‘Vaiyakarani’ Garani Krishnacharya: Personality and Erudition

From a young age, Krishnacharya apparently suffered from ill-health. He had several digestion-related ailments for which he tried a variety of treatments, all of which failed. Finally, he decided to create a specific diet and remold his eating habits, and as a result attained good health. He had named that diet ‘ಹವ್ಯಪಾಕ ಪದ್ಧತಿ’ [Anything offered to the fire of yajna is traditionally called ‘havya’ or ‘havis, ‘paaka’ refers to cooking, and ‘paddhati’ is custom or practice. Perhaps he gave this name since in the Hindu tradition, food is said to be offered to vaishvanara, the digestive fire.]

I met him after he had embraced the new dietary practice. Anyone who saw him then [after he adopted the diet] simply wouldn’t believe the fact that at some point Krishnacharya was the same person who had suffered from disease. Such was the vigour and radiance that one would see in his person. In order to propagate his ‘havyapaaka paddhati,’ he wrote and published a few cookbooks and health books in Kannada. At several gatherings, he would demonstrate the methods of preparing food aligned to his dietary practice.

He was wholly devoted to sanatana dharma. And in order to revive the dharma, he had received initiation. The books that he composed with his enthusiasm for that dharma are as follows:

  1. Shruti-smriti Dharmapaddhati,
  2. Dirghayussutra Sadvrittaratnavali,
  3. Samanyadharma Prashnottara,
  4. Visheshadharma Prashnottara,
  5. Samanya Karma Prashnottara,
  6. Samskara Vishesha Karma Prashnottara,
  7. Sadvrittanushtana, and
  8. Bhagavatprarthane

All these are small works that made for easy reading. He had priced these books extremely low with a view of reaching more people and for making the wisdom more accessible. However, this did not erode people’s apathy. It was the writer’s finances that eroded.

Krishnacharya was endowed with a naturally good behavior, a sensitive heart, and a simple lifestyle.

He had impressive physical features; milk-cream-colored skin; a face beaming with delight; clean and bright clothes from tip to toe; a coat, an uttariya, and handkerchiefs – he would instantly evoke reverence in anyone who saw him.

Krishnacharya’s friends’ circle was expansive. The famous literary scholar Chappalli Vishveshvara Shastri, Motaganahalli Shankara Shastri, M T Narasimha Iyengar, Dr. P S Achutya Rao (founder of the Karnataka Sahitya Parishad), R Raghunatha Rao, Karpura Srinivasa Rao, and Nangapuram Venkatesha Iyengar were his close friends. In matters of language and literature, they would always ask for Garani Krishnacharya’s opinion and valued his word immensely.

Krishnacharya participated in several scholarly assemblies. He joined the establishment of the Karnataka Sahitya Parishat with great enthusiasm. But he lived for only three years after it was established. In November 1918, in his 63rd year, he passed away. In the introduction to his translation of the play Mrcchakatika, which he composed in 1890 at the age of 35, he wrote lines that are memorable to me even today –

“...ಇತರ ದೇಶ ಭಾಷೆಗಳಂತೆ ಒಂದೇ ವಿಧವಾದ ಕಟ್ಟಳೆಯನ್ನು ಹೊಂದದೆ, ಅಶಿಕ್ಷಿತರಾದ ಕವಿಗಳು ಹುಟ್ಟಿ, ಮನಸ್ಸು ಬಂದಂತೆ ಭಾಷೆಯನ್ನು ಕೆಡಿಸಿದುದಕ್ಕಾಗಿ ಎಷ್ಟು ಚಿಂತಿಸಿದರೂ ತೀರದು. ಅಂತಹ ನಮ್ಮ ಕನ್ನಡದ ಭಾಷಾ ವಿಷಯದಲ್ಲಿರುವ ಲಕ್ಷ್ಯ ಲಕ್ಷಣ ವಿರೋಧಗಳನ್ನು ಪೂರ್ವದಲ್ಲಿ ‘ನಾಗಾನಂದ ನಾಟಕ’ದ ಉಪೋದ್ಘಾತದಲ್ಲಿ ಕೆಲವು ಮಟ್ಟಿಗೆ ತೋರಿಸಿ, ಇನ್ನೂ ಹೀಗೆಯೇ ಬಹಳವಿರುವುದೆಂದು ಸೂಚಿಸಿ, ಗುಣಜ್ಞರು ಪರೀಕ್ಷಿಸಬಹುದೆಂದು ಪ್ರಕಟಿಸಿ, ಇದುವರೆಗೆ ಎರಡೂವರೆ ವರ್ಷಗಳಾದರೂ, ನಾಡಿಗರಾಗಲಿ ವಿದ್ಯಾರ್ಥಿಗಳಾಗಲಿ ಯಾರೊಬ್ಬರಾದರೂ ಅದನ್ನು ಗುಣ ದೋಷ ವಿಚಾರದಿಂದ ಸಮರ್ಥಿಸಿ ಉಪೆಕ್ಷಿಸಿರುವುದಂ ನೋಡಿದರೆ: ನಮ್ಮ ಕರ್ಣಾಟಕ ಭಾಷೆಯಲ್ಲಿ ಭಾಷಾಭಿಮಾನಿಗಳೇ ಇಲ್ಲವೋ; ಇದ್ದವರಿಗಾದರೂ ಈ ಅವ್ಯವಸ್ಥೆಯೇ ಸಂಮತವೇನೋ; ಇಲ್ಲದೇ ಭಿನ್ನ ಪ್ರಭುತ್ವದಿಂದ ದೇಶಗಳೂ ಭಿನ್ನ ಭಿನ್ನಗಳಾಗಿರಲು ಅಲ್ಲಿ ವಾಸಿಸುವ ದೇಶಾಂತರ ಖಂಡಾಂತರ ಜನಗಳಿಗೆ ಐಕಮತ್ಯವಿಲ್ಲದುದರಿಂದಲೋ; ಅಥವಾ ನಮ್ಮ ಭಾಷೆಯಲ್ಲಿ – ಅದೃಶ್ಯ ಕವಿ, ದೃಶ್ಯ ಕವಿ, ಜ್ಞಾನಸಿಂಧು ಕವಿ, ಕರ್ಣಾಟಕ ವ್ಯಾಸ ಶುಕ ವಾಲ್ಮೀಕಿ ಕವಿಗಳು, ಇನ್ನೂ ವರಕವಿಗಳೇ ಮುಂತಾದ ಪರಮ ಪಂಡಿತರಿಂದ ಮಾಡಲ್ಪಟ್ಟ ಬಹುಲಕ್ಷ್ಯ ಗ್ರಂಥಗಳೂ, ಹೊಸಗನ್ನಡ, ನಡುಗನ್ನಡ, ಕನ್ನಡ ಕೌಮುದೀ, ವಾಣೀಮುಕುರ, ವಾಗ್ವಿದಾಯಿನೀ, ಶಬ್ದ ಭಾಸ್ಕಾರಾದಿ ವಿಲಕ್ಷಣ ಲಕ್ಷಣ ಗ್ರಂಥಗಳೂ ಪ್ರಚುರವಾಗಿರುವುದರಿಂದ, ಸಾಕಲ್ಯವಾಗಿ ಪರಸ್ಪರ ಲಕ್ಷ್ಯ ಲಕ್ಷಣ ಸಮನ್ವಯಂ ಮಾಡುವುದು ಅಸಾಧ್ಯವಾದುದರಿಂದಲೋ; ಉಪೇಕ್ಷೆಯ ಕಾರಣವಂ ತಿಳಿಯದೆ ಅದು ಹೇಗಾದರೂ ಇರಲೆಂದು ತಿಳಿದು, ಮುಂಚೆಯಿದ್ದ ಭಾಷಾಭಿಮಾನಮಂ ತೊರೆದುಕೊಂಡು, ಈ ಕಾಲದವರೆಗೆ ಪದಪದಾರ್ಥಗಳು ಚೆನ್ನಾಗಿ ತಿಳಿಯುವುದೇ ಮುಖ್ಯೋದ್ದೇಶವಾಗಿರುವ ಕಾರಣದಿಂದ, ನಾನು ಕೇವಲ ಲಕ್ಷಣಪರವಾರೆ ಪ್ರಾಚೀನ ಭಾಷೆಯನ್ನೂ ಕೇವಲಾಸಹ್ಯಕರದಾದ ನಿಂದ್ಯ ಗ್ರಾಮ್ಯ ಭಾಷೆಯನ್ನೂ ಬಿಟ್ಟು ಮಧ್ಯಸ್ಥದಲ್ಲಿರುವ ಜೈಮಿನಿ ಭಾರತಕಾರ ಲಕ್ಷ್ಮೀಶಾದಿ ಸಮ್ಮತವಾದಿ ಮಿಶ್ರಭಾಷಾ ಶೈಲಿಯನ್ನೇ ಪ್ರಕೃತೋಚಿತವಾಗಿ ಅವಲಂಬಿಸುವುದು ಯುಕ್ತವೆಂದು ತಿಳಿದು ಹಾಗೆ ಮಾಡಿರುವೆನು.

“ಅಂತಲ್ಲದೆ ನಾವೇ ಕೈಲಾದಮಟ್ಟಿಗೂ ಭಾಷೆಯಂ ಶುದ್ಧಗೊಳಿಸಿ ವಿಧಿಗಳನ್ನೆರ್ಪಡಿಸಿ ಸಮನ್ವಯ ಮಾಡಿ ಭಾಷೆಯನ್ನಭಿವೃದ್ಧಿಗೆ ತರುವೆವೆಂದರೆ – ಅದಕ್ಕೆ ತಕ್ಕಷ್ಟು ಧನೋಪಪತ್ತಿಯೂ ರಾಜಕೀಯ ಸಹಾಯವೂ ಜೀವನ ಸ್ವಾಸ್ಥ್ಯವೂ ಇಲ್ಲವು. ಇನ್ನೂ ಕೇವಲ ಕೀರ್ತಿಕಾಮರಾಗಿಯಾದರೂ ಶ್ರಮಪಟ್ಟು ಗ್ರಂಥಗಳಂ ರಚಿಸಿ ಪ್ರಕಟಿಸುವೆವೆಂದರೆ, ಈ ಕಾಲದಲ್ಲಿ – ‘ಸರ್ವೇ ಯಜಮಾನಾಸ್ಸರ್ವೇ ಋತ್ವಿಜಃ’ ಎಂಬಂತೆ ಬರಹ ಬಂದವರೆಲ್ಲರೂ ಕವಿಗಳೂ, ಓದಲ್ಬಂದವರೆಲ್ಲರೂ ಉಪನ್ಯಾಸಕರೂ, ಯಕ್ಷಗಾನ ಕಾವ್ಯಮಾಲಾದಿಗಳನ್ನೋದುವ ಶಾಲಾವಿದ್ಯಾರ್ಥಿಗಳೆಲ್ಲರೂ ಪಂಡಿತರೂ, ಪಾಠಶಾಲೆಯಂ ಬಿಟ್ಟು ಬಂದವರೆಲ್ಲರೂ ಒಡನೆಯೇ ಪರೀಕ್ಷಕರೂ, ಮತ್ತೆ ಕೆಲವರು ಏತದ್ಭಾಷಾಲೇಶ ಶೂನ್ಯರಾಗಿದ್ದರೂ ಅದಕ್ಕವರು ವಿಚಾರಕರೂ, ರೋಧಕರೂ, ನಿಯಾಮಕರೂ, ಕೋಶಾಭಿಧಾನಲಕ್ಷಣಕಾರರೂ ಆಗಿರಲು – ತತ್ಪ್ರಾಮಾಣ್ಯವುಳ್ಳ ಆ ಜನಗಳ ನಡುವೆ ಜೀವಿಸುವ ನಮಗೆ ‘ಶ್ವಾನಾರೋಹೇ ಕುತಸ್ಸೌಖ್ಯಂ ಪಟನೆ ಕಾ ಅವಮಾನಿತಾ’ ಎಂಬಂತೆ ಅಕಿಂಚಿತ್ಕರವಾದ ಆ ಕೀರ್ತಿಯ ಅರ್ತಿಯೇತಕ್ಕೆ! ಎಂದು ಸುಮ್ಮನಿರುವುದೇ ಉತ್ತಮವು. ಹಾಗಲ್ಲದೆ ಒಂದು ವೇಳೆ ಸ್ವಜಾತಿ ದೇಶಭಾಷಾ ನಿವೇಶ ಚಾಪಲ್ಯಗಳಿಂದ ತದುದ್ಯೋಗದಲ್ಲಿ ಪ್ರವರ್ತಿಸುವವನು ಬೆತ್ತಲೆಯಿರುವವರ ನಡುವೆ ಕೌಪೀನವನ್ನುಟ್ಟವನಂತೆ ಹಾಸ್ಯಾಸ್ಪದವಾಗುವುದಲ್ಲದೆ, ಪುಣ್ಯ ಪುರುಷಾರ್ಥಗಳಿಲ್ಲದೇ ಕಾರ್ಯದಲ್ಲಿ ಪ್ರಯತ್ನಿಸಿ, ‘ಹಾಳು ತೋಟಕ್ಕೆ ನೀರನೆತ್ತಿ ಬೀಳುರಟ್ಟೆ ಬಿತ್ತು’ ಎಂಬ ಗಾದೆಗೆ ಸರಿಯಾಗಿ ವೃಥಾಯಾಸಕ್ಕೆ ಗುರಿಯಾಗಬೇಕಾದೀತೆಂಬ ಶಂಕೆಯಿಂದ ವಿರಮಿಸಬೇಕಾಯಿತು.”

[I have retained the original quotation since the author wished the readers to see the style of Krishnacharya’s flamboyant writing style in Kannada.]

Krishnacharya was a serious and somber person, not given to idle talk. He never craved for praise or social status. To fulfill his responsibilities, to speak appropriate words, to be unattached in the face of favorable and unfavorable outcomes – this was his nature. He was not given to silently bowing down to people in power or to elders. In all matters, he would strictly follow principles and walk in freedom.

I used to visit his house on and off. His nephew Krishnamurti, his aunt’s son Krishnamurti, and I were pretty much of the same age and friends for long. This was the pretext under which I would visit his house. I said ‘pretext.’ But the real reason was different. The reason was a curiosity to see the Acharya from close quarters. By that time, I had already studied his books ‘Shabdaratnavali’ and ‘Dhaturatnavali.’ I was greatly attracted to the verses in those works.

During the establishment of the Karnataka Sahitya Parishat (1915), I became close to him. From then on, he began talking to me in a familiar tone. His love and affection towards me has remained a gratitude-laden memory in my heart. Just like he was in his physique, so was he in his scholarship, and in his qualities – excellent, pure, and brilliant.

This is the second part of a two-part translation of the ninth chapter from D V Gundappa’s magnum-opus Jnapakachitrashaale (Volume 1) – Sahiti Sajjana Sarvajanikaru. Translator's notes in square brackets.

Author(s)

About:

Devanahalli Venkataramanayya Gundappa (1887-1975) was a great visionary and polymath. He was a journalist, poet, art connoisseur, philosopher, political analyst, institution builder, social commentator, social worker, and activist.

Translator(s)

About:

Hari is an author, translator, editor, designer, and violinist with a deep interest in philosophy, education pedagogy, literature, and films. He has (co-)written/translated and (co-)edited some forty books, mostly related to Indian culture.

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Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்....

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...