REVIEWS
Chenna Basava Nayaka–By Masti Venkatesa Iyengar.
(A historical novel in Kannada rendered into English by Sri Navaratna
Rama Rao. Published by Jeevana Karyalaya,
Basavangudi,
The
historical novel is a peculiar form of literature, combining in itself the
distinguishing features, advantages, and functions of history and literature.
Success with this form of literature again requires a rare combination of
scholarship, literary craftsmanship and historic imagination in the author. But
in the hands of a competent artist, it is capable of proving a powerful
cultural influence for reviving, shaping, fostering and preserving, in the
minds of the people, the genius of the race and the destiny of the nation.
Especially
at the present juncture in the history of our country the importance of a good
historical novel cannot be exaggerated. Our country is almost a continent
comprising various regions, each with a language and literature of its own, and
a long and more or less continuous history too, in many cases, of which the
people are naturally proud. At the same time the languages, literatures and
histories of these various regions all exhibit obvious similarities
and a core of unity in essentials, despite the variety in details and
externals, a common culture of great antiquity and high value for the future of
humanity. Moreover this country has only recently recovered from a spell of
foreign domination and consequent national degeneration and disintegration. A
historical novel of the right type and quality should in these circumstances
prove a potent influence for mutual understanding, national unity and progress.
Chenna
Basava Nayaka of
Sri Masti Venkatesa Iyengar undoubtedly belongs to this category and serves the
purpose admirably. The distinguished author needs no introduction to the
readers of Triveni and others among the cultured public in the country,
to whom he should be well-known for his numerous short stories and poems and
essays. He presents to his countrymen, in this volume, a novel of
outstanding quality, as a mere novel, with a story–of romance, intrigue and
pathos–of absorbing interest; impressive and attractive characters, which come
to life in the pages; and a criticism of life of universal and eternal value;
altogether a delightful treat to the imagination and sustaining solace to the
spirit.
He
provides us at the same time a full and vivid picture of the life and manners
of the people of a distinct region in
The
plot is based on a historical incident which finds the barest mention in the
formal text-books of history even for advanced students of the subject–the
conquest and annexation of the principality of Bednur-Nagar
by the adventurous general and crafty statesman, Hyder
Ali. But on this meagre historical foundation the
gifted author raises a superstructure of imposing stature and attractive shape,
with many elegant chambers in it inviting the attention of all lovers of good
literature and real history.
But
the most prominent feature and the greatest attraction to men of culture, in
this novel, is the laudable and patriotic endeavour
of the distinguished author to present the national ideals of character and
conduct through the main characters of the novel, Nemayya,
the perfect gentleman, and Shantavva, the sweet and
gentle, patient and loving princess.
In
rendering the novel into English, Sri Navaratna Rama
Rao, another savant of
Ramanamurti–By I. Ranganayakulu, M. A., LL. B., Principal,
This
is a novel depicting the social and political life of Andhra of three decades
ago. The time is so recent and yet the changes that have come over the land are
immense. As one scene after another unfolds itself, the reader gets the
impression that the men and the movements are all familiar, and intimately
woven into the texture of our being, but we seem to have moved far away from
the time. Wealthy Zamindars pledged to the support of
British rule in India, hundreds of volunteers courting imprisonment and braving
lathi charges during the Salt Satyagraha Movement,
and young men and girls giving up their studies in colleges to devote
themselves to the cause of the country, represented important elements in our
national life, and the narration awakens memories of the recent past. It was
the end of one age and the herald of another.
Sri
Ranganayakulu is a scholar of high attainments and a
careful observer of the contemporary scene. In addition he is gifted with a
flowing and idiomatic style suited to narration as well as to dialogue. Ramanamurti, the hero whom he has created, is an idealist
belonging to a prosperous middle-class family of agriculturists, courteous and
modest, but with a will that is adamant. He throws up a brilliant career and
plunges into the freedom movement. This causes estrangement between him and the
family of a Zamindar whose daughter he loved while at
college. After a term of imprisonment, he starts an Ashram in his village and
wins the affection of the population of the countryside. Meanwhile Sobha, the daughter of the Zamindar,
is disillusioned about the love of Raghava Rao, her cousin, and during a visit
to the Ashram decides to share the hero’s life and work.
This
is a bare outline of the story, told with great wealth of detail and a vivid
portrayal of the men and women who flit through the pages. Next to the hero and
the heroine, the figure that holds our attention most is that of the Harijan
girl, Purna, whom Ramanamurti
adopts as a sister and trains as an inmate of the Ashram. But, before her
devoted nature could find its fullest expression, she is snatched away by
Death.
Ramanamurti
is a novel of Andhra life which one would like to read over
again; it invites comparison with Narayana Rao of the late Adivi Bapiraju. There is the same
tenderness and grace, and the same sympathetic understanding of life at its
noblest.
Prati
Rajasuyam–By Kavisarvabhauma
Sri Y. Mahalinga Sastry.
(Pages 186+25. Sahitya Chandrasala, Tiruvelangadu P. O.
Via–Narasingampet,
This
is a modern drama of seven Acts written in chaste, lucid and idiomatic Sanskrit
by Sri Y. Mahalinga Sastry,
the reputed poet and dramatist. Two malicious schemes of Duryodhana, one to
annihilate the Pandavas in exile by means of a curse of the choleric sage Durvasa, and the other aimed at insulting and mortifying
the Pandavas by exhibiting his own royal paraphernalia before them, form the
main theme of the Drama. Sri Krishna comes to the rescue of Draupadi
and prevents the sage from cursing. Durvasa, at last,
realises the ruse played by Duryodhana and curses
him. The second scheme was set at naught by Chitraradha,
a Gandharva, who by his missiles makes captives of
Duryodhana and his retinue, and sets them free at the intervention of Dharmaja and his brothers. Thus the drama hints at the two
memorable morals “molest not others lest you should be molested in turn,” and
“we are hundred, and, five, if it is a fight among us, but we are hundred and
five, if it is a fight with others.”
But
for a few lapses, the incidents of the plot are closely knit together
and the interest of the reader is kept alive throughout the play, though one
doubts its stageability here and there. Influences of
the two Sanskrit dramas ‘Abhijnana Sakuntalam' and ‘Venisamhara’ can
be easily seen by a discerning reader in some acts and descriptions of this
drama, and one can with interest visualise, in Sudarsana, a modern Leftist orator who by his eloquence and
convincing logic tries to arouse the passions of the public
against the government in power.
Characterisation
is the most attractive feature of this drama. The villainy of Duryodhana and
Karna, Dharmaja’s adherence to Dharma, Draupadi’s ardent devotion to Sri Krishna, and Sudarsana’s righteous indignation and undaunted courage are
all well brought out.
Dharma
Vira is the predominant sentiment of the play while
the emotions of Vira, Srungarabhasa,
Hasya, devotion and pathos occupy a subsidiary place.
Vrittauchitya
or propriety of metres is another distinguishing
feature of this drama, which can be read with profit and pleasure. We heartily
congratulate the author for his unsurpassed success in writing a Sanskrit drama
in modern times, and earnestly request and appeal to the public to encourage
the author and enable him to bring to light his unpublished and invaluable
compositions.
Saundaryalahari
(of Sri Sankaracharya)–with three Sanskrit commentaries,
English Translation and Notes and with a Foreword by Dr. C. P. Ramaswami Aiyar. (600 Pages–Royal octavo. Cloth bound.
Price Rs. 25. Publishers: Ganesh & Co. Private
Ltd. Madras-17.)
This
is an excellent edition of Sri Sankaracharya’s Saundaryalahari,
which contains in itself the beauties of a devotional lyric and the secrets
of the ‘Sakta Tantras’. In this deluxe edition of the
text we have three Sanskrit commentaries, Saubhagyavardhani of Kaivalyasvamin,
Laxmidhara of Laxmidhara
Acharya and Arunamodini
of Kamesvara Surin.
Laxmidhara’s
commentary is neither too brief nor too elaborate but is clear and to the
point. Word for word meaning, prose order, and primary meanings of the verses,
are all given here. Etymological meanings of words like ‘Siva’ and ‘Sauri’ are also discussed in detail. ‘Agama Rahasyardha’ is also found explained here and there. Laxmidhara interprets the verses from the viewpoint of Sri Sankara’s Advaita in short but
lucid sentences--cf-avidyavacchinna chaitanyasyaiva Brahmanah
Jagannirmane Saktatvat (commentary
on the 1st verse). Thus, in short, what Mallinatha is
to the Sanskrit Kavyas of Kalidasa,
that Laxmidhara is to Saundaryalahari.
Kaivalyasvamin, in his Saubhagyavardhani a more elaborate,
commentary quotes profusely from Tantric texts, and
offers for the first verse not less than six Tantric
interpretations in addition to its ordinary meaning. It may be noted here that
he bases his Advaitic interpretation of the verse, on
the principle of non-difference between ‘Sakti’ and ‘Saktiman.’
Arunamodini
is more elaborate; scholarly and exhaustive than the other
two. It has all the five prominent characteristics of a Vyakhyana.
Kamesvara Surin, the author
of this commentary, argues at length, and finally establishes that this Saundaryalahari is a Kavya
of the highest order. In his interpretations of the verses, he often differs
from his predecessors including Laxmidhara and Kaivalyasvamin also, and does not hesitate to criticise
them. For the first verse he offers fourteen interpretations, one of them being
from the viewpoint of Vedantins. He also quotes
profusely from the Tantric texts and gives
etymological meanings of important words wherever necessary, and in addition he
is all attention to the grammatical and rhetorical peculiarities in the verses.
Thus he studies and comments upon the text both as a Kavya
and a Mantra Sastra.
Another
attractive and most useful feature of this edition is its English commentary,
wherein are explained Prayogas of all
the verses with illustrated ‘Yantras’, making this
work thereby a practical guide for the Sadhakas.
English
translation and Notes by Pandit R. Ananta Krishna Sastry and Sri Karra Ramamurty Garu, B. A., B. L., the
scholarly English Introduction by Pandit R. Ananta
Krishna Sastry, and the short note in English on “The
Advaita in the Saundaryalahari”
by Sri P. Sankaranarayana enhance the value of
this edition.