M R Srinivasamurthy: Littérateur and Connoisseur

Although he was sixty years old, he was like a thirty-year-old in mind and body – my dear friend, Srinivasamurthy.[1] Even now, whenever I reminisce about him, my eyes well up with tears. Srinivasamurthy grew up amidst comfort and happiness. His father Ramachandra Rao was an Amaldar.[2] Just like Ramachandra Rao, Srinivasamurthy too was handsome, generous, and belonged to a large family. He grew up with the love and respect of his parents.

Srinivasamurthy was thin and tall. His complexion was radiant like pure gold. He had an ever-smiling face and sparkling eyes. When he spoke, appropriate to the context his speech would be sensitive, strong, or humorous. At any rate, his words were captivating and filled with rasa.

After he became famous as a good orator, one day he was ready to leave home to become a lecturer in some institution. Then his father Ramachandra Rao pulled his son aside and counselled him in Telugu (his mother tongue): “Murthy, you have a good personality. That has to become even better. Wear this gold-bordered dhoti and this gold-bordered śalya as an uttariya.[3] Hold this walking stick in your hand, you will look more charismatic.” So saying, he forced his son to decorate himself.

When I first saw Murthy, he was pursuing his higher studies in Central College. Even at that time, he wore a zari-bordered dhoti. The fingers were adorned with rings and his ears had ornaments. His words had gravity. This was the time when he wrote the story Śyāmū.

T S Venkannayya and A R Krishna Shastry had a great liking for Murthy. It was only Murthy who had the intimacy to tease Krishna Shastry and make him an object of ridicule. None of us had that kind of rapport with Krishna Shastry.

Half the reason for this was the respect that Venkannayya and Krishna Shastry had for Murthy’s efforts in the field of literature. Murthy was well-versed with all the best Kannada poems published in his time. He could recite from memory and expound several poems in Haḻagannaḍa (Classical Kannada). And as for Śṛṅgāra-kāvyas[4], he was a veritable treasure-trove.

Once, at our guesthouse in the Sāhitya Sammelana (Kannada literary conference; probably the one held in the city of Raichur), four or five of us had to take a bath and were waiting outside the bathroom for it to get vacant. We had removed our shirts and had worn a towel around our waists like a small dhoti. Krishna Shastry poked me and asked, “Did you see Murthy’s chest?”

Murthy said straightaway, “Shastry, what’s clouding your brain? Don’t you know the bhramara-kīṭa-nyāya?”

(Once, a bee catches an insect for its food and keeps the insect in front of it. That insect stares at the bee scared out of fear. In this manner, by concentrating fully on the bee the insect becomes like the bee. This is an ancient poetic convention – whatever we focus our minds on and think deeply about, we become that.)

Listening to this reply, Venkannayya, Shastry, and I drowned in an ocean of laughter. This was Murthy’s connoisseurship – full of rich retorts.

Some years earlier, the poet Ranna’s millennial anniversary was celebrated in the [Kannada Sahitya] Parishad. Murthy gave a speech on that day. In the beginning he pointed to me and said, “Look at how this gentleman has come on this occasion. He has a zari-lined turban, he’s wearing a gold-bordered dhoti and a kurta with an air of royalty. Isn’t this how we must show respect to our emperor of poets? To Kannada literature lovers, the emperor is Ranna – Ranna of Gadhayuddha fame, Kavi-cakravarti Ranna.”

Saying many such things, he roused the spirit and curiosity of the gathering. Afterwards, he described Draupadī and Bhīmasena’s words and mental state in an impressive way that touched everyone’s hearts. The attendees were delighted. In the end, in my presidential address, I mentioned that Murthy’s speech was beautiful.

Murthy got up and said, “Sir, please see who is seated there. If such people are in front of me what else will a speech be, if not beautiful?” So saying he pointed his fingers at someone. It was his wife.

Murthy was such a person.

In the early days he worked as a High School teacher. By participating in the ceremonies of the Boy Scouts and other activities, he was regarded as the friend of students. He had also written scouts songs. His play Kanṭhīrava-vijaya was written for the scout teams to enact. The shows of that drama became successful.

After some years, he became the principal of Normal School. In 1934-35 he was a principal of Normal School, Malleswaram. Every evening by six, he would come to the Parishad without fail. Fifteen minutes before that, he and Krishna Shastry would partake of some light refreshment (typically fruits) and come prepared to work. Between six and eight they would prepare the library catalogue. Krishna Shastry would call out the name of the book and Murthy would write that down and add details. Like this, twelve to eighteen months passed by.

Murthy was a man of extraordinary competence. In the morning he himself prepared upma[5] and coffee. As soon as he finished distributing it, he would write down the story or play that he would have mentally conceived until then. In the afternoon, a peaceful lunch. Often he would join the banter and eat leisurely. After that he would write a couple of pages on grammar or prosody. In the evening he would give lectures about the Śiva-śaraṇas. In the night he would compose a song or a poem. All this was effortless for him. There was no exertion in any of these activities.

Murthy came from a large family. The growth in the circle of relatives does not guarantee friendly faces. There are several situations that pained Srinivasamurthy. Many a times, his eyes moistened upon recalling and contemplating about the dilemmas that he faced. Since he had abundance of experiences of happiness and sorrow, he had a tender heart. His insights were corresponding profound.

Murthy earned a great deal of fame due to his scholarship in Vīraśaiva literature. He belonged to the vaiṣṇava brāhmaṇa sect. For such a person to not only grasp the essence of Vīraśaiva principles and perceive it correctly but also to expound it in a way that earned the appreciation of Vīraśaiva scholars stands testimony to the sharpness of his brain, his generosity, and his large heartedness.

He wrote treatises like Bhaktibhāṇḍāri and Vacana dharmasāra with such sincerity and ease that it rivalled the manner in which a born Vīraśaiva might expound the ways of his sect.

Many Vīraśaiva maṭhādipatis (pontiffs) bowed to Srinivasamurthy’s scholarship, insight, sincerity, and compassion and as a sign of their happiness, gave their blessings of ‘bhasma rudrākṣi’ and other prasadas (holy offerings). Among the people who shed light on Vīraśaiva literature, Ra Narasimhacharya was the first and Srinivasamurthy was the second person.

The way Srinivasamurthy came upon his death brings dishonour and disgrace to our country’s system of public hygiene. He died of cholera. This is an incurable disease. If the food items and water of a town are unpolluted, cholera will not affect such a place – this has been proved by scientists. By some misfortune, that bacteria surfaced in the place where Srinivasamurthy lived in Bangalore. For five or six days Murthy experienced great discomfort in the hospital on Magadi Road and then shut his eyes. For people like me, the desire to live shrunk by half.

This is an English translation of the twenty-sixth chapter of D V Gundappa’s Jnapakachitrashaale – Vol. 3 – Sahityopasakaru. Edited by Hari Ravikumar.

~

Don't miss Prekshaa's annual book launch at 10 am on Sunday, 8 December at Gokhale Institute of Public Affairs, Bangalore.

Click here to know more!

Footnotes

[1] See Episode #10 of the first volume of Jñāpaka-citra-śāle

[2] Chief Revenue Collector

[3] Dhoti is a garment wrapped around the lower body and uttariya is wrapped around the upper body; śalya is akin to a shawl

[4] Poems that have śṛṅgāra (loosely ‘romance’) as the theme

[5] Upma, uppumāvu, or uppiṭṭu is a breakfast delicacy typical to South India

Author(s)

About:

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

Translator(s)

About:

Arun is a software professional with a keen interest in dramatics, writing, Indian culture, and emerging technologies. He is usually short on time with work and family but always tries to squeeze time for his interests.

Prekshaa Publications

Among the many contributions of ancient Indians to world thought, perhaps the most insightful is the realisation that ānanda (Bliss) is the ultimate goal of human existence. Since time immemorial, India has been a land steeped in contemplation about the nature of humans and the universe. The great ṛṣis (seers) and ṛṣikās (seeresses) embarked on critical analysis of subjective experience and...

One of the two great epics of India and arguably the most popular epic in the world, the Ramayana has enchanted generations of people not just in Greater India but the world over. In less than three hundred pages The Essential Ramayana captures all the poetic subtleties and noble values of the original and offers the great epic in an eminently readable form that will appeal to the learned and...

The Bhagavad-gītā isn’t merely a treatise on ultimate liberation. It is also a treatise on good living. Even the laity, which does not have its eye on mokṣa, can immensely benefit from the Gītā. It has the power to grant an attitude of reverence in worldly life, infuse enthusiasm in the execution of duty, impart fortitude in times of adversity, and offer solace to the heart when riddled by...

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

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

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

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

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

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

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

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

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

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

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

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

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

Shiva Rama Krishna

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

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

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

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

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

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

Yaugandharam

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

Vanitakavitotsavah

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

Vaiphalyaphalam

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

Nipunapraghunakam

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

Bharavatarastavah

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

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

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

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

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

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

Bharatilochana

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

Vagarthavismayasvadah

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

The Best of Hiriyanna

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

Stories Behind Verses

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