KANNADA PROSODY
Prosody
is an integral part of poetry and versification in any language. The rhythm
patterns of a language are determined by different criteria indigenous to the
distinctive features of that language. Influences of other languages are capable
of both enhancing and inhibiting the possibilities of receiving language. A
historical survey of the evolution of the metrical forms in Kannada
demonstrates this phenomenon clearly.
Kannada
is a Dravidian language sharing many common characteristics with its cognate
languages such as Tamil, Telugu and Malayalam. The earliest oral literature in
Kannada must have adopted proto Dravidian metrical forms as is evident in
Tamil. Kannada texts on prosody do mention forms like ‘ELe’, gItike, madanavati
etc which are based on indigenous patterns. However one does not find full
length poetical works using these forms.
Kannada
prosody is based on syllabic patterns rather than stress patterns. The time
interval a particular sound/syllable is the basic unit in this system. The most
fundamental unit is called a ‘mAtre’. A set of ‘mAtres’ is known as a ‘gaNa’.
There are three modes of calculating the metrical patterns. They are ‘akshara
gaNa’, ‘mAtrA gaNa’ and ‘amsha gaNa’.
Of these amshs gaNa which is more musical and flexible is native to
Kannada. ‘mAtrA gaNa’ has adapted itself very well to Kannada. Aksharagana is
more suited to a vocabulary replete with Sanskrit words. There are ‘gaNa’s
consisting of three, four and five units. These three and internal combinations
constitute the basic rhythm patterns of Kannada. They are utsAha, (3.3.3.3....)
mandAnila, (4.4.4.4....) lalita (5.5.5.5....) and BAamini (3.4.3.4 3.4
...)
A
functional relationship exists between the historical evolution of a language
and its metrical choice. Early oral compositions of Kannada before the
invention of a script and before an intense contact with Sanskrit possibly made
use of ‘amshagana’ meterics. However there was a proliferation of prosodic
forms such as ‘kanda padya‘and
‘vrutta’
based on ‘aksharagana’ at the beginning of written epics.
The
transformation of old Kannada (haLagannaDa) to medieval Kannada (naDugannaDa)
resulted in a shift towards the ‘mAtrA gaNa’ meters. Interestingly even
prosodic forms such as ‘tripadi’ and ‘shaTapadi’ which were of ‘amshagaNa’
origin veered towards ‘mAtrA gaNa’. Shatpadi, ragaLe and tripadi
are the important forms that use these patterns. There are sub divisions in
each one of them. (For details, see the relevant entry)
There
are certain forms like ‘sAngatya’
which have stuck to the original ‘amshagana’ pattern. A special mention must be made of ‘vacana’
and ‘keertane’ which do not stick to any fixed prosodic form and are inclined
towards free verse. Of course, it is not to say that they do not have rhythm
patterns. They have variable patterns and hence give room for experimentation.
Kannada
folklore which is essentially oral has retained a panache for prosodic forms
based on ‘amshagana’ and consequently they are more amenable to musical rendering.
‘Gamaka’ is a mode of rendering medieval epics. This is an oral rendering of a
written text based on its prosodic patterns. However, ‘gamaka’ is not a musical
performance.
As
in any other language, the prosodic forms of Kannada permit the poet to indulge
in a number of experiments with in the confines of their prescriptive rules.
Great poets like Pampa, Harihara, Raghavanaka and Kumaravyasa have created
lyrical, dramatic and descriptive passages in their works depending on the
contextual needs. Use of a given prosodic form in thousands poetic stnazas has not led to monotony. Even modern Kannada
poetry has made remarkable progress by a combination of familiar rhythm
patterns and new stanzaic patterns.
Some
basic texts that could help in a more detailed and systematic study of Kannada
prosody are as follows:
1.
‘Kannada
Chandassamputa’, L. Basavaraju, 1974, Geetha Book House,
2.
‘Kavyavalokana’ by Nagavarma
3.
‘Kannada
Kaipidi’, Part 1, Mysore University.
4.
‘Kannada
Chandovikasa’ By D.S. Karki
1.
‘Kannada
Chandassu’ By T.V. Venkatachala Shastry, 1970, Mysore.
2.
‘Kannada
Chandassina Charitre’ edited By C.P. Krishnakumar, Institute of Kannada
Studies, Mysore University.