Sediyapu Krishnabhatta (sEDiyApu kriSNaBaTTa) (rAii Pȵڨsl) was a great scholar and creative writer trained in the school of traditional scholarship associated with coastal Karnataka. His erudition was based on a thorough knowledge of Kannada and Sanskrit and a working knowledge of English. His contributions in the fields of grammar, prosody, poetics and criticism are invaluable and path breaking. They have not yet received the attention that they richly deserve. He was influenced by the Gandhian ideology and relinquished a career in teaching and started practicing ayurveda for his livlihood. His was a life devoted to a pursuit of ideas and their application. Some of his importans. Some of his important books are as follows:

1. Pq WAl-(kannaDa niGaNTu)-Dictionary, 1951

2.Pq bAz (kannada Candassu)- Prosody, 1988

3. bAzUw (CandOgati) - Prosody, 1985

4. Pɮ zñUĒ (Kelavu dEshanAmagaLu) - Linguistics: Place names, 1975

5. vxz (tathyadarshana)-Research, 1991

6. Pq tUĒ (kannada varNagaLu)-Linguistics, 1955

7. ZgAZ (vicAraprapancha) - Collection of Articles, 1994

8. UPi (gamakasamAsa)-Grammar, 1991

9. UĒ (paLamegLu) Short Stories, 1947

10. ZAzRAq v Evg t PUĒ (CandraKanDa mattu itara saNNa kAvyagaLu)-Poetry, 1969.

11. Pq VwPAi Pt v zsn (kannada gItikey lakSaNa mattu dhATi), 1977

12. Discovery of Facts (A Translation of Tathyadarshana)


A few words about some of these books are not out of place. Tathyadarshana delves deep in to the concepts of Arya, Jathi, (jAti) Varna (Varna) and Linga (linga) and tries to find their original meaning and evolution. Kannada Chandassu explicates the prosodic forms that are indigenous to Kannada. His book on Geetike looks at one such form in an elaborate manner. Chandogati is an attempt to analyze and explain the concepts of Kannada prosody based on the idea of movement (gati) This is the first serious attempt of probing deep in to some of the basic concepts related to prosody. Gamaka samAsa is a particular way compounding words which is prevalent in Sanskrit and there is an on going debate about the propriety of having it Kannada. Krishnabhatta has put forward some cogent points supporting its retention. kelavu dEshanAmagaLu is an important study of the names of the kingdoms tuLu, cEra, konkaNa, pAnDi and pAnDya. kannaDa varNagaLu delineates the Kannada alphabets. VicAra prapancha is a compendium of articles on various topics starting from an insightful explication of a well known poem of Pampa(nettamanADI bhAnumati) up to an original introduction to Modern Kannada Poetry. In between one finds interesting pieces such as a look in to the etymology of the word iDli. (A very popular South Indian snack) Some other articles highlight the Kannada-Kannada lexicon brought by Kannda Sahiyaparishat. The focus of a few other articles is on Yakshgana the folk theatre that thrives in the coastal Karnataka. Krishnbhatta is suffused with traditional knowledge but has an out look which is essentially modern. Ishvara Sankalpa athavA daivaleele is a short auto-biographical account by Krishnabhatta. Sediyapi Nenapugalu is a collection of his reminiscences collected by the noted writer Vaidehi. His story nAgarabetta is an extremely good study about the colonial period.

He was awarded Pampa Prashasti in 1994 for his Vicharaprapancha. Shatanjali (2002) is a felicitation volume brought out in his honor.