B. M. Srikantiah

Biographical Sketch

Belluru Mylaraiah Srikantiah, familiarly known as B. M. Srikantiah, was

born on the 3rd January 1884, at Sampige, a small village belonging to the

Gubbi Taluk of Tumkur District of the Princely state of Mysore. Srikantiah

was named so as the family deity of his father was Lord Srikantheshwara

of Nanjangud. Srikantiah's father Mylariah was an advocate at Srirangpatna,

which was once the capital and now only retained some political importance

- where Srikantiah was brought up & had his primary & higher education.

He was extremely naughty as a young boy & had a hoard of similar friends.

Srikantiah was taught Kannada & Sanskrit languages when he was 5 years

old. A teacher was appointed to come home and teach the boy. Srikantiah

was very sharp and learnt very quickly. Some of his friends- Subbarao,

Annaji Rao, Venkata Subbarao, Varadachar, Narasimhaiah, Etc., continued

their education along with B. M. Srikantiah upto Madras. Srikantiah was

married to Devamma, a girl of 12 years, when he finished his matriculation.

Later he left for Bangalore to pursue his degree education at the Central

College. After this he continued his education at Madras Presidency College.

His intention was to Complete his masters in English literature and also get

a law degree in order to practice law- like his father. Those days, law was

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not only a lucrative profession, but also had a place of prestige in society.

Srikantiah along with some of his Mysore friends, got a rented house near

the Presidency College, Madras, While stayed he there.

This was a very enjoyable time of his life. He used to attend his Classes

and in the evenings spend his time along with his friends on the Marina

beach, discussing mainly English literature- poetry, poets, writers and many

other things, mainly about English life, culture and literature. His admiration

for the English literature, culture, thought etc., continued with him

throughout later, though he did not give up Indian tradition and customs

and way of life. From then on it was only a synthesis of the two which were

his main ideas. B. M. Srikantiah had been introduced to the English

education at a young age. He lived in Srirangapatna, which was much

influenced by the English. It was the capital of the kingdom ruled by the

Mysore Wodeyars at one time, - till 1799, i. e. the death of Tippu Sultan.

The place was overcast by English education and culture. Though the capital

was shifted from Srirangapatna to Mysore, the British army was stationed

at Srirangapatna for more than a quarter century and the English Military

officers played a prominent role in not only the political but also the social

life there. The victors (The British) were role models for the youngsters in

and around Srirangapatna. The British later shifted the mihtary to Bangalore

as the weather at Srirangapatna was not quite suitable for them. Bangalore

was very convenient for their trade and commerce and to station their troops.

Therefore it is no surprise that B. M. Srikantiah was influenced by the English

at a very young age. The atmosphere of the place also could have made B.

M. Srikantiah, from the childhood an ardent admirer of the rajas, which

later got him the title of "Rajaseva Prasakta".

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B. M. Srikantiah had intended to practice law after his education, like

his father. But unfortunately, his father passed away soon after

B. M. Srikantiah's arrival from Madras, completing his education. This forced

him to take up an appointment immediately. He was the breadwinner of

the family now. Mean while a teaching job was offered to him by the Mysore

University. With this the whole family shifted to Mysore.

B. M. Srikantiah suffered a lot in his personal life. His wife after about

13 years of married life passed away during a child birth, along with the

new born. The only son went blind; his daughter, after having two children,

lost her husband and stayed with her father, until his end. Though forced

by many elders in the family, B. M. Srikantiah did not marry again, though

remarriage was very common in the society then. Instead took upon himself

the responsibility of bringing up the children. Probably the influence of

English education did not let him marry again. It also expresses his respect

for women and love for his deceased wife. In a way the absence of a wife

made him devote more time for the cause of Kannada. In fact soon after his

wife's death, when he was forced to marry again by the well wishers, he

took time to think about it and .ultimately decided not to marry but to serve

the cause of Kannada. This became his second wife. Probably,

Krishnamacharya, then a famous Kannada teacher at Srirangapatna, might

have influenced B. M. Srikantiah at his early stage.

He made arrangements to teach his two daughters and the blind son.

Influence of western education is seen in the fact that he educated his

daughters too in English with the help of a tutor. Henceforth studying and

teaching became his life breath. Along with English he also studied Kannada

literature. He was well versed in Sanskrit and Tamil literature. He had

even translated the Tamil epics such as " Rural" by Valluvar and

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"Silappadikaram" by Ilango Adigal. He became a multilingual scholar.

That is also when he decided to uplift Kannada, because it was in a sorry

state. People used to lookdown upon Kannada and he decided to dedicate

his life for the upliftment of Kannada. This became his life's object in fact a

Kannada teacher was paid less than the teachers of other subjects during

those days.

B. M. Srikantiah was a born teacher and attracted a hoard of students.

Most of his students became stalwarts in their field. (For example : A. N.

Murthy Rao, S. V. Ranganna, Keerthinatha Kurthkoti etc., to name a few.)

Studying was a way of life for him and at any given moment he was seen to

be studying something or the other. D. V. Gundappa refers to an occassion

when B. M. Srikantiah was learning Dante's Divine comedy by heart at an

age when he was past 50 years.1 After serving long in the Mysore University

and the Bangalore Central College he went to Dharwad to be principal at a

college named Janata Shikshana Samithi. Every time he went to a class to

lecture, he would prepare as though it was the first time. R. Y. Dharwadkar

has documented this and says how even at that time he would carry

Raleighs commentary on Milton before teaching his students the Paradise

Lost.2 R. Y. Dharwadkar also says that B. M. Srikantiah was not just a teacher,

but he was a poet and the cause of poetry that was in others.3

B. M. Srikantiah used to give the students more than that was necessary

in the classroom and he did it in a very attractive way. When someone

objected to this, his reply was" at the college we are not the passing machines

for the students, but educators."4

1. D. V. G, B. M. Srikantaiahnavaru {&. s>o. ^etfodoi^sidi) -. (Srinidhi) p.3. 2. Raya Dharawdkar, Dharawadadalli B. M. Srikantaiah, Srinidhi, p. 109 3. Ibid 4. Sri Sahitya, p. 13

77

Those were the times when reforms in the field of education were taking

place. This was mainly due to the educational policies of the ruling English

men. Many English scholars also contributed to this. Many other parts of

India too witnessed changes in educational system. New English schools

were opened and missionaries were encouraged to run English schools.

Western Mission started their schools in the old Mysore region; Basel Mission

in the Bombay Karnataka region, and missionaries were active in the South

Canara region.

Such was the situation in India. B. M. Srikantiah had been educated in

English and had gone deep into their culture. He appreciated their literature

and wanted to give the same to his students. As soon as he decided to

dedicate himself to the service of Kannada, he also realised the good that

was done to us by the English education. Because the feelings of nationalism

were kindled by the English education. The feeling of oneness of the country

was changed by this. The greatness of Indian culture was re-exposed by

people like Maxmuller who studied the ancient scripts of India and people

like Sewell who reminded us the facts about Indian history and culture

which were forgottenby us. ('A Forgotten Empire' - Sewell, 'English to

Sanskrit dictionary' - Morrier Williams etc.).

B. M. Srikantiah is considered one of the architects of modern Karnataka

not in the political sense of the term but in the context of Kannada literature,

the cultural and historical heritage point of view. Though his creative works

are few, the impact of them is great because they changed the out look and

the way of thinking- opening a new perspective for the younger writing

and reading public. His poetry, particularly the "English Geethegalu" though

only a translation became a landmark in Kannada literature.

78

He belonged to a generation which revered the kingship and showed

allegiance to it. He was also brought up in a similar atmosphere, as

Srirangapatna and Mysore were dominated by the king. Those were also

the days when Mysore was not an important city. Srirangpatna being the

capital earlier, there was no particular improtance to Mysore. But when the

capital was shifted to Mysore by the British, they wanted Mysore to grow

up with all the facilities for the public. This was enabled by Krishna Raja

Wodeyar III. Srirangapatna was dominated by people who supported

Tippu. So Mysore was built to be a capital city. No wonder people then not

only supported a king who made their lives easy but also showed their

allegiance to Kingship. This was the background in which B. M. Srikantiah

was brought up. In fact Kuvempu refers to his devotion to king and

faithfulness towards the king. Kuvempu says that 'blaming the king was a

personal shock" for him.1 ('rots #4, S&&, rossas^'; 'cassaod esfort tifi&iti «spaido&&,')

Sri S. Chandrashekar in his article, "Kannada Navodaya and

B. M. Srikantiah": " Karnataka Eekikarana" refers to B. M. Srikantiah being

called as the father of Kannada renaissance. However, he says that B. M.

Srikantiah's work was limited only to Kannada literature because he never

paid any attention to other aspects of freedom struggle such as freedom

fight, social and economic problems etc. "B. M. Srikantiah cannot be

compared to a person like Raja Rammohan Roy who fought for India in

every field" is the stand taken by the above writer. No doubt, his views are

justified but there is answer within his own saying. He says that B. M.

Srikantiah can be accepted as the father of Kannada renaissance underlining

"Kannada renaissance" alone. He was unlike people like Rabindranath

Tagore, Raja Rammohan Roy, Sharatchandra etc. Here attention may be

1. Kuvempu, Nenapina Doniyalli (fSst&rf cifl«riab0CT) - (Srinidhi) p.22.

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drawn to the opinion of A. N. Murthy Rao, who was a direct student of

B. M. Srikantiah. He says " Srikantiah had immense reverence to king &

faith in the British Empire; he had accepted the short commings of the Queen

of the Seas. However he had tasted the best in the British Culture. Moreover,

he worked not in the political field but in the social and literary fields".

B. M. Srikantiah was one of the most senior writers. He had to lead the

rest - that is the younger generation of writers. He paved the way for them.

He worked towards this. He also believed that before political unity, it was

important to have bhavaikyate or emotional integration. He wanted people

to give up parochialism and to develop patience. This was the advice

given by B. M. Srikantiah in many of his lectures given at different places

and times in Karnataka (as quoted from A. N. Murthy Rao)1. Unless this

was achieved, political freedom would be impossible. While people like

Raja Rammohan Roy had a wider canvas in their view, B. M. Srikantiah

had a very limited one and his intention was to perfect this; so that going

ahead in the other aspects like attaining political freedom was made easy.

His words to litterateurs about the growth of Kannada language and

literature and their ideals are very apt even today.2

B. M. Srikantiah was called the "Acharya" of Kannada renaissance. He

had realised the barreness of Kannada literature at that time - due to non-

creativity. Unless it was revived properly there was all the fear that it would

vanish. So he struggled to encourage and motivate Kannada people. In his

poem "Kannada Thaya Nota" he pictures the vision of Mother Kannada,

who was sitting on the banks of the river Tunga-Bhadra' in a forlorn mood.

1. Murthy Rao A.N. -Srinidhi (i,eap ) p.38 2. Ibid, p. 39

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When asked who she was, she replied that while all the other children are

taking care of their mothers, her own children had neglected her - she, the

mother Kannada is dying - though she is deathless - so it is a life worse.

"I have to pass my life, neither living nor dead"1. Such words were uttered

to motivate the Kannada people. This was the intention of B. M. Srikantiah.

His life breath was Kannada. He wanted to save it, protect and grow it and

enrich it. B. M. Srikantiah had said that, that was the proper time to welcome

good things and ideas from all cultures, religions and poetic routes, to

Kannada2. Because that was when Kannada tendered nourishment.

B. M. Srikantiah had realised that those were the times of renaissance

for the whole of India and all languages were awakening with new energy,

desire and attempts3. He aroused an entirely new way of expression in his

modern poems and writings. B. M. Srikantiah wrote less; but all that he

wrote was very useful for the growth of Kannada literature and language.

He should be given credit for bringing the common every day feelings and

the common man of every day life to the literary fold. This of course was

the influence of the Romantic poets of English. But that suited very well

for the Kannada language at those times. Written language and expression

in Kannada changed. According to N. Ramarao, we have a lot to take from

the western literature and B. M. Srikantiah has shown us the way in this

work, he has brought in new thinking, feelings and meter.4 He used the

Kannada language in a new way. His "English Geethegalu" is not just a

translation, but a creative experiment which has given new shape and new

language to Kannada. Kannada by then had become stagnant water, it was

1. BMSri, Kannada Thaya Nota (rf d 3Mfc sliseu ) - Sri Sahitya, p. 135,1983 2. Shivarudrappa G. S., Srinidhi (*,es>o ) - p. 14 3. BMSri, Divya Mantra (as36 sboi,) -Srisahitya, p.283,1983 4. Prabuddha Karnataka (Deepavali Special), 1931

81

used up and it gained new impetus and its newness, only after it was used

by B. M. Srikantiah.1

While Kannada renaissance was B. M. Srikantiah's interest on the one

hand, on the other, he also worked for the unification of Karnataka.

N. Ramarao in the same article says that "we need people who can speak

well" and B. M. Srikantiah did it very well. His speeches for the unification

were in themselves so powerful and strong, that they exhibit language used

differently and in themselves are Kannada renaissance.

B. M. Srikantiah was also responsible for starting of the Kannada

Department in the Mysore University. While he was the registrar of the

Mysore University, Brajendra Nath Seal, the then Vice Chancellor

appreciated B. M. Srikantiah's knowledge in his subject and his academic

interests. As they became closer, Mr. Seal realised the depth of interest

B. M. Srikantiah had in improving his mother tongue Kannada. Therefore

he suggested doing something for Kannada and B. M. Srikantiah's desire

was to open a Kannada department in the Mysore University. When this

was approved of, B. M. Srikantiah's happiness and enthusiasm knew no

bounds. He spent all his time in working towards it. He also undertook to

do all the paper work concerned for this project. The Maharaja of Mysore

also approved of this project and extended his helping hand. With all these

efforts, Kannada M. A. classes were started in the Mysore University in

1927. B. M. Srikantiah started teaching there and was an honorary Kannada

professor.

By then he was very active in his writings. Around 1912 he had written

the 'Rhetoric Notes' to help his students in the study of Rhetoric. This was

1. Shivarudrappa G. S., Prastavane (Srinidhi) IV

82

well received by not only the students of Mysore University but also by

others who studied the subject. His "English Geethegalu" was published in

1921. In 1926 and 1930 "Gadhayuddha Natakam" and "Aswathaman" were

published respectively. He also was the president of the All India Kannada

Sahitya Sammelana in 1928 held at Gulbarga.

In the year 1930, he was transferred as the professor of English at the

Central College, Banglore. B. M. Srikantiah suffered two great losses soon

after he arrived at Bangalore. His son-in-law Gundappa passed away due

to typhoid. Similarly within a few days his mother too died. This meant

more responsibility for B. M. Srikantiah. He had to support his daughter

Sharada and her two children along with his blind son. He appointed a

teacher to train Tammayya (his son) and his two daughters in spoken English.

Sharada became more confident and was able to face life better after this.

B. M. Srikantiah refused the position of the principal, as he thought that

this would come in the way of his work for Kannada. He started travelling

far and wide in Karnataka spreading among people the desire for conserving,

protecting and making Kannada grow. His services to Kannada language

were so great that the government of Mysore was impressed and extended

his age of superannuation from 55 to 60 years. This was a rare honour,

conferred on him.

In 1944, his family celebrated his 60th birthday. The very next day after

this B. M. Srikantiah went to Dharwad. He started the next stage of his life

as the principal of Janata Shikshana Samithi College at Dharwad. The

people of North Karnataka had a great opportunity to enjoy and listen to

the voice of Kannada; B. M. Srikantiah. He was called "Kannadada Kanva"

in recognition of his services towards it. After a very busy and devoted life

83

B. M. Srikantiah passed away in 1945 much before his dream for unification

became a reality. B. M. Srikantiah worked in different fields of Kannada

literature. He is not to be considered just an important writer in Kannada;

he is the originator of the tradition of writing (documenting) the history of

Kannada literature.

He formed the syllabus for the study of Kannada literature in the post

graduation courses. He decided with his depth of knowledge in the subject

the necessary aspects to be studied by a student in a post graduation class

of Kannada. For this sake he prepared a "Kannada Kaipidi" . This work

includes history of literature; linguistics, meter and rhetoric.1 His greatest

contribution was not just writing poems or contributing to the existing works

by writing new things but creating an opportunity and atmosphere for

studying literature as well as criticism.

l.Keertinath Kurthukoti - Nbour Mara Noourswara (stocb tixS slracb d ), p.71

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B. M. Srikanatiah an Introduction

Introduction to his times - Introduction to his works

B. M. Srikantiah lived between 1884 and 1945. This particular period

witnessed a number of changes in the political and social set up in the country

as well as in the state. Mysore was a model state. It was directly under the

rule of the British from 1831 to 1881. There were British Commissioners

who took care of the state and the presence of the Maharaja at Mysore had

its own impact on the city. While the rest of the Karnataka (though it was

not unified then) was suffering for being ruled by, or being under the grip

of non-Kannadiga rulers, only Mysore enjoyed the pleasure of being on the

mother's lap. The British also influenced the cultural and social atmosphere

in Mysore. The capital having shifted from Srirangapatna to Mysore, it was

the responsibility of the Maharaja to make it suitable to be a capital.

Therefore a number of schools and educational institutions were started.

This made education easily available for the people in and around Mysore

and it goes without saying that the learning of English was a part of that

educational system. No wonder all those who went to school during those

times invariably studied English and were much influenced by it.

B. M. Srikantiah started his education at Srirangapatna where he lived

with his parents. He was taught Sanskrit and Kannada at a very young age

85

(5 years) by a tutor who came home to teach him. When he was 6 years of

age, he was sent to the government primary school at Srirangapatna.

Srirangapatna was also a place which was historically very important. The

very atmosphere was charged with the English influence. B. M. Srikantiah

went to Mysore and then to Bangalore for higher education. At the advanced

stage of his education, he had decided to study English literature. His

intention then was to be an advocate like his father and not a teacher.

However things took a different turn.

The period between 1870 and 1910 was very important from the point

of view of new trends in Kannada literature. This was the age when a

number of modern Kannada writers and poets lived (Panje Mangesh Rao,

Govind Pai, B. M. Srikantiah, Kailasam, D. V. Gundappa, A. R. Krishna

Sastry, Masti Venkatesh Iyengar, Da. Ra. Bendre, V. Sitaramiah, Shivarama

Karanth, Kuvempu, Sriranga, Pu. Thi, Narasimhachar, D. L. Narasimhachar,

Vi. Kru, Gokak, A. N. Murthy Rao, Ti Nam Srikantiah etc.)1.

B. M. Srikantiah and his generation lived at a time and place where

getting English education and being exposed to new thinking, new way of

life, newer trends was not difficult. He lived in Mysore which was taken

care of by not only the Maharaja in Mysore but also the British. The British

resident, British teachers in schools and colleges, British researchers like

Lewis Rice and J. F. Fleet and others, British planters like Crawford and

many British civil servents influenced the thought and action of the people

of Mysore. It was a model state showing progress in every field. Persons

like B. M. Srikantiah who was born and bred here, were naturally well

1. Shivarudrappa G. S., Prastavane (Srinidhi),1985, p.III

86

exposed to western way of life. He had to come in contact with the English

not just in his professional life but also as a part of his academic interests.

English literature attracted him from his younger days. Even while studying,

his intention was to get a post graduation degree in English literature. People

in the academic field were more exposed to the English culture than the

public and B. M. Srikantiah was not only exposed, he appreciated, imbibed

and more than that wanted to change or bring in newness in his own

(Kannada) literature.

B. M. Srikantiah had gone deep into English literature. He had studied

it thoroughly along with the English translation of Greek, French, German

and Italian classics which are supplementary for the study of English

literature. Along with this he had also made a thorough study of Kannada

literature. At a young age he had started the study of Kannada and Sanskrit.

He had realised that the study of Sanskrit was important to understand

Indian culture. He had therefore studied the Upanishads, Vedas, Grammar,

the works of Kalidasa J and other poets. Apart from these we had made a

special study of Tamil literature and translated the 'Kural' and

'Shilappadikaram', the ancient works of Tamil literature. He recognised

the similarities between Tamil and old Kannada language and agreed that

both of them belonged to the ancient Dravidian languages. On the whole

he became a multi linguist and that is also when he decided to dedicate his

life for Kannada.2

Kannada was in a very despicable situation at that time. Learned

people preferred to speak and interact in English. Kannada was looked

down upon. In fact a Kannada teacher was paid less than the other teachers.

1. Rajeswari Chaterji, Kannadada Kanva-B.M.Sri (tf^dri Sts, a.,30. b,?) Sanchaya - p. 22 2. Ibid

87

Perhaps certain domestic conditions also made B. M. Srikantiah dedicate

himself for a certain cause. His wife died at a young age after a child birth.

B. M. Srikantiah was very much attached to her and in spite of all pressures

from the elders in the family he decided not to remarry. It was quite common

for a man to not only remarry but also to have more than one wife at the

same time in those days, all living under the same roof. At that juncture,

when he had to decide about his future, devoid of a family life, his immediate

interest was to dedicate himself for a cause and that cause was nothing

other than Kannada. After the last rites of his wife, he took a few days off

and went away to a place known as Dhanuskoti, to crystalise his thoughts

about his future life. He stayed all alone for ten days. Not only could

anybody take the place of his wife but also he had to decide upon the future

of his own life which would give him ultimate satisfaction and pleasure.

This was when he decided to work for Kannada and he never looked back

from that. People used to look down upon Kannada and Kannada people

themselves carried a certain inferiority complex about it. B. M. Srikantiah

decided to dedicate a large part of his time to change people's attitude

towards Kannada and instill in them self respect and appreciation for their

mother tongue that is Kannada.1

At a tender age, his teachers must have kindled his interest in Kannada

and also in other languages. As a teacher and a litterateur, he must have

realised the importance of a language for the growth of a community. He

had studied English systematically. This training in the study of language

made him study his own language with the same parameters. He had also

arrived at a conclusion that Kannada will not grow unless Kannada gained

1. Rajeswari Chaterji, Kannadada Kanva-B.MSri (tejtzi tit^ tt.<ao. bj) Sanchaya - p. 22 2. Sri Sahitya (Sri), Kannadada Saramantra-(^dd TOddso^, b/xito3b), p.296

88

respect. People had to feel proud of their language so that they may achieve.

B. M. Srikantiah had a strong desire for this. To work for a language which

did not command much respect in a community was a matter of great

challenge and this challenge, attracted B. M. Srikantiah. He wanted to do

wonders here. This involved great courage and enormous strength of mind.

That B. M. Srikantiah chose to do this shows the respect and love he had for

his language and people. He was a very good teacher in English, an excellent

orator (in fact there were days when he had himself refused to speak in

Kannada from a platform) and had he chosen, he could have reached places

in English literature. He loved that language, it came easy for him, like

leaves to a plant-however that was not to be. B. M. Srikantiah had chosen

a more difficult task. This gave him complete satisfaction and in fact because

he jumped into the fray, Kannada gained its lost respect. His stay in Madras

had exposed him to Tamil and the comparative study to Tamil and Kannada

had made him realise their similarities and at the same time the lost dignity

of Kannada language and the importance of comparative study of literatures.

While speaking about his final decision of serving Kannada, he refers

to it as a garden which is cultivated by our ancestors (elders) that has to be

now improved upon by using a new plough. This new plough is English

and the old garden is Kannada.1 The desire to enrich and work for Kannada

was his primary desire. This later on also led to the political angle of working

towards unification.

B. M. Srikantiah was an excellent orator. He could speak in Kannada as

well as in English for hours on any subject. His English was far superior, as

he knew the apt words and made their best use2. He was an excellent teacher

1. BMSri, Kannadada Saramantra^dri *»ds&oi, &,eTOi) 6) Sri Sahitya (Sri), p.296 2. DVG, Sahityopasakaru (QdzS tfr^ o.ao. *>e) -, p.

89

and could give lectures for hours. This capacity in him must have been a

boon during the unification movement; as he attracted more people through

his speaches than his writings. His desire was to help all the people of

Karnataka (women, children, farmers, rural people- every one), lift them

up from the darkness, inspire, them and lead them to knowledge during

those times.1 In one of his lectures he refers to the two powers between

which our generation is torn. One is the attraction of the English learning

and the other is the pride of the recently reviving Indian knowledge and

heritage which is the ancestral gift to us. There were people who suggested

that the outsiders should not be entertained and we should not be carried

away by their modern culture; they should be pushed away and we should

only inculcate our own culture and knowledge. Butthatwasnot B.M.Srikantiah's

intention. He wanted to have the blend of both. He wanted both the cultures,

goals and doctrines to come together to form a better future for Kannada

and Kannadigas (samanya - synthesis). English learning and literature had

enriched his life and also opened his eyes to all that's good in India and

Kannada.2

While such were the intentions of B. M. Srikantiah, his contribution to

Kannada has been very great, not in terms of the number of writings, but in

terms of creating newer trends. He was a trend setter. In almost all forms

of Kannada literature there is an indelible mark left by B. M. Srikantiah. Be

it poetry, drama, criticism, rhetoric, prosody and even the history of Kannada

literature, there are blossoms of his thoughts.

In the field of poetry, his "English Geethegalu" was a remarkable

contribution. It was published in the year 1921. From then on until today,

1. BMSri, Parishattina Dheyaya - Sri Sahitya (siQsi&jS { eab -bj ?B&>3t4), p. 298 2. BMSri, Nanna Jivadusiru - Sri Sahitya (3^ aerid^cb -bj TOfci6), p 313-314

90

it is considered a master piece in the field of Kannada poetry. As he himself

says, he has not translated the best of English poems here, nor those of the

best poets. For example a poet such as John Keats is not represented at all.

His intention obviously was not only to expose English literature to Kannada

readers but to induce them to attempt similar writings in their own language.

Therefore many simple and relevant poems are translated. The "English

Geethegalu" a book of translation of English lyrics aims at familiarising the

Kannada reader with the spirit and style of western literature.1 It involves

universal topics such as war, patriotism, love, life, death, nature, man's

pleasures and pains, piety, doctrines etc. His intention was also to introduce

the feelings of patriotism, love for one's language and brotherhood among

people. His translated poems exhibit his intention.

They are not mechanically versified. On the other hand, they are an

experiment in style, meter and subject and are moulded by the blended

cultures of the East and the West.2 B. M. Srikantiah's intention in translating

a variety of poems was to inspire his genre into writing poems with new

simple and common day ideas, rather than giving them merely the gist of

the English poetry, in which case he would have translated perhaps much

greater and well known poems.

B. M. Srikantiah was called the "Acharya" because he was a trend setter,

one who taught. Though many poets had sprung up by then, (D. R. Bendre

had started writing his well known poems; P. Mangesh Rao and U. Mangesh

Rao had also worked in the field of translation from English) the impact

was his work was the greatest.

1. BMSri, Sri Sahitya (Present tendencies in Kannada litetature) -p.818 2. Ibid

91

B. M. Srikantiah's "English Geethegalu" had a stronger and lasting

impact. His poems were adapted into Kannada very easily. It showed that

any subject under the sun could become a topic of poetry there was a

departure in the subject and style of poetry writing. This opened a new

world of poetry to the coming generation. Like 'Masti', who set a trend in

Kannada short story writing, B. M. Srikantiah set a trend in Kannada poem

writing Bhavageethegalu which expressed the feelings and simple emotions

of common man instead of being sublime and grand always - in the subject

matter as well as in the presentation. Thus "English Geethegalu" is not

only a land mark in Kannada literature, it is also a historical document. It is

a historical document in the sense, it shows the stage at which Kannada

writing was compared to the English or other European writings (poetry)

at that time. During these times, in the west, poets like T. S. Eliot and

others had already started writing their poems such as the 'Waste Land'.

Those poems depicted the uselessness of human life, the waste of

civilizations etc. These conditions were aptly not applicable to Indian life

of those days. A teacher like B. M. Srikantiah would definitely have been

aware of such trends in poetry and literature in the west. But he never

seems to have attempted to borrow those ideas. He made a suitable

selection, only that which reflected our conditions and those which could

be adapted and Indianised. Such poems as T. S. Eliot's would be out of

place here. It is very significant that B. M. Srikantiah refused them and

only chose those romantic poets who fitted into our culture. Therefore

"English Geethegalu" stands out again as a historical document and its

impact is considered wide.

"English Geethegalu" is important from another point too. Though it is

a translation, it well expresses the personality of the translator. The book is

92

dedicated to one who believes in the spiritual union of India and England.

Kannada and English both were his beloveds. While English was his life-

breath Kannada, and India - through that, was his mother. He wants to

enjoy the beauty of Kannada and English by exchanging their spirits and

juxtaposing them.1 He had imbibed the English culture and wanted to

enrich Kannada literature in the same spirit.

While he was teaching, B. M. Srikantiah had made notes on prosody in

which he has discussed the structure of verses - referring to many ancient

works. There is a detailed discussion about meter and rhythm; definiteness

and regularity are important for meter. The regular movement and order

are also important for meter.

He enriched Kannada language not only through his creative writings

but also by involving himself in several fields of literary activities such as

translation, adaptation of new and different styles in writing and thus

creating new trends. He wrote three tragedies on the lines of the Greek

tragedies. "Gadayuddha Natakam", "Aswathaman" and Tarsikaru". The

first two were his own writing. He chose the subject of these tragedies from

the 'Mahabharatha'. Gadayuddha Natakam is an adaptation of Raima's

Gadayuddha. B. M. Srikantiah successfully took out the tragic aspect of the

topic of Ranna's kavya. The topic of Gadayuddha to the tragedy of

Aswathaman". "Aswathaman" is also almost an adaptation of the Greek

tragedy "Aias" by Sophocles. (Aias of the Greek drama is Aswathma here;

Menales is Bhima; Adisas is Krishna and Tukar is Eekalavya.).2 Aswathaman

the deathless, is killed by B. M. Srikantiah in his work. However, this is

one Greek tragedy which can be called successful. Similarly, his "Parasikaru"

1. Bendre Da. Ra., Vichara Manjari (awsd S&OKO), p. 112 2. Keertinath Kurthukoti - Aswathaaman (oa^ifcsF) - Noorumara Nooru Swara

93

drama is a direct translation of Aeschylus's tragedy. But this drama was

not successful. Though this trend was started by B. M. Srikantiah, Kannada

public and the writers as well never picked up the trend of writing tragedy.

(However that seems to have changed of late. As the translated and adapted

dramas of Shakespere and others is welcomed and good response is

expressed by the Kannada public). When B. M. Srikantiah started the

translation and adaptation of English dramas, it was a very new experience.

Our people were exposed to this unexpected and new trend for the first

time. Their responses were not spontaneous and also the aspect of tragedy

in a drama was a new thing for the Indian public which expected everything

to conclude with a happy note. However enactment of the adaptations of

the western drama, particularly the tragedies has become quite common

now. The public also has learnt to receive and respond to this in a more

welcoming fashion. This only emphasises the fact that, at the time when B.

M. Srikantiah started this, time was not yet ripe for this then, and it is now.

On the whole, at that time, the Kannada reading public did not respond as

well to the tragedies penned by B. M. Srikantiah as they did to his English

Geethegalu1. While his poems English Geethegalu started a new wave in

writing poetry, his tragedies did not do the same.

B. M. Sirkantiah also set the path in the study of the history of Kannada

literature. R. Narasimhacharya, earlier to B. M. Srikantiah had written

"Kavicharithe" but the real study of the history of Kannada literature was

started by B. M. Srikantiah2. His "Kannada Kaipidi" was created by him to

chalk out a programme for the study of Kannada literature. This work

included linguistics, rhetoric, meter and the history of literature etc. This

work is considered most basic for the study of kannada language and

1. Keertinath Kurthukoti - Noorumara Nooru Swara, Aswathaaman (o^s^skcs*) 2. Keertinath Kurthukoti - Noorumara Nooru Swara, B. M. Srikantaiah (a. <ao. bj4otfotot)

94

literature even today. This is used even today in different universities for

the study of Kannada literature as a basic need. He referred to Kannada

language as a very simple language and does not want any pressure or lack

of freedom for the language1; so that it may blossom freely. He saw the

tragic aspect in many a Kannada Kavya and thus created a new taste in

enjoying literature.2 The concept of tragedy in drama was introduced to

Kannada by B. M. Srikantiah. Many others like K. V. Raghavacharya and

K. S. Narashirnha Swamy etc. tried to walk in his footsteps.

In, 'Ashwathaman' B. M. Srikantiah has expressed his great love for the

Kannada land, by addressing it in many wonderful terms. The more he

mastered the English language, the deeper his love grew for the Kannada

language. It was Gupmagamini - invisible flow.

Another anthology of poems by B. M. Srikantiah consists of poems which

were written on different occasions, like to celebrate the birth centenary of

the Mysore Maharaja or for the silver jubilee celebrations of Mysore

University or the 1000th year celebration of the poet Pampa, etc. These

poems to some extent express his opinion on different subjects including

his political opinions.

His other works include books like "Kannadigarige Ollyeya Sahitya"

(Good Literature for Kannadigas); "Islam Samskruti" (Islam Cluture);

"Kannada Bhasheya Vicharagalu" (Thoughts about Kannada language)'

Among these "Islam Samskruti" is the translation of a book by Mohammad

Abbas Shustri. "Kannada Bhasheya Vicharagalu" is a book consisting of his

speeches at different occasions on different subjects. But most of the time

the subject matter is the welfare of Karnataka and Kannada language.

1. Keertinath Kurthukoti - Noorumara Nooru Swara, B. M. Srikantaiah (». <ao. bjfiodoto,) -p.71 2. Bendre Da. Ra., Vicharamanjari (a&rod s£>o»o) - p.110-111

95

In his article (a lecture) "Kannadigarige Ollyeya Sahitya" he discusses

what is good and what is bad for Kannada students. His opinions here try

to increase the vastness of a Kannada student's knowledge rather than letting

him go deep into the subject. The study of Kannada literature was in an

embryonic stage at that time. Different topics and forms were necessary to

expand the width of Kannada language. He had played a major role in

starting the Kannada B. A and M. A courses in Mysore University. Since a

knowledge of various things was a necessity at those times, B. M. Srikantiah's

opinion then appears suitable.

He wanted the study of Kannada literature to be carried on, on the

same lines as the study of English literature. He did creative writing and at

the same time facilitated the study of literature and encouraged critical

works.

B. M. Srikantiah's another contribution to Kannada literature is the

writing of odes in Kannada. He called them Pragatha (Odes). They were

written on the lines of English and Greek odes. In addition to this his lectures

and forewords to books have contributed to Kannada literature in their own

way. They have increased the scope of Kannada language and literature.

Therefore B. M. Srikantiah was called (Kannadkke Kanvamuni) Kanvamuni

of Kannada by Masti.1

B. M. Srikantiah wrote poetry; facilitated the study of Kannada language

and literature, opened new gateways for works of criticism and also

successfully shouldered the responsibilities of institutions like the Sahitya

Parishat and the Mysore University (as a registrar and as a person who

framed the syllabus for the study of Kannada literature).

1. Bendre Da. Ra., Vicharamanjari (&irod 5fc>o»o) - p.110-111

96

B. M. Srikantiah and Kannada Renaissance

Renaissance in the common usage means rebirth. It is the revival of

anything which has long been in desuetude (disuse). The term renaissance

in history is generally used for the change that took place in Europe after

the fall of Constantinople in the year 1453. However its usage in the context

of India and Karnataka are totally different. While the whole of Europe

was trarisforming as a result of the fall of Constantinople and the resultant

effects, India was sublimely unaware of all those changes and was deep

with its own way of life. Therefore with the advent of the British to India, a

whole new world opened up in front of the Indians. It created a new

awareness and exposed them to many facts and feelings which Indians were

until then not used to (for eg. the changes in the way of life - social, economic,

religious, political and educational etc).

In Kannada language and literature too, a number of changed trends

set as a result of renaissance. Therefore this period is called the "Navodaya"

period. This period in kannada literature was a result of the influence of

the Westerners - particularly the British and their English language.

In this context B. M. Srikantiah played a very important role. For, while

he looked around and noticed the sorry state of Kannada language, he

decided to dedicate his life for serving it. First and foremost was to lift the

97

status of Kannada language, by bringing in certain dignity for it. To do this

he had to instill self respect in the minds of Kannada people who considered

themselves inferior, while the non-Kannadiga neighbours looked down upon

the Kannada language. This became B. M. Srikantiah's major task in life,

which he had taken up upon .himself. He was educated in English and

developed a love for the language. In fact, while he tried to enrich Kannada,

he borrowed many things from English. He considered English inevitable

to uplift Kannada. He also felt that the errors of being deeply influenced

by Sanskrit had to be rectified with the help of English alone.1

Renaissance for him was the dawn of a new life. It was the change for

the better, brought out in every aspect of life; not just in the language. Every

thing in a country - language, literature, mentality (mindset), society on the

whole, every thing.2 This new dawn and new life would be automatically

reflected in literature too. People may call this change in different ways-

some calling it renaissance, some as advancement (improvement) or some

others as a revolution. Whatever the name, the change is evident and that

change is stepping into a new life.3 This does not simply mean eliminating

all that is old and adopting everything new. But it means retaining that

which is worthy from the old and adopting that which is useful from the

new for growth.

B. M. Srikantiah felt that this new life was totally engulfing Karnataka.

This was the ripe time for waking up the people of Karnataka and to instil

in them the courage and inspiration.4 He wanted the educated among

1. BMSri, Kannadigarige OUeya Sahitya- Sri Sahitya (tf^artert kfyxb TO&>;SS6 -bj xrafo ) - p . 250 2. BMSri, Kannadada Punarujjivana- Sri Sahitya {tejXti gJcSctot csirf -bj fzto&6), p. 284 3. BMSri,Divya Mantra - Sri Sahitya (ari6 5&o3, -bj. ro&>36), p.279-80 4. BMSri, Parishattina Dhyeya- Sri Sahitya («SB5iA,5S $6eofcrto:> -bjt ss3So36), p.298

98

them to write in Kannada, enrich the language and enlighten the people.1

He was called a revolutionary; his kind of revolution was to unite the

potential of the East and the West. English had filled his life with energy

and the education of Karnataka, our culture was his pride2. He felt that

exposure to the West would bring a new life and new light, all that was

good would come in, driving away all that was unwanted and bad3. A

healthy growth would be possible only by the synthesis of this the potential

of the east and the west. English education was similarly not an end in

itself. He felt that the study of Kannada literature along with English

literature was a must to gain a total knowledge of literature. The totality

would be experienced only by this study. Otherwise knowledge would be

incomplete. He expressed the desire that everyone who studied English

had to work for Kannada. He wanted to pour down all that was good in

English literature to his people. This was his aim in life. It was a Herculian

task for a single man. Therefore he built an army of students, who would

continue his work.4 He expected Kannada to become the life strength of

Kannada people. His only desire at all the time was the development of

Kannada people to broaden their out look about everything and an attitude

of welcoming everything that is good from all sides (like in Rigveda).

"English parameters (Lakshana Sutra) would give knowledge and

understanding". This was his slogan. Again and again, the same is repeated

in all his writings and speeches.

Any language would become enriched when it also borrows from others;

not only the ideas, but also the way they are expressed and the methods (of

1. BMSri, Kannadigarige Olleya Sahitya- Sri Sahitya (tf^artert t.fysb TO&36 -&J SJ&36 ), p.777 2. BMSri, Nanna Jivadusiru- Sri Sahitya (rfs tSe»fckAtk-J>,? TO&>36 ), p. 313-314 3. Ibid 4.Govinda Rao D., Bagina (znftti) -p. 31

99

language) adopted.1 There is nothing wrong in learning from others.

Renaissance calls for the old as well as for the new. The old is looked at

through a new light. Unless this is done, nothing new can be created.

Creativity is a work which builds upon the foundations of the old (Hosa

Chiguru Hale Beru). By doing this no convention or tradition gets spoilt

(polluted) nor would the language be ruined. Serving Kannada in turn

would be serving India. Renaissance should help the removal of the old

and the useless; similarly it should cultivate that which is suited and useful

B. M. Srikantiah was very particular about a uniform written Kannada

language throughout the state which could be easily understood by all

women, children, and those who were not much educated.

He expected all those who learnt English to work towards this. These

aspects of B. M. Srikantiah's ideas have later promoted the adult education,

education for women, compulsory education etc. (This is one of his

contributions i. e., renaissance through mis). Awareness in the society about

formal education was not so great until then. In fact B. M. Srikantiah had

insisted that proper University degree holders should be appointed for

suitable professions such as teachers. However, education according to

him was not a means of just procuring a career, but a means of gaining

knowledge. Again his contribution to education was recognising the

university educated youngsters, encouraging them and trying to exploit

them and their knowledge to the maximum so that the university and the

students as well, may gain much from this. A result of this was the

appointment of Kuvempu in the Kannada department, with a higher salary,

than that was drawn by others.2 B. M. Srikantiah supported the modern

1. BMSri, Kannadada Saramantra - Sri Sahitya (fc ricS jiadifcaS,-*,? *»kg6), p. 295 2. Ku Vem Pu, Nenapirta Doniyali (s$ste*J djaerioi>€>) Srinidhi -p. 31

100

in developing the language was more academic than political. Therefore

his involvement in the other political aspects was less and this is

understandable.

He wanted to evolve new methods of teaching Kannada which would

include the modern trends, views and aspirations. His methods of teaching

Kannada increased the prestige of Kannada language.1 He took special

interest regarding Kannada when he became the registrar of Mysore

University. When me position was offered to him, he accepted it not because

of the hike in the salary he would receive, but for the fact that he could do

plenty for Kannada from his position as a registrar. This he did too. Because

when the then Vice Chancellor offered to do something for Kannada

language, being impressed by the works of B. M. Srikantiah - he asked for

the opening of the Kannada department. This was immediately approved

by the Maharaja Krishnaraja Wodeyar IV. Thus the Kannada department

took its birth in the Mysore University. He formed the "study circle" in

Mysore and "English seminar'' in Bangalore, which groups and their activities

kept the discussions about Kannada alive and also determined Kannada's

position as a subject of study in the university. Thus the status of Kannada

was advanced. He gave lectures about kannada literary history, Kannada

meter Dravida Chandas (Dravida Meter) etc., which broadened the listeners

views and knowledge about Kannada. Those who participated in these,

during those days also grew to protect and enrich Kannada (for eg., his own

students-each of them became a writer in Kannada - A. N. Murthy Rao,

S. V. Ranganna, Kuvempu, Thi. Nam. Srikantiah, A. R. Krishna Rao, Rai

Dharwadkar, Krithinath Kurtukoti, Shantinath Desai So on.)

1. BMSri, Kannadigarige Olleya Sahitya - Sri Sahitya (a^art&rt i^ok TO&^6-^? TO&^6 ), p. 267

102

The features of a renaissance writer would be that of a free man who

would work in prose as well as in poetic forms of literature borrow and

adopt all that is good for Kannada from other literatures; attract even children

to study and pour out all upsurges, ambitions and feelings (emotions) in

his writings. He is a child of the modern world; he would be educated in

university and would not hesitate to borrow from other literatures. Study

of other literatures would not keep him away from appreciating and loving

mother tongue.1 Along with this, it goes without saying that he should be

an expert in English literature. Here the necessity to study and adopt English

language and borrow from that literature is mentioned definitely by

B. M. Srikantiah. It may not be justified to say that B. M. Srikantiah loved

English at the cost of all other particularly European languages. He insisted

on English because the British were ruling us. Probably, he would have

insisted on the French language if France was ruling India. His basic

intention was to have a window to the west so that there may be renaissance

in India.

B. M. Srikantiah firmly believed that a new society could be built only

in a race which possesses a good collection of quality books. There was no

concept of libraries and publishing works etc., which would enable the book

to reach the common man and inturn help build a strong society.2 Old

Kannada literature had to be studied thoroughly, without any ego, take out

all that is good and useful and accept whatever is good in other literatures

too at the same time. This good has to be adopted in our own, thus increasing

the richness of our literature. This was the main concept of study- learning

and enriching the Kannada language according to B. M Srikantiah. The

1. BMSri, Kannadigarige Olleya Sahitya - Sri Sahitya (tf^artert t^ab ssJo^-^e *5>&36), p. 270 2. Ibid, p. 267

103

best in the other literatures also should be studied and imported. English

is enriched in the same way. There are words in the English language from

many other languages; all those words are adopted in such a way that they

become a part of the English language itself. A similar trend in any language

would enable that language's growth. Ego about languages only ruin a

language. Borrowing from other tongues, on the other hand, enriches a

language; it also enhances our knowledge. Whatever is taken out from the

old literature will not only encourage the study of literature, it will also

guide us for further studies.1

B. M. Srikantiah did not give up working for Kannada. He was trained

in English and he used it well. He appreciated the goodness in it and tried

to find a novel way of using it for our own benefit. He enriched Kannada

language by imbibing the spirit of English. He chalked out the modern

learning methods of Kannada language. In his essay (lecture), 'A good

literature for Kannadigas'(Kannadigarige Ollyeya Sahitya)he opines that

Kannada is a very simple language and it should not be burdened by the

force and loads of treatises. He wanted Kannada to be rid of the Sanskrit

language. When he says that Kannada should borrow from English and at

the same time wants it to be rid of Sanskrit, he does not sound justified.

When Kannada is expected to borrow from one or the other languages, how

could it be free from the cultches of other languages. This dichotomy could

be perhaps understood when we glance over those times. Those were the

times when the whole world was changing and awakening to a new

consciousness. The political, social and cultural atmosphere of the whole

of the world had undergone tremendous changes after renaissance. All

this had not affected India and Kannada in turn. Any change in India to

1. BMSri, Kannadigarige Olleya Sahitya - Sri Sahitya (rfc artort ? ,a£> jalo^-bj *»io36), p. 270

104

new life had been brought about only by the advent of the Europeans. The

ones that stayed long in India and affected all kinds of changes were the

English. B. M. Srikantiah, being exposed to English realised the necessity

to bring in similar changes and progress with the help of English. Borrowing

from Sanskrit was out dated and not suited for the modern times. English

was better suited for this purpose.

He anticipated that exposure to literature would also bring in other

changes - social, political and cultural. Most educated people then were

exposed to the influence of the English language during those days and

naturally those who studied English literature not only appreciated it, but

also wanted to create the same or similar in Kannada too. This was the case

not just with the Kannada language. Even in other Indian languages such

thoughts and changes were quite common. It started with the changes

brought in places like Bengal and in Bengali language where the influence

of the British was the most prominent and hence the changes there were

also quite marked. People like Raja Rammohan Roy, wanted to imbibe the

spirit of the English into Indian culture and tried to bring it in educational

field also. Social changes were very obvious due to the impact of the British.

A similar thing happened in Kannada also. Only the political situation of

Kannada was rather different. The spirit of Bengal and Karnataka were the

same, but their situations were different. While Bengal was one whole it

was not so with Karnataka. • Bengal was recognised as a state, while

Karnataka had no existence at all. It had been divided into parts according

to the conveniences of the ruling British. The king in Mysore ruled over

only a part of Karnataka, while the rest of it belonged to different rulers.

B. M. Srikantiah does not seem to have looked at the British as a colonial

power. British rule according to him was a blessing; God sent opportunity.

105

In this sense he subscribes to moderate opinion. It was a transition period

and B. M. Srikantiah hoped for a modern India, but never accusing or

criticising the British. He was well aware of the fact that the support of the

ruling class was very necessary for Kannada to grow. Which is true of any

language and society. Learning and promoting English language in Mysore

state was no problem at all, as the British were the supreme authority and

naturally they supported English education. But only the king had to support

the local language. Only the Wodeyars of Mysore state could do this for

Kannada. Krishna Raja Wodeyar IV encouraged Kannada and was ready

to do anything for this. He welcomed the new ideas and modern aspects in

everything. Renaissance and the changes brought in through that were

most welcomed by him. He wanted the state to improve and his subjects to

be happy under his rule. Whatever was necessary to bring in a better quality

of life for his subjects was welcomed by him. He wanted to see his state

develop on the lines of England or other European countries. Moreover if

Kannada could grow with the help of English all the credit would go to the

then ruling masters-the British. However the main intention of

B. M. Srikantiah here was not to give them credit, but to get support for our

language from them. The latter intention was primary and the former was

a by product. With all these ideas in view, B. M. Srikantiah might have

shown loyalty to the king. He may also have been proud of the fact that he

was the architect of modern Kannada language and literature. The same

idea might have also prompted him to translate poems like "Rule Britannia"

and consider Karnataka and Briton as sisters. (He tried to frame the modern

Kannada language, including the modification in letters.)

Most of B. M. Srikantiah's creative writings include poems with patriotic

feelings, loyalty to the ruler and love for the language. Navodaya literature

106

had not totally taken birth, but the poems of B. M. Srikantiah expressed the

characteristics of Navodaya poetry.1 His dramas like 'Aswathama' and

'Gadayuddha Natakam', though did not create a trend of tragedies in

Kannada, still had a different effect upon Kannada drama. Following these,

many characters from the epics and other ancient works were picked up

and each character in them was studied as an individual whole. The

psychological and different other aspects of their life was studied. This

created a different way of looking at the incidents in a drama. Each character

was probed and the mental agonies suffered were depicted. They became

creative works within themselves, as did some of our earlier Kannada poets

(they repeated the whole epic in Kannada, but now individual Characters

were chosen.). This suggests that because of B. M. Srikantiah's efforts Drama

became more individualistic than community based study. This opened

up a new way of looking at the world of drama. The attitude of Navodaya

literature was to pick up only the good from everything. This aspect of

looking at the drama supported the Navodaya view.

Religious tolerance is one of the characteristics of Navodaya literature.

This also is a basic feature of Indian Renaissance. This quality is well

expressed in B. M. Srikantiah's 'English Geethegalu' and also in the critical

writings of B. M. Srikantiah.- According to B. M. Srikantiah the main

drawback in the old Kannada literature is the absence of the stress on

religious tolerance.

Therefore ethical and not religious attitude is seen in the poems of

B. M. Srikantiah, which formed a solid basis for the Navodaya literature in

Kannada.

1. - Raghavendra Rao H. S., Kannada Navodaya Mattu BMSri Sahitya- Sri Nidhi, p. 150

107

The renaissance poetry separated itself from the epic poetry in terms of

its size and diversity in meters. English poetic forms such as sonnet, ode,

elegy etc., were brought in, adapted or made use of.

Another important feature of Navodaya Kavya was the use of uniform

language. Chaste Kannada language was evolved by B. M. Srikantiah which

was later adopted by many other poets mainly belonging to Mysore region

(KSN; Pu.Ti. Na etc.). A few in the North Karnataka region such as Bendre,

Kanavi, etc used the folk or country Kannada language.

B. M. Srikantiah was the oldest Navodaya poet, though not the main.

The greatest contribution of B. M. Srikantiah was to have attracted,

thousands, in fact the whole of the Kannada speaking public to read and

write Kannada. Exposure to literature and creating interest in it was done

by him. He was not in anyway concerned with the political aspects of the

English people; he had appreciated and was closely in contact with the

academic interests and in this field the English had contributed greatly to

Kannada - people like Kittle and Rice. So it appears fair that B. M. Srikantiah

attributed many noble qualities to the English and considered 'Bharata Mate'

to be the elder sister of Briton1 At the same time the benevolent king Krishna

Raja Wodeyar IV had supported almost everything that would create a better

life for his subjects. B. M. Srikantiah too knew of this and liked and revered

him totally. For B. M. Srikantiah the support gained for Kannada by any

means, was a help and hence his Raja Bhakti. This in fact begot a few

antagonists for B. M. Srikantiah.

B. M. Srikantiah is not to be considered just a person; he was an

institution by himself. "He was a successful teacher; a good orator and a

1. BMSri, Bharatamateya Nudi (#cterf»3o$> ska )

108

poet. But apart from all this and more than this, he was a soldier, center of

revolution and a prophet" says A. N. Murthy Rao1.

There is a certain simplicity, naturalness and straight forwardness in

the English writings (the language usage in literature.) which is used for

the general reading public. There is no grandeur and rules of tradition

always, like in our own literature of the yester years. This simplicity was a

new thing and hence attractive. Use of simple language, narrating the most

ordinary, commonplace things, thoughts and lives of ordinary people, all

this brought newness in Indian - particularly here - Kannada literature.

Imparting new inspiration into life was done by the new trends of Kannada

literature. This is an important aspect of Kannada Renaissance.

Many of the poems written in the anthology "Honganasugalu" by

B. M. Srikantiah about Kannada state, filled the people with patriotism and

love for the language. The inspiration received through English would

come out in the form of poems, translations and lectures-full of emotion

and feelings for Kannada state, people and the language. This further

provoked the people to react similarly. Thus the mass movement of the

people for unification was initiated by B. M. Srikantiah - though indirectly.

B. M. Srikantiah also worked in the Kannada Sahitya Parishat, holding

important positions. From there he got many Kannada books published

and made them available for the people at a very low price. Such was his

ardent desire to cultivate the habit of reading Kannada among his brethren.

English - Kannada dictionary costed Rs. 5/- while 'Kumara Vyasa Bharata'

was priced at Rs. 2Vx. Patriotic songs which were rather new to our literature

were an important contribution of B. M. Srikantiah (because the concept of

1. Murthy Rao A. N.Chitragalu Patragalu (a^rt* - sS rtsto) - . p. 89

109

Kannada Nadu, Kannada Mate etc., were not existent; absence of a state is

significant here). His 'Honganasugalu' is an anthology of poems which

consists of many songs which praise kannada land and the mother land-

India. They vociferously praise the beauty and fame of Kannada Thai and

also the strength and courage of Kannada people. They also give the message

to the youngsters to build and work for the motherland and Kannada.

B. M. Srikantiah used to give speeches wherever he went or rather, he

travelled far and wide in Kamataka delivering speeches in order to awaken

the people to the glory and greatness of kannada land. When he had heard

that an elderly person had commented about such speeches, which the

elderly person considered only a waste of time, as the whole country was

busy fighting for freedom B. M. Srikantiah retorted through another speech

titled "A poet is also a builder of a nation". In this he gave the example of

Milton, the great English poet, who had gone out of England for studies,

but came back as soon as he heard that there was a friction going on between

the Puritan party led by Cromwell and the Royalists. Milton had sided the

Puritans and helped Cromwell totally. So we may venture to say that, this

incident exemplifies the fact that B. M. Srikantiah did not give his speeches

just to create awareness among people about literary renaissance. It also

shows that he was himself well aware of the fact that a speech with a political

background would lead to unification. His involvement in politics was to

the extent of attaining a united Kannada land. Therefore to give speech

with a political intention is itself renaissance - as this aspect was not thought

of earlier. A poet should not be condemned during a freedom struggle - for

his non-participation. On the other hand he contributes to the welfare of a

state in his own way. No one's fight would be useless - whatever be the

method adopted1.

1. V. Si, Sri Sahitya (bjt ro4o36) - , p.36

110

In his 'Matru bhashe-Desha bhashe' B. M. Srikantiah gives expression

to some of his political views. India never had any single language as a

unifying factor for the whole country. In a federal government each province

becomes a state, each state would have a government - the boundaries would

be divided and the language of the state would form the basis for everything1.

This idea of B. M. Srikantiah suggests his views about unification. Here we

see the birth of the concept of unification in B. M. Srikantiah's writings.

He wanted students trained in different fields so as to let them work for

Kannada. For example he wanted a group of trained students to explain in

Kannada all the aspects of — ' The elements of the concepts of freedom in

the constitution.' Thanks to his efforts then, today we have 'administrative

Kannada', where Kannada is made compulsory in administration, so that

we can say that Kannada is enriched to that extent.

B. M. Srikantiah calls Kannada renaissance a resultant of communication

with the English and the awareness and pride created through that contact.

His opinion was that Kannada and Kannada Sahitya Parishat would develop

only with the help the King or the ruler and the teacher apart from the

support of the people. He gave more philosophic meaning to "freedom and

independence". Renaissance is a spirit which grows imbibing all the

nourishment and grows into a life with more energy and more freedom.

Further, the meaning of Salvation according to B. M. Srikantiah is movement

towards Truth and Dharma. This to some extent is different from what his

contemporaries would aspire for2. A writer of the modern world would be

its child also educated in universities, learning different and foreign

1. BMSri, Matru Bhashe-Desha Bhashe- Sri Sahitya (sSn^jpwS-rierit^-^e ro&ij, p. 287 2. Kannadada Navodaya Mattu BMSri- Srinidhi -Sri Sahitya (ifc ri ji pecjojj ;£>;&, a&obj -

bj7®b3b ),p.302

111

languages such as English and at the same time not neglecting or even

refusing his mother tongue Kannada. This young writer would have to be

an expert in English1. B. M. Srikantiah took upon himself the task of chalking

out the study of Kannada language and literature; he depicted the picture

of modern (renaissance) writer.

The feature of renaissance is opening of the mind for newer things,

including everything that is good into our own language and literature and

life. It is the dawn of a new life. Renaissance does not mean creating from

the old dilapidated debris. It is not collecting the pieces and inviting them

into a whole nor is it just an imitation or following others. It is a courageous

act of new construction; having new ideas and taking a rebirth. It is a deeper

synthesis of including the old and the new, ones and others and mixing

them all to churn and get a new life - new literature. It is the new literature

which sprouts out of the old2. Whatever the name given this new life would

affect the literature. In Karnataka this new spirit has to grow and spread in

all fields. It would not be wrong to say that Renaissance for B. M. Srikantiah

was a very great thing happening not just for literature and society - but

also something including all that is spiritual, philosophic and more basic to

human existence. In the impermanent quality of life - change is inevitable.

Without change, life would be stagnant water. Therefore renaissance is a

must because it is an advancement over what was already there (This is the

concept of renaissance, according to B. M. Srikantiah). He has said that

during the renaissance in Europe a learned man had announced that they

were going to awaken the dead. But now Kannadigas have to come forward

to awaken those who are alive.3

1. BMSri, Kannadigarige Olleya Sahitya-Sri Sahitya , p.275-76 2. BMSri, Kannadada Punarujjivana- Sri Sahitya (ti?$j&ti gjsfcfcaktsfc* -bj TO&^ ), p. 254 3. Haa Maa Naa, Sangati, p.22

112

B. M. Srikantiah actually motivated the Navodaya period of Kannada

literature. For this purpose he travelled throughout Karnataka - its length

and breadth. Particularly he chose the border areas of North Karnataka which

were affected by the surrounding states because of their political supremacy.

He inspired brotherhood among the Kannadigas. There was a time when

he himself would not appreciate to give a speech in Kannada; he preferred

English, but those were the days before his dedication to work for Kannada.

Once he plunged into this struggle, he not only gave speeches in Kannada-

without using a single English word at times, but also encouraged others to

do the same. In fact he had earned a very high reputation in rousing the

feelings of Kannadigas for Kannada language as well as for their state.

He encouraged and set an example in writing new Kannada poetry,

(for example Honganasugalu, Englsih Geethegalu etc.) and critical works

on old Kannada works. He also opened a new form of Kannada drama in

writing tragedies on the lines of the Greek tragedies (Parasikaru,

Gadhayuddha, Ashwathaman). All this was later taken up by his students

who continued his work. Most of the Kannada writers after that time, were

the students of B. M. Srikantiah. (A. N. Murthy Rao, Kuvempu, S. V.

Ranganna, M. V. Sitharamaiah, etc.). All these students were inspired by

B. M. Srikantiah and were ready to work for Kannada. Most of them had

studied English literature - students of that faculty - but all of them enriched

Kannada under the inspiration of B. M. Srikantiah.

This is his greatest contribution to Kannada1. When he said that Kannada

should become the life breath of Kannada people, that it should become a

means for their development and start of a revolution2 - he meant the

1. Lakshminarayana Rao M. N., Savinenapugalu-Srinidhi (&,«$),, p.71-72 2. BMSri, Nanna Jiva Mantra - Sri Sahitya (rf^ eserf sbo^-ty? TO2»36 ), p . 330

113

revolution not only from the point of view of language but also that the

land of Kannada which had been cut into pieces, should unite to form a

whole belonging to Kannadigas. This was a call for unification. B. M. Srikantiah

introduced the changing times and the changing society and way of life to

Kannada people. This had to happen only through literature. Therefore he

said that the study of literature is not something belonging only to the

students of literature. On the other hand, every person belonging to the

Kannada land, should study different literatures so that his own horizon

expands and in the process Kannada gets enriched. Earlier to this only the

old epics ruled us in literature. Every smaller work was picked up from or

imitated, one of the epics. Even when Muddanna brought in some freshness

in language and presentation, the content was the same old stuff. We never

realised that the time had come to advance, to give up the old and to pick

up the new. This was done by B. M. Srikantiah. He opened as it were, the

floodgates of knowledge to Kannadigas. He in fact, insisted upon the study

of different languages so as to learn from them about the good and bad of

those. Opening our eyes and looking around to know where we stood was

his idea. This awakening was started by him. Perhaps prior to him there

were others who had known about the greatness of other literatures or the

good that our language contained, but none of them encouraged, motivated

others to take this up. This became a social task for B. M. Srikantiah. This

was his achievement too. If he wanted he too could have written a number

of books so as to make himself remembered in the literary circles for ever.

But that was not his idea. His first and foremost intention was to make

others too work for the language. Only B. M. Srikantiah did this, others

followed him.

B. M. Srikantiah always insisted that the love for the language alone

cannot achieve everything. Love for the language along with the broad

heartedness to receive the good from others was equally important. People 114

should read the works in our language, from other languages - Indian or

foreign, compare them, see the^ood in the others and not just this, but with

critical analysis give up what is not worthy in our literature and accept

whatever is good in the others. This he considered the responsibility of all

the servants of literature 1. He again and again refers to "absorbing world

culture". In his article "Kannada resurgent" he says, the best that has been

said and thought and done in the world, in the great literatures of East and

West should be absorbed. "Sift the Indian heritage- the true from the false,

the universal from the local and temporary; deepen, refine and popularise

it, so that a free, united, happy India may come into being and take her

place among the nations. Establish a living Catholic taste. Experiment in

freedom, work out old things and new in a synthetic imagination to enable

and enrich the human spirit"2. B. M. Srikantiah called the then Maharaja of

Mysore as the "grand master of the synthesis of old and modern cultures"

during the 16th Karnataka Sahitya Sammelana which met in Mysore. This

and many other good words said by B. M. Srikantiah from time to time

about the Maharaja was mainly because of the help rendered by the

Maharaja for the good work towards Kannada. B. M. Srikantiah was often

criticised by his contemporaries for being too obedient to the king. But B.

M. Srikantiah does not seem to have any ulterior motive nor does he seem

to have made any personal profit by these. Whatever he gained by this,

was what he gave to Kannada. It is very obvious that B. M. Srikantiah was

very impressed by the literature of the west and he wanted his own to be so

too. So his intention was to fill up the treasury of Kannada with the

translation from other literatures3 at first.

1. Ranna Kavi Prashasthi- Kannada Sahitya Parishat (d^ to tijtiK, Qd TOJO^ stoa^), p. 133 2. BMSri, Sri Sahitya (*/ TO&>36 ), p. 814 3. BMSri, Kannada Maatu Tale Yettuva Bage- Kannadigarige Ollyea Sahitya - Sri

Sahitya (ttji j&53b 3d &&p tort ), p.255

115

In his 'Mathrubhashe - Dshabhashe' he thinks about the upliftment of

Kannada language from various points of view. Here he must have thought

about the aspects to be imported from English and other languages. He

seems to have entertained certain doubts in his mind about his people

accepting other languages and culture, therefore his insistence that

everything should be weighed and accepted only if they are beneficial.

However he had total confidence in English being the only language for the

upliftment of Kannada1. Considering the times and the British being the

rulers this thought appears quite acceptable.

Navodaya literature in Kannada like the renaissance literature in the

West is more realistic in approach. All the works of our ancient literature

are not totally down to earth. They are elevated in their thought, presentation

and approach. Where as the renaissance literature is more realistic,

pragmatic and humanistic. Ours is more idealistic which kept away from

common place life. The realistic approach in literature is definitely an aspect

liked and appreciated by the Navodaya writers - staring from B. M.

Srikantiah. B. M. Srikantiah always dreamt about Kannada - its greatness;

and the good that would come to Kannada land. He would become highly

emotional when it came to Kannada and Karnataka; it only shows his

attachment to his mother tongue and land and his dedication as it's

prestigious son. The emotional outbursts from B. M. Srikantiah had the

greatest effect upon the people. B. M. Srikantiah worked for the Kannada

Shaitya Parishat in different capacities. He called it the "Public educational

Institution" for all Kannadigas. The main ideal of this institution is the

progress of Kannada and Kannada people. The birth of Kannada Sahitya

1. BMSri, Kannada Maatu Tale Yettuva Bage- Kannadigarige Ollyea Sahitya - Sri Sahitya (teji sto&> 3d s&ji tort ), p.250

116

there was no cleverness in using a language (for writing) which cannot be

understood by all1. With the same intention he also says that Kannada

people would not benefit, nor would Kannada develop if we only stuck to

our old classics and do not try to look around2. Modern world requires

modern ideas and modern ways of presenting them. If there is no change

in literature too, like in other things, it become stagnant water. The main

purpose of B. M. Srikantiah in doing all this was to let new waters flow into

the literary world of Kannada literature. Unless a change is brought about,

the service rendered to one's mother land would not be complete3. From

the literary point of view B. M. Srikantiah's service immediately had an

effect that is, the use of a single Kannada language or only one literary

language was used henceforth.

The spoken dialects were different because of the influence of the

neighbouring states (like the people of north Karnataka spoke Kannada with

a Marathi influence; people of Bidar and Bijapur mixed a lot of Urdu in

their Kannada, similarly a lot of Malayalam words crept into the Kannada

of Kasargod etc.). But the modern Kannada written language became a

common one. This remained so for a longtime. This also brought about a

sense of oneness among the Kannada people and this was also an important

system needed for unification.

Language and subject matter are closely connected. When the language

changed, the subject matter also had to change accordingly. When the spirit

and outlook became modern, the old religious note in all the literary works

1. BMSri, Kannada Maatu Tale Yettuva Bage- Kannadigarige Ollyea Sahitya - Sri Sahitya (fc ri sfcaab 3d £>&jzi zort ), p.254

2. BMSri, Kannadigarige Olleya Sahitya- Sri Sahitya, p.268- 269 3. BMSri, Kannadigarige Olleya Sahitya- Sri Sahitya, p.275

118

disappeared1. Logical thinking and pragmatic views took their place.

Experiments were called out in meter, style, form and subject matter. The

beginning here was done by B. M. Srikantiah . He again and again in his

different articles vehemently says that the change that came over in Kannada

language was due to the influence of the west, particularly the English;

because the English had spread over the country. Mainly who learnt English

worked for their own vernacular language. Not just in the worldly affairs

but also in philosophic terms English brought renaissance for us because it

created new aspirations, new emotions and even awakened our

consciousness to the greatness of our ancient history, heritage and pride2.

Study of English also brought the sense of nationalism and the love for the

nation.

The ideas of India as a national whole was a new one for Indians. This

sense was awakened only when the Europeans, English started taking

advantage. Philosophers like Max Muller had to reveal the greatness of

Indian philosophy and historians like Sewell had to expose the greatness of

Indian history and heritage3. Fleet, Lewis, Rice etc., worked for Kannada

Prose writing in Kannada slowly started taking shape. This was a

direct influence of the English prose; many other forms of prose writing

was added in abundance4. B. M. Srikantiah tried to frame the modern

Kannada laungage including the modification in letters. He was so pleased

with his own work of inspiring the youngsters and motivating the general

public, that he out burst that he could see changes everywhere. "Kannada

l.BMSri, Sri Sahitya (bj^^, p. 828 2. BMSri, Deva Bhashe, Hoona Bhashe, Sri Sahitya (k/*»&36), p. 289 3. VC, Sri Sahitya - Parichaya - Kanike- (&,e*»&36-5ie&to±> - esrftf ) , p. 25 4. BMSri, Sri Sahitya (^wak^), p. 827

119

literature is shaking itself free from the domination of old ideas and forms

and is blossoming vigorously in the hands of a young, educated, patriotic

band of writers, novelists, poets and publishers. It is passing the stage of

imitation and translation, is striking out in all directions, responding to

inspirations local as well as all Indian, present as well as the past. There is

an outburst of activity which is full of promise for the future and gladdening

to the heart of every lover of Kannada. B. M. Srikantiah was the greatest of

all". He brought a new out look to the old Kannada literature, therefore a

new point of view was adopted by the later writers.

B. M. Srikantiah was one of the earliest to have attempted writing the

history of Karnataka literature. Though this was earlier done by R.

Narsimahacharya, in the form of 'Kavicharite", B. M. Srkantiah work seem

to throw more light on the historical importance of the work. This also was

the first to create historical criticism of the literary works. In his" Kannada

Kaipidi" (A guide to Kannada) prepared to establish for the newly started

Kannada M. A. classes, he included topics like linguistics, poetics, meter

and literary history. Though including only guidelines it is considered a

valuable book even to this day. He did a lot for Kannada language and

literature with a lot of forethought when he was in the Uinversity. This has

been said again and again by his students like A. N. Murthy Rao. Though

A. N. Murthy Rao was not his student in the Kannada class, still they were

aware of B. M. Srikantiah's activities for Kannada. Speaking about B. M.

Srikantiah's activities he says, that during those days B. M. Srikantiah's heart

was occupied with aspects which were necessary for the upliftment of

Kannada alone.

Kannada people and Kannada culture; that became the motive force in

him. For this we need to be greatful to him. With his poems and lectures he

120

influenced the Kannada people to work for Kannada. This calls for gratitude

from us. He awakened people to a literature which was not just the" Raya

Kelenda" (listen, O, King), with which people at that time were satisfied.

He gave a voice to the Kannada people who did not even know to ask for

being united.1

He traveled all around Karnataka for nearly ten to twelve years, giving

lectures regarding various aspects of literature and about Kannada literature

in particular. He also continued the tradition of celebrating the festivities

connected with the culture and language of the people such as Durgastami

and Vijayadashmi. This had a lot of influence on the people with regard to

our heritage. Because these festivities were an important part of the

kingdoms of Vijayanagara and Mysore Wodeyars. These were from

historical times considered part of the festivities of the Kannada people.

Therefore they were means of bringing the people together. As the vice

president of the Sahitya Parishat at that time, he introduced novelty in all

the activities2 Later he also decided to go to Dharwad, so as to continue the

developmental work started by Sri N. S. Subbaraya of Kannada Development

Programme.3 Many times it is felt that his lecture programmes and other

activities were a loss for the creative writing in Kannada. which perhaps he

would have otherwise undertake.4 Without such programmes he could have

devoted more time for creative activities in Kannada. But then, who would

or could do the work done by B. M. Srikantiah? It was him and his

personality and his devotion which could start and continue the work for

1. Murthy Rao A. N., Chitragalu - Patragalu (a rtsfe - sJ^rt* ), p. 82

2. Gokak V. K. Indina Sahityada Gottugurigalu ( oarf ro&36d rtjajb/borttfo), p. 128

3. V Si, Sri Sahitya (&,ero&>36), p. 48

4. Gokak V. K. Indina Sahityada Gottugurigalu (^oari ro&36ri rl©&/bertvb), p. 130

121

Kannada. For, what he did then has not only lasted, it has grown and opened

newer avenues for younger, creative writers in Kannada. However,

B. M. Srikantiah's intention in not writing much, but lecturing more perhaps,

was to reach the masses and reach them more quickly. Therefore he would

go to places and lecture about Kannada and Kannada land, which was still

non-existent rather than sit in a corner and write. That was the urgency of

the times. In A. N. Murthy Rao's views, B. M. Srikantiah had declared war

with the Kannada flag in hand, against the enemies of Kannada.1 He made

all the propaganda necessary with his speeches,l pricked the pride of the

Kannada people; was hard towards those who had forgotten Kannada, in

the love for English or Sanskrit.

While the poetic field in the West was changing (poets like T. S. Eliot,

Ezra Pond, etc) B. M. Srikantiah had started another kind of change in

Kannada literature. The language of English Geethegalu was highly suited

for the literary Kannada which did not exist prior to this. The English

background in some poems had been very deligently and delightfully

changed to suit local condition's for example Lord Ullins's dagughter The

translation of English Geethegalu brought a new wave of thought and style.

The influence of English literature brought a new approach to Kannada

literature. Until then Kannada language also was not suitably adopted in

literary forms of the modern times. When the language closer to the people

was brought into literature everything changed. This change was brought

about mainly by the works of people like B. M. Srikantiah. English education

had changed the out look of people on different aspects of life. This inturn

changed the forms and subject matters of literature. Though translations

1. Murthy Rao A. N., Chitragalu - Patragalu (tSal/tab - sft,rteb ), p. 84

122

into Kannada from English dramas had taken place, there was no significant

translations from poetry (Hemachandra Raja Vilasa by M. S. Puttanna (1899).

'Navodaya' school in English literature marked the renaissance in Kannada

literature. Many young poets followed the foot steps of B. M. Srikantiah.

According to A. N. Murthy Rao, "revolutions have taken place in Kannada

literature ; but the anthology 'English Geethegalu' started a fruitful

revolution". This statement indicates the importance of the anthology.

According to K. V. Puttappa (Kuvempu) Sri was the forerunner of the new

age. He came to light after his anthology of English poems (English

Geethegalu) was published. Still his influence like an under ground flow

of water, has watered several trees.1

Every form of literature that B. M. Srikantiah worked in were

trendsetters. His translations of English poems was a new introduction to

poetry. The concept of tragedy was a new idea. Indians who were always used

to a happy ending in a drama were exposed to a different kind of presentation

through this. Again his critical work in literature introduced students to

that particular form of literature. Similarly, he started strongly the idea of

writing the history of Kannada literature. It was his idea too to publish and

print books, so as to reach the common people easily. He wanted the study

of Kannada literature to be done in a systematic way. Therefore he helped

the start of the Kannada department in the University. He would have

gained name and fame, just for himself; without working for the language

or for the people of Kannada if he had only thought of producing more. His

creative works would have increased perhaps; the contribution to literature

would still be done. But that was not the intention of B. M. Srikantiah. At

1.Kuvempu, Audhinika Kannada Vaagmaya, Viswa Karnataka, Yugadi Edition, 1931 (et?b3tf e^ri srot oob, €. a. s^q^, a^ tfsfcrutf, oiorrea tiotS€, ora.o)

123

an early stage in life he had decided to work for Kannada (while he was

still staying at Madras - 1907) 1 ; dedicated himself for its development.

Therefore he introduced several developmental experiments to Kannada

language, literature and the people. He wrote just enough in many forms

of Kannada literature, to introduce it to the young Kannada writers and let

them work there., he ws more a maker of poets than a poet himself.2 It

would be very important to quote the words of V. Seetharamaiah about B.

M. Srikantiah. He says that 'Sri's work was more even as a creator of talent

than as a contributor, though as a contributor he is as great.3 His wish to

strengthen his language and land was almost a mad emotional rage for

him, as seen in several of his speeches about Kannada, starting from

(Kannada Maatu Tale yettuva Bage). Hence his writings are less, while his

inspirations all more. Because when it came to Kannada language and land,

B. M. Srikantiah would become highly emotional, he considered it very

personal and it shows his attachment to his land, as it's prestigious son. It

was his emotional outbursts that provoked people. Unless such dedication

was there, and emotions were expressed, people would not be motivated.

1. BMSri, Kannadigarige Olleya Sahitya- Sri Sahitya (tf^artert t» ,ab SK>&>36 -bj ?a&>36) -p. 57 1. Ananthanarayana S. (as*. e#o3 fssosabts ) -p. 250 3. VC

124

B. M. Srikantiah and Unification

B. M. Srikantiah was a part and parcel of the unification movement of

Kaarnataka and therefore an important part of Karnataka history.

Renaissance and unification went hand in hand here. While renaissance

referred to the cultural, social, educational and literary movement,

unification refers to the political movement. The literary movement also

was a part the of political movement. Because , all those who worked for

the political movement were also a part of the renaissance. This refers to

the stalwarts in the Kannada literary field - starting from B. M. Srikantiah.

The movement which started as an upliftment of the language continued as

a movement finding liberation and unification for the Kannada speaking

people. In this respect a detailed history of Karnataka, which was never a

unified whole, prior to 1956, has been traced in the general topic concerning

unification movement in this work. However here it is important to refer to

it again because B. M. Srikantiah, the most important figure in the renaissance

of Kannada, also played a major role in the unification movement.

The political unification of Karnataka took place on the 1st of November,

1956. Karnataka prior to this was never a unified whole, though Kannada

language was spoken by a large number of people in different areas. All

these areas were spread out and were not recognised as a single whole. In

fact even the name Karnataka, was given much later in the year 1973. Before

this it was called the 'Mysore State'.

125

The definition of Karnataka would mean, that area of the country, where

the people spoke Kannada language. Therefore the land of Kannada

speaking people is Karnataka. Therefore it goes without saying, as the name

itself indicates, that all the areas-where people speak Kannada should belong

to Karnataka. However this simple rule has not been implemented verbatim.

Even in the historical times, the areas where Kannada speaking people

lived were never a unified whole. It belonged to different kingdoms ruled

by different kings or rulers. So much so, the Kannada speaking people

remained as second rate citizens most of the times. During the times of

kings and kingdoms likes Shatavahanas, Chalukyas, Kadambas, Gangas,

Rastrakuktas, Chalukyas of Kalyana, Kalachuris, Hoysalas, Yadavas or

Sevanas, kings of Vijayanagara, Bahamani rulers, Adilshahis of Bijapur,

Baridshahis, Araveedu rulers, Palegars, Nayakas and Wodeyars ruled parts

of what is now called Karnataka. During all those times there were Kannada

speaking people who at the same time belonged to different kingdoms.

While a ruler conquered a part of the land where Kannada speaking people

lived, that part would be separated from the rest of that Kannada speaking

area.

It was mainly during the British rule that the idea for a unified Kannada

speaking area was suggested. Surprisingly this was done by a British officer1.

Sir Thomas Munro, who was the collector of Bellary district around the

year 1800 had suggested that Dharwad was very similar to Bellary, Sandur

and Mysore and these should belong to a unified whole. He also had said

that people speaking a same language would enjoy being together. However

this suggestion by the British officer was overlooked by the British

1. Gopal Raya H. S., Karnataka Eekikarana Ithihasa ($SS>FUS adetfdre ^Asatf ), p.62

126

Government. In the north of India Oriya speaking population and Biharis

had already aspired in 1876 and 1896 respectively to have unified states of

their own based on the language1. During the division of Bengal in 1905,

people revolted. Even the Montford report of 1919 announced that the

division of India which came under the British rule had not been done

satisfactorily. Though the British in general divided the states and provinces

according to their conveniences, there were people among them who had

opposed this, saying that division on the basis of language would be better

as there was homogeneity among such people and that the people would

be happier that way. However all this was over looked by the British rulers.

The words quoted earlier in this same work about the theme of the

anthology 'Hongnasugalu' can be referred to here again. Because many

poems in this anthology by B. M. Srikantiah are about patriotism and

description of our land and language, culture and heritage and the courage

and strength of the youth of the country. Here again B. M. Srikantiah has

given expression to his desire about the state and the country. His feelings

for the state as well as for the country are vividly expressed. B. M. Srikantiah

set the ball rolling by creating a sense of patriotism and pride among people

about their land and culture, this inturn would beget unification which

would be a very natural outcome of such sequences. A similarity may be

drawn here from the reformation times of European history.

The renaissance there, made way for reformation. Martin Luther's

questions about the Bible and the religious practices in turn, called for a lot

of changes and reformation in the church. Similarly here, the renaissance

in Kannada language led to the political out come of the unification

1. Gopal Raya H. S., Karnataka Eekikarana Ithihasa (&5SFUtf aactfdra ^Asa* ), p.63-64

127

movement. While the renaissance in the literary field was occuring, the

awareness among people for a single land of their own was also growing.

Renaissance is inquiry - into every aspect of life. From this point of view

Kannada renaissance and unification movement are very closely connected.

In the context of Kannada literature, the traditional writing within the

framework of 'Dharma' came to be altered, because of the changed

circumstances and starting of questioning spirit. Literature was released

from the clutches of the traditional ways of writing. It became more free

and secular and that very" freedom" led to unhappiness among the people.

The very same people earlier, while they were ruled by many a king, never

bothered about claiming unification. While, at this point of time they aspired

for it, asked for it and were ready to fight for it. Meanwhile there were

people like B. M. Srikantiah who were ready to inspire them for it. There

were many writers and poets like Govind Pai, Kuvempu and Bendre etc.,

who gave expression to their feelings of patriotism and the support for

unification, but B. M. Srikantiah not only gave expression but also travelled

throughout the Kannada speaking land, in order to awaken people. As H.

M. Nayak says, "B. M. Srikantiah was awakening people who were alive

but appeared dead" but not responding to the idea of unification. Unification

was not just a movement - its ultimate was to gain unification and become

a united land. For this to be achieved all Kannadigas had to jump into the

fray. The motivation for this was inspired by B.M.Srikantiah through his

talks and lectures.

When B. M. Srikantiah travelled all over Karnataka with the intention

of awakening people, he also realised the hard reality of illiteracy among

people. Unless this was driven away, awarness in any programme would

not be possible. Realising this B. M. Srikantiah wanted to fight this and

128

hence gave importance to literacy (prasara) programme. In fact he became

the first president of the Akshara prachara samiti. B. M. Srikantiah also

worked for the imporvement of Kannada alphabets1 (Though this

programme of change in the letters never took off, the intentions of B. M.

Srikantiah to educate people and make them literates as early as possible is

very clearly seen).

The taregt of B. M. Srikantiah's efforts were to achieve unification of

Karnataka and this target also reflects his love for the country on the whole.

At this juncture we are reminded of another person who made efforts

ceaslessly to achieve unification. This is non other than Alur Venkata Rao.

A similarity between the two may be drawn here because both of them

considered serving the state as important as serving the country. While the

state as well as the country was in doledrums both these leaders decided to

save the state which in no way was inferior to serving the country.

A spark is enough to light a great fire and what B. M. Srikantiah had

done was only to sparkle and ignite. In fact just before his death, he had

spoken very vehemently about unification and argued on the stage with

another orator. This suggested the amount of concern he had for Kannada

land. He had completely devoted his life for this and at the last moment

even sacrificed it.

B. M. Srikantiah held a very high position in the view of his

contemporaries and youngsters because of his scholarship and also because

of his capability in creating love for Kannada. When S. S. Malawad was the

professor of Kannada in the Karnataka college Dharwad, B. M. Srikantiah

considered him the representative of Kannada in the Mumbai government.

1. Seetaramaiah M. V., Srinidhi, p.377

129

With his view towards unification B. M. Srikantiah nominated S. S. Malawad

for the Kannada Board of studies in the Mysore university . S. S. Malawad

refers to B. M. Srikantiah's journey to many parts of other states where

Kannada people lived1. His greatest contribution to Karnataka was in

training large groups of students not only to work for Kannada but also for

Karnataka. He is said to have collected and organised a Kannada army.2

He loved English language, he may have liked aspects of the disciplined

life of the English, but never liked their rule. So a subtle difference existed

between his liking of English and the British. Even as a young boy, while

he was in Srirangapatna, he had revolted against the visit of a viceroy to the

town. Whenever an English official in a higher position, such as a

commissioner, a viceroy etc., visited, a great pomp and show was made by

the people at Srirangapatna. They would decorate the whole town to

welcome the English man. Once on such an occasion, B. M. Srikantiah, a

young boy then, along with his friends removed all the decorations

overnight3. In the morning when the officials saw, they were shocked to

see empty roads devoid of all decorations. This incident shows his

patriotism.

Siddaiah Puranik refers to B. M. Srikantiah's visit to Gulbarga (Kalburgi)

which electrified the Kannada population there. Because, while Urdu was

the medium of instruction, Marathi was the spoken language and no one

could speak Kannada openly. They were looked down upon and people

were afraid to openly declare themselves Kannadigas. During such a

situation B. M. Srikantiah visited the place to participate in a few

1. Malawada S. S., BMSri Nanu Kandante-Srinidhi (a.«ao. bj <3K£> *odo3 - bjd$>), p.49-50 2. Lakshminarayana Rao M. N., Savinenapugalu-Srinidhi (*,es>p), p.72 3. Vani - Sri Sowrabha (fc/^dtf - sn>c3), p.71

130

community festivals (festivals connected with language and culture) and

his speech about Tampa"1 had a grand effect on the listeners and people

slowly came out of their shell to openly accept Kannada as their mother

tongue and then started the work for unification. The guts to accept and

fight for their situation was evoked by B. M. Srikantiah.

B. M. Srikantiah used to welcome and participate in any function

concerning Karnataka unification and Kannada. As the principal of JSS

college in Dharwad, he again and again invited people who were interested

in Karnataka unification, to give lectures and speak to the students to inspire

them. Unified Karnataka and unity of the Kannada people was his life

breath. He believed that the bridge over the river Thungabhadra should

become not just the cement and concrete bridge that it was, but a bridge to

unite the people of north Karnataka and kannadigas of Mysore State. For

this purpose he wanted to invite people with such interests to his college

often. In this context people like S. S. Basavanal and Mudaveedu

Krishnaraya had visited the college once on the invitation of B. M. Srikantiah

and spoke about Karnataka unification. At the end as the president of the

function, B. M. Srikantiah not only spoke about unification, but also took

out a Karnataka map (a map of total unified Karnataka) and as a token of

the unity of Kannada people signed on it along with Sri Basavanal. This

map was preserved in his principal's chamber. This incident has been

recorded by R. Y. Dharwadkar2.

All these again and again only stress the fact that B. M. Srikantiah was

very keen on unification and that he was very closely attached to this aspect.

l.SiddaiahPuranika,SriSmarane-Srinidhi (bjrtjdfi - bjd§),), p.76 2. Dharawdkar R. Y., Dharawadadalli BM Sri-Srinidhi (t?scSi33ddO„ o. <ao. bj - fc/ap ),

p.112

131

One more incident recorded by the same writer also reveals B. M. Srikantiah's

personal and emotional attachment to the unification of Karnataka. In fact

this incident also was the cause of B. M. Srikantiah's death. In the year 1945

in October, Dr, Pattabhi Seetharamaiah, one of the senior Congress leaders

of India, visited the college in Dharwad, where B. M. Srikantiah was the

principal. During the lecture which was arranged by the college, Dr.

Pattabhi Seetharamaiah spoke about the devision of the states on the basis

of language and his tone perhaps suggested that the state of Andhra would

be formed first and the rest could take a back seat. This irritated B. M.

Srikantiah so much that he immediately snatched the mike towards himself,

and though the presidential address was not in the programme, cut the

words of Pattabhi Sitramaiah to pieces. His voice was vehement, full of

anger and rage. His face had turned red and when Pattabhi Sitaramaiah

made an attempt to intervene, B. M. Srikantiah said 'A seasoned teacher

need not learn anything from a politician'.

The above incident once again affirms the fact that B. M. Srikantiah

was emotionally attached to having a unified Kannada land. Any thing

said either against it or in terms of postponement would anger him

immediately. This emotional outburst would not be possible unless a man

felt so deep within. In fact from the same platform he had further said that,

"unless the linguistic provinces come up there would be no development

at all" and further, that "he would make a crusade of that". From then on,

B. M. Srikantiah had started taking invitations for participation in the

'festivals concerned with language and culture' which a little earlier he had

stopped as it had started speaking upon his health.

He was several things at the same time - a scholar, a great orator, very

1. Dharawdkar R. Y., Dharawadadalli BM Sri-Srinidhi (t jdnariri©, a. ao. bjt - hp® ), p.116-117

132

good teacher, favourite of all his students, a great litterateur, and also one

of the persons leading the people for the establishment of Kannada state.

He was also a bridge between the north Karnataka and Mysore1.

Soon after this, the health of B. M. Srikantiah started deteriorating and

on the 5th January, 1946, even while he was talking to R. Y. Dharwadkar

and R. S. Mugali at his home, he passed away due to a massive heart attack.2

B. M. Srikantiah started his work with an intention to serve Kannada

language. Towards this his work was immense and he became the trend

setter in several forms of Kannada literature. Through these and by

motivating the youngsters and others he tried enriching the language. He

only showed the path and the continuation of work was taken up by others

- or rather, B. M. Srikantiah, never thought selfishly. If so, he would never

have taken a backseat where production of the number of works is

concerned. But his intention was not to make a name for himself alone. He

wanted others to join and even do greater work. This magnanimity was

recognised by the Kannada people. Hence they regarded him their

"acharya", the preceptor.

At the same time as renaissance in Kannada language, unification was

also becoming a problem. The broken pieces of Kannada land had to be

united. This became a major task for Kannada people. The people of border

areas were very eager to belong to a unified Karnataka. In this direction

when the question of unification came up, B. M. Srikantiah first worked

towards the emotional integration of the Kannada people. Again and again

in his writings he stressed the fact that the Kannada people should not lose

1. Dharawdkar R. Y., Dharawadadalli BM Sri-Srinidhi ( sdsssddiQ, a. «ao. fc,e - *,to§ ), p.116-117

2. Ibid

133

their patience and give room to differences. He lectured at different times,

from different platforms about the ideals to be held by the Kannada

litterateurs. All the dry fields of Kannada when B. M. Srikantiah started

his work, are now fertile and yielding plenty. In fact the work has gone

further than what B. M. Srikantiah perhaps thought. There has been

movements against the 'romantic movement' whi<3h B. M. Srikantiah started.

However the initiation was by B. M. Srikantiah1.

The leaders in Karnataka, before it was unified, held several social and

cultural programmes to bring Kannada people together as a prelude to

political integration. In this direction 'Vasntotsava' (Spring Festivals) were

celebrated. People from different parts of Karnataka came and participated

in the celebrations. This not only brought the Kannada people together but

also gave them a feeling of oneness. This also inspired a new energy in the

people which could bring unification. This was the opinion expressed by

B.M. Srikantiah about Spring Literary Festivals2. B. M. Srikantiah's book

' Kannadada Bavuta' (Flag of Kannada) expresses his desire for the unity of

Kannada people thus suggesting unification. B. M. Srikantiah also felt that

the Kannada Sahitya Parishat should publish the presidential addresses of

all the presidents of "Kannada Sahitya Sammelana". This would not only

give the history of the development of Kannada language but also tell us

about the hopes and desires of the Kannada writers. It would be the history

of Kannada land and also ultimately work towards bringing all the Kannada

people together. Reading of these addresses would inspire the Kannada

people for unification.3

1. Murthy Rao A. N., BMSri - Srinidhi- (a. <ao. *,e - «>/»§ ), p.39 2. Murthy Rao A. N., Sri Sahitya-Hindina Hiriyara Seve (». <ao. b/ - &oa3 Ux&d ?3es3), p.303 3. BMSri, Sri Sahitya-Grantha Prakatane (a. ao. bj - rt,o# eSjkZci ) , p.306

134

Many poems from B. M. Srikantiah's anthology 'Honganasugalu', are

about Mother India and Mother Kannada. In these he praises the beauty of

the land, its fame, the valour and spirit of the Kannada people. While saying

these he also calls them to fight further for the land. He refers to building of

a new Kannada land and inspires people to work for it. With these his

intention was to create patriotism followed by Kannada unification.

We had also been awakened to a sense of nationalism by people like

Maxmuller and Sewell who tried to highlight Indian culture.1 This revival

of our own literature and culture, naturally awakened the sense of

nationalism in the people. Similarly, the study of English also brought in

nationalism. The same spirit continued to bring the desires for unification.

In this context B. M. Srikantiah says, "Memories of over 2000 years of common

life and culture, the glories of church and state, the rich legacy of material

and spiritual wealth, and the blending of many peoples, the need of the

present, the visions of the future all combine to inspire people for a unified

state as well as a country"2. .

B. M. Srikantiah, in his article 'Mother tongue and language of country'

clearly expresses the desire for the need of different states within India on

the basis of language, because there is no single language for India. Each

state should have its own language. Therefore each state should have a

political boundary, with a government of its own and a language of that

state would be its foundation for everything. This idea itself suggests the

idea of the birth of unification in B. M. Srikantiah's writing. The different

parts of Karnataka had been formed about 100 to 150 years ago. They should

come together to from a single whole. A movement should start with this

l.V Si, Sri Sahitya-Parichaya -Kanike, p.25 2. Ibid, P. 829

135

purpose, and the centre had also agreed upon the fact that division of states

on the basis of language was the right thing. This would benefit all the

people of all the states belonging to different parts and speaking different

languages.

A land would develop only if the language developed and vice versa.

For the Kannada people, Kannada should be the language of transaction,

administration and education. If those are deprived not only would the

language diminish, but also the land would deteriorate. In order to improve

a land, improving the language of those people is most basic and very

important. The language of the common people would get enriched, if that

became the language of the state. Kannada needs that, in areas where

Kannada was the language of the people, many of those people belonged to

different states where different languages existed. B. M. Srikantiah felt that

separating the parts of Kannada land and Kannada speaking people - would

be like cutting the roots of a tree. The Kannada land had to come into

existence on the foundation that - the language of Kannada land has to be

Kannada language. The land develops if the language develops - such were

the ideas of B. M. Srikantiah about Kannada language and Kannada land1.

These basic ideas pushed him further to aspire and dream for a land of our

own and this also in turn influenced people who listned to him. Thus the

Kannada movement filtered down into a mass movement and here the

people's lives, needs and aspirations were at stake2.

Thus when a detailed study of B. M. Srikantiah's personality and his

work with a background of Kannada renaissance and unification movement

is made, the greatness of the personality, the amount of dedication,

1. BMSri, Matru Bhashe - Desha Bhashe- Sri Sahitya (stoa*, tpssS - rieri z&& - &,e*5>&36 ) , p. 287 2. BMSri, Sri Sahitya (*,e*s>&4), p. 829-30

136

scholarship and devotion to one's land is revealed. In the personality of B.

M. Srikantiah and his aspirations, a clear evolution can be noticed. At first

when he was without a goal, distraught as a result of several personal

tragedies, (like losing his wife and a child, blindness of his son and losing a

son-in-law at a young age etc.) he decided to work for kannada. His decision

was to dedicate his life for this. In the process he realised that the language

Kannada as well as the literature had to undergo a lot of change according

to modern times. So he took up that work as a crusador. Gradually, his

contribution came to be not the number of creative work he left behind, but

a large number of students who did that creative work to enrich Kannada.

So much so, we can very easily establish that his contributions in building

an army of creative writers is more than what it would have been, had he

done it himself. After this came the unification movement. B. M. Srikantiah

like the freedom fighters did not plunge into the arena, but prepared soldiers

to do this. For this sake he travelled, neglected his personal happiness and

health and ultimately breathed his last even while he was discussing about

this. So is it not fair on our part to consider him one of the foremost leaders

of Karnataka unification movement?

137

B. M. Srikantiah - Conclusion

The above study leads to certain conclusions. Firstly, B. M. Srikantiah

was born at a time when the English were supreme in our country and their

language had a place of pride in the society. Kannada was looked down

upon and people hesitated to call themselves Kannadigas or to write in that

language.

Secondly, B. M. Srikantiah, as a boy was naughty suggesting sharp

intellect. He studied not only English but also Kannada, Sanskrit and Tamil

in detail.

Thirdly, he had great admiration for the English and the British were

the role models to him. He wanted to bring about the synthesis of East and

West and considered Britain as the elder sister of Karnataka.

Fourthly, he became a widower at a young age and had domestic

problems like a blind son, widowed daughter, aged mother etc., which made

him turn towards deeper things in life and made him a profound thinker.

Fifthly, his profound thinking habit made him realise that for the

improvement of our country Western thought, science, technology etc.,

should be introduced in India to modernise her.

138

Sixthly, B. M. Srikantiah realised that that would not be possible unless

it is given in Kannada to Kannadigas.

Seventhly, for that sake he decided to uplift the status of Kannada and

bring about modernity into that language.

Eighthly, so he decided to chose teaching profession though he had a

law degree which was more lucrative..

Ninthly, as a teacher he became very popular and felt that reforms in

education are very essential and so encouraged new English schools which

were run with the spirit of nationalism.

Tenthly, he chose to write in Kannada so that people may understand

what he said and also feel respect for Kannada.

Eleventhly, he is called the father of Kannada renaissance in the literary

field and he inspired many people to write in Kannada and to introduce

new forms of literature into that language. From his times Kannada was

no more a language of epic stories alone but a language which dealt with

humanism.

Twelfthly, therefore we can call him the architect of modern Karnataka.

Thirteenthly, he realised the close connection between language and life of

people and introduced modernity into the society by introducing modernity

into the language.

He is rightly termed the father of Navodaya literature. Fourteenthly,

his services to Kannada are many fold :

(a) he popularised Kannada

(b) gave it a status

139

(c) introduced more forms of literature into it

(d) framed a syllabus for it's study

(e) started Kannada M. A. in the Mysore university.

(f) worked as the honorary professor of Kannada and

(g) brought the common man to the literary fold

(h) was the first to write the history of Kannada literature.

Fifteenthly, B. M. Srikantiah realised that Kannada cannot grow fully

unless all the Kannada speaking areas which were then ruled by different

states and provinces of South India were united into one political unit, that

is, he realised the importance of unification of Karnataka. In this respect he

was one of the earliest and foremost workers in the field. He attended

Sahitya Sammelanas, met people of various Kannada speaking area, tried

to bring about integration between them, toured widely and for this purpose

he refused the principalship, sacrificed personal benefits and health, and

died at the premature age of sixty one. Thus we see that this English teacher

instead of struting like other English teachers before the public of those

days, worked for the upliftment of Kannada without hesitation, sacrificing

so many personal gains. He brought about renaissance in the Kannada

speaking areas of South India through renaissance in Kannada language

and sowed the seeds of unification of Karnataka.

140