Shekdar Gundappa (Part 3)

The Hauteur

Such goliathon pastimes of my great grandfather were rather popular. For a subject of the Queen of Scantiness that I was, I sensed pride in every pompous fable that surrounded my great grandfather. At least he got to eat what he wanted.

From the aforementioned conversations gleaming with haughtiness, it is quite evident that hauteur was an obvious underlying factor in his administration.

Nevertheless, he was famed as a just and a competent person. As a matter of fact, it was he, who got our ancestral house at Mulabagal erected. The food charity carried out in the house had earned quite a reputation. The charity had extended to all the other Varṇas, apart from the usual Brāhmaṇa class. 'The House of Annadāna' (Food Charity) it came to be called. Till the time I lost that ancestral house of mine, it was honoured as 'Shekdar Gundappagārillu' (Shekdar Gundappa’s House).

Shekdar Gundappa had four sons and two daughters. The fourth and the last among the sons, named Veṅkaṭaramaṇayya, passed away during his childhood. The village folk talked of him as being handsome and intelligent. Bearing the affection for the same, my grandfather named my father too as Veṅkaṭaramaṇayya - a family lore that was prevalent in our circles.

One among Gundappa's daughter was married off to a certain Sampaṅgirāmayya, hailing from Mālur. She expired a while later, however. I know nothing of Gundappa's other daughter – neither her name nor any other details. And thus, three sons remained –

  1. Śeṣagirayya
  2. Rāmaṇṇa
  3. Śīnaṇṇa (Śīnappa)

Even before I step further into this narration, there’s one more must-tell about Gundappa. His wife, Kāmākṣamma too expired within a month or two post the demise of her last son, Venkaṭarmaṇayya. The reason for her death, as identified by the random people who've known her, is supposed to have been the the loss of her last son.

All the three daughters-in-law of Kāmākṣamma died after an year or two following her death. The second son, whose name was Rāmaṇṇa had a wife named Lakṣmīdevamma. She was the daughter of Subbayya of Beṭṭahalasūru. She died after an year or two following her childbirth and the child died too.

Rāmaṇṇa's Fury

Gundappa couldn't withstand the grief of his sons turning widowers and he sometimes pestered them to remarry. Rāmaṇṇa couldn't take his father's nagging, which eventually made him angry.

Once when Gundappa underwent barbering and wanted to take a bath following it, he called in Rāmaṇṇa to the bathroom, to pour a mug or two of water on him. Rāmaṇṇa was already vexed with his father over the debate of remarriage, which made him hasty. Out of the same haste, he poured the water on his father's head. Now this water was bubbling hot. Therefore, one can easily contemplate the result of pouring such a water on a tonsured head. The old man bellowed at the top of his voice. People, thankfully, rushed in time for help and he was out of danger. Everything became alright – except for one. Rāmaṇṇa realized the result of his haste, which made his next decision hastier. He vacated the house forever, to live in the cave of Nācāramma's shrine, on a hillock. The villagers from the nearby villages would offer him rice, cereals, milk and curds, out of which he would make a living, by cooking his own supper.

As time flew, Gundappa grew frail and feeble and eventually fell sick. He summoned someone and said, “I see it's about time for me. Please ask him if he bothers setting foot into this house, at least now.” His well-wishers went to Rāmaṇṇa to describe his father's condition to which he replied, “Please assure me that he wouldn't meddle with the same issue again, and I shall come. Else, it's better that you all returned. Inform to me only when his carcass has been taken away.”

Now, were these the exact lines he spoke, or was it the underlying tone perceived by the rest? I cannot tell with certainity.

The Affection

Rāmaṇṇa was of a gentle character, as far as I know - righteous and compassionate, always. The bitterness in his speech regarding his father might have been an outcome of his exasperation, is what I feel. He was exasperated, not with his father, of course, but with the loss of his dearly wife. We may have to return to the same topic in the future, but I had to cite it here to reveal the person that Gundappa was. He bore immense affection in his heart for his son.

On a usual note, the kids fear their father, and find it easier with their mother. I may, as well, quote two anecdotes here, narrated to me by my great grandfather, Rāmaṇṇa himself.

There were three enormous tamarind trees, standing right next to Gundappa's house. Kāmākṣamma would call out to her kids, for offering them an oil bath, with a can of oil in her hand while the water boiled in a huge vessel. The slightest hint of an oil bath made her boys run and climb either of the tamarind trees. Unable to find them, the mother would come out calling for them. They lurked behind the leaves. The men on the streets, out of pity, would reveal to her, their placement on the trees. But the boys wouldn't budge to her pleading, however stirring it was.

She would then command the servants to ascend the tree and get her kids back. On sighting their ascent, the frolic of the boys would increase multifold. They would start frisking around from branch to the trunk to the bottom and then to another tree, trying to slip away from getting caught. The monkey act attracted the crowd. Kāmākṣamma would finally give up, and bustle into the house for cooking the meal. The boys descended only after their mother's bath. This amusement was a regular sight.

Kāmākṣamma never whined about her kids to her husband. Gundappa was an extremely stringent man. On learning the mischief of his kids, he would get the servants to hold them tight and either whip them or cane them black and blue. Their mother acknowledged the dangers of it and therefore preferred keeping mum. It was this clemency of hers, which made her boys adore her extremely.

Pantoji

Yet another incident; A Maharashtrian was appointed as the tutor to teach these shenanigans. Marathi had acquired quite an official status back then, and so had Persian. His name could've been anything, but he was popular as Pantoji. He knew Kannada, Marathi and Persian languages and his arithmetic too was reasonable. An aged man, Pantoji, had retired from a meagre job. He was an orthodox Brāhmaṇa, extremely puny and bit of a slouchback. He had a tiny lock of hair behind his head, about two thumbs in length, just enough to tie a knot. He seemed hot-tempered, slightly though. The three pranksters found his lessons to be bland anyway. The force that kept them seated during the lessons was the dread of their father, and certainly not their passion.

Once it so happened that Pantoji had arrived for lessons. It was a dvādaśī[1] day and he had come after having an early morning meal. Finding the tamarind trees to be shady enough, he decided to go for the tuitions with the mats spread out beneath them. They were assigned problems to be solved but their eyes were glued to Pantoji instead of the usual slates and books. Moments later, they found a drowsing Pantoji. Out of utmost respect for their teacher, the boys requested Pantoji to go for a nap - “Sir, please enjoy your nap while we take up the problems. We shall, in no time, solve them to be shown to you.”. The old tutor found their suggestion to be appealing and before long, he had begun snoring, having slipped into his siesta.

Śeṣagiri then climbed the tree and sat on a branch. Rāmaṇṇa and Śīnaṇṇa followed him and the branch bowed down, with their weights pushing from the above. Rāmaṇṇa then tied an end of a string to the branch and another end was fastened to the lock groomed by Pantoji and they descended with utmost care. As soon as the weight on the branch was released, the branch sprang up, tugging Pantoji along with his dear lock. Within the blink of an eye, the old man was seen dangling from the branch, bawling and yawping out of shock and pain. This continued till the passers-by saved him. Kāmākṣamma too caught a glimpse of it.

Luckily for the boys, their father, Gundappa, was out of the village for circuiting and it was four to five days, before he returned. Kāmākṣamma, by then, had been to Pantoji's hood to beg an apology from him, with an offering of fruits and lots of sympathy. But the news did not miss Gundappa, somehow. Enraged by it, he rushed back to his home, and thwacked his wife and children, for the worst of their fears. Inspite of it, both the punisher and the punished did not miss a hearty laugh, deep within.

The Market

There's yet another anecdote that was narrated to me by my grandmother, Sākamma. There was a market every Tuesday in Mulabagal those days. This goodly market invited a huge crowd from the nearby villages. The market grounds were around 200-250 metres from the Shekdar's house. Śīnappa, the third son of the Shekdar went to the market once and purchased some cucumber. An anna fetched six cucumbers back then. Śīnappa, however, bought four cucumbers for 2 pice and demanded an extra piece. The merchant objected to it. He wouldn't have, if Śīnappa had agreed to add a pie more to whatever he paid.

But then Śīnappa was adamant and haughty enough to thrust his hand into the pile of the cucumber. “Excuse me sir! What are you even upto?”, saying so, the merchant tried to block Śīnappa. “Rāmaṇṇa! Rāmaṇṇa!” – a call of Śīnappa was enough for both Rāmaṇṇa and Śeṣaṇṇa to foresee a danger to their brother. They darted to the marketplace, and without even taking the slightest of the trouble to analyze the situation, they ravaged over the cucumber pile, crushing all of it.

The onlookers went on to blame the merchant, instead of choosing to bat an eye over the misdeeds of the trio – “Should you incur a heavy loss over a simple piece of cucumber that you dared to deny him? Should you not feel the shame, if he should request you?”

Sākamma, after narrating the entire scene, had exclaimed, "Such devils you grandfathers were! I hope you don't imbibe any of their qualities.”

All the above instances were anecdotes describing the childhood and adolescence of my grandfathers. By the time I got to witness their lives, they had all turned old and were deemed esteemed men in the society. Shekdar Gundappa's house was known for its honour and charity. The lives of the three brothers demand separate emphasis.

Concluded

This is the third part of a three-part English translation of the first essay in D V Gundappa’s magnum-opus Jnapakachitrashaale (Volume 8) – Sankeerna-Samputa. Edited by Arjun Bharadwaj and Hari Ravikumar.

 


 

[1] The twelfth day of the lunar month

 

 

 


 

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)

Sudarshan M
About:

Sudarshan Muralidhara currently works as a Software Engineer in Mysore. He is a classical poet, illustrator, and polyglot. He has an abiding interest in classical arts, sculptures, temples, and philosophy.

Prekshaa Publications

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived in...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

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...