The Late Sri. T S Venkannayya - Part 2

One day, I quoted the following verse by poet Bhavabhūti to him.

बहिः सर्वाकारप्रगुणरमणीयं व्यवहरन्
पराभ्यूहस्थानान्यपि तनुतराणि स्थगयति
जनं विद्वानेकः सकलमभिसन्धाय कपटैः
तटस्थः स्वानर्थान्घटयति च मैौनं च भजते
[A “genius” indulges in every activity while making his adversaries unaware of even the minute flaws in his plans, he misleads others to think as though he is indifferent of the outcomes but gets the results in his favour, keeps himself silent too.]

-Mālatīmādhava, Act 1, Verse 15

He listened and laughed it off. He hardly entered into any argument, dispute or challenge. During his last days, they were non-existent. One could never sense any stubbornness in his work that his opinion was always right or that it had to be complied with. Hence there was neither joy when he won nor sorrow when he lost. If he wrote an article for a magazine, he would tell the editor “use it as you please” and never troubled his mind worrying about whether it was published or not as per his wish or whether it was altered. In this connection, even if there was a blunder,  he would only say “it’s alright! What to do!”, but would never become angry or sullen. Because of this, his mind remained peaceful and the other party would also be more compliant. Particularly when the other party is older, obstinate and expects compliance, there is no better way than this to please them. But not everyone is endowed with a good nature that is devoid of ego and willingness to lose for the sake of greater purpose. I have not seen someone who is this soft among any of his friends or family except perhaps his brother-in-law, Kaiwara Srikantashastry.

It would not be inappropriate here to give a short introduction to vidvān Srikantashastry. Because in all these - bhakti, vairagya, wisdom, worldly matters, and a spotless life - Venkannayya considered him a role model. Shastry’s picture adorned the mandāsana in the pūjā room along with the deities and pictures of the Agadi Sādhu and his student Narayana Bhagavan. Around the time that Venkannayya first came to Mysore, Srikantashastry also arrived there to study at Samskrta College, and cleared the vidvat exam in Literature. But there was never any ego that he was a vidvān. He had a broad, calm, round face, always smiling; resplendent; wide-eyed sparkling eyes. A significant quality of his, a unique quality that was a source of admiration and amazement for Venkannayya, was his accommodating nature: Whoever he was with, he would behave like them, when with them - drink coffee in the company of coffee drinkers, partake naśya (snuff) in the company of snuff aficionados; even compete with them; in the company of people with no such habits, he never got the urge; in a vaidika household, he would follow all their traditions, oppattu (skipping dinner), fasting; in the company of women, conversation appropriate to them; with children, he would eat, frolic and tend to them. He never complained at any time that the food served was inadequate; never ever was angry or had a sullen face. He was like a flawless crystal. Having lost his wife at a young age, he went and joined the Agadi Sādhu, giving up any idea of remarriage. I am unaware how they came to know each other. Becoming a teacher there at the Samskrta College, in the midst of service and satsaṅga, he left behind household duties. (It is here that he translated Adhyātma-rāmayaṇa into Kannada and published it through ‘Sadbhoda-candrikā’). In the midst of all this, relatives interested in his remarriage, grumbling that their boy in the company of the Sādhu may be lost to them, came to Agadi and complained to the Sādhu. He called Shastry and commanded him saying “Shastry, you get married!”. Shastry did not disagree. The marriage took place, but its fruits were not on expected lines. Neither the couple got along well nor did the family grow. It was like one more person came and joined the one already in Agadi. I had seen him during my student days and again later, though infrequently; he lived like a water drop on a lotus leaf; adhered, but not attached; the epithet ‘jīvanmukta’ was apt to him. Apparently, his death was also befitting this description; just before dying, he sat up from his lying position, got some sugar fetched, held it in his hand, meditated with his eyes closed, distributed it to the people around as ‘prasāda’ , and laid down, wrapped. After some time, when the wraps were removed, he was no more. Venkannayya himself used to narrate this with fervor. This simplicity of his was not pusillanimity that lacked wisdom; when Venkannayya’s father passed away or perhaps when he was caught in some worldly crisis, sitting worried not knowing how to proceed, he came and chided, “kṣudraṃ hṛdayadaurbalyaṃ tyaktvottiṣṭha parantapa! Venkannayya, do you think bhagavān Krishna meant this only for Arjuna? Get up, get a grip on your mind and go on with your work!”. Venkannayya later said no one else could have advised him, and even if anyone did, it would have been pointless. Perhaps the man who influenced him in dharmic matters more than Srikantashastry was Agadi Sheshachala Sādhu. However, since I have never seen him, I have not brought up his topic here.

Venkannayya’s  main tenet in life was not to hurt anybody and to please everybody. While this had the useful goal of getting work done, the principle of ahimsā (non-violence) was overriding. He would never utter anything unpleasant; but then, never a pleasant lie either. If required, he would give subtle hints, or he would just be silent - this was routine for him. If he ever got into the dilemma of having to say anything unpleasant, he would put off things blaming one of his own shortcomings, giving excuses like “I am lazy, I can’t put the effort to write” or “I just can’t remember; I forget” or “I cannot absorb anything fast; I will read again at leisure and get back” or “I am timid, can’t go and ask others”. He felt that it is bearable to tell a lie of no consequence rather than lose affection by uttering an unpleasant truth. Along with this, he had respect, devotion, humility, affection, esteem, friendship, fondness and attachment - these he used in immense measure as needed and developed close relationships. Therefore, outsiders were perhaps more devoted to him sometimes than if they were his own children. He was a living example of the saying “सन्तोषं जनयेत् प्राज्ञः तदेवेश्वरपूजनम्” Once, while in Dharwad, having sent away all people at home to another place, he had to stay alone. For nearly a month, he survived drinking a seru (about a litre) of cow’s milk during morning and evening - this avoided the inconvenience of procuring grocery and of cooking; it avoided depending on anyone for food or going to a hotel; at the end, it avoided the hassle of arranging vessels to heat the milk too. He used to explain this in a satisfactory and agreeable way.

Normally, nothing would agitate him; swallowing his anger, grief, and worry and digesting them with his wisdom, he was used to always being cheerful.  However, during his final days, a few troubles which he could neither talk about nor suffer, nor solve, led him to rue. In 1937 some miscreants (thieves) raided his home and stole away some cash and a silver plate in which he used to dine. Even that did not perturb him; “It is alright, probably this is all I deserve; looks like God does not like me eating from a silver plate”. However, he had a strong feeling that a difficult phase had started from then onwards; “Somehow, there is no peace of mind; it doesn’t crave for pūjā (Ceremonial prayer to the deities), sandhyāvandanam, pārāyaṇa (Recitation of scriptures) etc.; I have given up on them too; fate does not let me perform any of them; even my father had a difficult time once; he too went through a similar phase”, he used to say. With the hope of finding some peace, three to four months before he passed away, he had started reciting seven cantos of Sundarakāṇḍa. I learnt this when I enquired about it, after having watched him recite it, when he carried the book with him to Bangalore during that time. But when he came to Bangalore again after some time, he did not recite it;

When I asked him about it, he replied “Some mailige (such as death of an immediate kin etc..) event has taken place and I have discontinued”.  Seemed like it had caused some trepidation in his mind. But that trepidation turned into a portent.

This is the second of the three-part translation of the article "ದಿವಂಗತ ಶ್ರೀಮಾನ್ ಟಿ ಎಸ್ ವೆಂಕಣ್ಣಯ್ಯನವರು" by A R Krishna Sastri which appears in the collection "ಬೆಲೆಬಾಳುವ ಬರಹಗಳು". Edited by Raghavendra G S

Author(s)

About:

Prof. A R Krishna Sastri was a journalist, scholar, polyglot, and a pioneer of the modern Kannada renaissance, who founded the literary journal Prabuddha Karnāṭaka. His Vacana-bhārata and Kathāmṛta are classics of Kannada literature while his Saṃskṛta-nāṭaka and Bankimacandra are of unrivalled scholarship.

Translator(s)

About:

Prof. Vedavyas M G is a visiting professor of Strategy and International Business at PES University, Bangalore. He is on the Advisory Board of Atria Institute of Technology. Before moving to academics, Prof. Vedavyas was Senior Vice-President at Mahindra Satyam, responsible for its global telecom business. Earlier he was the Regional Manager for Tata Consultancy Services at Birmingham. Prof. Vedavyas is a graduate of IISc., Bangalore (BE in E&C) and IIM, Bangalore (MBA). He has an abiding interest in everything Kannada.

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...