KANNADA POETICS

KANNADA POETICS

Kannada literature has consistently tried to develop its own theory of literature, even though it had to confront very strong literary theories developed in the context of Sanskrit and English literatures. It is of little or no avail, if one looks at texts such as ‘kAvyAvalOkana’ and ‘udayAdityAlankAra’. These are essentially poor imitations of their counterparts in Sanskrit contributing precious little to literary creativity. “Kavirajamarga’ is perhaps the solitary exception to this rule, because it makes a valiant effort to forge and suggest new tools for Kannada writers. It negotiates the problems of literary creation in the context of Kannada. Of course, ‘Kavirajamarga’ tries to adopt an inclusive policy vis a vis Sanskrit and that in turn contributes to a relative marginalization of the Dravidian nature of Kannada language, poetics and prosody.

On the contrary, Kannada poets have always reveled in breaking new grounds. Their literary theory and their innovations are present in the epics composed by them, sometimes as statements and more frequently operative in the literary choices made by them. It goes without saying that the changes incorporated in literary theory are caused by the more fundamental changes that would have taken place in the social conditions.

Firstly, Kannada poets did not choose translation as a major mode of literary production. But, they did not adopt an exclusive policy that keeps foreign influences at bay either. They adopted thematic material from the Sanskrit epics and dramas and tried to give them a new habitation. The early poets of Kannada such as Pampa and Ranna did not hesitate to bring about changes in the original story whether it was Mahabharatha or Mahapurana. They were eminently successful in imbuing contemporary issues in to the classic texts created by them. They created an interface between history and mythology and made both of them subservient to their temporal needs. ‘Pampa Bharata’, ‘Gadayuddha’ and ‘Yashodhara Charite’ have accomplished this task admirably.

Secondly, Kannada literature has negotiated religion in a very creative manner. Great works of art have not succumbed to pressures of converting their works into tools of propaganda. They could transcend the boundaries of specific religions and evolve a visionary panorama all their own. This is true even in the context of the great Veerashiava saint-poets such as Basavanna, Allama and Akkamahadevi who were not really particular about aesthetic norms. But they created their own theories of literary creation and communication.

The Bhakti movement which was a pan Indian phenomenon had its origin in the South, particularly in Tamilnadu and Karnataka. The shaivaite ‘vachanakars' and the vaishnavaite ‘haridasas' wanted to reach the people at large. They did not want to confine themselves to the portals of the royal courts. This desire and the transition from old Kannada to medieval Kannada were instrumental in forging a ‘poetics’ that shunned sophistication and pedantry. They were also capable of creating new modes of communications by a synthesis of literature and music. Gamaka became a powerful mode of communicating with the masses. Interdependent changes were ushered in the nature of poetic language and prosodic strategies. The euphoria of building kingdoms and empires went hand in hand with the violence unleashed by itinerant wars. Consequently, literary works played dual roles depending on their loyalties. However, great poets were successful in concealing a hidden agenda which was at logger heads with their professed support to the kings.

Of course, all along there was a streak of a militant religious propaganda undertaken by a number of mediocre poets. Their fanaticism gave rise to poetry which was apparently religious, but in reality was full of intolerance. This is particularly true of the late medieval literature which preceded the forces of colonialism. However, the interests of the helpless commonman were represented by some poets who combined mysticism and Bhakti to create literature which was at once theist and secular. The fact that this school of poetry sprang from the unlettered lower classes is not a coincidence.

However, the Kannada treatises dealing with poetics, prosody and grammar were focused on the craft of poetry rather than poetic genius that can produce new tools at will. These texts were prescriptive by nature and did not encourage experimentation. Their unthinking dependence on Sanskrit extinguished their chances of being in tune with literary production. A short list of these texts dealing with prosody and poetics is provided here:

Prosody:

1. ‘Kavirajamarga’ Srivijaya

2. ‘Chandombudhi’ Nagavarma-2

3. ‘Kavijihvabandhana’ Ishvara Kavi

4. ‘Chandassara’ Gunavarma

5. ‘Nandi Chandassu’ Veerabhadra

Poetics:

1. ‘Kavirajamarga’ Srivijaya

2. ‘Kavyavalokana’ Nagavarma-2

3. ‘Udayadityalankara’ Udayaditya

4. ‘Shrungara Ratnakara’ Kamadeva

5. ‘Madhavalankara’ Madhava

6. ‘Rasaratnakara’ Salva

7. ‘Apratimaveeracharite’ Tirumalarya

8. ‘Narapaticharitam’ Lingaraja

Literary theoreticians and critics have made serious attempts to study Kannada classics and delineate the poetic theories latent in them. The efforts of Muliya Timmappaiah, G.S. Shivarudrappa, K.V. Subbanna, K.V. Narayana, D.R. Nagaraj, Sheldon Pollock and S.M.Hirematha are noteworthy.