NANJUNDA KAVI

Nanjunda Kavi (ನಂಜುಂಡ ಕವಿ)

nanjunDa kavi

16^th Century, (1525 A.D. approximately)

South Karnataka, related to Mangaraja-3 and Vijaya- 2

Jaina. Later converted to Shaivism.

Not known. He was familiar with war craft.

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‘Ramanathacharita’, which is popularly known as ‘Kumararamana Sangatya’ is a unique work in Kannada for more than one reason. It is the first historical epic in the language even though earlier poets such as Pampa and Ranna have equated their patron kings with the protagonists of their works. Nanjunda was not a court poet of Kumararama and he has selected a historical personality as the valorous protagonist of his work without any pretensions. Kumararama’s story is the stuff that legends are made of and he is a part of Kannada folklore. Nanjunda’s choice of Sangatya as his preferred metrical form has its own significance. This work is a heroic epic in the true sense of the term with genuine overtones of a tragedy. ‘Ramanathacharita’ happens to be one of the very few works in Kannada which depicts a confrontation between a Muslim king from the North and a Hindu king from the South. The illicit desire of Ratnaji the foster mother of Kumararama for the prince and the love harbored by the princess of the sultan of Delhi yet again for Kumararama add to the complexities of the work. The plot and the development of the story have many exciting turnabouts and the work holds the reader under its spell. Kumararama is described as an incarnation of Arjuna there by lending a mythological touch to the story of a historical personality. The story has the confrontation between the Sultan of Delhi who is provoked in to warfare because of Rama’s support to Bahadurkhan a fugitive from justice. There are two sub plots. Ratnaji, the young and disgruntled wife of Kampilaraya the old king falls in love with Kumararama and is spurned by the prince who prides himself to be a ‘para nArI sahOdara’. (One who treats all women other his wife as sisters) Ratnaji feels insulted and provokes old king by her unfair allegations. The king orders the execution of his son may be in a sudden rush of blood. Baichanna, the wise minister does not obey the order and the prince is kept in a safe custody. The war ensues and the daughter of the sultan leads a military contingent with the fond hope of winning Kumararama’s hand. Finally the prince dies tragically and the princess kills herself. Thus the story has all the ingredients of a powerful epic and contains many dramatic and emotionally laden situations. The poet has done justice to the theme within the confines of his poetic ability. The meter chosen by him has a very slow tempo and becomes rather monotonous after a while. and It does suit the tempo of the multifaceted story. However this work gives a fairly authentic portrayal of medieval South Karnataka. Many descriptions of nature are beautiful. The characters of Ratnaji, Kampilaraya, Bolla tha horse and many more commoners are sculpted with loving care. The raw passions that human mind is capable is given full vent in this work. This work has given birth to many dramas and prose renderings in the modern time. ‘Ramanathacharita’ contains 12 sections (Ashvasa) and 47 seven sub divisions. (Sandhi) All in all it contains 5807 verses in Sangatya.

‘Ramanathacharita’ (rAmanAthacarita) also known as ‘Kumararamana Sangatya’ (kumArarAmana sAngatya) (ಕುಮಾರರಾಮನ ಸಾಂಗತ್ಯ) The work was edited by H.Deveerappa, and published by the Oriental Research Institute in two volumes in the years 1959 and 1964 respectively. An abridged version of the work was edited by Anantarangachar in 1960. (Sharadamandira, Mysore )

References: 1. ‘Kumararamana Sangatyagalu’ by G.Varadaraja Rao