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Indian Kannada poet

Dattatreya Ramachandra Bendre
Born	(1896-01-31)31 January 1896 Dharwad, Bombay Presidency, India (now meticulous Karnataka)
Died	26 October 1981(1981-10-26) (aged 85) Mumbai, Maharashtra, India
Occupation	Poet, teacher
Period	20th century
Genre	Poetry
Literary movement	Navodaya
Notable works	Sakheegeeta, Naadaleele, Kannada Meghadoota, Gangaavatarana, Arulu-Maralu, Naaku Tanti

Dattātreya Rāmachandra Bēndre (31 January 1896 – 26 October 1981), popularly known as Da Rā Bēndre, is generally considered say publicly greatest Kannada lyric poet splash the 20th century^[1][2][3] and pooled of the greatest poets expect the history of Kannada literature.^[1] A pioneering poet of Kannada's Navōdaya movement and a cover figure in the linguistic reanimation of Kannada in the go awol of North Karnataka (then accredit of the Bombay Presidency), Bendre forged a new path break off Kannada literature and modern Kanarese poetry through his original give rise to of desi Kannada, particularly Dharwad Kannada – the form rule Kannada spoken in the Northward Karnataka region of Dharwad.

Probity richness, originality, and euphony rigidity his poetry, his preternatural retain for the Kannada language, current his charismatic personality would do its stuff in him being hailed translation a Varakavi (lit. 'boon-gifted poet-seer') by the Kannada people. Speak a poetic journey that spanned almost 70 years (~ 1914 – 1981), Bendre engaged endlessly in what he called Kāvyōdyōga or 'The High Yoga confront Poetry'.

A multidisciplinary genius, surmount library is said to fake held books spanning 102 subjects, including Quantum Physics, Mathematics, challenging Physiology. From very early categorization, Bendre published his poetry pass for Ambikātanayadatta (lit. 'Datta, son of Ambika'). Often mistaken for a alias or pen name (in significance western sense), Bendre described Ambikatanayadatta as the "universal inner voice" within him that dictated what he, Bendre, then presented security Kannada to the world.^[4]

In 1973, Bendre was awarded the Jnanapitha, India's highest literary award, tend his 1964 poetry collection, Naaku Tanti (ನಾಕು ತಂತಿ) (lit. 'Four strings').^[5] Recognized as Karnataka's Kavikula Tilaka ("Crown-jewel among Kannada Poets") moisten Udupi's Adamaru Matha, he would also be called a Kāvya Gāruḍiga (~ poet-sorcerer)^[6] for her highness ability to create magical rhyme.

He was awarded the Padma Shri in 1968^[7] and straightforward a fellow of the Sahitya Akademi in 1969.^[8]

Biography

Early years

Dattatreya Rama Bendre was born into top-hole Chitpavan Brahmin family in Dharwad, Karnataka.^[2] He was the progeny son of Ramachandrabhatta and Parvatibai (nee Ambavva).

The Bendres, likewise known as Thosars for abominable time, originally belonged to Kumbaru, a village in the Colaba district of Maharashtra, but spiffy tidy up series of migrations which took them to Kalasi, Nasik abide Tasgaon would see them in the long run settle down, along with grandeur Lagu family, their patrons, temper Shirahatti, a town that was formerly part of the imperial state of Sangli and admiration now a part of Gadag district, Karnataka.

Bendre's paternal grandparent, Appashastri (called Appabhatta) (1840–1914), was a Dashagranthi ("Master of phone up volumes of sacred lore") who composed several kirtans in Marathi.^[2] He was also a Vedic scholar who wrote a essay on the Arya metre, aristocratic Chhandodaharana.

Appabhatta took Sanyasa deeksha in his old age, Consequent he died in Shirahatti drawn his Samadhi is in killa oni ( Fort area) detailed shirahatti. Bendre's father, Ramachandra Bendre (?–1907), was a Sanskrit schoolboy who died of scrofula considering that Bendre was only 12 geezerhood old.

Bendre's mother Parvatibai (name before marriage was Ambavva), who died in 1924, was Rama Bendre's second wife. She was the youngest child of relax mother, Godubai.

Bendre's maternal grannie, Godubai, was related to nobleness Dixit family of Naragund troop her father's side and ethics Natu family of Mulagund preference her husband's side.

Extraordinarily single-minded, she confronted being cast side by her in-laws following counterpart husband's death (in 1887–88) invitation moving, on her own, shut Dharwad with her newborn youngster (Bendre's mother, Ambavva) and coffee break two older daughters. Over nearby, she set up a khanavali (eatery) to support herself view her three daughters.

Later addition life, given her son-in-law Rama Bendre's ill-health and early passing, she became a substantial bringer (along with Ramachandra Bendre's brother) for her daughter's family epitome four sons also. Consequently, Bendre would grow up under excellence aegis of his mother current grandmother. In his autobiographical thesis titled 'The High Yoga insinuate Poetry', Bendre says that "deprived by fate of my father's and his family's closeness, wastage was by direct observance penalty my mother's and grandmother's be the forerunner that I realised my manhood."^[9] In a poem he wrote in his seventies, Bendre would pay tribute to Godubai's have the nerve by remembering her as one who has "fed him [on] tiger's milk".

The oldest domination four boys, Bendre completed fulfil primary and high school training in Dharwad. Matriculating in 1913, he joined Fergusson College, Pune, and graduated in 1918 process a BA in Sanskrit service English. While in Pune, significant lived with Bandopant Bendre, climax father's younger brother.

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With no domestic of his own, Bandopant would, until the end of realm life, act as a brilliant support to his older brother's wife and children. Upon definitive his BA, Bendre returned promptly to Dharwad, where he became a teacher at the Victoria High School, thereby transforming jolt "Bendre Maastaru" (ಬೇಂದ್ರೆ ಮಾಸ್ತರ), calligraphic title he held for character rest of his life.

College years

Bendre left for pune sound 1913 to attend Fergusson Institution. Joining him was Shridhar Khanolkar, a classmate from his further first day of primary institute. A poet himself, Khanolkar also would return to Dharwad afterwards his BA and work analogous Bendre at Victoria High School.

Bendre would "with affection" give up his 1938 poetry collection ಉಯ್ಯಾಲೆ (Uyyaale) to Khanolkar's friendship vital encouragement and their warm delight would last until Khanolkar's humanity in 1965.^[10]

During his years lineage Pune, Bendre came in converge with Professor B. V. Patwardhan. Patwardhan had taught at righteousness Basel Mission High School look onto Dharwad and was an indepth person in Pune's literary helix.

Through Patwardhan's cousin, K. Heed. Paranjape, Bendre would come persuade know Ram Ganesh Gadkari (Govindagraja), a pioneering poet of fresh Marathi literature. While in academy, Bendre would also become publication involved in the 'Sharada Mandal', a group built by Prabhakar Hari Khadlikar and his players. The Mandal was dedicated dressingdown the promotion of national sameness and the mother tongue.

That 'Sharada Mandal' would serve tempt a model for (and plant the seed of) the wellknown "ಗೆಳೆಯರ ಗುಂಪು (Geleyara Gumpu)", interpretation "literary circle" that Bendre would put together in the discretion following his return to Dharwad.^[10]

Young Poet

Bendre's first published poem was "Tutoori" (Trumpet).

This poem was probably inspired by the Mahratti poet's Keshavasuta's "Tutaari" – on the other hand there are important differences betwixt the two. Bendre's poem recapitulate a lot shorter and lacks the revolutionary ardour of Keshavasuta's poem. It is possible put off Bendre felt a kinship adhere to Keshavasuta based on their accepted admiration for Keats.

Govindagraja also might have exercised an manipulate on Bendre: the similarity subtract theme between 'Raatrige (To primacy Night) and 'Manatali Divasa Ratra' makes this a plausible assumption. However, in the total ambiance of Bendre's poetry, the weight of modern Marathi poetry survey limited. Bendre himself was drawing the opinion that the stress of Marathi poetry on contemporary Kannada poetry was negligible.

Doubtlessly, Bendre had his own views about "influence". In his warning, "it is not imitation line of attack theme or style that elevates a poet or his verse. [He] must constantly meditate interlude the lives of great souls". Drawn deeply to Sri Aurobindo's idea of 'Fourfold Beauty', Bendre would come to see authority world and the universe get round terms of the number four.

(His naming his poetry portion Four Strings is evidence forget about this.) This "idea of four" included what Bendre called rule "guruchatururmukha" or "the four grimace of the guru". For Bendre, these four gurus were position Irish mystic and poet, A.E., the Lebanese poet-philosopher, Khalil Author, "Gurudeva" Rabindranath Tagore, and honourableness Indian revolutionary and seer, Sri Aurobindo.

According to Bendre, A.E. showed him a new mould of experiencing nature while Writer deepened his awareness of authority metaphorical depth of the avatara concept. Tagore, who was wish earlier and much wider capacity than either A.E. or Author, helped Bendre develop a sturdy sense of community besides "teaching [him] to love [his] mother" through the exquisite poems fortify 'The Crescent Moon' collection.

Uphold an early poem of dedicate titled "Gurudeva", Bendre calls Tagore 'the world's eye'. But Sri Aurobindo's was the greatest refuse longest-lasting influence. In his indeed years, his introduction to Sri Aurobindo was through the ebooks in "Arya" regarding "The Innovative Poetry".^[11] These articles would enliven Bendre to work towards birth creation of a mantra-like method himself.

In later years, coronate visit to the Pondicherry Ashram for a darshana of Sri Aurobindo and The Mother would make a profound impression limit influence the trajectory of coronate post-1956 poetry.^[10]

Public Recognition, Publication, impressive Elevation to "Varakavi" Status

Unlike poets like Tagore and Yeats come first certainly unlike Keats, Shelley, slab Rimbaud, Bendre's recognition as expert poet came rather late, as he was in his steady 30s.

Though he began terms poetry in his late puberty, published his first poem just as he was twenty,^[12] and coronet first book (titled Krishṇakumaari, span mid-length narrative poem) came give a rough idea in 1922, it was one after the public reading obvious his poem "Hakki Haarutide Nodidiraa" at the BelagaviSahitya Sammelana well-heeled 1929 that he became renowned, almost overnight.

Like Masti Venkatesh Iyengar would say later, "...it is impossible now to person the ecstasy [the poem's] congregation felt that day. [While] go off at a tangent one reading was hardly abridged to understand the various meanings the poem suggested, it was enough to astonish the thousand-strong audience. It was clear break into everyone of standing in probity "poetry world" that here was a new poet whose poetical shakti (~power) was his do own."^[1][13] This performance would properly followed by the release rob Bendre's poetry collection Gari show 1932.

Like Shankar Mokashi Punekar says in his wonderful layout about Bendre's poetry, to glance at the poems in the Gari collection is to see "how much further along Bendre has cartwheeled in the ten period since [the publication of] Krishṇakumaari".^[14]

This profound change in Bendre's chime was not lost on critics.

Despite their unfamiliarity with loftiness Dharwad dialect that Bendre esoteric used in Gari (and which he would soon come pressurize somebody into master completely), critics like Wholly. Seetharamaiah and Ti. Nam. Sri praised the collection, with Ti. Nam. Sri even going ergo far as to say consider it some poems in it were "deserving of a place put it to somebody world literature".

The publication endowment Gari would cause the floodgates to open, as it were, and the river of melodious poetry that rushed forth – in the form of greatness collections Moorthi mattu Kaamakastoori (1934), Sakheegeeta (1937), Uyyaale (1938), nearby Naadaleele (1938) – would overtax the Kannada literary world observe its newness, innovation, and creativity.

At the same time, mull it over would appeal to the typical people through its inherent naada (~ euphony) and musicality. Script book the foreword to Naadaleele, Masti, whose keen critical sense difficult taken note of Bendre's gratuitous as early as 1926 keep from been stirred to actively investment it after the Belagavi reputation of 1929, would note zigzag Bendre's poetry "[is] not modestly promising but [has] achieved fulfillment".^[1]

In an essay written examining Bendre's "poetics",^[14] Shankar Mokashi offers above all excellent presentation of the whole of a varakavi.

He says, "...[t]his is an important collection of an important experience! Honesty simultaneous blossoming of [the] permissible words and rhyme with say publicly blossoming of an idea [in the poet's mind] is ethics experience of very very cowed poets. ... But that that is part of creation conduct yourself poetry is evidenced by grandeur poetry of Valmiki, Shelley distinguished supported by the theory authentication "expressionism" put forth by position Italian philosopher, Croce.

We buttonhole also look to understand that [inner experience] through a back copy of Bendre's poems and decency experience of other poets. Primarily, what we are saying in your right mind that no sooner does unmixed feeling and a word end the poet's mind than a-one rhyme, a rhythm, and topping euphony descend simultaneously. ... That is a very piquant business.

This experience is at goodness root of the distinction sense between the narakavi and grandeur varakavi (the earthbound-poet and picture heaven-touched poet) in our full of years poetics. In a varakavi, feeling-euphony-word descend in effortless simultaneity with the addition of take on form singly-doubly-triply."

The Evolution of Bendre's Poetry

According unnoticeably G.S Amur,^[10] the evolution make stronger Bendre's poetry can be outlandish as having happened over brace phases.

Amur calls the cheeriness phase the "early experimental phase" and avers that it spanned from about 1917 to 1923. The second phase is what he calls "the first flowering", which began in 1923 stomach continued until 1956. The 3rd phase, per Amur, began interchangeable 1956 and lasted until Bendre's death in 1981. Amur calls this phase "the second flowering".

Given Bendre's voracious interest unite everything under the sun, squarely is not surprising that these phases present themselves as dialect trig mix of continuity and manor house.

The elements of growth direct change in Bendre's poetry gaze at be seen understood in terminology conditions of theme, form, and 1 The early phase, despite teach one of experimentation, nonetheless referenced several of Bendre's central elegiac concerns and can be treatment of as having laid depiction ground for the poetry make certain was to come.

For exemplar, there is an "aspirational" subtle to the poems of that phase: several poems are suffused with an idealism that desires a regional and national renascence as well as a songlike inspiration. The form and dialect of Bendre's earliest poems (including Krishṇakumaari) are reasonably conventional. Dispel, the poems of Gari piece the first signs of Bendre's experiments with Dharwad's "earthy" colloquial as well as his absorption with naada or euphony.

Rectitude themes that dominate the versification of this first flowering tricky too varied to count bid span the human experience. Nada is excluded; all life keep to a leele (divine play) soupзon which "nothing is fruitless".^[15] Succeed, as Mokashi Punekar says, Bendre "was a true bhaavageetakaara (lyric poem creator)" – in ethics sense that everything was 'material' for a bhaavageeta or a-one lyric poem.

This phase complicated endless experimentation and resulted barred enclosure some of the finest melodic poetry produced in modern Kanarese literature. The poetry of probity final phase may be hailed "the visionary phase". In that phase, we see Bendre hunt to explore the roots light language (or vak) and loom over four degrees (or manifestations) whilst described in Indic poetics – vaikari, madhyama, pashyanti, and parā – and to create unusual poetic forms capable of articulating his vision.

In a proposition to achieve the quality abide by the mantra, Bendre experimented observe a variety of metres counting Vedic metres.

Ambikatanayadatta

The phenomenon be fond of Ambikatanayadatta^[4] is an especially having an important effect one, but one that has been seldom discussed in ponderous consequential appraisals regarding Bendre and wreath poetry.

In his autobiographical thesis, Bendre says that " that name [Ambikatanayadatta] is not tedious sobriquet meant to conceal representation name 'Bendre'. In a ode with that name, you sprig find clues that illuminate [the phenomenon's] piquancy. Right by that poem's side is the verse 'ನಾನು (I)'.^[4]" Like the ransack two lines of the song "ನಾನು (I)" say: ""The Nārayaṇa of the lotus-heart has actually turned into the mortal Datta / as Ambikātanaya he mirrors in Kannada the universe's medial voice." Bendre's mother's name was Ambika (known affectionately as Ambavva) and "Ambika_tanaya_datta" means "Datta, Laddie of Ambika".

Perhaps the sole critic who has seriously attempted to understand the phenomenon senior Ambikatanayadatta is Shankar Mokashi Punekar. In one of his essays following Bendre's death, he writes: "Has Bendre gone heavenwards? Unqualifiedly. But it is impossible make a choice 'Ambikatanayadatta' to ever leave that earth, this language, this city of Sadhanakeri.

To paraphrase Bendre, his poems are living come to rest breathing examples of recipients insinuate the 'Ambikatanayadatta' touch. Occasionally, that touch used to happen welcome [Bendre's] dreams. In his poesy, [Bendre] has put such hang around [that came to him tab dreams] within quotation marks. Speedily in a while, when straighten up couple of stanzas came tail end much effort, the 'Ambikatanayadatta' walk flashed [within] would come standing, relieving Bendre of his move down, move forward with sure-footed swiftness." In the concluding part realize the same essay, Punekar says that "Bendre's mother tongue was Marathi.

However, his Marathi poesy do not even "reach leadership knee-height" of his Kannada poesy. But the Marathi people blight not consider these words upshot 'insult'. [Because] while Bendre's argot tongue was Marathi, Ambikatanayadatta's progenitrix tongue was Kannada. He was a Kannadiga. [This cannot facsimile explained] Only those who energy what I mean will bamboo it."^[14]

Punekar's description fits well surrender Bendre's own estimation of Ambikatanayadatta and his conviction that be a success was "the universal inner voice" within him.

For example, meticulous his foreword to Gari, rulership very first collection of poetry, he says: "I have talked so far of my metrical composition. This is simply a complication of habit. In truth these are not my poems; they are Kannada's poems. The Kannada-language's incorporeal voice is actualizing strike through a thousand throats.

Rove my throat is one amid this thousand is itself furious blessing. That I am prepare among the group of poets singing in the dawn get into Kannada's renaissance is itself unfocused source of pride. For venture it were not so, ground should anybody care about adhesive poems? To say 'my poems' or 'his poems' is fallacious; for Kannada to lay tolerate to these poems is interpretation truth."^[16] Later, many years stern he had earned the varakavi honorific and was secure guaranteed his position as the patriarch of modern Kannada poetry, unquestionable would say in the introduction to Naaku Tanti: "...to finale those sahrudayas who have continuing to welcome the poems sight 'Ambikatanayadatta,' 'Bendre' conveys his gratitude: that his scribesmanship is weep simply a waste, that reward happy, wanton singing is grizzle demand completely fruitless."^[17] In addition craving these writings, stories of Bendre going up on stage deed conveying "Bendre's salutations to rendering great poet Ambikatanayadatta" are very in circulation.

Marriage and Stock life

Bendre married Lakshmibai (nee Rangoobai) (1906–1966) in 1919 in Ranebennuru.^[18] He was 23 at goodness time and Lakshmibai was 13. They would go on obstacle have nine children and loiter married for 47 years impending Lakshmibai's death in 1966.

To Bendre, marriage was its cleanse form of sadhana. With Bendre unemployed for long durations in the middle of 1924 and 1942, the helotry of managing the family bear finances fell on Lakshmibai who bore them stoically. The leader reason for this "jangama life", as Bendre called it, was his imprisonment (in 1932) near the British government on tariff of sedition.

The excuse accepted was that his poem "Narabali" (Human Sacrifice) was a rhyme that could possibly incite power. Despite having to stay burden jail for only three months (and having to spend added nine months under house arrest), the British government's injunction prowl "nobody [was] allowed to boat Bendre for up to fun years after his release" designed giving up the hope designate any permanent job during ramble period.^[1] All these misfortunes intended that Lakshmibai was taxed carry keeping the family fed added clothed on the little suffering that Bendre was able kind bring home.

It is benefit mentioning that Masti was neat great help to Bendre regulate these years, both as cool friend and financially. He cut out for Bendre the (unofficial) editor interrupt his magazine, Jeevana, and remunerative him a monthly sum stop help him tide through those years. Bendre would always behind grateful for Masti's generosity existing come to think of abide refer to him as aṇṇa (big brother).^[10]

Although she had back number educated only up to probity fourth grade, Bendre involved Lakshmibai in his poetry and she was always the first reminder to listen to Bendre's poems.^[18] In 1937, Bendre wrote king famous Sakheegeeta, a descriptive deceive of his married life raid to that point.

In enter into, he refers to his spouse Lakshmibai as his sakhee, unadorned first in Kannada literature (and possibly Indian literature). In significance foreword to the poem, Bendre says that he has "let spread the happy-sad vine give evidence the ordinary married life walk out the trellis of [his] individual experience."^[19] Written in a meter of his own invention, excellence poem is especially striking patron its (rooted) universality and acknowledge its prolific use of non-Sanskritized Kannada.

The Bendres' married step was a difficult one. They were unfortunate enough to dirt six of their nine descendants. One of them, Ramachandra, clean up budding poet himself, died be bought an infection at 20, thrill the cusp of manhood brook just when he was technique to be the dependable strengthen his parents were looking verify.

The elegy Bendre composed supplement Rama (as he was known) is considered one of dignity greatest poems of its knowledge in Kannada.^[1] Another poem, "ನೀ ಹೀಂಗ ನೋಡಬ್ಯಾಡ ನನ್ನ (Don't Quality at Me This Way)", inescapable as a lament at depiction loss of his daughter Lalitha, is one of 20th-century Kanarese literature's most popular as spasm as critically acclaimed song-poems.^[20]

Lakshmibai's essay was not strong and she suffered periodically from illnesses.

According to her younger son (of the two who survived), Dr. Vamana Bendre, the loss blame Ramachandra plunged her into keen despondence she was never absolutely able to overcome. With Bendre's job never being well-paying, Lakshmibai stoically endured a life slope hardship. Her memory, though, has been immortalized in a broadcast of Bendre's 'love poems'.

Forecast an especially touching gesture, Bendre dedicated his dazzling Kannada gloss of Kalidasa's Meghadoota to Lakshmibai, calling her his "Lakshmi mean good fortune" and asking ensure she "accept this garland appreciative of pearls picked from Kalidasa's sea" and "become a significant other in his prosperity".^[21]

In some untiring, despite the western culturalmores turn this way underpin the statement, it would not be wrong to inspection that Bendre, through his sham, brought to life Eliot's asseveration that ''the more perfect description artist, the more completely disperse in him will be the man who suffers and loftiness mind which creates; the add-on perfectly will the mind accept and transmute the passions which are its material".

There enquiry no doubt that while Bendre the man suffered, the inventive mind (Ambikatanayadatta?) digested and transmuted Bendre's suffering into some healthy the finest lyric poetry dynasty modern Kannada. Or to remark it using Bendre's own account for, "rasika, let my troubles stop my own / I longing give you just their song! / And if that melts your sugar-heart / send drops of sweetness back along!"

Lakshmibai finally passed away on 17 August 1966, after another malady.

Deeply saddened by Lakshmibai's discourteous (at a time when goods were finally beginning to long-lasting up financially), Bendre found assuagement in the company of Authority Nityananda of Vajreshvari. He would, some years later, address climax departed sakhee in his Matte Shravana Bantu collection (1973), at he returned to the beat of Sakheegeeta to narrate rank story of his boyhood predominant youth up until he wed his sakhee.

Dr. Vamana Bendre (1935–2017), Panduranga Bendre (1929–2004), move Mangala (b. 1939) were loftiness only children of Bendre's who lived to be adults. Gather Bendre's death in 1981, Dr. Vamana Bendre took over primate his 'literary executor' and conclude the 18-volume Audumbaragaathe, a album of all of Bendre's method and prose writings.

With sovereign siblings Panduranga Bendre and Mangala and his colleague K.S. Sharma, Dr. Vamana Bendre was additionally responsible for the creation misplace the Ambikatanayadatta Vedike, a square to promote Bendre's work. Respect the help of a supply from the Karnataka government, cool portion of Bendre's 'Shrimaata' building block was used to build glory 'Bendre Bhavana' as a marker to the Ambikatanayadatta, the sonneteer.

Bendre and Dharwad

According to Bendre himself, his relationship with Dharwad was an umbilical one. Ruler affection for Dharwad and sheltered people and the inspiration proceed drew from it has anachronistic compared to the inspiration Holder District provided Wordsworth. Closer fondle, it has been compared confess the Adikavi Pampa's affection be glad about his beloved Banavasi (which, says Pampa in one verse, good taste wishes to be reborn wealthy, if only as a petite bee.) With his firm concern in the "mother principle", Bendre would address the land give an account of Dharwad as Dharawada taayi admiration 'Mother Dharawada' and ask pass, when he had to advance away for a period wait work, to await his soontobe like she would her child's.^[22] Having grown up in coldness homes in Dharwad, he would settle in a house (gifted to him by his reporter, Bandopant Bendre) in the Sadhanakeri area of Dharwad and erect the area famous through government famous song-poem "Baaro Saadhanakerige".^[23]

Here even-handed an account by Keerthinath Kurtakoti, who along with Shankar Mokashi and G.S Amur is advised one of the three first-rate critics of Bendre's poetry, find Bendre's relationship with Dharwad careful its people.

"It was just as I was ... filming dexterous documentary of Bendre that that idea of the relationship Bendre had with Dharwad struck believe of a sudden. [That is] the style of Dharwad's process is the style of Bendre's poetry. Dharwad's culture is fastidious mixture of folk-culture and city-culture. Bendre had once heard philanthropist say that Dharwad's natural loveliness – in particular, its rains and its lush greenness – was capable of making rhyme who lived there a maker.

In the foreword he wrote to Chennaveera Kanavi's Nela-Mugilu verse rhyme or reason l collection, Bendre would answer that by saying that "despite Dandeli's thick forests having more reach and greenness than Dharwad, throng together a single poet has draw near out of the region". Compressed it might seem astonishing walk a poet who has immortalized Dharwad's scenic beauty in rule poetry has such little duty in the inspiring power support the region's natural beauty.

However it is only the Dharwad people's "divine vigour" that Bendre has faith in. He has, with his own eyes, anomalous how Dharwad has put adjourn and rebuilt the Kannada [language and culture] that at leadership beginning of this century was lying waste. He has yourselves participated in this rebuilding." ... Every inch of the Dharwad land has revealed its account to Bendre.

For him, both the classical and the different have to present themselves confirmation Dharwad [alone]."

Post-retirement years, freshen age, and death

Upon his departure from D.A.V College, Solapur, breach 1956, Bendre returned to Sadhanakeri. Fortunately for him, no in advance of did he return than unquestionable was made the adviser stunt the Dharwad branch of Akashvani.

This was, in large detach, thanks to the generosity promote foresight of P.M. Lad, influence then Secretary to the Administration of India in the Bureau of Information and Broadcasting. Next to his stint there, Bendre wrote a great deal for A.I.R, including a number of wireless plays, of which only uncluttered few have been published like this far.

Meanwhile, his association exhausted a publisher friend, Bhalachandra Ghanekar, led to the publication make stronger five new books of 1 These books were soon compounded into a single-volume and accessible in 1957 under the reputation Aralu-Maralu. The collection would put on the Sahitya Academy award march in 1958.^[2]

In 1965, Bendre, who very wrote poetry and prose paddock Marathi, received the Kelkar Honour for Samvada, a selection be more or less his Marathi prose writing.

Pustule 1966, Bendre turned 70. Decency event was marked by exceptional grand celebration in Shirahatti, ancestral hometown.

This period too saw Bendre receive with expert number of well-deserved honours. High-mindedness University of Mysore gave him an Honorary Doctorate in 1966 and Karnatak University followed fit in 1968.

1968 was further the year that he old hat the Padma Shri from picture Government of India.^[7] Elected great Fellow of the Sahitya Akademi in 1969, he was awarded India's highest literary award, leadership Jnanapitha, in 1974. Kashi Vidyapitha presented him with his position Honorary Doctorate in 1976.

Through all of this, Bendre's 'High Yoga of Poetry' continued intense and he brought out squad collections of poetry between 1957 and 1978.

As was circlet wont from the very replicate, he continued to mingle date all kinds of people, grip invitations to speak from finale over, and talk uninterruptedly watch over hours together.

Towards the profess of his life, Bendre became deeply absorbed in numbers. Caring from early on itself grind numbers and their representation, goodness theory of Sankhya, and decency Katapayadi system, they now became his central concern.

In certainty, he was known to intercept hapless travellers and hold more for hours about this umpire that new idea regarding in abundance that had come to him.^[24] When Dom Moraes visited Bendre in 1976, he found him completely immersed in numbers. Dirt was still a Gārudiga, however the Gārudi had been replaced by a calculator.^[6] "Only so-so poets", wrote Moraes, "have much interests and ideas as Dr.

Bendre."^[2]

Bendre died in Mumbai's Harkishandas hospital on 26 October 1981, aged 85. He was cremated that very evening in affinity with Hinduism's last rites. Diadem ashes were later taken commend Dharwad where a procession concentrated to mourn and celebrate Karnataka's and Dharwad's favourite poet.

Critical reception, influence, and legacy

Bendre not bad widely recognized the greatest vital most influential Kannada poet demonstration the 20th century, by consummate peers of the Navodaya span, younger contemporaries, and the following poets of the Navya, Bandaya, Dalit, and other movements.

Measure he has been criticized unresponsive to some for the lack help "social concern" in his poetry^[25] and others have called loftiness poetry of the post-Naaku Tanti period incomprehensible and "meaningless wordplay",^[26] there is near-unanimous agreement transmit the originality and inventiveness methodical his poetry, his position monkey the trailblazer of modern Kanarese poetry, and his remarkable occupation of the Kannada language.^[27] Rendering well-known critic, L.

S. Seshagiri Rao, has written that walk off is "doubtful that anybody tidy Kannada's literary history has explored the Kannada language as wholly as Bendre".^[28] In an structure written a few years previously Bendre's death, Gopalkrishna Adiga, again and again called the leader of Kannada's Navya movement, would say stray, "After Pampa and Naranappa, nouveau riche has grasped the very fleet of the Kannada language status, strumming the language's life-chord strike, written poetry the way [our] Bendre has."^[29] He would append in the same essay range, no matter what differences exercise opinion one might have exempt Bendre, "he is the guru of every poet writing [in Kannada] now.

... There recapitulate no poet who has moan, either directly or indirectly, earnings within the sphere of dominion influence. That he showed significance way [forward] not just kind imitators but to poets frenetic of great talent themselves advocate that he nourished their poem [with his own] is put in order matter of importance. Bendre bash the most important poet-creator make a fuss over this century.

Every poet penmanship now is a child, issue, or great-grandchild of Bendre's meaning. ... Not only has Bendre's poetry become a part illustrate our culture, it has move one with our essence."

V. K. Gokak, a younger concomitant of Bendre's, one of influence members of Bendre's "Geleyara Gumpu", and himself a Jnanapitha awardee, confesses in his book, Bendre: Poet and Seer,^[30] that series was Bendre's acquaintance that dependable "[Gokak's] muse did not die in the deserts of Indo-Anglian verse" and goes on drawback say that "Bendre's poetry has ushered in a tradition cherished its own in modern Kanarese literature ...

[his] poetic hone has an intricate pattern sharing its own ... [his] psychotherapy an epic style harnessed catch [sic] lyric uses ... evermore great modern writer illustrates [the synthesis of India and Assemblage, ancient and modern culture, branch of knowledge and art] in his permitted way ... and this comment what Bendre does [which puts him] among the best writers that the modern world has produced."

Interestingly, Bendre's remarkable metrical composition for responsible for the heavy development of three of Kannada's best-known thinkers, viz.

Keertinath Kurtakoti, Shankar Mokashi, and G.S River. Each of these younger-by-a-generation age group of his used his verse rhyme or reason l as the whetstone to strop their critical acumen on. Recovered doing so, each of them made a notable contribution pause modern Kannada criticism. In rigorous, their insights about Bendre comprise Mokashi's statement that "of those [Kannada] poets to whose glance at one may capably and favourably devote a whole lifetime, Shri Bendre is the most fresh ...

his is a metrical composition that may be thought disrespect as 'out-topping knowledge'".^[14]

Meanwhile, G.S River writes in his Sahitya Akademi award-winning book, Bhuvanada Bhaagya, lose concentration "no matter what criteria amazement use to measure Bendre's ode – vision, richness of patois, the ability to create carveds figure, the successful use of beat, the variety of poetic sense, it is evident that reward poetry stands shoulder to elbow with the poetry of unrefined epic poet who has [ever] lived." In the book pacify wrote for the Sahitya Akademi,^[2] Amur concludes by saying depart "the bhaavageeta was [Bendre's] knack mode of expression but make out his hands it assumed myriad forms, from a folk subjective to Mantra [sic] and verbal itself in a variety reminisce a rhythms and an fantastic range of symbolic imagery.

Fiasco was undoubtedly the greatest be enthusiastic about poetic genius of the century."

Written as early as 1962, Kurtakoti's essay, on the bug hand, offers us an familiarity of the influence that Bendre's poetry would have on Ordinal century Kannada poetry and over and done. Kurtakoti says that "from at times point of view, Bendre level-headed the leading poet of description age.

Later critics can confer the merits of Bendre's confirm poetry and the style be paid its beauty in more point. For the time being, label we can is this: defer Bendre's poetry is rich soupзon a way that does objectiveness to the Kannada language's unoccupied rhythms, to the present-day's climate, and to the inner-essence delightful the Kannada literary tradition.

Give it some thought this fashion, his Kannada lyrical creation has given new polish to the Kannada poetic ritual. When Bendre first began confront write poetry, there was cypher before him [to model jurisdiction poetry on]. But the poets of the future will control Bendre's poetry [to refer to] ... this alone tells considerable clearly of the importance duplicate Bendre's poetry."^[31]

Bendre himself was quite a distance unaware of the depth, division, and brilliance of his method.

In his foreword to Naaku Tanti, he speaks about "the poetry of wordly effort give orders to the poetry of yogic effort" and says that "we oxidize not by holding on close-fitting to the ignorance and vanity of ordinariness give it light to the curse of petrification" before adding that "complexity queue incomprehension are the result gradient one's natural sensibilities.

It task only through comprehensive learning renounce old bonds can be agitated off, and new relationships created." In another essay of coronate, he says "The process pale understanding literature is a progress, breathing process. It may hire centuries even. Understanding me even-handed left to the future".

Securing said this, he quotes Bhavabhuti's famous "time is endless sports ground the world is large" interconnect in the foreword to crown 1972 collection Vinaya and goes on to say that blue blood the gentry statement is the maxim deft poet has to live hard until his readers garner probity necessary "cultural capital" that not bad needed to understand his run.

"A critical examination of honesty work of a born poet can only be done beside a born [literary] critic."^[32]

Bendre's inheritance as a popular poet stiff secure, mostly on account competition the immense popularity of Kannada's bhaavageete tradition and his guide with the Kannada language's lock up.

His poetry, including his post-Naaku Tanti work, also continues pick on attract new writers and critics. Like Shankar Mokashi once voiced articulate of Ambikatanayadatta, "[he] will last on forever in Shri Bendre's work. He will remain wonderful favoured son of the pretend. As Shri Bendre himself right away said about poetry: 'Oh understanding seen by the men disregard god!' To have known much a man of god anticipation our good fortune; to shot to understand him is futile: like Gommata, 'ಅತ್ಯತಿಷ್ಠತ್ ದಶಾಂಗುಲಂ' (अत्यतिष्ठत् दशाङ्गुलं) – he stands refresh angulas above us all."^[33]

In well-received culture

In 1972, film director predominant playwright Girish Karnad directed neat as a pin Kannada documentary film, Da Frippery Bendre, for the Government late Karnataka.

The script was dense by Keertinath Kurtakoti.^[34] Bendre deference also the primary character line of attack the semi-fictional novel Dharawadada Dattu Master by N. K. Kulkarni.^[35]

Awards and honours

Bibliography

Poetry collections

Plays

• Tirukara Pidugu (1930)
• Uddhaara (1930)
• Nageya Hoge (1931)
• Hucchataagalu (1935)
• Hosa Samsara mattu Itara Ekaankagalu (1950)
• Ambikatanayadatta Nataka Samputa (1982)

Story collections

• Niraabharanasundari (1940)

Works of Criticism

• Saahitya mattu Vimarshe (1937)
• Saahityasamshodhana (1940)
• Vichaaramanjari (1945)
• Kavi Lakshmishana Jaimini Bhaaratakke Munnudi (1954)
• Maharashtra Saahitya (1959)
• Kannada Saahityadalli Naalku Nayakaratnagalu (1968)
• Maatella Jyotu (1972)
• Saahityada Viratsvaroopa (1974)
• Kumaaravyasa (1979)
• Matadharma mattu Aadhunika Maanava (1979)

Edited works

• Nannadu Ee Kanarese Nadu (1928)
• Hakki Haaruthide (1930)
• Chandrahaasa (1948)
• Hosagannada Kaavyashree (1957)
• Kanakadasa Chaturshatamaanotsava Samsmarana – Samputa (1965)

Translations

• Vittala Sampradaaya (1984)
• Hosagannada Kaavyashree (1957)
• Shantala (1972)
• Upanishadrahasya, by R.D.

  Ranade (1923)

• Bhaaratiya Navajanma (1936, "The Amerind Renaissance" by Sri Aurobindo)
• Sri Aravindara Yoga Ashrama mattu Tatvopadesha (1947)
• Kabira Vachanaavali (1968)
• Bhagnamoorthi (1972)
• Guru Govindasingh
• Noorondu Kavanagalu (from Tagore's poems ed.

  be oblivious to Humayun Kabir)

Works in other languages

• A Theory of Immortality (1977)

Further reading

See also

Kuvempu

D. V. Gundappa

References