MANTESWAMY
KAVYA
2.
Dharege Doddavara Kathe, Venkatesha Indvadi, 1996, Vishvalaya,
Bangalore. (Singer: Mole Rachaiah = mOLe rAcayya)
3.
Manteswami, H.C.Boralingaiah, 1997, Kannada University, Hampi. (Singer: Inkal Mahadevaiah = inkal
mahAdEvayya)
17.
‘Manteswamy Kavya’ is one of the most important oral epics of Karnataka.
Neelgaras, the professional singers of South Karnataka have kept the epic alive
by centuries of performances in the districts of Mandya, Mysore, Ramanagara,
Chamarajanagara and Bangalore.(Rural)
Manteswamy was a folk hero who lived during the fifteenth century.(approximately)
Not much information is found about his life by way of documentary evidence.
However, many legends are built around his life and the shrines at Chikkelluru,
Boppagoudanapura and Kappadi are related to personalities depicted in the epic.
Manteswamy is a living tradition in and around these regions. ‘Manteswamy
Kavya’ treats him on par with Allamaprabhu the Veerashiava saint of the twelfth
century and does not distinguish between them. However this contention does not
find many takers.
The
epic begins with the arrival of Manteswamy in Kalyana, who makes a dramatic
appearance on a dung heap at the entrance of the city, with the dead body of a
calf and a gourd full of ‘kaLLu’.
Basavanna’s wife arrives there and takes him to the palace and a
confrontation between the sharanas and Manteswamy takes place. His greatness is
proved equivocally and that heralds the victory of the lowly over insincere
devotees.
After
that, Manteswamy embarks upon a journey towards South Karnataka till he finds
his permanent abode in Boppagoudanapura. This journey is punctuated by his
efforts to acquire disciples. “Throughout the saga of Manteswamy, he picks up
infants for his cause. This is symbolic. Each child represents a community that
comes into the Manteswamy fold. Rachappaji, Doddamma of the Grove, Channajamma,
Madivala Machayya, Phalaradayya and Siddappaji are his chief followers. How he
brought them into his fold, through ritual, craft and magic, makes up the
saga.”(S.R.ramakrishna) Baachi Basavayya who wants to become his disciple is
reborn as Baala Kempanna and later acquires the name Sidapaaji.
The
confrontation of Siddappaaji with the Panchalas (Blacksmiths) of Halaguuru is
fraught with symbolic qualities. This represents a stage in civilization when
technology had to be liberated from its hereditary practitioners. This incident
is narrated very dramatically.
Finally
Manteswamy acquires many followers in a number of communities and settles down
at Boppagoudanapura. His ‘samaadhi’ is found in this place. Two of his
important disciples have their shrines at Chikkelluuru and KappaDi.
‘Manteswamy
Kavya’ and its cognate epics have many distinctive features. They have selected
a language which is a dialect, both geographically and socially. This choice is
remarkable in the context of literary texts which were brimful of Sanskrit
words. Secondly, the narrative style is a combination of the poetic, the
dramatic and a simple narration in prose. This adds to the impact of the epic.
Thirdly, it is episodic and each episode may be recited independent of its
broader context. This work delineates the life of unlettered communities which
were conspicuous by their absence in the entire history of Kannada literature.
Most of these epics have a theory regarding the origin of the universe and
their community is usually found in the nucleus of the story. This gives a
sense of identity and pride to these communities. Actually they depict
different stages in the history of civilization. Works such as ‘Manteswamy
Kavya’ and ‘Male Madeshvarana Kavya’ should be treated along with the acclaimed
classics of main stream literature and many a time they will emerge as better
even in terms of literary merit.
18. References:
1. ‘Manteswamy Kavya’-Samskritika mukhamukhi’, Ed. Venkatesh Indvadi,
2004, Kannada University, Hampi.
2. ‘Dakshina
Karnatakada Janapada kavyprakaragalu’, Ji.Sham. Paramashivayya,1979, Mysore
University, Mysore.
3.
‘Manteswami’, Hi.Chi.Boralingaiah, 1998, Karnataka Sahitya Academy, Bangalore.
4.
‘Allamaprabhu mattu Shaivapratibhe’, D.R.Nagaraj, 1999, Akshara Prakashana,
Heggodu.
5. ‘Manteswami
Parampare’, Venkatesha Indvadi, 1999, Kannada University Hampi.
6. ‘Manteswamy
Movement: Chikkelluru Jatre’, Mahadeva Shankanapura, P.M.S.R. Institutions,
Kollegala.
19. Links: 1 srramakrishna
- Was Manteswamy a rebel god?
20. Translations:
1. ‘Manteswamy Kathaprasanga’, Kannada Play by H.S.Shivaprakash,
Bangalore.