MANTESWAMY KAVYA
2.
Dharege Doddavara Kathe, Venkatesha Indvadi, 1996, Vishvalaya, Bangalore. (Singer:
Mole Rachaiah = mOLe rAcayya)
3.
Manteswami, H.C.Boralingaiah, 1997, Kannada University, Hampi.
(Singer: Inkal Mahadevaiah = inkal mahAdEvayya)
17. ‘Manteswamy
Kavya’ is one of the most important oral epics of Karnataka. Neelgaras, the professional
singers of South Karnataka have kept the epic alive by centuries of performances
in the districts of Mandya, Mysore, Ramanagara, Chamarajanagara and Bangalore.(Rural) Manteswamy was a folk hero who lived during
the fifteenth century.(approximately) Not much information is found about his life
by way of documentary evidence. However, many legends are built around his life
and the shrines at Chikkelluru, Boppagoudanapura and Kappadi are related to personalities
depicted in the epic. Manteswamy is a living tradition in and around these regions.
‘Manteswamy Kavya’ treats him on par with Allamaprabhu the Veerashiava saint of
the twelfth century and does not distinguish between them. However this contention
does not find many takers.
The epic begins
with the arrival of Manteswamy in Kalyana, who makes a dramatic appearance on a
dung heap at the entrance of the city, with the dead body of a calf and a gourd
full of ‘kaLLu’. Basavanna’s wife arrives
there and takes him to the palace and a confrontation between the sharanas and Manteswamy
takes place. His greatness is proved equivocally and that heralds the victory of
the lowly over insincere devotees.
After that, Manteswamy
embarks upon a journey towards South Karnataka till he finds his permanent abode
in Boppagoudanapura. This journey is punctuated by his efforts to acquire disciples.
“Throughout the saga of Manteswamy, he picks up infants for his cause. This is symbolic.
Each child represents a community that comes into the Manteswamy fold. Rachappaji,
Doddamma of the Grove, Channajamma, Madivala Machayya, Phalaradayya and Siddappaji
are his chief followers. How he brought them into his fold, through ritual, craft
and magic, makes up the saga.”(S.R.ramakrishna) Baachi Basavayya who wants to become
his disciple is reborn as Baala Kempanna and later acquires the name Sidapaaji.
The confrontation
of Siddappaaji with the Panchalas (Blacksmiths) of Halaguuru is fraught with symbolic
qualities. This represents a stage in civilization when technology had to be liberated
from its hereditary practitioners. This incident is narrated very dramatically.
Finally Manteswamy
acquires many followers in a number of communities and settles down at Boppagoudanapura.
His ‘samaadhi’ is found in this place. Two of his important disciples have their
shrines at Chikkelluuru and KappaDi.
‘Manteswamy Kavya’
and its cognate epics have many distinctive features. They have selected a language
which is a dialect, both geographically and socially. This choice is remarkable
in the context of literary texts which were brimful of Sanskrit words. Secondly,
the narrative style is a combination of the poetic, the dramatic and a simple narration
in prose. This adds to the impact of the epic. Thirdly, it is episodic and each
episode may be recited independent of its broader context. This work delineates
the life of unlettered communities which were conspicuous by their absence in the
entire history of Kannada literature. Most of these epics have a theory regarding
the origin of the universe and their community is usually found in the nucleus of
the story. This gives a sense of identity and pride to these communities. Actually
they depict different stages in the history of civilization. Works such as ‘Manteswamy
Kavya’ and ‘Male Madeshvarana Kavya’ should be treated along with the acclaimed
classics of main stream literature and many a time they will emerge as better even
in terms of literary merit.
18. References:
1. ‘Manteswamy Kavya’-Samskritika mukhamukhi’, Ed. Venkatesh
Indvadi, 2004,
Kannada University, Hampi.
2. ‘Dakshina
Karnatakada Janapada kavyprakaragalu’, Ji.Sham. Paramashivayya,1979, Mysore University,
Mysore.
3. ‘Manteswami’,
Hi.Chi.Boralingaiah, 1998, Karnataka Sahitya Academy, Bangalore.
4. ‘Allamaprabhu
mattu Shaivapratibhe’, D.R.Nagaraj, 1999, Akshara Prakashana, Heggodu.
5. ‘Manteswami
Parampare’, Venkatesha Indvadi, 1999, Kannada University Hampi.
6. ‘Manteswamy
Movement: Chikkelluru Jatre’, Mahadeva Shankanapura, P.M.S.R. Institutions, Kollegala.
19. Links: 1
srramakrishna - Was
Manteswamy a rebel god?
20. Translations:
1. ‘Manteswamy Kathaprasanga’, Kannada Play by H.S.Shivaprakash, Bangalore.