- i - Krsna in Kannada Literature with special reference to Purandaradasa and Kanakadasa by Mattur Narayanavadhani Nandakumara, M.A. Thesis presented for the Degree of Doctor of Philosophy School of Oriental and African Studies University of London July 1983 ProQuest Number: 10673031 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10673031 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 - ii - a, ABSTRACT, Krsna in Kannada literature with special reference to Purandaradasa and Kanakadasa: A brief synopsis. Research work on the Krsna theme is not new. It could be said that people have worked more on Krsna than any other character in Indian religion. The origin of the Krsna legend itself is a much discussed subject. Many scholars have convincingly argued that the origin of the later Krsna theme has its roots in the Vedas, and have furnished suitable examples. And it is said that the Visnu of the Vedic period led to the formation of the Vaisnava cult which later became famous by the name Bhagavata cult. The theory of Avatara, the personality of Krsna in the Mahabharata in the later Puranas and, the many attributes he was given in these all show some resemblance to the character of the Vedic Visnu.• * Thus Krsna* » < was considered the incarnation of Lord Visnu, and the Bhagavadgita played a major part in this regard. Since then the Bhakti cult has grown and developed up to this day. This Bhakti, or devotion, spread its wings and embraced the whole of India. Thus today we see Krsna-Bhakti- Kavyas in all Indian languages. The present thesis which mainly deals with Krsna in Kannada literature, with special reference to Purandaradasa and Kanakadasa, is the continuation of the Krsnabhakti movement which started long before Purandaradasa and Kanakadasa. A modest effort is made here to give a critical and objective view on this subject. The thesis includes the origin of Krsgabhakti, its history, development from the Vedic Visguism up to the Bhagavatapur'Spa; Krsnabhakti literature in the South in Karnataka, its development, its growth under the great Vaisnavas like Ramanuja, Madhva and - Ill - other saints, the influence of Sivasarar^as, the Haridasa movement, Purandaradasa and Kanakadasa, their vision of Balakrsna and Balakrsna as seen by some later Haridasas: A few Vaisnava votaries other than the Haridasas are also included as they also have some important points in their composition with regard to Krsna and Krsnabhakti. The source materials are to be found in the School of Oriental and African Studies, London University; The British Library The India Office Library and Records; and from the author’s own collections. Here and there are included certain points that came out during the discussions the author had with eminent scholars in India during his field-work tour. Important points which have been brought out by the dasas as seen by the author: I. Using little Krsna to bind people with love and thus creating social harmony. II. The diversity of ideas of the playfulness of Krsna which has not been dealt with in such detail in the original texts. III.Extensive information concerning the culture and customs of the relevant area (Karnataka) which found expression in the poems of the dasas which brought Krsna closer to the hearts of the local people as he came to them like one of their family. of IV. Contribution to the Kannada speaking landy\,a literature of their own, particularly aimed at the welfare of common folk. This helped to bring home the ideas of the ancient Sanskrit texts and highly sanskritised Kannada works to common people, which until then had belonged mainly to the pandits. V. Creating an awareness of music and the part it can play in bringing people together. \ j - iv - b, ACKNOWLEDGEMENTS My deep debt of gratitude is due to the following : 1) Dr.John R Marr, my Supervisor, for his sympathetic and tireless support. His deep understanding, invaluable advice and suggestions, have not only helped me focus my ideas, but also have been a great source of inspiration. 2) Prof.3,C.Wright, Head of the Indology Dept., S.O.A.S. 3) Oeanine Miller, virtually a second mother to me, who along with my uncle Sri Mathoor Krishnamurti made my study in London possible. She was also instrumental in shaping my thoughts from being purely oriental, to suit a western audience. 4) Dr. Havanur, highly knowledgeable in Kannada literature for his valuable suggestions, helpful criticism and deep under­ standing. 5) Dr.V. Vasantasree, for her very useful advice and constant support. 6) Dr.M.M. Kalburgi, Kannada Professor for his constructive suggestions. My thanks are also due to : Dr.G. Varadaraja Rao, Specialist in Haridasa literature, Dr.H.M. Nayak, Head of the Institute of Kannada Studies, University of Mysore; Dr.T.N,Nagaratna, Sri Sujana Mr.Ramachandra (Mysore); The Swamiji of Pejavar Mutt, Sri Bannaanje Govindacharya, Sri Rajagopalacharya (Udupi); Sri Pandharinathacarya Galagali, Sri P.V.Acharya (Hubli); Dr.Kamalapura, Sri Padmanabhacharya, the Late Sri Krishnasharma Betageri, Dr.K. Krishnamurti, Sri Narayanachar (Dharwad); Dr.T.S.Krishnamurti (Bangalore) and Mr.H.L. Rajaramamurti (Hosahalli), who helped make my field work tour fruitful; and to the University of London for its grant. Sri Sitaram for painstakingly typing my manuscript, Mr.Simon Dove for reading the final script, the Bharatiya Vidya Bhavan, my host in many ways, and Sri Ratilal Chandaria for his financial assistance. I do not know how adequately to thank my uncle Sri Mathoor Krishnamurti and my aunt Smt.Rajalakshmi Krishnamurti for all that they have done for me. _ v - Table of Contents: Page, a. Abstract ii b. Acknowledgements iv c. Table of visual materials vii d. Notes on transliteration viii e. Notes on abbreviations ix 1. Preface 1 2. Introduction; Krsna-Bhakti - devotion to Krsna, 6 mission and minstrels. 3. Vispu in the Vedas. f 8 The many and the one, Visnu and sacrifice Associative states, Visnu and Prajapati, Visnu in the major llpanisads, Visnu in the Mahabharata, Identification of Visnu and Krsna. 4. Bhakti. 23 Vedic and Upanisadic Bhakti, Bhakti in the Mahabharata 5. Bhaqavata Pharma 34- Prelude, the beginning, the Narayaniya, the coming of the Alvar, Madhva and his followers, progress and momentum of the Bhakti movement, the Narada and Sandilya Bhaktisutras, Bhakti in broad spectrum, the forms of Bhakti, the expression of Devotion. 6. The early life of Krsna as found in the major 55 sources. Krsna in the Mahabharata, Krsna's boyhood as described in the Harivamsa, Krsna's boyhood in the Visnupuraga, the early life of Krsna as found in the Bhagavatapuraga. 7. Bhakti in the South. 84 8. Bhakti literature in Karnataka 88 A brief introduction to Madhva philosophy, the deity Vithala in person and place. - vi - Page 9. Beginnings of Haridasa literature 102 The forerunners - Sri NaraharitCirtha, Sripadaraja, Vyasaraya, Vadiraja 10. Other Vaispava Votaries of the Time 117 Rudrabhatta, Kumaravyasa, Caundarasa, Nityatmasukayogi. 11. Introduction to the compositions of Purandaradasa 124- and Kanakadasa. Music, Purandara - his life and mission, the final stage, Krsna theme. 12. Purandaradasa1s Balakrspa songs 138 Krsna the little one 14-0 Krsna as a little boy 162 Krsna and music 179 Krsna and the Gopis 183 The Avatara songs 200 f--------------------- — ■ Krsna the source of joy and beauty 212 Suladi and Ugabhoga songs 215 13. Kanakadasa - his life and times. 220 Child Krsna in Kanakadasa's Mohanatarangigi 229 Kanakadasa's Balakrsna songs 234- Metre and- Rhythm in the compositions of the 24-2 Haridasas 14-. Later Haridasas 24-6 Mahipatidasa, Vijayadasa, Prasannavenkatadasa, Jagannathadasa. 15. Conclusion. 252 Children literature, Virasaivas and the Haridasas, Udupi Kr§na, Gopis and Krsna, humour and variety in the songs, language and the form of the compositions.. Bibliography. 267 - VI1 - C. Table of visual materials: f?.a.9e 1) A map showing some of the important 87-88 Vaisnava Centres connected with Krsna and Krsnabhakti. 2) Lord Vithala of Pandharapur, 98-99 Udupi Krsna decorated with ornaments. 3) Purandara-mantapa at Hampi. 132-133 4-) An old handwritten manuscript of 152-153 Purandaradasa1s compositions. 5) Kaliya - Mardana - Krsna. 173-174- 6) Venugopala, the cow-herd flutist. 182-183 7) Udupi Krsna holding the churning rod 228-229 in his hand. 8) Another handwritten manuscript 24-4--24-5 containing Purandaradasa's songs. - v m - ,4. Notes on Transliteration a, a, i, i, u, u, r, r, e, e, ai, o, o, au, m, n, h, h k, kh, g, gh, n c, ch, j, jh, n t, th, d, dh, n t, th, d, dh, n p, ph, b, bn, m y, r, 1, v, s, s, s, h, 1, 1, r, n The above transliteration is a combination embodying the requirements of Sanskrit, Kannada and Tamil. There are a few different transliterations used (these are underlined) like 'e', 'o' which correspond to the Kannada and Tamil short vowels '<T* and &-> ^ and 1 h1 , 'I1, 'r', 'n' correspond to i f ' I r » Tamil respectively, 'm1, 'n' which are double under­ lined correspond to anusvara 'm* in Kannada where all nasal sounds like 'iV, 1n', 'q ', 'n', 'm' are represented with anusvara 'm'.