14

Modern Sanskrit Writings in Karnataka

Abinava-Ba by Sanatanadharma-maala, Kavikulatilaka by

Akhila Bhraratya Sanskrit Shitya Sammelana. He was also a
recipient of Presidents Certificate of Honor.
Galagali Ramachar combined the perspicuity and grandeur of classical Sanskrit poetry and also inculcated contemporary trends in his writings. His poems introduce both legendary as
well as contemporary themes, and they evince natural scenario as
well as social and national milieu. He can be ranked with foremost
of poets of the present age.

5. Gotur Venkatachal Sharma

Born in 1894 at Dankinikota in Tamilnadu, Gotur
Venkatachal Sharma was a Shityavidvn from Chamrajendra
Sanskrit College, and was conferred with titles such as
Paitaratna, Vidyvirada and Sarasakavivataa etc. He
wrote in four languages - Sanskrit, English, Kannada and Telugu.
He has composed a number of devotional lyrics in Sanskrit like
Gaeagtamlstotram, rchoevargtakadambakam,
rchoambrtatrastotram, Stotragtaml, Bhvangtamlik,
Nitigtamlik, Mnavagtamlik, Gtasahasra gtamlik, Brahma
gtamlik, Daalokklikstuti , Choevargtapadyamlik etc.
He wrote a biography of Subbaraya Shastri of Anekal in
English, and a commentary on Mohamudgaram in Kannada.
taveladi-gtaml is his poem in Telugu.

CHAPTER II
This chapter takes into account seven authors born in the
first decade of 20th century. In their writings, we find new patterns
being weaved within the classical structure of Sanskrit poetry.
New tendencies and nuances are also brought in. Jaggu Vakul
Bhushan is one of the most prolific writers of Sanskrit. He also
presents the brilliance and profundity of Sanskrit writing in this
age as well as its short comings and weak points.

1. Jaggu Vakul Bhushan

(Jaggu Alwar Ayengar)
Jaggu Alwar Ayengar was born in 1902 at Chatraghosha
near Melukote in a traditional family of Sanskrit scholars and had
his education at Sanskrit college Melukote.
His writings can be broadly classified into the following
categories
(i)

Creative works in Sanskrit

(ii) Works on Sanskrit

(iii)

Critical Works in Sanskrit

(iv) Miscellaneous works,

(v)

Translations and other works (vi) Works in Kannad

Jaggu Vakul bhushan is the most prolific poet of twentieth

century in Karnataka. He has enormously contributed to almost
all the genres of creative writing, like Epic, Drama. Camp, Prose,
Stotra so on and so forth. Drama of course is his forte.
The following are his creative works in Sanskrit

16
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.

Modern Sanskrit Writings in Karnataka

Jayantik-Gadyakvya, based on Bas Kdambar
(1990)
Yaduvamacaritam - Gadyakvya based on Baas
Haracarita
Adbhutadtam an epic in 15 cantos, based on
Udyaogaparvan on the Mahbhrata (1968),
Karuarasataragi- Khaakvya,
Patkoktiml - poetry,
grallmtam poetry
Kalikautukam an unpublished Khaakvya,
Gtarghavam poetry
Vasantvatasavaranam - Khaakvya
Bhratasagraha - Camp
Yatirjacamp - Camp
Ytrodantacamp - Camp
Lak mstutimajar - devotional poem,
Hayavadanastotram - devotional poem,
Amtdhirohi - devotional poem,
Aghavightin - devotional poem, on Rm; (unpublished)
Lakmdaaka - devotional poetry,
Yaduailaatakam - atakakvya,
Gndhinuti - poem, unpublished;
Kodaarmasuprabhtam - devotional poetry,
Vsudevasuprabhtam - devotional poetry, (unpublished);
Darathisuprabhtam - devotional poetry, (unpublished);
Subrahmayasuprabhtam - devotional poetry, (unpublished);
Madhyaraganthastotram - devotional poetry, (unpub-

Chapter II
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
45.

17

lished);
Madhyaraganthasuprabhtam - devotional poetry, (unpublished);
Madhyaraganthaatanmastotram - devotional poetry,
(unpublished);
Madhyaraganyiksuprabhtam - devotional poetry, (unpublished);
Mahlakmsuprabhtam - devotional poetry,
ryogansimhasuprabhtam - devotional poetry,
ryogansimhamagalastotram - devotional poetry,
rmallevarakasuprabhtam - devotional poetry,
rmallevarakamagalam - devotional poetry,
Madhyajanrdana suprabhtam - devotional poetry,
Janrdanasumagalam - devotional poetry,
Venka ryavandanam - devotional poetry,
Prapannav- devotional poetry,
Adbhutmukam play, (precursor to Vesahra of
Bha anryaa)
Pratijkau ilyam - play, (precursor to Mudrrkasa of
Vikhadatta)
Prasannakyapam - play, (successor
of
Abhijanakuntala of Klidsa)
Karmahalam play, unpublished,
Maiharaam - play, (successor of Bhsas Urubhaga
Majulamajram play
Balivijayam play,
Amlyamlyam play,
Yauvarjyam play,

18

Modern Sanskrit Writings in Karnataka

46.
47.
48.
49.
50.
51.
52.
53.
54.

Pratijntanavam play,
Anagadprahasnam a farce,
Samyukt - a play,
Nighnatpasam a play, 1982
Navajmtam a play 1986,
Mugdhakuntalam play, 1993
Prabuddhaprajam. Play 1993
Kaumudyam play, 1993
Vrasaubhadram play, precursor to Dtagha otkaca of
Bhsa)
Vrataphalam play, 1993
Kalikluyam play, 1993
Darathidaranam play, 1993
Vitrmtam play, 1993
Syamantakam play, 1993
Maireyapramyam play, 1993

55.
56.
57.
58.
59.
60.

Chapter II
(9)

Syamantakavijapti
(unpublished);

19
(10)Pratijkau ilyvijapti

(11) Yaduvama-caritavijapti ,
Translations:
(1)

rvacanabhanam (from Sanskrit into Kannada)

(2)

Caramupyaniraya

Other Works:
(1) Lakmdsashiyam (2) Ajtagranth
Works in Kannada:

Ciritical works:

(1) Naguvintagantu (Autobiographical comic story), (2)

Rdhmohan Cine-play, (2) Rmjrangsthola comic essays,
(3) Melunadina Bhgyodaya, (4) Ambaracarita, (5) Bhagavatyadaaka, (6)Vedntav Shityav, (7) Janrdasuprabhtopodgtha,
(8) Mhlakmsuprabhtopodgtha, (9) rvacanabhanopodgtha, (10) Amtdhirohisuprabhtopodgtha, (11)
Padmapura (translation of 3 chapters unpublished), (12)
Gtopanysa, (13) Rmyaopanyasa.

1.

Bhvakaumud - (Commentary on the play

Kdambarkalya)

Jayantik:
:

2.

Upkhynaratnamj - Commentary on Kemendras

Crucary)

Miscellaneous Works:
(1)

Kanakamuktmai

(2) gerakarryasvgatam

(3)

Samasyprani

(4) Suvarnyoktipacakam

(5)

C ulok

(6) Anyoktiml, (unpublished);

(7)

Adbhutavijpannam, (8) Prasannakyapavijapti ,

Jayantik is a prose romance modeled after Baas

Kadambar. The hero and the heroine assume two births, first as
Cruvaktra and Sugandhin, then Jvasena and Jayantik. The
work is named after the second appellation of the heroine. The
main story is narrated by Caada ra, a gandharva who was
born on the earth as a result of a curse, and as the narrative
progresses, different characters narrate the tale further. The author has taken recourse to the flash back style for this. There are
many turning points, and each time the past happenings are unfolded, the story within the story goes on. Despite highly scholarly

20

Modern Sanskrit Writings in Karnataka

and prolonged descriptions, the author has been able to retain the
interest in the episodes. There are refreshing dialogues and instructive passages, plenty of mythological and cultural references
are inter-woven, symbolically or metaphorically.
The plot develops in five-lahars. Vra and Adbhuta rasas
dominate, interspersed with pathos and love. Wicked characters
are conspicuous by their absence, except that quite a few of them
are given to wantonness and lust. But then the author judiciously
makes them suffer for that. That the life is replete with immeasurable possibilities is the lesson this prose-romance, imparts.
ACARITA:
YADUVAM
This work resembles Baas Haracarita. It describes the
family history of Mysore royalty. It was composed at the instance
of the last ruler of Mysore belonging to Wodyar family. Poets
scholastic acumen as well as wonderful command over Sanskrit
language is fully revealed in this work. It is divided into ten vsas
or chapters, eight of which are named as under Kavisambhava , Yaduvama-rjyaprpti , Rjavoeyya Simhsanaprpti , Immadirjavoeya-pa bhieka . Mkbhieka ,
Haidaravijya , Mummadikarjapa bhieka and rkantadattanarasimharjavoeyasambhava . The second and the ninth
chapters are without titles.
ADBHUTAD
TAM
Adbhutadtam is an epic in 15 cantos. It is based on the
Udyogaparvan of Mahbhrata. The story commences with
rkas visit to Pavas after the end of their exile in concealment (ajtavsa). He is accompanied with Balarma. He offers
to be the messenger of peace and goes to Hastinpura. Humiliated and ridiculed by Kauravas he comes back to Pavas and
informs them of the failure of the mission. War is now inevitable.
Jaggu Vakulabhushana has adopted vigorous and forceful style in

Chapter II

21

this poem, He has successfully portrayed the grandeur of Ka,

and the helplessness of Dtartra, the highhandedness of his son,
and softness of Dharmarja. Bhakti and nta rasas form dominating sentiments and their currents run complimentary to each
other. The poem is redeemed with apt subhitas. The poet also
excels in the use of alakras, especially Virodhbhsa and
Arthntaranysa. Amongst the characters, Dhtartra impresses
here with his utmost sincerity, and he advises Duryodhana to accept Kas message. He is not blind to the fact that rka is
an incarnation of Lord Viu.
SAMYUKT
This small play in five acts deals with the well-known historical episode of romance between Pthvrja and Samyukt.
The play is marked with rapid action, the sentiments shifting from
heroic to comic and then to romantic, with a soft touch of pathos.
The style is lucid and the expressions are appealing and thrilling.
The poet has also used beautiful imagery and wise sayings, viz.

rdlahaste nipatita kuraga iva.

acintanyam khalu strhdayam
a he hyam pradarayan.
NIGHNATPASAM
This is a playlet in two acts, vividly delineating the interesting episode of the sage yaga. yaga is like an innocent child even after attaining youth and having lived a life in seclusion, he has not seen women. He is seduced by the damsels of
king Romapdas court and is lured to be brought to the kingdom. The draught-hit region governed by Romapda is blessed
with rains after his entrance in the kingdom and there he is offered
marriage with the princess, the daughter of Romapda. The dramatist has skillfully handled delicate humor. His fascination for

22

Modern Sanskrit Writings in Karnataka

beauty of language and alterations surface right from the beginning. To quote an example
vndkntrasacr nandanandanakesar
vndrakrisamhr mandr ptu mm hari .
PRASANNAK
YAPAM
A play in three acts, Prasannakyapam is intended to be
a supplement of kuntalam. It portrays the appeasement of
Kava by Duyanta. The latter visits the hermitage of Kava with
his consort and the son. The characters here are the same as in
the magnum opus of Klidsa. The beauty of the situations reconceived by the dramatist arouses memories of kuntalam, so
that we can feel the towering presence of the master-poet in a
new setting. The style of Jagu Vakulabhushana here is elegant
throughout, enriched with vivacious dialogues.
TAM
NAVAJM
This is a play in two acts, inspired by
rmadbhgavatapura. The episodes of Kas boyhood and
his dialogues with the mother Yaod are depicted in a charming
style. The poet also portrays the simple living of the cowherds,
prosperity of Gokula, Ka lifting Govardhana and other episodes,
PRATIJ
KAU ILYAM
Dr. V. Raghavan writes about this play The
Pratijkau ilya offered now by the writer keeps the characters
invented by Vikhadatta, and as conceived by him, his motifs
and the use to which he puts them, his style and tempo, and with
these, presents the antecedents of the plot of Mudrrkasaprvavastu. Next to the skill in the arrangement of the plot, the
classic quality of the poetic diction is to be mentioned especially
when today for several modern writers Sanskrit expression is tak-

Chapter II

23

ing idioms from English and regional languages, and is not often
putting on a quaint appearance. The poetic qualities of the author
are also clear in his mastery of the metrical medium, in his description, observations of human nature, and portrays of feelings.
J RAM
MA
JULAMA
This is a play on Rmyaa theme in eight acts. The story
commences from the event of Rmas birth and is concluded with
his coronation. With slight modifications, the Jaggu Vakulbhushana
has faithfully presented the Great Epic in drama form.
ANAM
D
ARATHIDAR
This play is also based on Rmyaa theme. In two acts
it records the union of Bharata and Rma in Nandigrma after the
latter returns to Ayodhy at the end of his exile.
YAUVARJYAM
This play portrays the jubilations following the coronation
of Rma. Rma is portrayed as an ideal king heralding an era of
peace and prosperity.
NTANAVAM
PRATIJ

This is play based on Mahbhrata theme. It presents the

amorous pleasures of ntanu and Bhmas vow in two acts.
The fisherman here talks in Sanskrit instead of Prakrit.
ADBHUT
UKAM
This play is a precursor to Bha anryaas Vesamhra.
It abounds in heroic sentiment.
APRATIM
PRATIMAM
This play depicts rka visiting Dhtartra along with
the Pavas after the Mahbhrata war is over. Overpowered
by the grief, the blind father of one hundred dead Kauravas is all

24

Modern Sanskrit Writings in Karnataka

set to smash Bhma, and at this Juncture rka averts a crisis

by putting forward the image of Bhma and telling Dhtartra that
that it is real Bhma. rkas wisdom thus saves the Pavas.
LYAMALYAM
AM
In this play Jaggu Vakulbhushana has experimented with
new dramatic design, setting the plot in many scenes with fast
action. The motto of the play is that God will always protect his
devotees.
SYAMANTAKAM
rka is the hero of this seven act play. The author
depicts his attraction towards Satyabhma. Their marriage is ultimately consummated after rka is able to find out the lost
Syamantakamai.
M
TAM
VIKR
This play depicts the character of Gha kara, a demon. An arch enemy of rka, he is transformed to be his
ardent devotee.
VRATAPHALAM
This play is based on the religious ceremony of the worship of Satyanryaa in three acts.
KALIK
LU YAM
This is a realistic play depicting the contemporary degeneration.
RAMPARYAM
MAIREYAP
This play brings out the Gandhian values. The evil of drinking wine is condemned and the values concerning prohibition and
non-violence are upheld.

Chapter II

25

Jaggu Vakulabhushan is the most prolific writer in the

scenario of contemporary Sanskrit literature. Like Bhsa he has
derived inspiration from the Great Epics as well as
Bhgavatapura. He is also duly recognized by the state and by
the lovers of Sanskrit, and has been honoured by a number of
prestigious awards. Sahitya Akademi, the national academy of
letters honoured him by the prestigious Sahitya Akademi award
for creative writing in Sanskrit. He also received the Presidents
certificate of honour. This apart, he won several laurels from
religious and academic institutions and cultural organizations during
the fruitful long span of life.

2. Nirpaje Bhimbhatta
Nirpaje Bhimbhatta was born in 1903 at Kanyan village,
in south Kanara district of Karnataka. Shankar Bhatta was his
father. He enriched contemporary Sanskrit literature by
contributing two plays - Kmrasandhnasamudyama and
Haidarbadavijaya .
K
M RASANDH
NASAMUDYAMA
RASANDH
M
This play was written by Nirpaje Bhimbhatta in his student life. It was initially published in Amaravani journal. It is a
historical and political play in seven acts with a focus on Kashmir
issue. The whole play represents contemporary political scenario,
and can be successfully staged. There are no female characters.
HAIDAR
BADAVIJAYA
HAIDAR
This play was also published in Amarav journal in 1954.
It is divided into ten scenes, and is devoid of female characters
like the first play Kmrasandhnasamudyama by our author. The
dramatist has enlivened the post-independent era depicting the
conflict related to the merger of Hyderabad.

26

Modern Sanskrit Writings in Karnataka

Both the plays by Nirpaje Bhimbhatta relate to contemporary issues, and they are marked with a concern for national
integrity.

3. Hittalahalli Govindabhatta
Hittalahalli Govindabhatta was born in Hittalahalli, a
remote village in South Canara district of Karnataka in 1905. His
father was Nilakantha Bhatta and mother Bhagirathi. He underwent
rigorous stric training under the tutelage of Hosamane
Ramachandra Shastri and Ganesh Shastri.
He wrote a Camp entitled rsarvajendracamp and
a historical work rbrahmnandaganeayogevarm
Jvanacaritam.
R SARVAJ
N ENDRACAMP

SARVAJN
ENDRACAMP
This Camp is modeled on Anantabha as
Campbhratam. It is divided into seven stabakas. This is a
historical camp, delineating the glorious past of Svaravallimutt.
The Mutt is dedicated to the teachings of akarcrya and the
philosophy of Advaita Vednta. Authors dedication to the cause
of Vednta is also evident. He says in the beginning
hasta .

kavitsavit nham kim api na lekhyam likhec ca me

Tad api ca vibudhair dayay paraguaparamutu ir

abhigrhyam.
The pen-portraits of pontiffs of the Mutt, viz. Sarvaja
and Gagdhara are quite impressing. To cite one stanza-

alaukikm ktim uprjayantau

sacchiyalokn api pvayantu.

Chapter II

27

rsarvagagdharanmabhjau
yasym sthitau tau yatirjamukhyau.
The employment of rhyme beauty and alliterations enhances the poetic excellence of this camp. For example
tath yatndro vyavahradhurya
tath tapasyvapi dhuryadhurya .
yath mgendro mgarjarja
tath yatndro na arja st.
The third chapter is important from the point of view of
historical documentation. It describes the education and training
of the pontiff under recruitment, and the worship of rcakra. The
fourth chapter presents the return of the pontiff from Kalimutt
to his own mutt. The declaration by him regarding the sufferings
caused by poverty is noteworthy
dridryam maraam cetyubhayam du khapradam loke.
maradapi dridryam ciratara du khapradam jeyam.
The fifth chapter brings out the visits of the pontiff to Udupi,
Dharmashala, Gokara and the performance of Ca sacrifice.
The sixth chapter narrates his journey to Kashi, Gaya and Prayag.
The last chapter incorporates descriptions of Ayodhya,
Haridwar, Delhi and Rishikesh.
The work presents the religious and cultural environment
of the country with graphic pictures of holy places. Poets devotion to Sanskrit as well as his concern for grammatical purity is
praiseworthyvarvartu grvav jagatym
narnartu saivdya jihvgaeu
carcartu sarvopi yatnam tadartham
sarisartu dram vilamba ca jyam.

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Modern Sanskrit Writings in Karnataka

RBRAHM
NANDA GANE
A YOGE
VAR
M

JVANACARITAM
rbrahmnandaganeayogevarm Jvanacaritam was
published from Datta Mandir, Dandeli in 1972, There are eight
cantos in this poem, each having a relevant name. Brahmnanda
is the hero of this epic. He lost his mother just after three hours of
his birth. His father also left for heavenly abode when he was only
three months old. He performed a number of meritorious acts,
traveled to Himlayas several times, and established the shrines
of Datta there and used to bless people with the grace of Datta.
Second canto narrates the death of his wife, visit to Kashi,
and his rejection of the offer for a second marriage. The third
canto describes his visit to Kollur and Gokra; the fourth to
Haridwar while the fifth one comprises descriptions of his visits to
many holy places. This canto abounds in subhitas. To quot a
few of them
(i)

vddhasya vkyam vitatham katham syt

(ii)

yatne kim asdhyam asti?

(iii)

dhairyea sarvam bhuvi sdhayanti.

(iv)

aho kudhrt kimu nhareyu .

In canto sixth, the poet takes his hero to Uttara Pradesh

and his stay at Gokara is highlighted. The seventh canto relates
to the installation of another Datta shrine by our hero. His bath in
a number of pilgrim centres is also taken up. The poet very much
believes in the miraculous powers of God Datta and says - Datte
pratuste kimasdhyamasti what is impossible when Datta is
here?
This work has four hundred stanzas all in all and it succeeds in a graphic presentation of life and deeds of Brahmnanda
Sarasvat.

Chapter II

29

The literary merits of Govind Bha a are of high order. He

is an ukavi with immense potential for versification. His forte
lies in composition of biographies of religious heads, so that the
posterity can remember their glory.
As an ukavi, Govinda Bha a was honoured in Kashi as
well as in the Suvaravall mutt.

4. Vighneshwar Sharma
Vighneshwar Sharma was born on 9th August in the year
1909. His father was Venkataramana Pundit and Subbanna Bhatta
was his teacher. His works can be broadly classified under four
heads :
(i)

Creative works in Sanskrit,

(ii)

Miscellaneous works,

(iii)

Works in Kannada; and

(iv)

Songs.

His writings are extensive, and unfortunately many of them

have not seen the light of the day.
Amongst his creative works in Sanskrit Uniruddham
is an unpublished play based on mythological episode of love between U and Aniruddha. Ratngulyakam is a farce written in
1965. Hasta-kaustubham, Dharmaviplavam and Kminkauravam are social plays, but all remain unpublished. Bhargav is
an unpublished historical play. Indir-vaibhavam (1970) is his
khaakvya, it depicts the life and deeds of Indira Gandhi, the
former Prime Minister of India. Indirvimati is another poem by
him on the same theme comprising 20 verses. He wrote eulogistic
poems on the 63rd, 64th and 65th birthdays of Mrs. Gandhi under
the captions Mah bh gy yai Indir yai Tri a itame

30

Modern Sanskrit Writings in Karnataka

janmadinotsave ubhaanam etc. His Reukkhaakvya was published in 1980. Amongst his other unpublished
works Madhukalaam may be mentioned. It is an autobiographical poem in two cantos. The poet describes his family, friends and
teachers and also narrates the incidents of his marriage and the
sad demise of his father. Indirvaibhavam is a poem composed
by our poet on the 65th birthday of Indira Gandhi. It describes the
birth, education, marriage as well as political career of Indira
Gandhi.
His miscellaneous works include a number of poems on
diverse themes. Of these Bhvatarg was published in 1928.
Mkmbik-stuti (1977), ivastuti (1977) Gaurstuti
(1981), Devstuti (1980).Vvandanam, Annaprm prati,
Gagmbikstuti (1985) are his devotional poems. His writings in Kannada include six plays and devotional poems like
Devayn (1963). Mention may be made here of Pthaparivartam
which narrates the political situation in contemporary India. His
songs in Kannada pertain to religious and secular themes.
There are two acts in Ratngulyakam, divided in many
scenes. This play was first brought out in Samsktapratibh. It
deals with contemporary problem of unemployment, and is replete with subtle humour. The dramatist has adopted terms from
regional languages or English and has even compounded them
with Sanskrit words to form usages like paispacakam,
mo aravhanam etc.
There are five cantos in Reukkhaakvya. It depicts
the life of Paraurma. The first canto describes the birth and
upbringing of Reuk as well as her marriage and ends with the
birth of Paraurma and his arrival at Kaila. The second canto
takes up Paraurmas tussle with Krtavrya. The third has touches
of pathos with the incidents of Jamadagnis demise. The poem
ends with the description of Paraurmas penance and his prayer
to Mkmbik.

Chapter II

31

Vighneshwar Sharmas proficiency in music has invested

his writings with a lyrical touch and rhythmic patterns. His versatility is evident by the wide range that his writings embrace.

5. Kanaradi Vitthalopdhyaya
Kanaradi Vittalopdhyaya was born in Kanaradi of
Karnatak to Mahalakshmi Amma and Subrahmanya Upadhyaya,
on 5th March, 1910. He received traditional Sanskrit learning at
Udupi Sanskrit College, under the guidance of Shriniwas Bhatta.
He has two creative works to his credit Dhruvacaritam
and Prahlldacamp . He composed two works in Kannada
also - Gopladaaka and Magal aka.
Dhruvacaritam is an epic in fifteen cantos designed on
traditional lines. Dhruva, an apostle of faith and devotion is the
hero of the poem. Every canto is captioned after him, viz.
Dhruvotpatti , Dhruvasya saiavam etc. The poet has brought
in heroic sentiments in the story by introducing the episodes of
Dhruvas battle with Kubera. The poem ends with the description
of Dhruvas peaceful reign and ultimately his attainment of the
status of a star.
The poem presents a beautiful amalgam of devotional and
heroic sentiments. At the very outset, the poet makes significant
usage of the term Dhruva and he has invested this term with
philosophical connotation, by referring to Rgveda X.173.4,5.
dhruv dyor dhruv pthv dhruv ca parvat ime.
dhruvam vivam idam jagad dhruvo rj vimayam.
dhruvam te rj varuo dhruvam devo bhaspati .
dhruvam te indra cgni ca rtram dhrayatm dhruvam
Like Kirtrjunyam of Bhravi and iuplavadham of
Mgha, this poem also begins with the word r.

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Modern Sanskrit Writings in Karnataka

riyantryapratintikraam
dhruvasya pdmbujayor hdi
nidhya bdham karavi vandanam
gurustrailokasya ca bhratpate .
There are many wise sayings or subhitas in the poem,
especially in the third canto, viz.
prakter iva janasya hi lubdh
guavata sakalam hi gunvitam
paribhavopi varam hi mahtmabhi .
The poet has a flair for alliteration, which has added charm
to his verses. For example
jagannidnam harimdidevam
jagannivsam pralayepyanantam
jagadgrasantam ramay lasantam
jaganniyantram aham nammi. (VIII.23)
In canto VIII, the poet has experimented with various
forms of citrakvya, like Gomutrikbandha, Cakrabandha,
Ngabandha, Ekkar and so on.
There are several passages in this poem that expound the
philosophy of Upaniads. The wild splendor of nature is fully represented in the description of Dhruvas penance. Dhruva remains
unmoved when animals like lion, tiger etc. peacocks present their
dance before him, cuckoos are warbling and the bees buzzing,
threaten him. The cycle of seasons rotates and Dhruva ultimately
realizes his aspirations.
Besides sublimity of theme, the work is redeemed with
suitable subhitas and beauty of sound and sense. The delineation of the character of Dhruva as well as his devotion and firmness to a cause are impressive and finally with the realization of
bhakti and ntarasa the epic attains a classical grandeur.

Chapter II

33

Prahlldacamp
This is a small but scholarly Camp of Upadhyaya. It is
based on the story of Prahllda in rmadbhgavata. The poet
has made effective use of appropriate meters like rdlavikrita,
Mlin, Sragdhar, Vaastha, Svgat, Vasantatilaka,
Bhujagaprayta, Pthv, Viyogin, Prahari, lin, Sragvi,
Hari, Rathoddhat etc.
To sum up, we can say that Vi halopdhyaya, being a
true devotee, has expressed his faith in the Lord through his epic
and campkvyas and has joined the ranks of bhakta poets in the
tradition.

6. K. Nanjunda Ghanapth
K. Nanjunda Ghanap h was born in Koodli of
Karnatak, on 5th August of 1910 to Lakshmi Devi and Krisnna
Ghanapth. He studied Shitya and Advaita Vednta and was
awarded the degree of Vidvn in both. He also acquired proficiency in Veda. He taught Sanskrit at Bhadra college of
Bhadravathi.
He was honored by Jagadgurus of geri, Dwraka and
Koodli. He has authored two Khaakvyas - rgaurkalyam
and Bhakta-mayradhvaja-caritam.
rgaurkalyam
This is a atakakvya. It is inspired by the ritual of
Girijkalya that is organized in geri in the month of Vaikha.
The work begins with a traditional note and after offering
his respect to his parents, his teacher, Gaapati, ?yaga etc.
the poet beautifully describes Goddess Girij walking to her marriage pedestal. The portrayal is marked with onomatopoeia

34

Modern Sanskrit Writings in Karnataka

jhaajjhaat-karaa-npurdy
sumlyavastrbharaair upet.
sumagal samstuta-divyal,
mandam iv prpa vivhavedm.

The poet has also made effective use of amul pratyaya

in this context
bhojam bhojam bhakyabhojyni nityam
pyam pyam pyasdn supeyn
daram daram daivat aivall
bram bram ailarjam aau .
In fact the poet has employed his command of grammar
for enhancing the charm of expression. The following stanza may
also be cited as an illustration
hantram sarvappnm, trtram yuktacetasm
k attram apardhnm yantram akaram nama .
Bhaktamay
radhvaja-caritam.
The source of this poem is Avamedhaparvan of
Jaiminbhrata. King Mayradhvaja, who flourished during the
reign of Yudhithita, is the hero of the poem. He is an ardent
devotee of Ka. Yudhithira performs the Avamedha sacrifice,
and Arjuna accompanies the sacrificial horse. Tmradhvaja, the
son of the protagonist challenges the army led by him. He defeats
Arjuna and the army of Ka also. Then Ka and Arjuna both
go to the city of Mayradhvaja to test his devotion.
Veda, Vednta and Shitya have formed a happy synthesis in the literary accomplishments of Nanjunna Ghanap h. Being blessed by many Jagadgurus and having born in a family of
traditional Sanskrit scholars, he chose the themes for his poems
from tradition and combined Indian value system in them.

Chapter II

35

7. H. V. Narayana Shastri
H. V. Narayana Shastri was born to Thimmambika and
Venkataramanavadwani in Hallimysore of Karnatak on August
15th August, 1910. He obtained Vidvn degree in Shitya from
Shri Chamrajendra College, Bangalore, and later served in the
same institution. He was honoured with the title Kaviekhara
from the Jagadguru of Shrishailam and is also the recipient of
Karnataka State Award. He has a number of creative works to
his credit, such as - railajagadgurucarita (epic), rncrammvijayam (epic), rkabhik (play), Guapark a am (play), Sodarasneha (play), r vidy ra yakathtaragi (poetry), rlakmkeavasuprabhtam (devotional poem), Kar aka-mahimnastotram (devotional poem),
Kvivevara-suprabhtastotram (devotional poem) and so
on.
rn c ramm vijayam
This is a historical work dealing with the sanketi group of
brahmins, their genealogy and evolution at community level. The
author describes the origin and settlements of these Brahmins.
The poem particularly concerns with Ncramm, a chaste lady
from Tamilnadu. She was contemporary of Vidyraya, the great
scholar and political figure who founded Vijayanagara empire.
Endowed with extra-ordinary learning, Ncramm was like an
incarnation of Sarasvat. The pundits were intrigued by her and
were zealous of her scholarship, and she therefore left Tamilnadu
and came to Karnataka along with her husband and settled here.
This is one version of the stories that have gathered around the
character of Nacramm.
This mahkvya, presents a vivid portrayal of life of this
great lady in simple style. The author has translated this poem in
Kannada himself. The poem is imbued with wise sayings and
poetic qualities.

36

Modern Sanskrit Writings in Karnataka

am
Gu
aparka
This is a social play in five acts, It presents social evils like
dowry, bribery unemployment etc. There is a scene of suicide in
the fourth act. The playwright has skillfully mixed humor and satire with pathos. Cidambara, an astrologer is a funny character. He
says :
ghram jtam nasyd eva
nasyam jtam ghrd eva
udaram jtam kophm ptum.
koph jt udaram gantum.
The author has forcefully given expression to his faith in
Sanskrit in this play. At the very outset, the Stradhra enters
after Nnd and announces that there are only two castes in this
country, one that of Sanskritists and the other that of non-Sanskritists. The dramatist gives a word of caution against westernization and erosion of values.
The last act also raises the problem of the deterioration of
Sanskrit studies in our times and devices ways and means for
rectifying the situation.
rvidyra
ya-kathtara
gi

This work is divided into fourteen chapters and each chapter is called taraga. Various episodes in all the taragas focus
on the life and deeds of Vidyraya Sarasvat. His contribution to
Indian culture and history is highlighted in the description of his
authorship of commentaries of four Vedas and his founding the
Vijayanagara empire. The multifarious writings of Vidyraya
his commentary on Pararasmti, Sarvadaranasagraha,
Anubhtiprakik, Pacada, Jvanmuktiviveka Aparoknubhti k and Jaiminyanyyamlvistara and so on.

Chapter II

37

Each of the taragas in this ambitious work as a specific

caption denoting its contents, viz. Kathvataraam, Kar akavaranam, Mdhavajananam, gcalaprasthnam, Gurpadea , Tapacaraam, Sannysa , Hakkadevasamgama ,
Hakkadevopadea , Janatopadea , Kanakaprav i , Jaitraytrvaram, Vijayanagaranirmiti and Hakkadevapa bhiekavaranam.
The author has also substantiated the textual statements
by footnotes. In this way, we can say that this work is historically
authentic.
Kauikarlakmkeavasuprabhtastotram
In this poem, rlakmkeavasvmi is the deity in the village Kauika. Kauika village is the place where Vivmitra is
supposed to have performed penance. Seven hundred agnihotrs
came from nako a and lttra region to settle here. The poet
has described the first sage of suprabhta as described here is
worshipping God with devotion.
K
vivevarasuprabhtastotram

This work comprises 31 stanzas. It was published in 1964

from Bangalore. It is marked with grandeur of diction as well as
charming expressions. It is successful in instilling devotional fervors.
Guaparkaam is to some extant an autobiographical
play by H. V. Shastri. The problem of unemployment faced by
Cidambara, the hero, reflects the authors own experiences.
Contemporaneity and a sense of humor invest this play with beauty.

Chapter III

39

He was honored with the title of Shitylakra by

Ayodhya Sanskrit Academy. ankaracrya of Dwarka conferred
the title of Kavibhaa on him. He was also honored with the
title Vykhynavcaspati.
CHAPTER III
The nine authors being taken up in this chapter can be
termed as the representative authors of twentieth century in Sanskrit. They have lived almost through a whole century and have
seen the onslaught of modernity in the century. They have made
attempts of be guards of age old traditions, and yet displaying
awareness for new developments at socio-cultural and socio-political fronts.

1. K. S. Nagarajan
K. S .Nagarajan was born on April 14th, 1911 to
Nagambika and ea Iyer. His place of birth was Sodam in Andhra
Pradesh. He was awarded doctorate for his thesis entitled Contribution of Kashmir to Sanskrit Literature and served as Accountant General in State Account Generals office. He has enriched modern Sanskrit literature by a number of works, such as
- rstbhyudayam, an epic in 16 cantos on Rmyaa theme,
rabarvilsam, a Khaakvya in six cantos based on an episode from Rmyaa, Unmattakcakam, a play in five acts,
Bhratavaibhavam, a patriotic poem; Gndhvijayam, a play on
Gandhi; Lavalpariayam, a play in an epic in ten cantos;
Gurupam, a play in six acts; Bhratya-deabhaktacaritam
biographies of national leaders. Some of his works in Kannada
are Shityavicra, Subhitamajar (translation from Sanskrit
subhitas) and translation of Bhskarcryas Lvat. He has also
translated subhitas in English under the title Subhitanv. His
doctoral dissertation in English is also published.

Unmatta-Kcakam
The character of Kcaka as presented in his play totally
differs from its original in the Mahbhrata. He is a noble character and genuinely loves Draupad. Bhma himself is very unhappy
after killing him and mourns for him. Draupad bitterly weeps at
his demise. The first act is named Kcaka-stuti, and the fourth one
as Vir astuti. The king Vir a and Kcaka are eulogized as under
jayatu vijayalakm-li asarvgaobha
jayatu paubalnm vddhikart balitha /
jayatu jayapatklakt svyamrge
jayatu parabalnta kcaka khytakrti //
jayatu naravareya satyadhamapratiho
jayatu janasukhnm vddhikart daylu /
jayatu guaganm sannidhir dnabandhu
jayatu ciramilym matsyarjo vir a . //
Kcaka is represented as a tragic hero and his speech
before dying is heartending.
Guru
pam

This is also a mythological play in six acts. It was awarded

Devaraj Bahadur Prize and was published in 1984. It is dedicated to Shri T. P. Kailasham, who remained a source of inspiration for Nagrajan.
Kara is the hero of this play. He is portrayed as a noble
hero. He is intrigued with his supposed birth in a low caste, and to
realize his ambition of being a super warrior, he serves Paraurma

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Modern Sanskrit Writings in Karnataka

and gets the Bhargavstra from him but then he also revives a
curse for deceiving the teacher. This apart, the dramatist glorifies
the character of Kara here by changing the design of plot from
the original epic. Kara thus makes a desperate attempt to stop
Kauravas from insulting Draupad. It is because of the curse that
he is doomed to fail, and had he succeeded, he could have averted
the exile of Paavas and even the great Mahbhrata war. As
the hero of the earlier play by Nagarajan, here also Kara meets
a tragic but a noble end.
The author has reiterated the popular statement by Bhsa
- cakrrapaktir iva gacchati bhgyapakti in the following
expression bhgyapaktir iva sarvanaram cacaleti
vidit manuloke. The following stanza also provides an interesting reading
guata pjyate loke mnavo na tu janmata /
tadadhn gu sarve janma daivavae bhavet //
A man is honoured in this world by his qualities, and not
by his birth. The qualities depend on him and birth depends on his
fate.)
It seems the peot has been inspired from the following
stanza of Bhavabhti
gu pjsthnam guiu na ca ligam na ca vaya
(The men of virtue are to be worshipped on the basis of
their qualities, not because of their sex or age.)
Karas statement in Vesahra of Bha anryaa also
rings as a key-note of this play :sto v staputro v yo v ko v bhavmy aham /
daivyattam kule janma madyattam tu pauruam //

Chapter III

41

(Whether a sta or a son of a sta, who so ever I may be.

Birth depends on fate, my industriousness depends on me.)
The epilogue or bharatavkya of this play is replete with
the poets intense love for Sanskrit and his keen desire to popularize the age old language
grvav lasatt samagre
dee jannm hdayeu nityam /
sarvatra iy gurubhaktipr
praj ca sarv sasukhe bhavantu //
Every act of this play is significantly captioned, viz. papradnam, paprabhva , Karaparbhava , Bhmasenakrmayam, Janmarahasyavedanam and Prthavijaya ..
r

abarvilsa
abar is the heroine of this khaakvya in six cantos.
However, the author has derived the scheme of the plot from
Skandapura and not Rmyaa. iva and Parvat are main
characters in this khaakvya. The six cantos are named as
Nradgamanam, Dytrambha , ivaparjaya , Prvatviraha ,
ivasamgama and abarvijaya .
The poem is marked with a combination of the beauty of
sound and sense. Poetic excellences like Mdhurya and Prasda
are happily enjoined in all the stanzas. For example
smareutapta sumakomalga
smernana kntakarbhidpta /
smarntare ti hati ailage
smaram smarantti vicitram etat //
The poet also decries the fall of morals and westernization prevailing in the contemporary India

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Modern Sanskrit Writings in Karnataka

pitur vae naiva bhavanti putr
guror vae naiva bhavanti iy
necchanti knt patipdasevm
sarve svatantr sphayvt nu //
na ryate vedavaca pracro
dvijnanebhya rutipragebhya
antarhitam satyam api prapace
dharmo gata svargamitva bhti.

The dramatist has introduced the episode of the play of

dice here. The delineation here reminds us of the famous Akaskta
of gveda and the scene of dice-players in Mcchaka ikam of
draka.
The poet has special fancy for alliteration, which finds
expression almost everywhere in this poem, A stanza from the
second canto can be quoted
Jitasmaram devi jitkhilgakam
Jitendriyam mm ajitam jitsuram /
jitrkacandrgnisahasravidyutam
parjitam kelipare cikirasi // (II.35).
The poet has also displayed his skills in the descriptions
of natural phenomena and seasons etc. For example
cukja crusvanagtibhi pika
tad mayropi jagau ubham svanam
uk ca hams ca cakorakdayo
jagur manohri ca gitam uttamam. (II.93)
The poem is interspersed with philosophical speculations
and devotional fervor. The concept of Ultimate Reality has been
put in very unambiguous terms by the author in the following stanza
tvatta samudbhavati vivam athtmabhstvam
nam sameti sakalam tvam ihvini /

Chapter III

43

mymayam jagad idam tvam attamya

tvm ndarparahitam nahi kopi veda. // (II.105)
The poet scales rare heights of fancy and imagery by
weaving metaphysics with the beauty of words and syllables. He
eulogizes the Supreme Deity in the same spirit
Nimlitkam nikmam nicalam nirbhavam bhavam /
Nirmoham nityasakalpam nirnimeam niradikata //
As a result of devotional fervour, there are passages in
this poem that can be read as powerful hymns or stutis independently. rvilk-stava and rgagyamunayo stuti are such
passages.
Miscellaneous Poems
Bhratavaibhavam by Nagarajan is an anthology comprising poems composed by Nagarajan on different occasions.
Diverse themes are embedded in the stanzas here, such as nationalism, national glory, national integration etc. His
Bhratamahim is a poem in two hundred verses. Lingarajurs
Gold Medal was awarded to the poet for composing it. The poet
is especially enamored with Indian traditions and culture and presents them in their pristine glory. Condition of masses in postindependent India has also been suggestively brought out. Bhratabhvan is another patriotic poem by Nagarajan. It was read out
during the All Language Poets meet in Mysore. It reflects Indian
ethos. The line bhratyabhvan vivddhim etu bhrate is
invariably repeated in all stanzas. Bhratmbikstuti is a collection of twelve stanzas eulogizing the Mother India. It was composed after India won freedom.
Nagarajan has written many beautiful poems for different
occasions. Of these Kavindra Ravndram was recited during the
Centenary Celebrations of Ravindranath Tagore. Navakar aka-

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Modern Sanskrit Writings in Karnataka

vaibhavam was written after the creation of Karnatak as a separate state and was recited by the poet on the occasion of the
festival organized by the government. This collection of 23 verses
breathes in the spirit of freedom.
Gndhmahim
This is a five-act play. The acts are entitled as
Kyapasakalpa , Satygrahasamrambha , ntisandhnaprrambha , and Svtantryo-daya . The poet fancied it after he
completed his thesis on Contribution of Kashmir to Sanskrit literature. Here he imagines Kyapa the creator appearing as
Gandhi. Assisted by Jawaharlal Nehru, the Mahatma frees the
Mother India from the bondage of foreign rule. The play is rooted
in the message of Gandhian ideology. Gandhis statement in the
III act reflects the message of Kathopani at utti hata jgrata
prpya varn nibodhata. The poet extensively sings in the glory
of truth (satya) as an ultimate value. The expression of gvedic
seer ekam sad vipr bahudh vadanti has been recast by the
author in the following way
Eko devonekanmbhirma
rmo buddha kria all itha.
nnrty dyate pjyate ca.
Values and ideals have been brought forth here through
subhitas. Viz.
pit hi pratyaka-daivatam manuym /
akranukampino mahymsa /
ahimsaivsmkam paramo dharma /
kle kalau saghabalam balitham /
a hasya hyam kuryt /
yatra dharma tatra jaya /
Nagarajas fervour of love for Sanskrit also finds fitting
expression in this play. At the very outset he says

Chapter III

45

Ye tu samsktam mteti vadanti te eva mt .

There are comments and reflections on the present situations prevailing in India. The Bharatavkya of this play strikes a
different note and makes a departure from the traditional epilogue
of classical Sanskrit plays in the sense that it offers salutations to
the motherland, to Gandhi and the Indian milieu.
jayatu jayatu dhany bhratmb pavitr
jayatu jayatu gndh satyamrgnuytr /
jayatu jayatu yuddham csmadyam navnam
jayatu jayatu sarvo bhratya prapaca //
Unlike the traditional or modern Sanskrit scholars who
chose to write in Sanskrit, K. S. Nagarajan came from quite a
different field and being an able administrator also devoted himself to creative writing in Sanskrit. The concern for national welfare and new interpretations in the mythological themes are the
marks of his writings.

2. Kadoor Krishna Jois

Kadoor Krishna Jois was born on 1st August 1912 at
Sringeri to Sheshamma and Subba Jois. He had his Vidvan degree in Alakrastra as well as in Advaita Vednta, and served
in Adhyatma Prakash Karyalaya, Holenarasipur and Sringeri
Shankar Mutt, Bangalore as Professor of Advaita Vednta. He
has been an editor, a creative writer, a critic, a translator and
besides his Sanskrit writings, has been an author in Kannada as
well. He is a recipient of the title Paitapravara from the Jagadguru
of Sringeri, along with the prestigious Presidents Certificate of
Honour and Karnataka Rajyotsava Award.
His writings in Sanskrit include Kumbhbhieka-campu ,
rradaran-navartracamp , Mlvidy Bhyavrtikasammat and akaradaranamarmapraka . These apart he has

46

Modern Sanskrit Writings in Karnataka

edited Daalok. He has produced two works in Kannada relating to Sambandhavrtika and Dharmastra, and has translated
Daalok and Vivekacmai with the commentary of
Candraekhara Bhrat into Kannada..
rradaran-navartracamp was published in 1976
from Pune, It is divided into six sections. It deals with the abhieka
ceremony of rad and Navartri festival in the Sringeri Mutt.
The author is a staunch devotee of Chandra Shekhar Bharathi
Swamiji and has offered his respects to him at the very outset.
The sanctity of the Mutt is also described with devotion.
Abhinavavidytrtha emerging from the temple is described in a
grand prose style. The verse and prose both are imbued with
poetic excellence, and the author has skillfully used several
alakras.
To conclude it must be admitted that Krishna Jois has
carved a niche amongst the creative writers of Sanskrit today by
adopting the form of Camp for bringing out the ideology of modern saints of Sringeri. His achievement as a poet, a philosopher
and an editor are worthy of note.

3. BommalapuraVenkatarama Bhatta
Bommalapura Venkatarama Bhatta was born in
Bommalapura of Karnatak on first January, 1915. He acquired
mastery in three languages Sanskrit, Kannada and Hindi and
served as a Sanskrit teacher at Soraba.
He wrote the following works in Sanskrit - Mohanyanam
An epic on Gandhi, akaracaritam - An epic on akarcrya,
Bhmin-mdhavam An epic based on the episode from
rmadbhgavata, Satmahvet and Vivarpadaranam,
Satyaviayam all plays; Agadasamvda (Camp),
Bhratyabhgyvatra, Ekam na Dvityam, Ndaya
Samsktabherm, Bhrgavaatakam, Mohanasuprabhta,

Chapter III

47

Rmnujasuprabhtam, Yjavalkyasuprabhtam Bodhyanasuprabhtam, Bhuvanevarsuprabhtam (all lyric poems);

akarloka and Bhvataragi (prose works), Satyakritam
(autobiographical story), ryshasr, (comprises one thousand
stanzas in ry metre on Goddess akti in the background of
Mantrastra and Vednta arranged in alphabetical order of
Kannada language.
Bommalapura Venkatarama Bhatta earned name and fame
through his translations too. These fall into two groups translations from Kannada into Sanskrit and vise versa. He rendered
Mankutimana Kagga of D. V. Gundappa under the caption
Mandathimmasamasy; Ratnakar Varnis Ratnkaraatakam,
Gavinakathe, a popular song, as Puyako ikath. Amongst his
translations in Kannada Bhravis Kirtrjunyam is worth mentioning. Bommalapura Venkatarama Bhatta has contributed to lexicography and grammar also by compiling Kannada-SanskritKoa and Samsktavykaraam. Despite such voluminous contributions, all these writings by Bommalapura Venkatarama Bhatta
are lying unpublished. He passed his life by struggling with ill health
and poverty, and yet relentlessly worked for the promotions of
Sanskrit and Kannada. He made new experiments by adopting
a pad, a traditional Kannada meter into Sanskrit. He used
Bhmina pad in his epic Mohanyanam. He is well versed
both in creative and critical writing

4. Ranganatha Sharma
N. Ranganatha Sharma was born in Nadehalli of
Karnataka on January 7th, 1916. He studied Vykaraa under
Thirunarayana Iyengar and Krishna Sastry, and later served as
Professor of Vykaraa at Sri Chamrajendra Sanskrit College,
Bangalore. He is a recipient of Karnatak State Award, Presidents
Certificate of Honour, Chunchasri Praasti of dichunchanagiri
Mahsamsthna and the title Mahmahopdhyya of Rashtriya

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Modern Sanskrit Writings in Karnataka

Chapter III

49

Sanskrit Vidyapeeth, Tirupati. Sharma is a creative writer, a translator, an editor and a grammarian. He has been actively contributing even after completing ninety successful years of life. His creative writings include two plays - Bhubalivijayam (a Historical
play, 1980) and Ekacakram (a mythological play, 1990);
Guruparemitracaritam (1969) and Gomma evarasuprabhtam
(1981), and Gomma ea-pacakam.

mahbhg). Bhma is also undergoing the state of utter dejection. He says

His Kannada writings include Bhntaraptha (1949),

Laukika-nyyagalu (1959), Hosagannada Vykaraa,
Vlmkimunigala Hsyapravtti, Varadahalli Srdhara Swamigalu,
r Kmacandra (in the light of Bhsa, Klidsa and Bhavabhti,
1982), Sktivypti (1991, Upaniattina Kathegalu (1993).

The poet has also used popular sayings or subhitas and

put them in the mouth of a suitable character. For example this
expression he puts in the mouth of Yudhithira

As a translator, his magnum opus is Rmyaa, Kannada

translation of the entire epic of Vlmkirmyaa published during 1964-74. Other translated works are Amarakoa (1970),
Viduranti (1973), the Xth Skandha of rmad-bhgavata (1978),
rviupura
(1986),
Vysattparyaniraya,
rtisrasamuddharaa of Totakcrya, Brahma-ka of
Vkyapadyam and Pacada of Vidyraya.
His editorial contributions include the edition of Bhagavannmvali, Subhitamajar and rcmarjoktivilsarmyaa.
Ekacakram is a four act play based on the story from
diparvan of Mahbhrata. It was published in 1990 from Bangalore. Following Bhsas dramatic mode, Kunti is introduced by
the Stradhra after Nnd.
The author especially excels in the depiction of pathetic
sentiments. Kunts plight is described in the following way she
could not enjoy the company of the parents in her childhood, the
company of her husband in her youth and the company of her
children in her old age (aiave pitsaukhyam yauvane
patnisaukhayam vrdhakye putrasaukhyam ceti trayepi vacit

bhaikea vtti paragehavsa

dhig bhmasenam dhigimau ca bh
(I live by begging alms and living in anothers house, fie
upon Bhma! Fie upon his arms!)

satyam mt pit jnam dharmo bhrt day sakh

nti patn kam putra aete mama bndhav .
A thought provoking discussion has been introduced
through the character of a Brhmin in the second act. He ponders
over the momentary-ness of the world and the nature of reality
Dhik sams ram, n styatra sukhale a
janmaprabhti dharmo raddhlun jtam
may. Na smarmi jtucit dharmo mama
skhalitam, koyam dharmo yo na rakati?
Theme of the play is also introduced here symbolically
through the brhmin
Na ekkin aknomi dhuram vodhum. Na
khalu ekacakro ratho gacchati.
The dramatist has also displayed influence of classical
Sanskrit poets as well as idioms and expressions from modern
regional languages like Kannada. The following expression in the
third act kadcid avimya na kriyate bhmajanany (Bhmas
mother never does anything without thinking before), reminds us
of the famous verse from Bhravi

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Modern Sanskrit Writings in Karnataka

sahas vidadhta na kriym
aviveka parampadm padam.

Chapter III

The poet introduces Cakra-ratna in a grand style revealing the grandeur of the phenomenon
jitasarvakatracakram akalitanikhilarjinracakram cakitaktra-vra-cakram pratihata khara
-tejonumlyamucakram narapthvpla-cakram
jvalitadaaharicakram atyugradptiata-vidyutcakram s t pratihatagatitrayantike cakraratnam.

The last two acts specially exhibit the impact of phrases

and usages from Kannada. For example the following sentence
presents a rendering of popular usage in Kannada - dantnste
ptayiymi yadi ghram na gacchasi.
The play also presents a nice blend of humor (Hsya),
pathos (Karua) fear (Bhaynaka) terrific (Raudra) and wonder
(Adbhuta) Rasas. The sentences evince nice rhythmic patterns.
The descriptions are short and dialogues are pinpointed. In fact
the dramatist has emulated the technique and diction of the great
master Bhsa.
Noted scholar and critic K. Krishnamoorthy says about
this play The drama is packed with action and feeling. The style
is so easy and vocabulary so common to one and all tongues.
Such a combination of ease and grace, brevity and beauty should
appeal a layman also.
rbhubalivijayam
This play was written at the instance of Charukirti
Bhattaraka Swamiji, the pontiff of ravaabelagol. After going
through the Gomma easuprabhtam of the poet, he desired that
the latter should compose a play to coincide with the
Mahmastakbhieka ceremony at ravaabelagol. Influence of
dipura and Mahpura is quite explicit in this play. Like his
earlier play, here also Sarma follows Bhsa in designing of his
prologue. But here the Stradhra also introduces the author in
the following mannerpinye mahstre shitye bharatgame
paritamati cakre raganthakavi ktim

51

The play is also replete with nice subhitas, viz.

1.

kmakrodhavakta purua kim v nnutithati

2.

idam arram eva vini

3.

vid api krratar viay .

4.

budbudapratimam rjyam.

Following the dictum of Bharatamuni, the dramatist has

introduced the scene of battlefield without presenting war on the
stage through dialogues between two servants, joining line with
Bha anryaa, the author of Vesamhra. The grand personality of Gomma a is described imbibing picturesque beauty-

rmnuttugamrti sarasijanayana kuntalai kntamrdh

smersya kambukantho vijitamanasija ailavsovivs .
pnaskandha puro madhurataravapur vallihir vellitgo
dhmn jnubhuvitaratu nitarm gomma ea ubham na .
The students, friends, well wishers, and citizens of Bangalore
gave a befitting expression to their appreciation for Raganatha
arma by bringing out a felicitation volume in his honour. The
volume is entitled Ragbhinandana.

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Modern Sanskrit Writings in Karnataka

5. M. Manjunatha Bhatta
M. Manjunatha Bhatta was born in Mugeri village of south
Canara district of Karnatak on sixth September 1916. He is M.A.
in Sanskrit and taught at two colleges in Magalore. He wrote two
lyrics in Sanskrit Viraktivthik and Bhaktivthik.
Viraktivthik
There are one hundred verses in Viraktivthik along with
seven introductory verses and twenty-one verses on anyokti. The
theme of the poem is renunciation. Sanskrit Parishad Mangalore
published this work in 1984. It is written in Mandkrnt meter. It
presents a touching assimilation of vairgya and bhakti. The poet
sees unity between Hari and Hara. He therefore expresses his
faith and devotion for both. His intention is evinced through the
following stanza-
grathitam atha manojam majunthbhidhena
atamukhapadabandham bandhurrdham nibandham
rasayatu rasapkam cetas tanmayena
pratipadamadhuram v premalekham sacet
The poet who is dejected of serving a rich man resorts to
the service of the feet of lord like a bee
tentyantam vyathitamanaso mnasam me vidadhyt
pryacittam tava padagatam cacarknuvty
The poet has succeeded in presenting a feast of beautiful
alliterations, imagery and figures of speech. The following stanza
can be quoted as an example
ramyam harmyam hariasadontntartmvilsa
ramy rk surabhisumanohsa ramy vannt
ramyam rodha aradi saritm akitam rjahamsam
ramyam sarvam yadi hi na bhaven mtyur ekas tv aramyam

Chapter III

53

In fact the impact of Klidsas poetic fancy in Maghadta

is implicit in may stanzas here. Like Klidsa the poet is devoted
to Lord iva and depicts a grand picture of his residence at Kaila
prekyam tvat pramathanivaha prrthanprahvamauli
kaileam parijigamiur bandhapakti prayti.
vandrm prayathamatha tad vndamse va mno
dhram dhram sarati parita cnukla samra .
To conclude this small poem is a happy combination of
devotion, religious sentiments and spirituality.
Bhaktivthik
Bhaktivthik was published in 1987. It evinces devotion
for Ka. The poet is particularly influenced in this poem by great
masters like Klidsa, Bharthari, Hara, Kulaekhara, Jayadeva
and Lluka. It is divided into two parts. There are sixty stanzas
in Vasantatilaka meter in the first part. The beauty of the metric
design suits the devotional fervor joined with aesthetic vision of
the Lord

lakyacrupuruetaradantamukt
starollasat smitavibhita majulsyam
llirostadidam asmi ciram smarmi.
The poet has skillfully used alakras like Vyatireka and
Sahokti. He has underlined the concept of prapatti or self-surrender to the Lord in this poem, and has used a variety of meters
in the second part.

6. K. T. Pandurangi
K.T.Pandurangi was born in Dharwar on 1st February
1918. He is a Vedntavidvn. Mmmsiromai and M.A. He
happens to be the last student of Mahamahopadhyaya Kuppu
Swami Sastry. He was educated at Shankaracharya Pathshala of
Dharwar, Shri Shankareshwar Mutt, Pune, Maharaja Sanskrit

54

Modern Sanskrit Writings in Karnataka

College, Mysore, Annamalai University and Beneras Hindu University. He served at Karnataka College, Dharwar; Govt.
College, Kolar; Govt. College Bangalore and retired as Head of
Sansksrit Department, Bangalore University. He has contributed
to Sanskrit literature under the penname Vivamagala .
He has received several honors, such as - Daranaratnam
from Parimal Samshodhana Mandir, Nanjangud;
Mmmsbhaa from Mantralaya, stranidhi from Akhil
Bharatiya Mdhva Mahmanala, Paitaratnam from Pejawar
Swamiji. Vidymnyapraasti from Prapraja Vidyapeeth,
Vii a Puruskra from U.P. Sanskrit Sansthan, Presidents Certificate of Honour and Mahmahopdhyaya from Rashtriya Sanskrit Vidyapeeth, Tiripati.
His creative works in Sanskrit include Nabhovrpaki
- a collection of four radio-plays, based on popular dialogues
from Upaniads, Ravndrarpaki, adaptation of Tagores four
plays, Kvyjali - anthology of poems, Purandaravacanni Sanskrit adaptation of Purandaras one hundred sayings and
Sarvajavacanni. Pandurangi has edited Galagali Ramachars
works, Samskta Patrikm Itihsa , Candram Gato Mnava
(collection of riddles), and a work entitled Pravartatm
Bhratabhgyacakram. He has produced the following works in
Kannada - Kvyastravinoda (collection of essays on Sanskrit
poets), Sanskrit kavyatriyaru (Introduction of thirty two poetesses
of Sanskrit), Klidsana Saundaryad i and translation of
Mdhvabhyatattvaprakik, He has edited Nyymtam,
Advaita-siddhi, Tara gi and Kan akoddhra, and
Rghavendra Swamis commentary on A ubh ya of
Madhvcrya.
A towering scholar of his own standing, K. T. Pandurangi
has presented the essentials of Upaniads in his writings. He has
edited and translated Viutattva-viniraya as well as principal

Chapter III

55

Upaniads following Mdhvas commentary on them. Credit goes

to him for presenting the tenets of Dvaitavednta.
Ravndrarpakai is collection of four adaptations from
Tagores dramatic universe - Sannys, Mlin, Npa Mahia
ca and Kara Kunt ca. K. T. Pandurangi has successfully
brought out the message of Ravindranath and the qualities of his
plays in these renderings.
Tapa phalam a Radio-play by Pandurangi, is based on
the V canto of Kumrasambhava of Klidsa. Prvat succeeds
in winning over iva by her dedication and penance. Sittyga is
a one-act play divided in three scenes. It is based on the episode
of Sits banishment by Rma from the Uttaraka of Rmyana.
Kvyjali is a collection of thirty-three poems by Pandurangi.
These poems were written on different occasions. The poet expresses faith in values and commitment to Indian ethos through
the verses. Poems on Tilak and Gandhi reveal patriotic feelings.
K. T. Pandurangi has made a bridge between tradition
and modernity by his stric erudition and poetic creativity.

7. Balaganapati Bhatta
Balaganapati Bhatta was born in Sringeri on 6th January,
1919. He obtained the degrees of Shityavidvn, Kannadapundit
and Rashtrabhashavisharada and had been teaching at Chamrajnagar College.
He has written a number of devotional hymns. Of these
Gaapati-suprabhtam presents a sublime form of Lord Gaea.
The following stanza may be quoted to illustrate the poets faith
and his poetic excellence in composing the stutidaabhujayutadevam simhavham kte tvm
bhajati ikhisuvham siddhidam bhua jam
yugakarasahitam tvm raktakym gajsyam
yugayugam akhilo vai hastayugmam sitgam.

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Modern Sanskrit Writings in Karnataka

(People in Ktayuga worship you as having ten arms, and

then you ride on a lion as the vehicle. In Tret people worship you
as having six arms, when you mount the peacock. In Dvpara,
they prey before you when you have four arms with the face of an
elephant. In Kaliyuga, they worship as a god having two arms and
white body).
Satyanryaa-suprabhtam and rgagdharasuprabhtam are other such devotional poems by Balaganapati
Bhatta. They breathe in devotional fervor, and abound in Anuprsa,
Yamaka and other alakras. An example may be produced from
rgagdhara-suprabhtamgajtihr nagajtihr
gajsyamodo nagajstamoda
All the suprabhta poems by Balaganapati Bhatta comprise 27 stanzas each, representing 27 stars of the firmament. The
poet is reported to have composed many other suprabhtas but
they are not available.

8. M. G. Nanjundaradhya
M. G. Nanjundaradhya was born on 1st August, 1919.
His parents were Gangadhariayah and Veeramma. He was educated at Siddhaganga Sanskrit College, Tumkur, and Shri
Chamrajendra Sanskrit College Bangalore. He qualified for
masters degree in two subjects Shitya and aktivii dvaita.
He also obtained the degrees of Pundit in Kannada and
Rashtrabhashavisharada in Hindi. He has written both creative
and critical works in Sanskrit, such as Mdarachanna (a play),
and many devotional poems Most of the titles of the devotional
poems end with the appellation suprabhta. He has also published an anthology of devotional verses captioned as
Stotrasamgraha . He has also contributed to Kannada literature. His critical works include rkarabhya in two volumes

Chapter III

57

and editions of Muakopaniad and Kaivalyopaniad with

Sad sivabh yam, Re uk g t bh ya, V ra aiv gamaprayogaratnam, rkarabhyam, Catu str etc.
A prolific writer in Kannada he has contributed to Kannada
literature by several works in prose and poetry and many biographies. He has also edited two works - Daranadpti (1973) and
Bhratya-darana (1975).
Nanjundaradhya has been bestowed with many honours
and titles, such as - sthnavidvn by Maharaja of Mysore (1946),
Karnatak State Award (1979) Shityaratna from Suttut Mutt,
ivatattvacintratna from Brihanmath of Chitradurg, Vidyvridhi
from Murusavira Mutt of Hubli, ivdvaitabhaa from Jagadguru
of Rambhpuri.
Nanjundaradhya has immensely contributed both as a poet
and as a critic and has enriched both Sanskrit and Kannada
languages.

9. K. S. Bhaskara Bhatta
K. S. Bhaskara Bhatta was born in Bheemanakone a small
village in Sagar Taluk of Karnataka to Laksmamma and Kalmane
Subbabhatta in 1920. He obtained Vidvn degree in
Alakrastra and Pundit degree in Kannada. He served in different High Schools of Karnataka as Kannad Pundit. He was
honoured with the title of Shityabhaa by Ayodhya Sanskrit
Parishad (1941), and also received Lingarajurs prize (1949) from
Maharaja of Mysore for his Khaakvya Devvilsa.
He has written two Khaakvyas, including Devvilsa
as mentioned above and rgurukptaragi.
There are six taragas in rgurukptaragi. It describes
the greatness of guru. The poet has used various meters and has
enriched the poem with diverse figures of speech. This poem pre-

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Modern Sanskrit Writings in Karnataka

sents the lives and characters of many pontiffs of Ramachandrapur

Mutt. It begins with the invocation of the presiding deity of the
Mutt, Rama
yannmakrtanarasaplavacittavtti
nikalmaa kulapati prathama kavnm.
rmyaam navavarmbunidhim vyatnt
tam rmacandramanam praammi mrdhn.
It is replete in ntarasa, and the lives of ascetics as presented here are inspiring. rrghavendra Bhrat Swamiji is in
the centre of the galaxy of great personalities that are described
here. The poet has used diverse metres like ikhari, Pacacmara
etc. in accordance with the theme. Use of appropriate subhitas
adds to the effectiveness of the poem, viz.
karma svata pravttim pnuvanty akman (III.81)
vtargia parrthasdhaka hi sarvad. (III.82)
lokabhtyai bhavati guruiyavyatikara (IV.9)
kim iva mahat dukaram idam(IV.40)
asdhyam kim v syd (III. 32)
agha anagha anp avavatm (IV.57)
The poem vividly presents the tenets of Vednta philosophy and successfully weaved them into beautiful words. One stanza
may be quoted
Kevalam nirajanam nirkulam nirhakam
janmamtyunakam bhavravasya trakam
nityauddhabuddhamuktam nubhvikam param
tat padam nijasvarpam pnuym aham katham? (III.24)
The poem is also important as a historical document and
a presentation of rare data. The poet has derived inspiration from
great masters like Vlmki, Klidsa, Jayadeva etc.

CHAPTER IV
In this chapter authors born in the second decade of twentieth century have been taken up. Amongst them
Pandarinathacharya Galagali has enriched modern Sanskrit writings by new experimentations and innovations. They have also
contributed to the development of journalism in Sansksrit, and
creating a new consciousness amidst their readers.

1. Pandarinathacharya Galagali
Pandarinathacharya Galagali was born in Bijapur of
Karnatak on 10th July, 1922. He obtained Vidvn degree in Nyya,
Vednta and Shitya. He has been the editor of three journals Madhurav, Pacmtam and Tattvavda.
His works include rvidyvcaspati-ambhuligevaravijaya-Camp
(1982), Lokamnyatilaka-caritam
(Khaakvya), rvihala-atakam, Lakmatakam,
Vivevaraatakam, Satyadhnaatakam, Pavanapvanacamp ,
Satyadhynavijayacamp ,
Rmaryaam
and
Kakan hbharaam. The last two are devotional poems. He
has written a work on philosophers of Mdhva-system in Kannada.
He has received a number of titles, honors and awards
like Pravacanakesar, Abhinavabha aba, Mahmahopdhyya,
Presidents Certificate of Honour, Sahitya Akademi Award as well
as honours from Jagadgurus of Sringeri, Kanchi, Vidyamnyatrtha,
Vivovaratrtha and Suyamendra Tirtha Swamigal.
Relentless persistence of the devotees of Bijapur
Brihanmutt and the faith of our poet led him to compose

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Modern Sanskrit Writings in Karnataka

rvidyvcaspati-ambhu-ligevaravijayacamp . It is divided
into twelve chapters, called taragas. It depicts the life and achievements of ambhligevara Swami of Bijapur Brihanmutt and is
published from Bijapur. The work also gives an account of the
theory of Vraaiva philosophy. The first three stanzas of the
camp furnish an introduction. The first chapter gives a description of Karnataka, and the characters of akara, Rmnuja and
Mdhva, then the poet proceeds to present a brief sketch of the
history of Bijapur Brihanmutt and invasion of Hyder Ali etc. Description of Chitradurga, Siddhevara Pundit, Parents of
ambhuliga, the city of Bangalore, Shrirangapattanam, Mysore
form the themes in the second chapter, and then the poet proceeds to describe the education of the boy ambhuliga and his
studies in Nyya, Vykaraa and Mmms at Kashi. The third
chapter takes up a graphic description of Kashi. The fourth touches
upon Sadivas tour of Kashmir, Hampi and the glory of
Vijayanagar Empire as well as its downfall, the city of Hubli etc.
The fifth chapter portrays the charming personality of Sadiva
and his refusal to get married. The sixth chapter presents the renunciation of Sadiva, and his adaptation of the name
ambhuliga. The seventh chapter discusses his tours and return
to Bijapur. The eighth chapter contains a charming description of
the river Krishna The ninth chapter takes us to the city of Bangalore again and the discourses of Swamijis there being listened by
the devotees with rapt attention. The tenth describes Swamijis
attractive mode of teaching, and the eleventh narrates episodes
related to his mysterious yogic powers. The last chapter gives an
account of the attempts at killing of Swamiji by the wicked, and
their failure. The poet closes this camp with a homage to Swamiji
in sixty seven lyrical stanzas.
The Camp has many excellent subhitas, viz.
dkiyavanta khalu dkity .
shase r prativasati.

Chapter IV

61

The poet has also borrowed many wise sayings from the
rich store of classical Sanskrit poetry. He excels in the usage of
alakras like Parisamkhy, Ullekha, Upam, lea, Mlopam
and Anuprsa. Galagali has used a variety of meters in this camp
suiting to the subjects and themes, such as - rdlavikrita,
Rathoddhat, Anu up, Indravajr, Vasantatilak, Drutavilambita,
Viyogin etc. He has extensively displayed his knowledge and erudition with regards to Veda, Vednta, Vykaraa, Mmms, Yoga
and other stras. He has revived the grand Pcl style of
Babha as prose in this Camp . In this way, he has justified
the title of Abhinavaba given to him.
Galagali is a versatile author and has covered a vast spectrum of various genres in his writings. He is in fact an epitome of
creativity and learning in Sanskrit, and being an excellent orator,
has lived Sanskrit culture through his speeches also.

2. Vishweshwar Dixit
Vishweshwar Dixit was born in Turuvekere of Karnataka
on 7 July, 1924. He finished Vidvn course in as many as seven
disciplines, and served in Maharaja Sanskrit College at Mysore
as Professor of Shitya.
th

He has written devotional poems and some plays in Sanskrit. Of these, rakarastava-suprabhta-stotram is based
on the famous aivite pilgrim center, Nanjanud. It describes the
glories of iva, particularly killing of the demon Ke by him and
drinking of the poison, which came out of the body of the demon.
From that day onwards he was called rka ha. The poet has
employed diverse meters like Vasantatilak, ikhari, ry,
Mlin, Bhujagaprayta, Anu up and Campakaml. All the
stanzas end with invocation
rka hantha jagatm tava suprabhtam.

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Modern Sanskrit Writings in Karnataka

rigerradsuprabhtam eulogizes the goddess ard

of ringer in forty eight stanzas. The poet has used Anuprsa
and other Alakras suitably. rakaragurucaraastotram
employs the injunction bhaja gurucaraam in all the stanzas,
obviously on the model of the famous bhaja govindam by
akarcrya. rcandraekharabhrat-guruvara-stotram is also
a homage to the well known holy man. Like the earlier stotras, it
also has the repetition of rcandrasekharabhratm iha bhvaye.
He poet has extolled the saint in hyperbolic terms, viz.
pracandranibhnancyutacandrakntadhavalasmitam
d imtra-vinitritasarvasaka asantatim. etc.
rjagadgurupacaratnam also describes gurumahim. The
poet has exhibited mastery over a variety of meters.
Vishweshwar Dixit has written two one-act philosophical
plays - Lobhasmrjyam and Dambhasmrjyam. Unfortunately
both of them remain unpublished.

3. Harishchandra Renapurkar
Harishchandra Renapurkar was born in Renapur village
of Maharashtra, on 17th September, 1924. He got his masters
degree in Sanskrit and taught in various government colleges of
Karnataka and Andhra Pradesh. Presently he lives in Gulburga.
He has been regularly contributing to most of the Sanskrit
periodicals and his poems have won wide acclaim. He has published Kvyonmea - an anthology of poems. The poems collected in Kvyonmea were composed between 1964 to 1986.
Most of the poems reveal the poets concern at the erosion of
values in modern society. There are poems on National heroes
like Daynand, Viveknand, Gandhi, Nehru, Satwalekar,
Lalbahadur Shastri and Indira Gandhi. Lajapatataragii comprise eighty-nine verses and reveals many moments of freedom
struggle. The poems on Shastri (strokalahar) and Indira

Chapter IV

63

Gandhi (Indirhauttmyam) are elegies and are replete with pathos. The terrible famine engulfing many parts of the country forms
the subject matter of Bhaam Durbhikam.
Renapurkar has regularly contributed to almost all the
major journals and periodicals of Sanskrit, viz. - Prijtam,
Samskta-bhavitavyam, Divyajyoti , Arvcnasamsktam etc. He
weaves contemporary themes in his verses and reacts to the current socio-political scenario. His style is simple and lucid.
4. C.G. Purushottam
C.G. Purushottam was born in 1925. He was educated at
Chunchanakatte Gurukula. Patankar Chandrashekhara Bhatta and
S. Rangachar have been his teachers. He obtained masters degrees in History and Sanskrit, and served as professor of Sanskrit
at Maharajas Colege at Mysore.
His creative works include Kvyataragi (part I 1959,
Part II 1967), dicuncunagiri-suprabhta-stotram and
Sarvajavacanni (translations of the sayings of Sarvaja in Sanskrit, 1992).
In Kvyataragi (part I), the section entitled
Kuvemputaraga presents beautiful translations of Kannada
poems of Kuvempu. The second part Kvyataragi comprises
translations from various sources. It is divided into four parts. The
first part consists of translations of some of the well known modern annada poems. The second part comprises translations of
seven folk poems, and the third part consists of the translations of
fourteen Hindi poems. Only the forth part preserves original poems by Purushottam.
dicuncunagiri-suprabhta-stotram comprises twentyseven stanzas coinciding with twenty-seven stars and it eulogizes
various deities. The poem is replete with religious fervour and
brings out many legends attached to the shrine of dichuncunagiri.

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Modern Sanskrit Writings in Karnataka

The line cuncundriekharavibho tava suprabhtam form a refrain.

A recipient of Karnataka State Award and
Cunchungirimutt Award, C. G. Purushottam has rendered most
valuable service for the cause of Sanskrit through his translations
from Kannada and Hindi poetry. He has also translated into
Kannada all plays of Kuvempu in Sanskrit under the title Kvempun akacakram that is yet to be published.

5. Narayana Madhyastha
Narayana Madhyastha was born on tenth January 1930
at Neercharlu in Kerala. He is a Shityairomai, Kannadapundit
and Hindi Rastrabhashavisharada. He has authored three plays in
Sanskrit Madirvilsaprahasanam, Akhaapuram, and Kle
varatu parjanya .

CHAPTER V
In this chapter authors born in the fourth decade of twentieth century have been taken up. These authors have seen the
dawn of Indias independence. Their writings bring out the spirit
of revivalism as well as the faith and hope for building a new nation.

1. Samba Dixit
Son of Damodar Dixit, Samba Dixit was born in Gokara
of Karnartak on 14th February, 1934. He is a Ghanap h in
gveda, Vidvn in Vykaraa, Bhyakvyatrtha and
Rashtrabhvirada in Hindi. He served as the Principal of
Medh Dakimrti Sanskrit College, Gaokara and was Vicechancellor of Maharshi Vedic University (1992-95). He was honored by the title Vedavridhi by Vedadharmapariplana Sabh,
Bangalore and Vedavidvn by Gokaravidvatsabh. He also received Vedaratnapuruskar from Bharatiya Vidya Bhawan, Bangalore and other prestigious awards.
He has written three plays and a khaakvya named
Nitynandacaritam (1975). His plays are - Mahgaapatiprdurbhva (1974), Bhkailan akam (1977) and
Varadakin akam (1977). The last one is a social play.
He has edited Agnisahasranma (1978), Agnirajasyam
(1976) Ghygnijra (1976) and Vyujasahasranmastotram.
Nitynandacaritam is based on the miracles and supernatural powers displayed by the Swami of Nitynand Arama in

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Modern Sanskrit Writings in Karnataka

Chapter V

67

Maharashtra. The work is replete with religious faith and abounds

in subhitas.

Pu adsakavis Jagadguru-didhevaracamp (1992). He has also

published his doctoral thesis on atakas in Sanskrit Literature

Bhkailan akam is a historical play based on Gokara.

The etymological derivation of the word Gokara has been aptly
brought by the playwright - gorpyh bhme karapradee
gokaranmni siddhaketram. Rvaa is one of the characters. The dramatist through the characters of Nikumbha and
Mahodara has introduced subtle humor. There are interesting descriptions and narrative is capturing. Nradas address to Rvaa
has the characteristics of a stutikvya. The author confirms the
injunctions from N yaastra, and makes use of Vikambhaka,
and pa kepa.

Besides Sahitya Akademi Award for translation, he has

also received Jagadguru Vivardya Vivabhrat Puraskra.

Samba Dixit is an erudite Vedic scholar, and nitygnihotri

and has also enriched modern Sanskrit literature by his contributions.
2. Paraddi Mallikrjun
Paraddi Mallikrjuna was born in Savadi in Karnatak in
1940. He is M.A. and Ph.D. in Sanskrit and served in Karnatak
University Dharwar as Professor of Sanskrit.
He has written a Mahkvya Basavabhskarodayam
(1998), and atakakvyas like Gagdharaatakam (1992),
Channavraaraa-atakam (2001), as well as two collections of
poetry - Samskta-kvyamlik (1977) and Samsktakvyamandkin (1993). Paraddi has made important contributions as
a translator also. He has translated Kabrs Hindi poetry in his
Kabradsaatakam. The work has been awarded by Sahitya
Akademi, New Delhi for Translation. He has rendered Basavas
poetry in his Basavevaraatakam (1989). His
Akkamahdevatakam is another work presenting translations
from Kanada. He has edited several woks like Malhaastotram
(1982), Citragrvijayamahanteacamp (1982) and

There are sixteen cantos in Basavabhskarodayam. The

epic portrays the life and deeds of the rebellion saint Basavevara.
Paraddi has used meters like Vasantatilak, Sragvi, Upajti,
Anu up, rdlavikrit, Bhujagaprayta etc, and sums up the
poem in the last canto by employing Mandkrnt. He has in fact
designed the epic as a grand narrative unfolding the whole gamut
of activities of the great saint. The work also presents the philosophy and message of Basavevara and the tenets of Vraaiva system have been aptly explained. The epic has become very useful
as a reference work on this philosophical system as the poet has
appended it with a glossary of technical terms with their explanations. The appendix is entitled as Vraaivapribhikapadakoa The Alakras like Upam, Utprek, Rpaka etc.
have found apt places in the poem.
The hero of Gag dharaatakam is Jagadguru
Gangadhara Rajyogindra Swamiji. The poem was composed on
his sixtieth birthday. The poet describes the achievements of
Swamiji and his command over many languages. The poet also
describes various social activities of his hero at length in this work.
They include establishment of chowltries, libraries, hospitals and
hostels for students; encouragement of womens education, works
for communal harmony and founding institutions for Sanskrit education. The work is informative as well as educative and it also
conveys the massage of Swamiji through subhitas.
Samsktakvyamandkin by Paraddi is a collection of
34 stanzas pertaining to diverse themes. Some stanzas are satirical whereas some are informative; some others deal with the lives
of great heroes.

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Modern Sanskrit Writings in Karnataka

Viralo Mani by Paraddi is homage to Dr. Radhakrishnan

the scholar, philosopher, statesman and former President of India.
Paraddi Mallikarjun is a great aivite, a sensitive poet, an
able translator and a good researcher. He has earned respect in
Sanskrit world by his noble virtues. Abhirja Rajendra Mishra,
one of the greatest living Sanskrit poets of our times pays rich
tributes to this fellow writer in his Mgkadtam macchraddheyam sukavisuh dam c pi saumyam
paraddm

3. Shankar Ganapati Pathak

Shankar Ganapati Pathak was born in 1940 and had a
iromai in Shitya, Vidvn in Dharmastra, and M.A. in Sanskrit. He served at Oriental Research Institute of Mysore as Senior Research Assistant.
He has composed a devotional lyric rhariharevarasuprabhtam (1991) in 38 stanzas in Haranartana and
Vasantatilak meters, followed by one Daaka. The poem is
about Hariharevara temple in Krkala of Karnataka. It is a holy
place inhabited by Citpvana Brahmins coming from Maharashtra
and a seat of Vedic learning. rhariharevara is the deity worshipped by the Citpvana Brahmins. This Suprabhta-poem highlights the greatness of the deity and the sanctity of the place. The
author has also translated the work into Kannada.

CHAPTER VI
The authors taken up in this chapter especially Gurupada
Hegde, H. V. Nagaraj Rao and Areyar Sri Ram Sarma exibit an
awareness for the consciousness emerging at global level. They
have also introduced new forms in Sanskrit.

1. Gurupada Hegde
Gurupada Hegde was born on 18th May, 1941 and taught
Sanskrit at Lal Bahadur Shastri, College, Sagar in Karnataka. He
has written a play Tejas-sakrma (1999) and a devotional lyric
Adhytmastotra-mantrabhvagta (1999). His critical works
in Sanskrit are - lea-siddhnta and Kannaavmayavikse
Samsktasya Prabhva. He has also written a Gtikvya and
some critical works on Sanskrit literature in Kannada. He has
also published a thesis in English under the title Pun in Sanskrit
Literature. He was honored with Karnatak State Govt. Award.
Tejas-sakrma is a one act play depicting encounter
between Rma and Paraurma. The play was staged in 1972
and was broadcast through Bangalore Radio in 1973.
Adhytmastotramantrabhavagta is a collection of
devotional hymns by Hegde.

2. H. V. Nagaraj Rao
H. V. Nagaraj Rao was born on 10th September, 1942 at
Somenahalli of Kolar district in Karnataka. Staryalakshamma and
Veka anryapp are his parents. He passed Vidvn examination in Vykaraa and Alakraastra from Mysore Sanskrit
College. He did his M.A. from the Universities at Mysore and

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Modern Sanskrit Writings in Karnataka

Ciatle (USA) and served as Senior Research Assistant at Oriental Research Institute Mysore. He has written three plays Vidulputryam, Samudyat and Dmpatyakalaha . All of them
have been published from Bharatiya Vidya Bhavan Mumbai in
1996. His other writings are - Varnveaam and Mlavik two
short stories published n 1974 and 1975; Kaavimukti - a
novel, rad-daranam a travelogue, Upkhyna-yugmakam
prose and Siddha-gagy uddhacetana a biography of
Shivakumar Swamiji of Siddhagaga Mutt.
Nagaraja Rao has edited Subhitakaustubha of
Veka dhvari (1976) as well as Anypadeaatakam and
nandasgarastava of Nlakatha Dkita. His dissertation on
Veda-Vedga has been published from Bharatiya Vidya Bhavan,
Bangalore (2005). He has done valuable work as translator also.
He has translated H. M. Nayaks Kannada work Namma
maneya Deepa under the title Asmkam Ghasya Dpa in
Sanskrit as well as the Kannad novel by well-known author S. L.
Bhairappa as Srtha . He has also translated five short stories of
Premchand one of the greatest short story writers of our age under the title Vipacik. He has also rendered several works from
Sanskrit into Kannada, such as Varadarjastava of Appaya
Dkita, Rmyaasrasagraha and Raghuvrastuti of
Nlakantha Dkita, Bhvanlahar of Gauriakara Swami, and
ivapddikentastotram of akarcrya.
He was honored with Vedavysa-praasti by Shekhavati
Sanskrit University. He has served as Visiting Professor at the
University of Chicago, University of Wisconsin and University of
Jeruselam.
Varnveaam is a short story by Rao. It realistically
portrays the plight of brides parents and their search for a bridegroom. Rao has rendered some of the Kannada proverbs in
Sanskrit.

Chapter VI

71

Vidulputryam is a play based on an episode from the

Udyogaparvan of the Mahbhrata. It is a very inspiring tale
presenting the character of great lady Vidul. Samudyat is a
social play based on headlines from Newspapers. The author raises
several burning issues like dowry. The play presents contemporary society. Dmpatyakalaha is also a social play depicting
humorous situations of fight between husband and wife.
In his Upkhnayugmakam, Rao presents two legends
from the tradition concerning Urva and akuntal. It is a fine
example of lucid prose. In raddaranam, Rao has presented
an account of his visit to Sringeri. Rao is a versatile and talented
author. He has written on rare and neglected themes and has contributed to new genres.

3. Areyar Sri Ram Sarma

Areyar Sri Ram Sarma was born in Melukote on 28th of
August, 1943 to a scholar father Aryar Sinivas Ayengar. He has
mastered Shitya, Nyya and Vii dvaita with proficiency in
Kannada and Hindi and served as Principal of Govt. Sanskrit
College Melucote. He has been honored with the title
Pacabh-kavitvallabha by his capacity to compose stanzas
in Sanskrit, Tamil, Hindi, Kannada and Prakrit. His creative works
in Sanskrit include Asmat-camp , Kathkadambakam,
Kath s hitya, G li atakam, P cajanya atakam,
P marasapta at , Prak r akallolin , R pakav ndam,
Hamsapratisande a , K udrakath , K udrak dambar ,
rvijayadhvani etc.
He has written several critical works in Sanskrit, viz. Samsk ta-kath prabandha ,
straprabandha ,
Laghukvyaprabandha , Samodhana-prabandha , Vimaraprabandha , Dhvaniprabandha , Itih saprabandha ,
S hityam t k , v syabh yasapakam, Samsk ta-

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Modern Sanskrit Writings in Karnataka

pnityaparicayakoa etc. He has written two atakakvyas

in Prakrit - Prktamuktvaca and Prktapupvacaya . He
has also written critical works in Prakrit. He has translated
Rajaekharas Kavyammms in Kannada and has published a
collection of essays and a collection of his poems in Kannada. His
Tamil works are - Pigalabhrata, Rahasya-ratnaml,
Devprabandhaml, Divyaprabandhaml etc. He has produced
two collections of his essays written in Hindi and one anthology of
his Hindi poems also.
Kvyakallolin is a collection of Sharmas Sanskrit poems. It is divided into seven kallolas or sections, named as
Magalakallola, Vastukallola, Gitakallola, Kathkallola,
Samsktakallola, rutikallola and Prakrakallola. Fifty-one
headings have been arranged under these. The poems of Sharma
cover a wide range of topics, including romanticism, patriotic fervor, contemporary scenario and devotion for deities. Sharma is
not lacking in humour and satire. Kof-prabandha collected here
is a fine example of this genre.
In Asmat-camp , Sharma presents a fine blend of tradition and modernity. The work delineates the life of Rmujcrya
and presents the tenets of Vii dvaita philosophy. Sharma has
introduced new designs and motifs in this traditional theme by
adding a section named Nidrvaibhavam wherein he describes
the men in sleep and makes the ten incarnations of Viu manifest
in his various postures.

CHAPTER VII
Authors born in the second half of twentieth century are
being taken up in this chapter. The represent the younger generation
that still continues to mke its presence felt on the literary horizon
of twenty first century.

1. Bharatitirtha Swami
Bharatitirtha Swsami is the thirty-sixth Jagadguru of Sringeri
Saradapeetham. He was born as Seetharamanjaneyalu to Anandalakshamma and Venkateshwar Avadhani in Narasaraopet of Guntur
District in Andhra Pradesh on 11th April, 1951. He studied Nyya
and Vednta and acquired mastery over these. He was initiated
as a sannysin on 11th November, 1974 and took over as
Jagadguru on 10th October, 1989. He has functioned as institutions in himself to promote traditional studies, and has been conducting gohis on Gaapati-Vkyaratha on the occasion of
Ganesh festival in the Mutt. He himself presides over the discussions. Many publications were brought out from the Mutt under
his supervision. Of these mention may be made here of a new
commentary on Madhusdana Sarasvats magnum opus
Advaitasiddhi by Vedntakesar Nryana Bha a, who was a
sthna Vidvn in ringeri rad Pham. Swamiji has displayed
his erudition and religious fervour in his devotional poems, such as
- rrad -pa caratna, Abhinavavidyt rthk araml ,
Candra ekharabh rat -navaratna-m lik , r candramaulevara-varamlik, rakarabhagavatpdcryastuti , r subrahma ye varag tam, r r mag tam and
rmahgaapatisevpadyval. These poems reveal the mas-

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Modern Sanskrit Writings in Karnataka

tery over language and classical diction of Swamiji. They are examples of divine poetry flowering from a divine personality.

2. S. Jagannatha
S. Jagannath was born on twelfth October 1956. He is
M.A. in Sanskrit and a Vidvn degree in flute. His creative works
are Andhaksurasamhra - a dance ballet, Kau ilyavandanam,
also a dance ballets and rddham a humorous play. His
Puarka is a reconstruction of Kdambar for children; Tram
is a Khaakvya in Mandkrnt meter. Meghadtam is a
parody of Klidsa poem; Bhrahmakvya an epic on
akarcrya giving account of his commentaries on Prasthnatray
and Loklakrapakyam is a work on Arthlakras, illustrating 111 alakras, In bhaka-Jaganntha he has rendered 500 new proverbs in Sanskrit.
His other notable works are - jurohitam 21 short
stories for children, Prabandhasaudha - collection of essays,
Vandanamlik - musical compositions, Patrasaudha - a
manual on letter writing, Vcimlik - translations of 200 vacanas
of Basavevara,
Jagannath is a versatile author, He has written in various
forms wielding extra-ordinary command over language and style.

3. Shatavadhani R. Ganesh
Shatavadhani R. Ganesh was born on fourth December
1962 to Alamelamma (Nanda) and Shankar Narayan Rao and
did his B.E. in Mechanical Engineering, M.A. in Sanskrit and
D.Litt. in Kannada. He is the only atvadhn in Karnataka who
has completed 600 A vadhanas, and is still continuing with his
wizardly performances. He has composed poetry for twenty four
hours non-stop, entering his name in Guinness Book of Records.
He is also the youngest scholar to have been honored with

Chapter VII

75

Karnatak State Award at the age of 29. He has also received

Rashtriya Yuva Pratibha Puruskar, Kvyaka hapraasti,
Bdaryaa-vysa Puraskar and so on.
He has written rkalahar - devotional lyric in 123
verses, rjmbalahar - devotional lyric on iva in 51 verses,
gralahar - Khaakvya in 103 verses, Jakuntal Khaakvya on akuntal in 123 verses, Ilkaivalyam Khaakvya on Vedic meter in 154 verses, akaravivekyam
a dvisamdhnakvya, Anta knti - a novel in blank verse
depicting the last days of Swami Vivekananda, Saugandhika
an anthology of sonnets and free verses, Evam api tava poem on the impact of six seasons in rural area on the villagers,
C ucandrik - collection of 87 blank verses, Anveaam allegorical one act play, rcandrevarstavanam a devotional
poem with Kannada translation by the author himself,
Kavit vanit stava
- an unpublished play and
Yaduvamacaritam unpublished epic. He has written several
works in Kannada, viz. - Nityanti collection of subhitas,
Smnyadharma discourse on religion, Dhmadta a parody
of Meghadta, Alakrastra a history of Sanskrit poetics,
are only a few out of them.
Creativity of Ganesh reveals a broad spectrum, embracing rich traditions and modern perspectives, and a rich feast of
diverse dictions. The following stanza from his rkalahar furnishes an example of Pranottaraml (series of questions and
answers) combined with, fervour of devotion Kas tvam bla, valmukhapriyasakh kutrsi pampta e,
cint k, dayitviyogaviaye gaccmi bhrntisviti
kantavy mama prvartiradhun m brhi me mtara
tyaktva lajjitamnasam kasanibhi puymi kam kad.

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Modern Sanskrit Writings in Karnataka

Ganesh also displays the influence of great author of classical Sanskrit poetry as well his own conceptions and designs.
The following stanza from gralahar is weaved by borrowing some phrases from Bhavabhti but the poet presents his own
view and imagination
tasynandam tulayitum na vara aka
krbdhisunurapi kintu kalakaak
updyate yadi sopi sudhsamudre
no vivasmi bhavattisamnadharm.
On one hand, he has composed many citrakvyas and
has written allegories and parodies and has depicted the inconsistencies and double standards of modern life on the other.

CHAPTER VIII

Miscelleneous Authors
1. Vasudeva Ballala
Vasudeva Ballala was born in Ambalpdi Udupi of
Karnataka and taught Sanskrit at Sarasvat Vidyamandir High
School at Bangalore. He has published a one-act play
Bhojavilsa (1976). His play is divided in six scenes, and brings
out various episodes from the life and career of King Bhoja.

2. Ramakrishna Bhatta
Ramakrishna Bhattas mother was Vekamma and his father was Krihsna Bhatta. He was born in Kumbla near Mangalore
of Karnataka. He served in Hindu College Delhi as Professor of
Sanskrit. He has received honours such as Vidybhskara,
Vidysgara and Kavitcatura from Swami Shivanand and
akarcrya of Dwaraka. He has written the following works
in Sanskrit ivnandavilsa an Epic in eleven cantos,
rrmadsagt - a gtikvya, rrmakasahasranmastotram a stotrakvya, Arjuna - a prose work, Gurusapary
- devotional poem, Gurucaritam - devotional poem,
Kvyodynam and Kvyamajar - anthologies of his original
Sanskrit poems. He has edited Bhatsamhit of Varhamihira.
Kvyamajar by Bhatta was published in 1980. It comprises two stabakas (sections) and two thousand stanzas. The
first stabaka is divided into six pupas or sub-sections namely,
Bhyapupa, Pcajanyapupa, tapatrapupa,

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Modern Sanskrit Writings in Karnataka

Sumnuapupa, Daivatappupa and Sntapupa. The second section is named atakastabaka and contains four atakas
- Viyoginataka, Mandkrntataka, Upajtiataka and
Mtyupyam.

ivnandavilsa is a Historical Epic on the life of

Swami Shivanand. All the eleven cantos are composed in different metres. The poet has incorporated beautiful descriptions as
per norms prescribed by cryas in the characteristics of a
Mahkvya. There is a very vivid and graphic description of sunrise in VI canto. In the end of the poem, ivnandasahasranmastotram and ivnandasuprabhtam have been
appended. Arjuna is an example of fine prose writing by Bha a.
The author has discussed diverse themes in four chapters including the character of Arjuna in the Mahbhrata. Kavyodynam
was published by M/S Motilal Benarasidas in 1972. There are six
divisions in this anthology namely Gapatam, Bhgavatam,
Srasvatam, Patrapupa, Sptapadnam and Mauktikam. Diverse
themes have been covered under these sections and the poet has
created fine blending of tradition and modernity.

3. Basavaraj Shastri
Basavaraj Shastri was the son of Sangamamba and
Rudramurthy. He obtained the degrees of Vykaraatrtha and
Vyakaraastri as well as Shityairomai. His epic
Siddhaligamahkvyam was published in 1971. In 26 six cantos
and four thousand verses it presents the life of Siddhaligevara.
His birth, his meeting with his guru, his initiation in sannysa, his
method of performing the ligapj along with the exposition of
tenets of aktiviitdvaita and the description of aktisthalas are
comprised in this epic. The poet has used Indravajr,
Upendravajr, Drutavilambita and Mandkrnt appropriately.
The stric profundity of the author is evident throughout the work.