Kannada, Kannadiga, Kannadigaru, Karnataka,

Kannadigarella ondaagi Kannadavannu ulisona, kalisona and belesona

Masti Club-after the father of short fiction in Kannada,

A club with character

Take pride and Join : Maasti Community and Information


The presence of Masti Venkatesha Iyengar is still palpable in the 103-year-old Basavanagudi Club, which is belatedly celebrating its centenary now

Masti Venkatesha Iyengar’s presence in this 103-year-old club is still palpable. Till his death in 1986, he visited it every evening.

NO OTHER club in Bangalore, perhaps, carries as much literary aura as the Basavanagudi Union and Services Club does. Which other club, after all, has the distinction of being nicknamed after a literary giant?

Better known as Masti Club — after the father of short fiction in Kannada, Masti Venkatesha Iyengar, its most cherished member — the 103-year-old place preserves his memory in many corners. A huge portrait of the Jnanpith-award winner hangs in the library named after him. On the other wall is the framed poem on Masti by K.S. Nissar Ahmed, which talks at length about his regular visits to the club for 30-odd years. A hall in the first floor too is named after Masti. A small bunch of friends, who played cards with him, run an annual cards tournament in his memory. Old timers tell you that other literary luminaries such as Bendre and D.V. Gundappa also visited the club once in a way. The club has the distinction of hosting a lecture on Vendanta by Ramana Maharshi.

So, it’s not surprising that the valedictory function (tomorrow at the club, at 6.30 p.m.) of the belated centenary celebrations will be presided over by two men of letters — lexicographer G. Venkatasubbiah and Nissar Ahmed.

Not that the club set out to be a cultural and literary centre when it was started in a rented building in 1901 by a retired professor, Bellave Venkatanarayanappa. It was an attempt at providing “club amenities” — a colonial idea not familiar to those who lived beyond Cantonment area — to South Bangaloreans retired from Government service. The club rules were amended later, though, since there were no takers among the old for tennis. The club shifted to its own building (the existing one), in 1912. T.R. Raghavendra Rao, the present Secretary, remembers the contribution of one of the early members, K.S. Aiyar, who built a hall as an “octogenarian’s tribute to the climate and the amenities of the garden city of Bangalore”.

The oldest rule book available in the club office, dating back to 1940, documents some interesting historical details. It condoles the death of Yuvaraja Kanteerava Narasimharaja Wadiyar and Maharaja Krishnaraja Wadiyar, and says that some members of the club participated in the coronation ceremony of Jayachamaraja Wadiyar. It carries a message from Mirza Ismail, the Diwan of Mysore, on the occasion of the opening of the hall built by K.S. Aiyar, who, incidentally, passed away that very year. The list of newspapers and journals that the club got then makes for an eclectic range — Harijan, Vedantakesari, The Indian Theosophist, The Animals’ Friend, The Indian Concrete Journal, The Co-operative Productive Review, The Oriental Watchman, Herald of Health, and so on. That was also the year the subscription fee of the club was hiked by four annas, from Rs. 1.

An important landmark in the club’s history was Masti becoming a member of it in the late Forties. Masti came to the club everyday to play cards at 6 p.m. and left for his home in Gavipuram at 8 p.m., till he died in 1986. “I might miss the day’s Sandhyavandane, but not the visit to the club,” the devout man often told his friends. He never lingered, though, beyond the appointed time.

K.R. Venkateshaachar, who has been a member since 1953, was one of those who shared the table with Masti. “You could set your watch by the time of his arrival and departure!” he recalls. “He came in his signature attire — overcoat, cap, umbrella, and shawl — and had a smile for everyone.” He played a game called 28, with half paisa as stake. “But we played with such seriousness that you would think we were playing for thousands!” In his poem, Nissar talks about how Masti pulled up those who didn’t play the game in the right spirit, with a: “Let us play the game for the game’s sake.”

Mr. Venkateshaachar also remembers Masti as a generous soul who always helped fellow club members. “He would order dosas from Vidyarthi Bhavan for everyone whenever there was a committee meeting. `Two each, Acharre!’ he would insist. Those were days when we didn’t have a canteen or a bar,” recalls Mr. Venkateshaachar.

It’s interesting that Masti, who retired as the Excise Commissioner, fought tooth and nail against the setting up of a bar at the club. “The members had to convince him that it was important for revenue generation,” remembers Mr. Venkateshaachar. “But he never stepped into the bar even once.”

Is it true that the club, in the initial years, was called “Brahmanara koota”, because of its location in a predominantly Brahmin locality and the fact that a good number of men in service during the Raj days were Brahmins? Mr. Venkateshaachar vehemently denies it, saying that the club welcomed people from all sections since the days he can remember.

The club has, in any case, come a long way since then. It has most of the amenities that normal clubs have. A centenary building will also come up on the premises soon. But some things have remained constant down the ages. “It is still a middle-class man’s club,” say a long-time member, K. Visvesvara. The club has, undoubtedly, managed to hang on to its South Bangalore character. After all, at Tagore Circle, where the club is located, you can still hear the chirping of birds above the din of passing vehicles if you strain your ears hard enough!

(The valedictory of the centenary celebrations begins at 6.30 p.m. at the club tomorrow.)




July 28, 2007 Posted by | Dewan Purnaiah, MASTI | Leave a comment

Jnanpeeth Award winners for KANNADA


Jnanpeeth Award winners


Kavishaila Kuppalli


Kuppalli Venkatappa Puttappa (Kuvempu) was born on December 29, 1904, in Hirekodige in Shimoga district of Karnataka. He had his education in Mysore and obtained his M.A. in Kannada in 1929 and started his career as a lecturer at Maharaja’s College. He went on to become a professor and a principal, and retired as the Vice-Chancellor of Mysore University.

Kuvempu was a prolific and versatile writer and produced over 30 collection of poems, and several plays, novels and critiques. He also wrote many children’s books and did translations. He became a major voice in Kannada literature starting a whole new genre of poetic tradition and generated a sense of pride among his people. His creative works gave a distinct identity and stature to Kannada language.

He chaired the 1957 Kannada Sahitya Sammelana at Dharwad and was conferred D.Litt. by the Universities of Mysore, Karnatak, Bangalore and Gulbarga. While the Government of Mysore decorated him with Rashtrakavi title, Government of India conferred on him Padmavibhushan. He won the Central Sahitya Akademi award for his epic Ramayana Darshanam in 1955 that also got him the prestigious Jnanpeeth Award in 1969, making him the first Kannada litterateur to be so honoured. He was recipient of the first Pampa Award instituted by Government of Karnataka in 1988.

Kuvempu passed away in 1994 at the ripe age of 90, having left behind an unprecedent legacy in Kannada literature.


Dattatraya Ramachandra Bendre


Dattatreya Ramachandra Bendre was born on January 31, 1896, in Dharwad in Karnataka. He lost his father early in life and was brought up by his uncle. He graduated from the Ferguson College, Pune, and after obtaining his M.A. degree started his teaching career in schools. His was jailed for three years for his poem Narabali (human sacrifice) that also seriously affected his working life. After more than five years of unemployment he joined Masti’s monthly journal Jeevana as its honorary editor. After serving in a few institutions, he finally joined DAV College at Sholapur as a professor of Kannada and retired from there after 12 years. He continued to struggle in life and worked even after retirement. But amidst all this untold hardships, his creative genius never failed him and he produced highly memorable works of poetry.

Bendre composed around 30 collections of poems and several plays, short stories, critiques and translations. He wrote in Marathi too. He was elected President of the 27th Kannada Sahitya Sammelana at Shimoga in 1943. He was awarded honorary doctorate by Universities of Mysore and Karnatak. Elected Fellow of the Central Sahitya Akademi in 1969, he was honoured with the Akademi’s award for his Aralu Maralu. Jnanpeeth award was bestowed on him in 1974 for his anthology of poems Naku Thanthi.

Bendre passed away on October 26, 1986 at the age of 90, like Kuvempu.

Shivaram Karanth

Shivarama Karanth


Kota Shivaram Karanth was born on October 10, 1902 at Kota in Dakshina Kannada district of Karnataka. He graduated from the Government College, Mangalore. The repertoire of Karanth’s writings is astounding. Novels, short stories, plays, encyclopaedias, translations, satires, travelogues, essays, biographies, critiques, art and culture, philosophy and science…nothing was untouched by his probing mind. None else could have deserved sobriquets like ‘Mobile Encyclopaedia’ better than him.

He was guided by philosophy of fullness of life and believed in experiencing and sharing every aspect of it. This was why he did not find any area of knowledge too big or too small to be explored. He pursued truth uncompromisingly through all branches of knowledge by study and experimentation. He believed in sharing and translated his vast knowledge into copious and rich literature. Inspired by Gandhi, he worked for the spread of knowledge and social awareness amongst the people. His concern for social justice was well known all over India due to his legal battles over environmental issues.

He was bestowed the prestigious Jnanpeeth Award in 1977, the third Kannadiga to be so honoured. He lived up to ripe old age of 95 and died in 1997.

Masti Venkatesha Iyengar

MAASTI Venkatesha Iyengar Community
http://www.orkut. com/Community. aspx?cmm= 36294019

Masti Venkatesha Iyengar was born on June 6, 1891, at Masti in Kolar district of Karnataka. After a distinguished academic career he obtained his MA degree in 1914. Inducted into civil service, he held various positions of high responsibility in different parts of Karnataka. His broad administrative experience gave immense inspiration for his literary works.

His Kelavu Sanna Kathegalu became the first noted work in the history of modern Kannada short stories. A master in this genre, he earned the sobriquet ‘Brahma of Kannada stories.’ He had inimitable language, narrative style and richness of theme in his works. Masti also penned a number of poems on different philosophic, aesthetic and social themes, which reflect his versatile creativity. He also composed and translated several important plays and authored many works in English. He edited the monthly journal Jeevana from 1944-1965.

A prolific writer, Masti produced more than 120 books in Kannada and more than 17 books in English, over a period of seven decades, giving abundant inspiration to generations of literary scholars in Kannada. He was bestowed with several fellowships, awards, doctorates, presidentships and honours. The most notable of these is the Jnanpeeth Award conferred on him in 1983 for his historical novel Chikkaveera Rajendra.

He passed away in 1986 at the age of 95.

V K Gokak

V.K.GOKAK Community
http://www.orkut. com/Community. aspx?cmm= 36341160

Vinayaka Krishna Gokak was born on August 9, 1909. After his early education at Savanur, he went on to obtain his BA and MA degrees. He started his professional career in 1933 as an Asst Professor in Ferguson College, Pune, and became the principal of Willington College, Sangli, after finishing his advanced studies at Oxford. However, he soon gave up the principalship when his self-respect was offended, and later started a college in the desert region of Rajasthan in 1946. He moved to the Government of Bombay with reorganization of Indian states in 1949. He became principal of Karnataka College, Kolhapur, in 1952 and steadily rose thereafter to finally assume the position of Vice Chancellor of Bangalore University in 1966.

Gokak came under the influence of D R Bendre who predicted a great future for him if he were to allow his talents to blossom in Kannada. Gokak embarked upon a unique career in Kannada literature and made outstanding contributions to poetry, drama, criticism and various other forms of literature. He also produced scholarly works in English. His chequered life saw its reflection in his writings. He was President of the 40th Kannada Sahitya Sammelana in 1958 and received honorary doctorates from Karnatak University and the Pacific University of USA. He was honoured with the Central Sahitya Akademi Award for his Dyava Prithvi in 1961 and conferred with the Jnanpeeth award in 1990 for his monumental contributions.

He passed away on April 28, 1992, aged 82.


U R Ananthamurthy was born in 1932 in the village of Melige in Karnataka. He attended a traditional Sanskrit school there and grew up as a Gandhian socialist. Later he studied English and comparative literature in Mysore and Birmingham, where he received his Ph D in 1966. He was professor of English literature at Mysore University for several years and became Vice chancellor of Mahatma Gandhi University in Kottayam, Kerala. He served as chairman of National Book Trust and president of Sahitya Akademi, New Delhi. Many guest professorships led him to Europe and the USA.

Is one of the most important representatives of the Navya movement in Kannada literature and amongst the most eminent Indian authors. In his writings, the central themes have been the caste system, religious rules and traditions; and he has examined the relationship between the old and new cultural value systems. His most significant novel is Samskara published in 1966. The filming of the novel in 1970 started a new wave of author films in India. His Bharatipura (1973) also deals with the struggle of lower castes for social upliftment and the resistance of upper castes for this.

A prolific writer, Ananthamurthy has published several novels, plays, short stories, poems and essays in Kannada. He also has to his credit many pieces of literature in English. His works have been translated in several Indian and European languages. He was conferred with the Jnanpeeth Award in 1994, the sixth one from Kannada literature.

Girish Karnad

Girish Karnad was born on May 19, 1938 in Maharashtra. He graduated from the Karnatak University in 1958 and then proceeded on a fellowship to Oxford where he obtained his MA degree in 1963. An internationally acclaimed playwright, his fame also rests on his being a talented film-maker and actor, an able cultural administrator, a noted communicator and a person of multifarious interests.

His highly successful plays are based on folklore, mythology and history. He examines challenges of contemporary life and tries to establish relationship between the past and present. Karnad’s play Hayavadana won the Central Sangeet Natak Akademi award and the Kamaladevi Chattopadhyaya award in 1978. His play Nagamandala became very popular in the USA and across the world. Some of his other works are Yayati, Tughalak, Anjumallige, Hittina Hunja, Taledanda, Agni mathu male and Tippuvina Kannasugalu. He has translated his plays into English. They have also been translated into many Indian and foreign languages. He was awarded the Jnanpeeth Award in 1998 for his immense contributions as a playwright.

Karnad has been associated as director, actor and screenplay writer with several successful Kannada films like Samskara, Vamsa Vriksha, Kadu and Kanooru Heggadithi. The first two have won several state and national awards. He has featured in many Hindi movies as well. He has made several documentaries and tele-serials. He served as director of Film and Television Institute of India, Pune and chairman of the Central Sangeeth Natak Akademi and the National Academy of Performing Arts. He was a visiting professor at the University of Chicago in 1987-88 and has spoken at many national and international forums on social and cultural issues.

July 22, 2007 Posted by | BHATKAL taluk, KAVIGALU | 30 Comments

Iyengar-Youtube Video-Kakana Kote, Based On Drama Written By Masti Venkatesha Iyengar

BKS Iyengar pranayama
Just One Breath.Sure : 2

Just one breath.

More Iyengar 1938
BKS Iyengar Practicing.Sure : 191 sn

BKS Iyengar practicing.

BKS Iyengar Practicing
BKS Iyengar Practicing Some Backbends In Pune, India 1991.Sure : 161 sn

BKS Iyengar Practicing some backbends in Pune,
India 1991.

B.K.S.Iyengar interview, p.2
For 3AEN (ZAEN) Russian Yoga School, Taken In Jan. 2007 @ Ramamani Iyengar Yoga Institute, Pune Full Text Version Of This Conversation Read @ Www.zaenSure : 146 sn

for 3AEN (ZAEN) russian yoga school, taken
in Jan. 2007 @ Ramamani Iyengar
Yoga Institute, Pune Full text version of
this conversation read @ www.zaen.ru% http://www.zaen.ru/wp/?p=24 It
is also available an audio version
of our interview in enheinced quality
@ address: http://www.zaen.ru/wp/?p=94 soon we
are going to create an english
version of our site. As we
do I’ll get you know!

B. K. S. Iyengar interview, part 1
Taken By 3AEN 08.01.2007 @ Yoga Institute, Pune, India. You Can Also Read Full English/russian Version Of This Conversation @ Www.ZAEN.ru. Is Also AvaSure : 271 sn

Taken by 3AEN 08.01.2007 @ Yoga Institute,
Pune, India. You can also read
full english/russian version of this conversation
@ www.ZAEN.ru. is also available an
audio version of our interview in
enheinced quality @ address: http://www.zaen.ru/wp/?p=94
soon we are going to create
an english version of our site.
As we do I’ll get you

B.K.S. Iyengar interview p.3
Final Part Of 1/2 Hour Interview With Sri B.K.S. Iyengar In The Lounge Of His Yoga Institute In Pune, Taken By Ivan Zassourski Of ZAEN. English VersioSure : 620 sn

final part of 1/2 hour interview with
Sri B.K.S. Iyengar in the lounge
of his Yoga Institute in Pune,
taken by Ivan Zassourski of ZAEN.
English version of interview in written
form: http://www.zaen.ru/wp/?p=24. Full audio @: http://www.zaen.ru/wp/?p=94


Jonathan Erman as Alexis Iyengar – Give me that love
From The Stanford Savoyards Production Gilbert And Sullivan’s “The Sorcerer” – Opera Meets Bollywood!Sure : 631 sn

From the Stanford Savoyards production Gilbert and Sullivan’s
“The Sorcerer” Opera meets Bollywood!

Jonathan Erman as Alexis Iyengar
Jonathan Played Alexis In Stanford Savoyards’ Production Of Gilbert And Sullivan’s “The Sorcerer”: Opera Meets Bollywood! In Fall 2006.Sure : 279 sn

Jonathan played Alexis in Stanford Savoyards’ production
of Gilbert and Sullivan’s “The Sorcerer”:
Opera meets Bollywood! in fall 2006.

Iyengar Yoga Brasília
Saiba Mais Sobre Iyengar Yoga, Visite Www.yogabsb.comSure : 164 sn

Saiba mais sobre Iyengar Yoga, visite www.yogabsb.com

Krisnamacharya Yoga Film 1938 (silent)
This Is A Video Made In 1938 Showing The Great Yoga Teacher Demonstrating Asana And Pranyama. He Was The Teacher Of BKS Iyengar And Sri K. Pattahbi JoSure : 145 sn

This is a video made in 1938
showing the Great yoga teacher demonstrating
asana and pranyama. He was the
teacher of BKS Iyengar and Sri
K. Pattahbi Jois, founder the Astanga
style of yoga. The film is
so old that any claim to
copyright has expired.

The Raptor Attack: Amar Iyengar
It Was Believed That Dinosaurs Had All Become Extinct Millions Of Years Ago, However A Recent Discovery In Mesopotamia Of An Anomaly Called The RaptorSure : 110 sn

It was believed that dinosaurs had all
become extinct millions of years ago,
however a recent discovery in Mesopotamia
of an anomaly called the Raptor
Amaracus Iyengarosaurus has proven this belief
false. Fear for your lives!

kari haidanembonu [Kakana Kote]
Song “kari Haidanembonu Madeshwara” From The Movie “Kakana Kote”, Based On Drama Written By Masti Venkatesha IyengarSure : 272 sn

Song “kari haidanembonu Madeshwara” from the movie
“Kakana Kote”, based on drama written
by Masti Venkatesha iyengar

bettada tudiyalli [Kakana Kote]
Song “bettada Tudiyalli” From The Movie “Kakana Kote”, Based On Drama Written By Masti Venkatesha IyengarSure : 7 sn

Song “bettada tudiyalli” from the movie “Kakana
Kote”, based on drama written by
Masti Venkatesha iyengar

ondu dina kari haida
Song “Ondu Dina Kari Haida” From The Movie “Kakana Kote”, Based On Drama Written By Masti Venkatesha IyengarSure : 256 sn

Song “Ondu dina kari haida” from the
movie “Kakana Kote”, based on drama
written by Masti Venkatesha iyengar

Desiree is teaching advanced Anusara Yoga at OMTime
Desiree Rumbaugh Www.desireerumbaugh.com Is Teaching Advanced Level Anusara Students At OMtime Www.omtime.com In Denver. Desirée Has Been A StudenSure : 197 sn

Desiree Rumbaugh www.desireerumbaugh.com is teaching advanced level
Anusara students at OMtime www.omtime.com in
Denver. Desirée has been
a student of Yoga since 1987
and has a strong foundation in
Iyengar Yoga. Since 1993, she has
been fortunate to study extensively with
John Friend and was among the
first teachers to be certified in
Anusara Yoga,

Pranayama: The Yogic Art of Breath
A 10 Minute Quick Explaination Of Pranayama, The Breathing Aspect Of Yoga. Included Are Excerps From Hatha Yoga Pradipika. The 4 Types Of PranayamaSure : 253 sn

A 10 minute quick explaination of pranayama,
the breathing aspect of yoga.
Included are excerps from Hatha Yoga
Pradipika. The 4 types of
pranayama are defined; 5 types of
prana are defined; Plavini, Nadi Shodhana,
Surya Bhedana, Kundalini Agnisara, Bhamari, Anapanasati,
Bhastrika. Quotes from BKS Iyengar,
T. Krishnamacharya, Mataji Nirmala Devi.
Gayatri Mantra, Pranawa Mantra (AUM) both
explained. For a copy of my paper
“Pranayama:THe Yogic Art of Breath” please
message me.

Laurent Dauzou
Renata Reif Entrevista O Professor Parisiense De Iyengar Yoga Para A Revista Prana Yoga Journal.Sure : 122 sn

Renata Reif entrevista o professor parisiense de
Iyengar Yoga para a revista Prana
Yoga Journal.

iyengar – Youtube Video

Kakana kote Kannada Ashwath Masti Venkatesh Iyengar Lokesh Madeshwara” From The Movie “Kakana Kote”, Based On Drama Written By Masti Venkatesha Iyengar

July 22, 2007 Posted by | Dewan Purnaiah, MASTI | Leave a comment

Jnanapith award winner Masti Venkatesh Iyengar 1891-1986


Masti Venkatesha Iyengar

Take pride and Join : Maasti Community and Information


Masti Venkatesha Iyengar: 1891-1986

He was born in Masti village of Kolar district. He passed MCS examination in 1913 and securing M.A. in 1914. As a civil servant, he held various positions of high responsibility in different parts of Karnataka, before retiring voluntarily in 1943. His long and diverse career of 3 decades was marked by total dedication to public service and exceptional administrative ability. And his wealth of experience as a bureaucrat gave immense inspiration for his literary works. His pseudonym Srinivasa is as popular as his native village Masti, in Kannada literary circles today.

Eventhough he started composing stories right in his earlier student days, his first published work became the history of modern Kannada short stories. And he was recognized as the “Brahma of Kannada Stories” (Forefather of Short Stories) . His works carry the best elements of literature in story form and with their inimitable language, narrative style and richness of theme and realities, powerfully relate to the readers. His story Subbanna, based on the life of a musician is a good example of this and it has been translated into several Indian and foreign languages.

Honours and awards:
1. “Brahma of Kannada Stories” (“Forefather of Short Stories”)
2. Jnanpith award which came to him in 1983 for his historical novel Chikkaveera Rajendra

1. ‘Kelavu Sanna Kathegalu’
2. Channabasava Nayaka
3. Chikkaveera Rajendra
4. 3-volume autobiography ‘Bhava’
5. Subbanna
6. Edited the monthly journal ‘Jeevana’ from 1944 – 1965
7. Written more than 120 books in Kannada
8. 17 books in English


Home of Jnanapith award winner Masti Venkatesh Iyengar

The home of the late Masti Venkatesh Iyengar, Kannada writer and winner of the Jnanapith award. He was famous for his short stories.



bettada tudiyalli [Kakana Kote]


ondu dina kari haidaKakana Kote Kannada Ashwath Masti Venkatesh

ondu dina kari haidaKakana Kote Kannada Ashwath Masti Venkatesh Iyengar videos Kakana Kote Kannada Ashwath Masti Venkatesh Iyengar videos.

July 22, 2007 Posted by | Dewan Purnaiah, MASTI | 6 Comments

Maasti Venkatesh Iyengar:The Father of Kannada Short Stories

Take pride and Join : Maasti Community and Information


Maasti Venkatesh Iyengar (Kannada:ಮಾಸ್ತಿೀ ವೆಂಕಟೇಶ ಐಯಂಗಾರ್) (June 6, 1891June 6, 1986) was a popular writer in Kannada language. He was the fourth person among seven recipients[1] of Jnanpith Award for Kannada the highest literary honour conferred in India. He was popularly referred to as Maasti Kannadada Aasti which means Maasti is Kannada’s Treasure. He is most renowned for his short stories. He wrote under the pen name Srinivasa. He was honored with the title Rajasevasakta by then Maharaja of Mysore Nalvadi Krishnaraja Wadeyar.

Early life and education

Masti was born in 1891, at Masti in Kolar district of Karnataka in a Tamil speaking Vaishnavaite family. He obtained a master’s degree in Arts in 1914. After joining the Indian Civil Service, he held various positions of responsibility in different parts of Karnataka, rising to the rank of District Commissioner. He retired in 1943.

His Kelavu Sanna Kathegalu (Some Short Stories) was the first noted work in the modern Kannada literature. Maasti also crafted a number poems on various philosophic, aesthetic and social themes. He composed and translated several important plays. Finally, he edited the monthly journal Jeevana (Life) from 1944 to 1965.

A prolific writer, he wrote more than 120 books in Kannada and 17 in English, over seventy years

He passed away in 1986 at the age of 95.

He won the Jnanpith Award in 1983 for his novel Chikkaveera Rajendra. The story was about the last Kodava king. Kodava community was displeased with the negative portrayal of their last king.


  • Shri Rama Pattabisheka (Coronation of Shri Ram)


Stories and Anthologies

  • Kelavu Sanna Kathegalu (Some Short Stories)
  • Dombara Chenni
  • Kaagegalu (Crows)
  • Rangana Maduve (Ranga’s Marriage)



  • Bhava


The Father of Kannada Short Stories
The Iyengars have been in the forefront of arts, science, & literature. Shown above is the Jnanapeeth awardee Masti Venkatesh Iyengar


Maasti Venkatesh Iyengar

© Kamat’s Potpourri
Pseudonym: Srinivasa, Maasti
Born: 6 June 1891
Hongenahalli, Malur taluk, Kolar district, Karnataka
Died: 6 June, 1986
Occupation: District Commissioner, Professor, Writer
Nationality: India
Genres: Fiction
Literary movement: Navodaya
Debut works: Kelavu Sanna Kategalu
Influences: M.K. Gandhi

Maasti Venkatesh Iyengar (Kannada:ಮಾಸ್ತಿೀ ವೆಂಕಟೇಶ ಐಯಂಗಾರ್) (June 6 1891June 6 1986) was a popular writer in Kannada language. He was the fourth person among seven recipients[1] of Jnanpith Award for Kannada the highest literary honour conferred in India. He was popularly referred to as Maasti Kannadada Aasti which means Maasti is Kannada’s Treasure. He is most renowned for his short stories. He wrote under the pen name Srinivasa. He was honored with the title Rajasevasakta by then Maharaja of Mysore Nalvadi Krishnaraja Wadeyar.


Early life and education

Masti was born in 1891, at Masti in Kolar district of Karnataka in a Tamil speaking Vaishnavaite family. He obtained a master’s degree in Arts in 1914. After joining the Indian Civil Service, he held various positions of responsibility in different parts of Karnataka, rising to the rank of District Commissioner. He retired in 1943.

His Kelavu Sanna Kathegalu (Some Short Stories) was the first noted work in the modern Kannada literature. Maasti also crafted a number poems on various philosophic, aesthetic and social themes. He composed and translated several important plays. Finally, he edited the monthly journal Jeevana (Life) from 1944 to 1965.

A prolific writer, he wrote more than 120 books in Kannada and 17 in English, over seventy years

He passed away in 1986 at the age of 95.

He won the Jnanpith Award in 1983 for his novel Chikkaveera Rajendra. The story was about the last Kodava king. Kodava community was displeased with the negative portrayal of their last king.



  • Shri Rama Pattabisheka (Coronation of Shri Ram)


Stories and Anthologies

  • Kelavu Sanna Kathegalu (Some Short Stories)
  • Dombara Chenni
  • Kaagegalu (Crows)
  • Rangana Maduve (Ranga’s Marriage)



  • Bhava



  1. ^ Jnanapeeth Awards. Ekavi. Retrieved on 2006-10-31.


July 22, 2007 Posted by | Dewan Purnaiah, MASTI | 9 Comments

Vinayaka Krishna Gokak and Gokak Agitation a language campaign

V.K. Gokak

Vinayaka Krishna Gokak, the fifth person to win the Jnanpith award from Karnataka, was born on August 9, 1909. He had his primary and high school education in Savanur, got his B.A. in 1929 and M.A. in 1931. In 1931, he began his professional career as an Assistant Professor in Fergusson College, Pune and became the principal of D.E.Society’s Willington College, Sangli, after finishing his advanced studies with distinction, at Oxford, in 1936. But, soon he gave up his principalship following an incident that hurt his self-esteem, and the resultant unemployment set him on a path of serious introspection. In 1946, he went to Rajasthan and set up a college in its desert region and in 1949, with the reorganisation of Indian states, his services in Rajasthan got transferred to the Government of Bombay and he became the principal of Karnataka College, Kolhapur, in 1952. He steadily grew in his academic career there on, and attained a peak with his appointment as the Vice-chancellor of the Bangalore University in 1966.

The main phase of his literary career and his life itself began in 1925 when he was swayed by the magnetic force of the towering figure of Kannada poetry D.R.Bendre, like many other young poets of his time. Seeing his knowledge of English literature, and his talents in English poetry, Bendre prophesied “if Gokak allows his talents to blossom in Kannada, his own poetry as well as Kannada will have a great future.” Thus with Bendre as his Kavya Guru, Gokak embarked upon a unique career in the world of Kannada letters, a career in which he made unparallelled contributions to poetry (including composition of the epic Bharatha Sindhurashmi), drama, criticism and various other forms of literature, apart from producing many scholarly works in English.

The literary distinction of Gokak naturally attracted scores of awards and honours. Of these, mention must be made of his Presidentship of the 40th Kannada Sahitya Sammelana in 1958, honorary doctorates from the Karnatak University and the Pacific University of the USA, the 1961 Central Sahitya Akademi award for his ‘Dyava Prithivi’ and of course, the highest award for literary excellence in India-the Jnanpith award-for his monumental contributions to Kannada literature, in 1990.

Gokak saw not only peaks of glory but also a peculiar complexity of happiness and sorrow at many turning points of his life, a complexity that became a characteristic mark of all his works. He passed away on April 28, 1992.


 Vinayaka Krishna Gokak Kannada:  (19091992) was a major writer in Kannada language and a scholar of English and Kannada literatures. He was fifth among seven recipients[1] of Jnanpith Award for Kannada language for his epic Bharatha Sindhu Rashmi. Bharatha Sindhu Rashmi is perhaps the longest epic written in any language in the 20th Century. It deals with the vedic age. Gokak was a Professor of English literature.



  • Samarasave Jeevana

Poetry Collections

  • Urnanaabha
  • Abyudaya
  • Baaladeguladalli
  • Dhyava Pruthvi (Kannada Saahithya Academy Award)
  • Samudra Geethegalu

Gokak agitation – a language campaign



Dr V.K. Gokak, formerly Vice-Chancellor of Bangalore University, a Professor of English of high repute for more than four decades, Chairman of the prestigious National Jnan Peeth and later First Vice-Chancellor of Sri Sathya Sai Institute of Higher Learning (Deemed University) was an ardent devotee of Baba. Once Dr Gokak was asked to go to USA and some other countries in response to an invitation from the organisational units there to speak to the devotees. When he was about to leave, he came to prostrate before Baba and seek His blessings. Baba promptly blessed with the words “I will be with you”. Dr. Gokak happily proceeded. But later he was amazed to see that throughout the plane journeys the seat adjacent to his was invariably vacant. At first he thought it was a matter of chance, but when it occurred regularly he began to ponder over that only to remember Swami’s words “I will be with you”. Sai’s words never go waste. They are meaningful and always true.

In the same tour he was about to address a large gathering in one of the big cities of USA. Orator that he was, the crowd was expecting a heavy downpour of his resonant voice in meaningful words, but nothing came out for a minute or two. Dr Gokak could not believe such a situation he was in for the first time in his life. Suddenly he remembered Swami and mentally prayed to Him. And to his great surprise he found Swami sitting in the front row with smiling benediction. And then there was a torrential flow from the Professor providing a treat to the audience. When Swami says, “I will be with you” we are also bound to be constantly aware of His company.

In the same lecture tour, speaking at another Centre to a vast gathering of seekers and sceptics Dr Gokak narrated how Baba had taken the paralytic strokes and heart attacks that would have been fatal for His devotees upon Himself and was miserably afflicted. He described in his grand style how the students sitting below the parapet wall slowly dragged inch by inch Baba’s feet to the edge of the balcony not allowing the devotees to see the pathetic sight of His body’s affliction in such a graphic manner that it not only compelled the audience to shed tears but also soothed an invalid old lady who got to her feet instantly. Such is the Glory of the lord who has come to wipe out the tears of millions.


The old, gold ten-dollar piece which Baba “produced” for me at Horsley Hills was no doubt an apport. But what of the interesting phenomenon he performed for Dr. V. K. Gokak, Vice-Chancellor of Bangalore University? On an early visit to Dr. Gokak’s home Baba saw on the wall for the first time a portrait of an Indian saint, Shri Panta Maharaja of Balekundri, and asked about its presence there.

The Vice-Chancellor replied to Baba that the saint had been his father’s guru, and that he, himself, held the holy man in great reverence.

Baba: “Have you a smaller portrait of him to carry when you’re travelling?”

Dr. Gokak: “No.”

Baba: “Would you like one?”

Dr. Gokak: “Yes, Swami, very much.”

Baba waved his hand, for a little longer than usual, remarking, “He is coming.” Turning the palm up, he handed the doctor a small enamel pendant. It bore a miniature replica of the saint’s portrait.





July 21, 2007 Posted by | BENDRE, GOKAK | 2 Comments

Gokak varadi and Dr. Rajkumar:Kannada needs another CHALUVALI


Gokak varadi and Dr. Rajkumar

The “Gokak report” popularly known as “Gokak varadi” was about making Kannada a compulsary language for primary education. Considering that the language is spoken by a majority of people in Karnataka, the Gokak movement’s goal was to give Kannada the same basic right already enjoyed by other official languages in their respective states of India. When the Kannada literary experts and students started this movement there was a popular positive response from the common man in Karnataka. It gained momentum when Rajkumar was asked to lead the movement. He became actively involved in the movement and soon became the force behind the Gokak movement that was designed to bring Kannada to the forefront. He took a rally from Belgaum to Bangalore and gave speeches about the importance of Kannada. The government responded positively and Kannada was to become a compulsary language of education in Karnataka. Ensuring respect and dignity for Kannada language and Kannada culture were the corner stones of his life.

When he played activist
The historic Gokak movement saw Rajkumar take an activist�s stand in public life. �I am ready for any sacrifice for the sake of Kannada land and language,� he declared, and stood by his words too.

To trace the time-line: It is nearly 25 years since the Gokak movement. Rajkumar himself had recently crossed 50 years in cinema. The man and the movement are both a memory now.

Kannada Sahitya Parishat President Prof Chandrashekar Patil who was alongside Rajkumar during the Gokak movement told Deccan Herald that the movement took the proportion of a �people�s movement� only after Rajkumar joined in. He explained thus:

On April 2, 1982, the Jail Bharo andolan had begun under the leadership of senior litterateur Shambha Joshi. Writers like Kuvempu, Masti Venkatesh Iyengar, Dr. Shivaram Karanth were asked to join in but they refused. Rajkumar was in Madras then; we made an appeal to him through the media. His ready response in support appeared in the newspapers the very next day. His statement from Madras said that he would give up his all for the sake of Kannada and would fight for it no matter what form the fight might take. It was a verbal stroke that absorbed him into the cause entirely. Later on, he travelled all over the State with the other leaders enlisting support for the movement.

http://en.wikipedia.org/wiki/Dr. _Rajkumar


Gokak agitation


Dr.Rajkumar in a speech during Gokak agitation

Dr.Rajkumar in a speech during Gokak agitation

Gokak agitation (Kannada: ಗೋಕಾಕ್ ಚಳುವಳಿ) was a successful language rights agitation in the 1980s that fought for the first language status of the Kannada language in the state of Karnataka.

It was named after the committee headed by V. K. Gokak that had recommended giving primacy to Kannada in State schools. The actor Rajkumar led the campaign.


Karnataka had adopted Three language formula for education in schools since the linguistic reorganization of states in 1956. Strong opposition to Hindi was witnessed in the 1960s and ’70s, leading to Kannada speakers leaning towards English. It was also felt that Kannada faced threat from Sanskrit, which was the dominant language in schools, leading to a situation where students could complete their high school education without having to study Kannada. This created a wide incompatibility between languages used for state administration and education. [1]

This led to a linguistic movement against retaining Sanskrit as the first language in School education. The movement was initiated and supported by political parties, groups of Kannada teachers, students, college and university professors, literary critics, playwrights, and creative writers. This made the government rethink about the language policy for school education and constituted a committee on July 5, 1980 with Prof. V.K. Gokak as the Chairman.

Gokak Report

V.K. Gokak, the former Vice-Chancellor of Karnataka University , also now one of the Jnanpith awardees, headed the committee appointed by the Government of Karnataka to analyse and study the linguistic issues that were raised regarding the importance of various languages, including the state language Kannada and other languages such as English, Marathi, Telugu, Tamil and Urdu. The report given by the committee recommended that the Governement provide first language status to Kannada and also demanded the primary facilities that the language needed at the time.

The agitation and campaign

There was opposition to the Gokak Report from several sectors of the public, which included minorities from various non-Kannada speaking groups. The Government had not passed any ruling or announcement, even after the report was officially submitted by the committee. This resulted in minor protests from various men of letters, writers, and some pro-Kannada, pro-Karnataka organizations. The response from the public was moderate and there were no signs from the Government that it intended to implement the recommendations made by the Gokak committee.

Dr. Rajkumar’s leadership

Various personalities from Kannada literature world including Chandrashekhar Patil, approached and requested Rajkumar, an icon of the Kannada film industry, to participate in the agitation along with the other major artists from the industry. Rajkumar accepted to participate, and soon the entire Kannada film industry stopped its film-making activity, and started in state-wide rallies and speeches. With Dr. Rajkumar’s leadership, the agitation gained a very strong momentum and there was a drastic change in the response from the general public of Karnataka state. People from all over the state, started participating in the various gatherings, and speeches. The topics such as, importance of the Kannada as the mother-tongue, and importance of having the primary education including the learning of Kannada language were talked in detail in all those speeches.

Government’s response to the agitation

The Government of Karnataka, headed by the then Chief Minister, R. Gundu Rao, responded to the seriousness of the agitation, which had gained significant momentum after Rajkumar had taken leadership of the agitation. It announced that it accepted the report submitted by the Gokak Committee and would ensure all the primary facilities that the language Kannada deserves as the mother tongue of the local people as well as the official language of the state of Karnataka.

Further reading

  • B. Mallikarjun, Language policy for education in Indian states: Karnataka, in Language in India, Vol.2: 9 December 2002 accessed at [1] Feb 20, 2007
  • K.N. Harikumar, Language and democracy, article in Deccan Herald, April 5, 1982 accessed at kannadasaahithya.com Feb 20, 2007

July 21, 2007 Posted by | BENDRE, GOKAK | 4 Comments

Dr.Kota Shivram Karanth(1902-1997)

IGNCA Remembers Dr. Shivarama Karanth

The IGNCA regional center at Bangalore is organizing a day long National Seminar on the contribution of Dr. K.S. Karanth to the art form of Yakshagana on 28th July 2002 at Bangalore.

Yakshagana has a traceable history of at least six hundred years.  In Karnataka, the wonderful art is seen in several forms, adopted by different schools.  The two (now three) coastal districts of Karnataka have preserved this art to a great extent. Yakshagana  shares some strikingly similar features with the other South Indian ancient theatrical and dance forms such as Terukkootu, Kudiyattam, Kathakali Kuchipudi, Bhagavata Melam, Dodata, Sannata, Srikrishna Parijata etc.

Dr. Kota Shivarama Karanth was the first person to take interest in the theoretical and practical aspects of Yakshagana . He reformed the costumes, scripts, music and other ingredients that make Yakshagana  a mesmerising theatre, to suit the contemporary taste and style.  At a time when traditional art forms were fast losing audience, he made Yakshagana  an attractive art form, interesting to the present day generation. Dr. Karanth is one of the most arresting personalities in the literary and theatre world of India.  His interests have been vast and varied.  He was a great novelist, innovative playwright, unique essayist, one man-mission-encyclopaedist, cultural anthropologist, art historian, lexicographer, promoter, of science and environmentalist.

Besides honorary doctorates from several Indian universities and fellowships from two national academics – the Sahitya Akademi and the Sangeeth Natak Akademi, he has received the prestigious Janapith award in 1978, Dadabhai Navroji award and Tulsi Samman in 1990.  He has written 150 books in Kannada and English.  His works have been translated into several Indian languages and filmed as well.  Among all his achievement, his contribution to Yakshagana  the Indian theatre form is singular.

Shivaram Karanth
Kannada Writer, Novelist, Artist, Educator, Art Critic, Dancer, Philosopher, Environmentalist.

“I’ve always been confused about you two. Now that both of you are here together, my confusion is doubled!” Dr. Karanth joked as I paid him a visit in Puttur along with Dr. Suryanath Kamath.  I gave him a photograph of his, which I had taken 40 years ago, as a boy, during the Kumta Sahitya Sammelan. I even pointed to his hands in the photograph which were hiding a box of tobacco and his comments at that time. He burst out into a Yakshagana style laughter!

Dr. Karanth inspired several generations of youngsters to love and preserve our art, heritage and environment. His works on children’s education done seventy years ago are still unequalled in Kannada language. In his death, Karnataka has lost one of its foremost sons.

 Dr. Kota Shivram Karanth (1902-1997)

When one thinks of famous Kannada literary personalities, lots of names come to our minds. One of them, undoubtedly is Dr. Shivram Karanth. Dr. Karanth is not only well known in Kannada literary circles but also is well known nationally. He hails from Kota, a small village in the South Canara. Apart from his literary prowess, Dr. Karanth is also an authority in Yakshagana. He has studied the art form – Yakshagana extensively and has published books on them. Yakshagana-Bayalata (1958) in Kannada, and Yakshagana(1975) are two of his masterpieces on Yakshagana. Dr. Karanth has received international acclaim for his study on this rare folk art. Yakshagana is a folk art from Dakshina Kannada.His work includes
42 novels,
31 plays,
Four short stories,
Six books of essays and sketches,
thirteen books on art, including a history of world art and an authoritative work on Chalukyan sculpture and architecture,
A standard treatise on the Yakshagana, with which dramatic form, his name is identified,
A three volume book of knowledge for children,
A four volume encyclopedia on science for grown ups,
240 children’s books
Six books on travel,
In addition compilation of his random articles and speeches numbering a couple of thousand are being published. So far eight of these anthologies have been published. (Courtesy: Discover India)

Such is extent of Dr. Karanth’s contribution to Indian literature. Dr. Karanth is very well known for writing on a variety of topics such as social castism, social conflicts, and social rigidity. His novels are powerful in nature and represent revolt and rebillion. Dr. Karanth’s novels are well known for their uniqueness and genuiness. His most acclaimed work, which is well known, is Chommana dudi, which Dr. Karanth took only 5 days to write.

Dr. Karanth did not go to any special school to learn the techniques of writing. It came very naturally to him. He did not have any set formula for any of his book nor did he even write on the same topic. He wrote on several issues plaguing today’s society. Dr. Karanth can be best described as a revolutionary writer. He addressed many issues in his book, which were rampant in Dakshina Kannada. He wrote about the common man, who struggled, for his rights. He wrote about the woman who wanted to be treated equally like a man. He wrote about you and me and the society that we live in. Choma, Mookajji, and Nagaveni are some of characters in Dr. Karanth’s books who are still linger in our minds long after we read the book.

Dr. Karanth has received many accolades for his literary contributions. He has been bestowed with the highest honor any Indian can achieve – Padmabushan. He has also received awards and fellowships from the Sahitya Akademi, as well as the Sangeet Natak Akademi. He has also won the Jnanapeet award and also the Tulsi Samman. Dr. Karanth has also received honorary doctorates from many universities in India. Inspite of all this, Dr. Karanth chose to live a modest and a simple life in Kota, a small village in South Canara.

Karnataka has given birth to many glorious personalities who we are proud of. Dr. Kota Shivram Karanth is definitely one of them. People like Dr. Karanth has given Karnataka an identity and has also placed it on the map. Kota Shivram Karanth has become a household name in South Canara and also all over in India. His books have been made into movies, which reaches out to different people from different states all over the country.

  A fitting tribute to a giant

Soon, visitors to Udupi will have to include the Shivarama Karanth Smaraka Kalagrama in their itinerary, reports GANESH PRABHU



An artist’s impression of the Dr. Kota Shivarama Karanth Smaraka Kalagrama complex THE TEMPLE town of Udupi, famous for the Krishna Temple and the fine beach at Malpe, will have a new landmark in the form of the Dr. Kota Shivarama Karanth Smaraka Kalagrama, for which Rani Satish, Minister of State for Kannada and Culture, laid the foundation stone late last month.

The Kalagrama is a befitting institution in memory of one of the greatest Kannadigas, K. Shivarama Karanth (1902-1997), who was born in Kota in Udupi district. This multi-faceted genius left his imprint on practically every cultural arena. A literary giant, his invaluable contribution to Kannada literature earned him that literary Holy Grail, the Jnanpith, in 1978. His literary output includes over 40 novels, four anthologies of short stories, two volumes of poems, over 90 plays, nine encyclopaedias, and hundreds of articles on various issues and subjects. Besides being hailed for his progressive views on education, he introduced several innovations in the field of Yakshagana. Apart from all this he was a painter, an environmentalist, and an anti-nuclear activist. Karanth was known for his anti-nuclear views. In fact, he contested in the Lok Sabha elections from Kanara parliamentary constituency because he fiercely opposed the Kaiga Nuclear Power Project.

A memorial to this magnificent man was long pending, especially in his native Udupi district. The Rs. 4-crore project, conceptualised by S.R. Umashankar, Deputy Commissioner, will be taken up in four phases and will be located on 60 acres of land on the Manipal-Alevoor Road. It was for this purpose that the Government constituted the Dr. Shivaram Karanth Smaraka Samsthapana Mandali with Ms. Satish as its President. The Mandali had sanctioned Rs. 50 lakh for the Kalagrama, of which Rs. 24 lakhs has been released. The remaining amount is expected soon.

The Kalagrama will take four or five years to be completed. It will come up at the location earlier earmarked for the Jinke Vana, a picturesque locale in Udupi. The Kalagrama will comprise three enclaves: the first consisting of a training centre in the arts and a museum of Karanth’s literary works and artefacts native to Udupi district. Karanth’s personal belongings are likely to be displayed too.

The training centre will impart instruction in Yakshagana, drama, dance, and folk arts. It will have a a ranga mandira, and the Rs. 10 lakh allotted for the District Ranga Mandira will be used for this purpose.

The Hampi Kannada University proposes to set up a Karanth Samshodhana Kendra to facilitate in-depth research of the great man’s works. Also in the pipeline are a permanent and temporary art galleries.


The second enclave will skirt the rivulet flowing through the hilly terrain of the Jinke Vana. There is a plan to form a pond by constructing a small dam across the rivulet. Acknowledging the special place Karanth had for children, a children’s park and a children’s science centre will come up here. Information on various branches of science will be disseminated through multimedia presentation. There will be facilities for young people to do basic experiments at the science centre.

Also on the cards are a bayalu ranga mandira and a camping ground, besides residential quarters for scholars and dormitories for NCC and NSS cadets would be constructed.

The third enclave will have a nature information centre that will have data on the flora and fauna of the region. Fittingly, Kalagrama will have a trekking path too. There is a proposal to construct a meditation centre atop the hill here and organisations such as the ISKCON and others would be asked to take meditation courses in turns. This enclave will promote geo-art.

Harmony is the keyword and all the three enclaves will complement one another. The idea is to develop Kalagrama as both a cultural and tourist centre.

With co-operation from local experts, the authorities cut the costs of consultancy charges for the project by about Rs. 10 lakh -12 lakh. They will seek public donations while the Central Government will be approached for Rs. 1.5 crore for the Karanth Memorial Museum. A sum of Rs. 5 lakh saved by the Udupi Utsav Committee will go into the project.

Apart from the Kalagrama, the Mandali proposes to build a memorial on the land housing Karanth’s samadhi in Kota.

Works on Shivaram Karanth to be released

Staff Correspondent

22 volumes have already been brought out



Kota Shivaram Karanth



Udupi: Medical Education Minister V.S. Acharya will release four volumes on the dramas of Jnanpith Award winner late Kota Shivaram Karanth here on July 15.

Addressing presspersons here on Thursday, principal of MGM College M.L. Samaga said that the function is being jointly organised by the Department of Kannada and Culture, and the college. Dr. Kota Shivaram Karanth has 417 works and over 900 essays to his credit. He has written poems, novels, dramas, short stories and travelogues. The Government has already brought out 22 volumes.

MLA K. Raghupati Bhat will preside over the function. Vice-Chancellor of Kannada University at Hampi, B.A. Viveka Rai; secretary to the Department of Kannada and Cultre I.M. Vittalmurthy; and Registrar of the Academy of General Education K.K. Pai will be chief guests.

The function would be followed by rendition of “Nada geethe” and “Ranga geethe” by the senior artiste Subhadramma Mansur, Prof. Samaga said. Director of Govinda Pai Research Centre Heranje Krishna Bhat and Assistant Director of the Department of Kannada and Culture R.S. Dalwai, were present.

July 21, 2007 Posted by | HAMPI, KARANTH | 1 Comment

Naanu Kanda Karantaru by Malini Mallya

Ms. Malini Mallya , Secretary
Dr. Kota Shivaram Karanta Memorial Foundation

Dr. Kota Shivaram Karanth (1902-1997) Ms. B. Malini Mallya started her career in 1974 as Copyist cum Stenographer of late Dr. Kota Shivaram Karanth (1902-1997) the great Writer Scholar of Kannada. Within a year, she got full time employment in Life Insurance Corporation of India. Yet, continued her help and co-operation to Dr. Karanth in his literary work and soon earned his confidence and admiration. “There were many youngsters who came to work as my Office Assistants throughout my writing career. But, it was Malini alone who took interest in my activities and imbibed some of my intellectual interests……,”wrote Dr. Karanth in his famous memories Hucchu Manassina Hattu Mukhagalu (Ten Faces of Crazy Mind). He further wrote that he was the luckiest writer to have such an able Assistant.

Ms. Malini Mallya’s first Article viz., “Hattiradinda Kanda Hattu Mukhagalu” (Close View of Ten Faces) published in the year 1986 on Dr. Karanth’s personality brought her sensational admiration both from Scholars and lay-readers. Inspired by this widespread applause, she wrote a descriptive Biography of Dr. Shivaram Karanth titled “Naanu Kanda Karantaru” (Karanth as I viewed) which again made news. Famous Writers, Scholars and Reviewers of Kannada had all eyes on her impressive style of writing, beauty of language and impartial judgement about Dr. Karanth’s personality. Dr. Karanth himself felt thrilled to see his own “faces” in the eyes of his office Assistant: Dr. Ha. Ma. Nayak, the expert Kannada Literary Reviewer reading this book wrote:”…….We may expect a future writer………”Such unexpected reactions inspired her to bring out literary works such as Novels, Short Stories, Satires, Stray Articles etc., which again received fair reviews from Scholars as well. Famous Kannada Reviewer like Dr. C. N. Ramachandran wrote: “…..I read both of your Novels. I was very happy. while reading your works, one cannot imagine that you are a beginner. Because, you have got very good hold on language and the subject. Thus, an ordinary office copyist turned into an able writer in Kannada.

Ms. Malini MallyaMs. Mallya is a well-known Scholar-Writer of Dr.Shivaram Karanth and his writings. To this date,other than Ms.Mallya,none in Kannada has written so much Articles and Books on Dr.Karanth. In the year 1992,she brought out a comprehensive, sumptuous volume viz., “Shivaram Karantha Vagmaya Vrittanta”,a Bibliography of Dr. Karanth enriched with many line drawings of famous Artist Mr. K.K. Hebbar which book again made news as it was the first of its kind in the history of Bibliography in Kannada and probably elsewhere. This scholarly and research work brought her an Award in the year 1993 from a famous women’s Organisation of Bangalore i.e., Shaswati Womens’ Study Centre. within 3 years, Ms. Mallya collected from elsewhere nearly 1000 stray Articles of Dr. Karanth and compiled them into 8 volumes (subject wise) which were published by Mangalore University. Dr. Karanth himself was stunned to see the ‘sea’ of his writings spread over the period of about 7 decades which made him to exclaim in his public speeches like “……I never imagined that I had written so much: It is Malini who showed me the fact”(:)Many Kannada literary scholars also felt like that. Then again, she compiled a Bibliography of Dr.Karanth’s works in a different format from that of the earlier one.

Shivarama Karanthara Kinnara Loka is an exhaustive research work first ever published on the theatrical activities and experiments of Dr. Karanth beginning from the year 1921 till his demise in 1997, Chinnara Lokadalli Karantharu ( 2 volumes ) is a collection of Dr. Karanth’s Conversations with children done over the period of 9 years that were published in “Taranga” a Kannada magazine which volumes an unusually interesting and thought-provoking works in the history of Kannada literature. Karantha Uvacha is a collection of excerpts of Dr. Karanth’s quotable sentences appeared in more than 50 books authored by him. Subject wise classification, para wise descriptions (samples) and even the excerpts of short and sweet sentences are the distinctive features of this book which made the scholars like Dr. Srinivas Havanur to write thus: “……You may think of bringing out more such books in the years to come….”

Patra Vyavahara Mattu Naanu (Author: Dr. K. Shivaram Karanth) is a big volume consisting of more than 1500 letters of correspondence published by Mangalore University, the work of which was also due to the unstinted support and assistance of Ms. Mallya to Dr. Karanth at his 96th year of age.

Thus, Ms. Malini Mallya has become an Authority on Dr. Karanth with deep study, hard research work and dedicated service to the cause of literature who still continues her missionary like work of publishing books on Dr. Karanth. Two more works of her will be published soon.

Besides, Ms. Mallya has founded a Memorial Trust in the name of Dr. Shivaram Karanth in his birth place. For the benefit of the posterity, she wishes to do some constructive work in honour of Dr. Kota Shivaram Karanth. Ms. Malini Mallya being the Secretary of Dr. Kota Shivaram Karanta Memorial Foundation (R) Saligrama,Udupi Dist, Karnataka works hard to realise her dreams. which work of hers is also gaining popularity all over Karnataka.

Ms. B. Malini Mallya
P.O. Saligrama – 576 225
Udupi, Karnataka, India


Dr. Kota Shivaram Karanth Memorial Foundation (R)


Dr. Kota Shivaram Karanth

The contributions of Late Dr. Kota Shivaram Karanth (1902-1997) the great writer of this century, scholar, educationist, encyclopaedist, lexicographer, theater expert and environmentalist etc, etc were inconceivable today when we think of the days of the pre-independent India during which time he single handedly worked as a writer, social reformer and ventured in so many fields of public importance. He began his career as a freedom fighter of India inspired by Mahatma Gandhiji. Gradually ,he worked for the spread of the knowledge and social awareness amongst the people through his life. He never failed in his ideals till the end of his life which was his greatest potentiality as a writer . His concern for social justice was well-known all over India due to his legal battles over environmental issues. Dr. Kota Shivaram Karanth Memorial Foundation is a public trust founded in the birth place of late Shivaram Karanth with the objectives of marinating, preserving and propagating the intellectual and unusual theatrical activities of late Dr.Karanth for the posterity and the art lovers elsewhere. Just like “The Shakespeare Birth Place Trust” at Startford -on- Avon , United Kingdom, Dr. Kota Shivaram Karanth Memorial Foundation desires to commemorate the works of late Dr. Karanth by establishing various institutions viz., Dr. Shivaram Karanth Museum, Shivaram Karanth Memorial House ,Shivaram Karanth Children’s ‘Theatre, Shivaram Karanth Fine Arts ‘ centre, Shivaram Karanth Science centre etc. The proposed Shivaram Karanth Mobile Science unit aims at giving audio-visual scientific knowledge to the school children and the uneducated/moderately educated rural folk. Besides this, the Memorial foundation intends to carry out community health service in the rural areas. All these proposed projects are in tune with the activities of late Dr. Shivaram Karanth during his life time. To realise the above dreams, the foundation needs huge amount of finance to the extent of about Rs.10crores, the accumulation of which is possible only with the liberal contributions of the like-minded philanthropists, art lovers, literary admirers, social reformers etc. Your donations are eligible for Income tax relief of 50% under 80G clause of Income Tax act of India (for Indian Residents only). Please draw your cheque/demand draft/foreign currency in the name of the foundation as above and mail the same to the following address.

July 21, 2007 Posted by | HAMPI, KARANTH | 2 Comments

Rashtrakavi M. Govinda Pai of Manjeshwaram(1883-1963)

Rashtrakavi, M. Govinda Pai of Manjeshwaram, is Kerala’s contribution to Kannada language and literature.  Poet, art critic and literature researcher, M. Govinda Pai  (1883-1963) who has enriched Kannada literature and poetry by his famous works, was conferred the title of poet laureate by the erstwhile Government of Madras, along with  Mahakavi Vallathol.  He excelled himself as a poet, nationalist, historian, dramatist and linguist.  Gommata Jinastuti was the first published work of Govinda Pai.  Govinda Pai also introduced the sonnet form in Kannada.

His Gilivindu, which  literally means “a bunch of parrots”, contains some rare and beautiful gems of Kannada poetry.  Govinda Pai also enriched Kannada learning with his historical studies and research.  He was an authority on the chronology and history of Tulunad.  Govinda Pai was also a prolific prose writer.  His earliest composition in prose was Srikrishna Charita (1909) which provides for remarkable reading.  His best works written in blank verse, viz., Golgotha (the last days of Christ, published in 1937), Vaisakhi (The last days of Buddha, published in 1946) andHebberaqlu (The Thumb, the story of Ekalavya retold, published in 1946) have won for Govinda Pai a lasting place in the gallery of the greatest poets of Kannada literature.  These works also testify to his universal outlook as well as to his deep compassion for the poor and the downtrodden.


 Mangalore Govind Pai was a rare genius Karnataka had ever seen. A frontline poet in Kannada, thinker, historian, researcher and a polyglot, all put together. He could not complete his Bachelor’s degree exam due to his father’s sudden death but won a gold medal in English,  for the paper he was able to write in that exam of Madras University. Nearly sixty years of his life he spent in a small village of Manjeshwar, now in Kasargod Taluk of Kerala State, and taught himself several subjects and languages.

Born in a well-to-do Goud Saraswat family of Mangalore, Pai was brilliant student at school and had Panje Mangesh Rao as his guru at school, who was a great writer and teacher of Kannada. Pai came to own property from his mother’s side in Manjeshwar and was compelled to stay there. He built an excellent home-library for self-study which contained more than five thousand volumes in thirty-six languages at the time of his death. He was conversant in many Indian languages like Bengali, Gujarathi, Marathi, Tamil, Telugu, Malayalam, Urdu, Pali, Sanskrit, Kannada, and Tulu. Konkani was his mother tongue. He taught himself Latin, Greek, French, Spanish and German and utilized the original sources in historical research. His meticulously maintained study-books, notes and diaries speak volumes of the painstaking hours, days, moths and years in studying various languages and cultures.

For most of us, dictionary is an occasional reference book. But for Pai, it was a study book! Kittel’s Kannada-English dictionary has 1752 pages. Pai studied every page, and as was his habit had noted points, question mark, etc in the margin of every page.

Govind Pai was married at a very young age to Krishnabai, a chronic asthma patient. She died early without leaving any issue. Pai was very much attached to her and did not marry again. Everyday he used to offer flowers at her portrait and wrote ‘Nandadeepa’ – a collection of poems in her memory. He was very fond of children and spent one or two hours every day with children after twelve to fourteen hours in his study. He brought up his nephews as his own. He led an ascetics’ life.

His Manjeshwar home was open to all types of people, scholars, writers, youngsters and casual visitors. Everybody was touched by the poet’s hospitality, concern and affection. He was called belli miseh magu (silver mush babe) for his innocent and cheerful nature, by Bannanje, a noted poet and scholar.

He remained away form public glare or publicity, reading and writing all the time. But scholars and academicians did not forget him. He was made President of Kannada Sahitya Sammelan (Literary Meet) at Mumbai in 1950. The government of Madras Presidency bestowed the title of ‘Rashtrakavi’. Both were rare honors.

Pai wrote more than two hundred poems, three plays and more than two hundred essays. He shone as historical researcher fixing dates and places of Kannada rulers and kingdoms. He identified Kannada names from ancient Greek classics including Ptolemy.

He wrote an authentic essay regarding migration of Saraswats from Punjab to Goa and origin of Konkani language which remains unchallenged till date.

M.G.M. college of Udupi (see: Town of Udupi) which acquired his huge library, has turned the building into a museum dedicated to his memory. Now a well known research center, it has brought out a 1400 paged volume of M. Govind Pai’s complete works.

Pai’s written contributions are less compared to his vast scholarship. But the legacy he has left is a great one.

His ancestral house at Manjeshwar is a Memorial with a Arts college in the premises.

SOURCE: http://www.kamat.com/kalranga/kar/writers/govind_pai.htm


July 16, 2007 Posted by | EKAVI BANGALORE, Govinda Pai | 9 Comments