Kumara Vyasa (Kannada: ಕುಮಾರವ್ಯಾಸ) is the pen name of Naranappa (Kannada: ನಾರಣಪ್ಪ), an influential and classical poet of the Kannada language in the early 15th century. His pen name is a tribute to his magnum opus, a rendering of the Mahabharata in Kannada. Kumara Vyasa literally means Little Vyasa or Son of Vyasa (author of Mahabharata). He worked in the court of Devaraya II.
His magnum opus, Karnata Bharata Kathamanjari, was completed in 1430 when Deva Raya II was ruling the Vijayanagara empire. Kumara Vyasa earned high esteem as a poet in his court. Kumara Vyasa was mentioned by other prominent poets of the 15th century, such as Kanaka Dasa and Timmanna Kavi.
Kumara Vyasa lived in Koliwad, a village 35 km from Gadag in North Karnataka. A pillar in the Veera Narayana temple of Gadag exists to this day. According to popular legend, Kumara Vyasa is said to have composed his work at the temple. This pillar is also known as Kumara Vyasa's pillar.
Kumara Vyasa's most famous work, the Karnata Bharata Kathamanjari (the Mahabharata of Karnataka) is popularly known as Gadugina Bharata and Kumaravyasa Bharata. It is an adaptation of the first ten Parvas of the Mahabharata. A devotee of Krishna, Kumara Vyasa ends his epic with the coronation of Yudhishthira, the eldest of the Pandavas. The work is celebrated in Kannada literature due to its universal appeal.
Gadugina Bharata is composed in the Bhamini Shatpadi meter, a form of six lined stanza. Kumara Vyasa explores a wide range of human emotions, examines values, and displays extensive mastery over vocabulary. The work is particularly known for its use of sophisticated metaphors. Kumara Vyasa is also renowned for his characterization. Karnata Bharata Kathamanjariis also known as Dasha Parva Bharata because it originally had only 10 parvas as opposed to the 18 in the original Mahabharata.
Kumara's Kathamanjari covers only up to the Gadayuddha, the battle between Duryodhana and Bheema, killing Duryodhana. The subsequent parts of the original Mahabharata like the Yudhishthira Pattabhishekha, Ashwa Medha yaaga and the Swargaarohana parva are not included.
It may be noted that Lakshmeesha, another great poet who was born a few decades after Kumara's death, took up and completed AshwaMedha yaaga parva alone in his work "Jaimini Bharata" in Kannada. This spiritual work was considered equal to Kathamanjari for its literatural ecstasy and the fragrance of narration it emits.
There is a strong belief among locals that Kumara was a blessed poet of Sri Veera Narayana, another name of Lord Vishnu. The poet sat in front of sanctum sanctorum in the temple and Narayana himself narrated the story of the ancient Mahabharatha from behind the statue. The poet transformed the story into an excellent poetry. However, Narayana laid down a condition that Kumara was to only listen to this voice without attempting to see the source or the spirit narrating the story. When the 10th parva of his work was complete, Kumara developed deep curiosity to see the narrator. Much to his surprise, he saw Narayanahimself narrating the story. He also saw a scene of the Kurukhsetra War as if it were happening in front of him. However, Kumara had violated the condition of not exploring the source of the voice. At that point, the lord disappeared and the narration of Mahabharata stopped forever.
Kumara has shown an exemplary style of writing in the introduction. He proudly claims that his poetry is matchless and that it caters to the taste of all kinds of readers. He writes that in his poetry "A king enjoys the valor, A brahmin the essence of all vedas, Philosopher the ultimate philosophy, ministers and state administrators the tact of rule and Lovers the romantic notes". In addition, he proudly acclaims that this work of his is the "Master" of the works of all other great scholars." However, his selflessness may be noted when he says he merely noted all that was narrated by his lord, the actual poet.
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