2. 1888, Vageeshvara
3. ‘Kannada Mahabharata Dashaparva’
Edited by Nanjanagudu Srikantashastry, 1909, Vanivilasa Book Depot,
4. ‘Kannada Mahabharata Dashaparva’, Edited by Vajapeyam Govindaiah, 1916.
5. Dasha Parva’ Edited by Bharathi
Sampangiramaiah, ‘Sarasvathi Ratnakara Book Depot’,
6. ‘Srimanmahabharata Dashaparvavu’,
1936, Chikkapete Book Depot,
7. ‘Karnata Bharata Kathamanjari’,
Edited by Kuvempu and Masti Venkatesha Iyyengar, 1958, Department of Kannada
and Culture, Government of
(This edition has made use of an ancient palm leaf manuscript copied as early as 1554)
8. Kumaravyasa Bharata Sangraha’, an
abridged edition prepared by T.S.Shama Rao, 1972,
9. ‘Kumaravyasa Bharata Sangraha’,
1990, B.M.Sri. Pratishatana,
10. ‘Kumaravyasa Bharata’, Edited by
11. ‘Kumaravyasa Bharata’ Edited by
A.R.Sethurama Rao, 2008, Kamadhenu Prakashana,
12. Each Parva of this monumental work
is edited and published by various scholars and institutions. A special mention
must be made of the editions published by the Oriental research Institute,
‘Karnata Bharata Kathamanjari’ or ‘Kumaravysa Bharata’ to use its more popular
name is inarguably one of the all time classics of Kannada literature.
Kumaravyasa along with
‘Kuamaravyasa Bharata’ selects only the first ten sections (Parva) of the original epic. Hence it starts with the Adiparva and concludes with the Gadaparva. It contains 152 sub divisions (Sandhi) consisting of approximately 8200 poems making allowances for interpolations. All of them are composed in the ‘Bhamini Shatpadi’ meter which lends itself admirably to verbal jugglery of which the poet is fond of. He uses Kannada which was suffused with words borrowed from Marathi, and does not hesitate to use the dialectical vocabulary whenever the occasion demands it.
This work is essentially subjective
and the poet is deeply involved with whatever is happening in the
story. He brings down the mythological characters to the level of contemporary
human beings and this act results in a process of familiarization. Characters
such as Bheema, Draupadi, Arjuna,
The poet is a past master in handling human emotions and his shifts from one emotion to another are made gradually. ‘Kumaravyasa Bharata’ like many of its peers is an episodic in nature and the story of the Pandava princes binds them together consistently. The world view presented in this work does not really go beyond the prescriptions of traditional Hinduism. But the poet transcends these limitations and becomes endearing because of his human commitments.
1940, Mysuuru Vishvavidyalaya Sangha,
2. ‘Karnana muru chitragalu’, Sham.Ba. Joshi, 1947.
3. ‘Kumaravyasa’, S.V.Ranganna, 1949 (3rd Print) Prasaranaga,
4. ‘Kumarvysavani’, S.V.Ranganna, 1949, Prasaranga,
5. ‘Karnata Bharata Kathamanjari’, Ed. by Kuvempu-Masti, (Torana Nandi-Introduction)
6. ‘Kumaravyasa’, Keertinatha Kurtakoti, 1975(?),
7. ‘Kumaravyasa’- Samskritika Mukhamukhi, edited by Rahamath
8. ‘Kumaravyasa’ – Kavi Kavya Parampare, edited by V.Seetharamaiah, 1973,
9. Gadugina Bharata’-Ondu Samskritika Adhyayana, De.Javaregouda, 1978, Dharawada.
10. ‘Kumaravyasa’ Edited by Shamasundara Bidarakundi,
11. ‘Mahabharata Sameekshe’, N.Subrahmanyam, 1973,
12. Linguistic Analysis of Kumaravyasa Bharatha, S
13. Maha Bharata and Variations,
14. ‘Bharata Kathamanjari’, by A.R. Mitra, Published in ‘Masterpieces of Indian Literature’, Ed. K.M.George, Pub. : National Book Trust, Kannada Editor: G.S.Shivarudrappa