parva book review in kannada

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Monday, May 5, 2014

Book review #10 - parva by dr. s.l.bhyrappa, 3 comments:.

I entirely agree with your views on Parwa and I had similar kinds of joy and experience while reading it. I am a kannadiga and I am proud of S L Byrappa. I had the privilege of enjoying his greatest work in my mother tongue. Parwa attempts to factualize Mahabharata. This is an unbelievable attempt. After every page. we need to ponder a lot about how his creative genius is working to strip Gods and Angels type of characters! I wondered at the way why S L Byrappa's Draupadi's favorite partner is Bheema! I agreed with it as it must be true considering the way Bheema responds to her needs. The author has got great subtle understanding of female mind. At every stage, I wondered a lot. paused a lot and I just could not rush through. Yet, it was a great experience till it lasted. Thanks for its good review in your blog.

Thanks for your comments. Your short review was excellent enough. Keep reading and spreading the Kannada books.

Suggestions and recommendation are always a welcome sign. Please do not post abusive or racist comments. Please comment with sensibility!

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Book Review: Parva (Epoch) by SL Bhyrappa

The Era of Dharmasthapana

(Disclaimer:  Contains mild spoilers. Oh well! It’s a familiar story in every Indian household.)

Parva is but a renowned chronicle narrated differently.  We grew up listening to the epic of Mahabharata from parents and grandparents, watched it on TV in the form of various television series, and even read it in whole or in parts.

We know of the righteous Yudhishtir, the eldest of Pandava brothers, of Bheema the mighty hulk who killed the demon Bakasura, the skillful and ambidextrous Arjuna, the twang of whose Gandheeva (the name of his bow) sent quivers into the hearts of his enemies, Bheeshma the pita maha , the sworn bachelor Godfather of the Kuru family, Krishna an incarnation of God himself, and so on.  We know their stories and we know them as legends and heroes!

But, have we thought about what they are as individuals, as people who eat, drink, feel, and think like us? You will when you read this book.  Bhyrappa gets a little personal here , rather more than a little.  He takes us into the privacy of the thoughts of these characters – What were their feelings during various situations, how did they react to them, how their relationships with other characters were like, what was their perception of various circumstances they faced?  Each had his or her own definitions of rights and wrongs.

The book opens with the thoughts of the king Shalya of Madra kingdom.  The Great War is approaching and both Kauravas and Pandavas are seeking support from the kings of other provinces.  They now need to take either of the sides.  What they choose defines their understanding of Dharma!  Shalya would, of course, favor the Pandavas, as two of the brothers are his nephews, but his son thinks differently.  He is confused by the fact that the virtuous Bhishma whom he idolizes, is favoring Kauravas.

Meanwhile, there is the looming apprehension of marrying off his granddaughter, Hiranyavati, who is way past “the age”!  So the story develops with debate and arguments between father and son as to the right thing to be done.

The storyline leaps from the perspective of one character to that of another in each chapter.  After Shalya it is Kunti, Bheema, Draupadi, Arjuna, Yuyudhana, and others.  As the narrative proceeds towards the war, it goes back and forth recounting the major events through the characters’ reveries as they recall and reflect on the past.  As they analyze their situations, they wonder at the could-haves and should-haves, they question their destinies, ponder over the rights and wrongs of the actions and decisions of the past.

Overall, the saga revolves around and converges to one question – WHAT IS DHARMA (Righteousness)?  The answer through the eyes of its different characters is stretched from black to white through different belief systems resulting in multiple shades of grey.

Elements of realism in Parva

Parva, narrated as historical fiction is placed in the time of 12 th century B.C in India after days of travel and profound study of five years in the social, political, economic, and cultural aspects of that period.

The practice of polyandry, for instance, has existed in villages of the present-day Himachal and also in other places, which seems to have rooted in Draupadi’s times.  Fraternal polyandry is still in practice as a way of life in some of the Himalayan communities.

The Sootha community is described to be comprised of the king’s illegitimate children born to servants.  The kings used to be gifted with women as slaves during their marriages.  And this also explained the 100 children of king Dhritarashtra.  While only 14 sons and a daughter were born to Gandhari, the rest were of the king’s slaves.  While these slaves married the servants of the kings and raised their own families, they were at the disposal of the king whenever he required their services.  Their husbands raised these children like their own.  They were not recognized as princes but as soothas.   They were bound to serve the kings as cooks, charioteers, blacksmiths, carpenters, and other vocations.

Krishna who is said to have many wives were marrying women who were widowed victims of war and providing them with shelter, respectable lives, and a name to their children.  These women would otherwise fall prey to atrocities and abuse from soldiers and rogues.  Polygamy was rampant probably due to the dearth of men. It was also a matter of pride for the kings.

Dharmakshetre Kurukshetre

“Though Hastinavati had rivers, we have been put up in this darned place where the water source is so far away.  This is so unlike our country which is rich with streams and glistening waters.  Let’s go back!” said one of them, trying to scrub himself with the little water he had managed to find.  There was not enough to wash his clothes with.

“Yes yes, let’s all go back.” agreed another.

“So do you say that Kunthi’s children belong to the Kuru clan?”, quipped a third.

“Who are Kunthi’s children? Which is the Kuru clan, again?”, asked the first guy.

“Don’t you know that, idiot?  We are now waging war against Kunthi’s sons, and Kuru clan is of the folks from Hastinavati.”  the second guy displayed his knowledge.

“Are you saying that this Kunthi is not a son of the Kuru clan?” a fourth person who was overhearing the conversation joined in. The knowledgeable one laughed at this, while others blinked cluelessly not realizing the mistake.

“Fools! You are all fools! No wonder people make fun of us folks from the mountains as simpletons.  Do you call yourself Aryas, when you barely know anything about the Kaurava family?”, he said, laughing at the ignorance of the others.

“We don’t even belong here.  We had to travel for about 25 days, even further from the kingdom of Gandhara.  What do we have to do knowing all this? It is not this hot in our place.  I don’t’ like it here, I want to go back.” Said the first guy miserably.

Such are the likes of a war. As you go down in the hierarchy, those at the lower rungs are clueless about the whats and whys of the war they are fighting. Especially the non-fighting population like the cooks and servants of the kings who are tagged along into the war vicinity without a choice.

The Kauravas successfully accumulate huge masses of army and assistance from kings of various provinces with tact, manipulation, and bribery.  Some are true allies who are loyal supporters, some are bound to stick with them due to obligations, some give in to the power and riches and some others are coerced into joining them. He welcomes them to his kingdom with extravagant hospitality leaving each of them in awe.  Victory is certain while everyone is wallowing in pride at the vast majority that has joined together.

While we already know who fought whom, who fought for whom, who survived and how others died, Parva tells you what each of them thought about the war before, during, and of those who remained, after the war.  It gives you a verbal sketch of the soldiers and warriors trenching to the war field, the confusion and chaos of war and fills the gap between the known events.  The picture of the problems with respect to the supply of food, water, shelter, and sanitation at their camps during the war gets intricately carved in your mind.

It talks of war strategies, politics, cheating, differences of opinions, discord within team members.  Every bit of the narration echoes of tragedies, injustice, disgrace, insult, revenge, anguish, melancholy of the different characters.

What began with pomp and grandeur and royal hospitality dissolves into food and sleep deprivation, rotting bodies, and the stench of mismanaged human and animal excretion.  The worst thing about a war is what it leaves behind and realization of its pointlessness, death and loss, widowed women and orphaned offspring. Despair!

In conclusion:

It is a very fascinating insight into the Mahabharata, demythicalizing the heroes, stripping them of their superpowers and depicted as mere mortals – like humans who are facing the ramifications of the worst enemies of the mind; kama (lust), krodha (anger), lobha (greed), moha (attachment), Mada (pride or arrogance), and matsara (jealousy).  Parva reveals the deepest, darkest depths of the psyche of the characters. It also highlights the bane of patriarchal society, power politics, and the gross objectification of women.

While some people would find this blasphemous, it is indeed a treat for rational thinkers.  There is humor, drama and the animated narrative keeps the thrill alive till the end.  Mahabharata is not one story but an inventory of stories within stories.  Reproduction of such an epic by throwing light from various angles, replacing the supernatural with human elements, and a detailed delving into human psychology, all the while sticking to the original story-line can only result in a master-piece.

धर्मो रक्षति रक्षितः |

_________________________________________

About the Author of this Review: This Review is by Nivedita Baliga on one of SL Bhyrappa’s most debated and popular works. It is translated into all major Indian languages along with English and has won numerous awards.

The Author is an alumnus of the Manipal Institute of Technology and Vaikunta Baliga College of Law currently practicing at Shivamogga. She is an avid reader, writer, blogger, and human rights advocate with a vast knowledge base and experience serving society.

This book has been translated into many languages and you can buy them from the following links –

1. English – Parva: A tale of war, Peace, Love, Death, God, and Man

2. Kannada – ಪರ್ವಾ

3. Hindi – पर्व

It is also available in all major languages of our country.

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Review: parva – a play in english.

Last week there was excitement for the Indics of Bengaluru. ‘Parva’ - Dr. SL Bhyarappa’s legendary Kannada novel - was on stage in English. Produced and managed by Eneno Ase Media and Entertainment it was directed by the multifaceted Shri. Prakash Belawadi - Theatre person, Thinker, Actor and Culture Critique. Published in 1979, the novel was written over 3 years of elapsed time with many years of preparation before. It has a cult following across generations and virtually has the status of an epic in our times. Nearing 50 years but the fascination and conversation around Parva has not ceased.

Parva has drawn both fans and critics in equal measure. It is translated into most Bharateeya-Bhashas and is possibly the most sold English translation from Sahitya Academy. Left Liberals and Seculars grudgingly appreciate the novel. In form and substance it offers them material to problematize the culture. Indic Modernists have an unabashed appreciation of the novel for the composition it offers to see modern ideas in an ancient setup. Traditionalists have maintained a cautious distance appreciating literary genius but highlighting substantive problems in it. Thus, ‘Parva - the Novel’ is a legend of our times in its own right.

Parva - The Play

A play of 8 hours with 5 Acts and 4 Intervals is a marathon in itself. An open-air theatre suits such a longish extravaganza, much like Yakshagana of previous decades. To pack it into the confined stage of a proscenium like theatre is a daring act. Shri. Belawadi has not only dared but succeeded in this phenomenal adaptation. The play had already seen successful runs in Kannada with appreciation. Now the English audiences got to experience this grand retelling and reimagination. Actors were largely above board with some exceptional performances. Even a simple 2 hour play is never without a performance flaw. Here was an 8 hour play with negligible omissions. The stage was simple and static. Yet it was potent for creative lighting to bring it alive and made fresh for each scene, well supported by a costume-design which reflected personas and situations. A remarkable use of the stage space and position for each character to reflect situations, mood and importance. Haunting music became a role in itself while being invisible. All this technical genius transformed itself into an accessible theatrical experience for all audiences.

(Figure 1: A still from the play – An older Kunti reflecting on her dilemma’s as a young woman, reminiscing her conversation with husband Pandu and Madri)

‘Parva - The Play’ is largely faithful to the ‘Parva - The Novel’ in terms of its substance. But the theatrical experience is Shri. Prakash Belawadi’s creative imagination. Holding a learned audience to an 8 hour indulgence is a phenomenal achievement. Mahabharata will always remain a fascination for the ‘Bharateeya Manas’. Yet the larger credit goes to the staged version, Shri. Belawadi’s stage vision and the performers. The hall was full and a significant section of the audience stayed through. While it says a lot about - Mahabharata, SL Bhyrappa and the novel itself, it says as much about an audience willing to sit through a marathon patiently. The audience, truly from a wide spectrum, applauded this scintillating performance. That it ran like a sprint made things easy and a joyful experience. It was an entertaining, engaging performance provoking the audiences to reflect and respond.

Everything else could be perfect but nothing can compensate for actors with a good hold on their craft. It's challenging when you are staging something based on Mahabharata . Three actors truly carried the ensemble throughout - Kunti, Draupadi and Srikrishna. Divya Raghuram, who played the role of Kunti, is an outstanding actor with years of experience. Her mastery over the craft was in full display in every gesture and word. Kunti is the most intense character in Dr. SL Bhyarappa’s Parva. Divya carried that weight on her shoulders with poise, grace and understanding. Draupadi is an equally complex character in the novel. Siri Ravikumar - a relatively less experienced actress - played the role impactfully. All characters in Parva go through enormous inner struggle. Each finds their individual excess punctured by the other at some stage. Srikrishna alone is the exception. It is the only role in Parva mostly etched in the mould of the original Mahabharata. He stays above the ‘Samsara Sagara’ and cruises through the ocean of sorrow. It was delightfully played by a very young actress - Shibani Rao - who grasped the enormity of the role. Of the men - Duryodhana played by Abhijeet Shetty was exceptional. Krishna Hebbale as Karna was remarkable, portraying both the dilemma and tragedy very well. Harish Sheshadri as Dhritarashtra stood out. Nameless supporting characters were placed well to emphasise specific moments and aspects in each scene. Some present in the novel and others a thoughtful imagination of the play itself. They did their job neatly.

A critical review of a play like Parva cannot escape two other dimensions. A comparison with ‘Parva - the Novel’ is in order for obvious reasons. One must explore the similarities and differences between two. At the same time viewing both the play and the novel from the lens of Vyasa Mahabharata cannot be avoided. Mahabharata as an epic carries a cultural and civilizational importance and hence any derivation, adaptation, retelling cannot escape a conversation with the original. The critical question is what value does an adaptation bring to the existing universe where the original is at the centre or to the current times? Hence, the Play and the Novel are to be situated in its universe.

Parva - The Novel and Vyasa Bharata

Vyasa’s Mahabharata is complete. It portrays clear conflict between Artha-Kama pursuers and the seekers of Purushartha. It presents their turmoil, striving for clarity & and achieving clarity in the right measure. It is a complete treatise of the Purushartha portraying the complex interplay between Dharma, Artha, Kama, Moksha through the large universe of 1 lakh Shlokas. Vyasa Bharata is a peak Vedic Society with clarity & confidence in Moksha and dharma.

(Figure 2: Parva – The Novel by S.L. Bhyrappa)

‘Parva - The Novel’ is like a proto-Vedic society yet to attain Dharmic clarity or a post-Vedic society that has lost Dharma clarity. This reduction helps the novel underscore the difficulty of realising Dharma-clarity in the real world. Artistically, it is a triumph of structure, plotting and characterization presenting characters of Mahabharata in the flesh and blood. It makes a compelling reading and leaves you wonderstruck. Yet, the novel is a slice of the Vyasa Bharata in terms of substance cut through the sensitivities and sensibilities of a particular time period - the 70s. The novel is a partial reduction of the holistic Purushartha universe into a lesser Artha-Kama plane. Moksha is a suspicious idea and Dharma without clarity in the novel (The Shuka episode for instance). Thus, the light of Veda Vyasa dims into a darker universe of the night.

‘Parva - The Novel’ presents a stark Artha-Kama clash between characters each searching blindly and in vain for the balance of Dharma. Every character strives for that elusive Dharma in its sookshma. This is achieved through the portrayal of the internal turmoil of characters while still struggling to realize ‘clarity of Dharma’. Consequently, the whole novel is on the Artha-Kama plane although Dharma and Moksha make a cultural difference on that plane. In this penchant to characterize the sookshma - the subtle - the novel ends up giving an impression that on certain matters there is no clarity. But Vyasa Bharata is an epitome of clarity even while portraying the elusive nature of subtle Dharma. The novel still is a multidimensional exploration of what Dharma is. Yet this choice of internal turmoil as the central feature, presented through monologues and deep moments of confusion, has its implications.

A Play, however long it is, cannot bring all dimensions in equal measure from a novel. Parva - the play’ retains internal turmoil as the chief instrument on the stage. Substantively it picks two aspects from the novel as its anchor - the righteousness of Niyoga through which the Pandavas were born and staking of Draupadi in the Dyuta Sabha. Other explorations of the novel are not totally eliminated in the play. But they become satellites to these major planets of the Parva Solar System.

This anchoring results in a strong presentation of its women characters - much in line with ‘Parva - the Novel’. However, it renders men without agency for they become answerable to questions raised by Kunti and Draupadi. This reflects in the portrayal of Pandu and Dharmaraja respectively. The psychological space occupied by Draupadi and Kunti, when present and otherwise, makes other characters less emphasised. While Draupadi’s anguish has roots in Vyasa Bharata, Kunti’s sense of being wronged is a creative liberty assumed by Dr. SL Bhyrappa in the novel. The novel balances this aspect through a variety of other situations. This assumes a larger proportion in the play as it anchors on the two women. It also ends up creating space for modern preoccupations to be read into the Mahabharata universe. This further narrows down Dharma exploration. While this is a creative liberty assumed in the novel itself, there is scope to balance this out in the play given its constrained time and space.

Given the limits of time, ‘Parva - the Play’ could not have done justice to all characters as portrayed in the novel. But there is scope to retain the focus on the ‘complexity of decision making’. Suppression and oppression of men and women ought to be a sub-element of this larger exploration. The novel itself explores the psychology of women a lot more than men. But the technique used by the novel is that of subtle journeys in the mind. In their actions, the novel strives for a greater justice to both men and women. In the play, this psychological journey is transformed onto the ‘material’ plane completely as it is the ‘visual’ medium. A thought process in the mind is transformed into an absolute flesh and blood reality - assuming a level of emphasis not found in the novel. This results in the turmoil of women looming large over the entire play. Men do not get enough opportunity to present their Dharma exploration. They appear self-indulgent and confused.

(Figure 3:  A still from the play - Dhritarashtra and Gandhari)

This exploration on a purely psychological plane is relatively easier in literature than in theatre. The theatre presentation of the novel requires the exploration of a ‘non-real psychological’ plane on the stage. What appears in the novel as the intensity of the moment must not appear as a larger reality across time. Just as Dr. SLB has assumed creative liberty to portray a certain dimension of Vyasa Bharata, the staged version itself may need a creative distance from the novel to suit the medium of the stage. Language also plays a role. What may have been a weighty exploration in Kannada (with Sanskrit words) may appear a bit too material and mundane in English. The sense of ‘Bhadra/Mangala/Auspicious’ is harder to achieve in English while in Kannada/Sanskrit the word can compensate for the tenor and situation. These are critical challenges for the play as well as the upcoming movie.

Characterization in the Novel and the Play

A few other characters have assumed comical dimensions. Theatrically it makes sense as it brings relief to an otherwise very serious play. When nameless supporting roles acquire this dimension it complements the larger play very well as well. However, a principal character like Sanjaya presented in this tenor takes away a very critical dimension from Mahabharata. A Suta like Sanjaya constantly chiding Dhritarashtra for his omissions is the hallmark of Vyasa Bharata. It underscores the agency non-Kshatriyas enjoyed in the cultural space occupied by the Kshatriyas. It is the strength of the erstwhile Varna-Jata-Kula order. The novel partially and the play completely takes away this dimension. A self-indulgent, selfish, compromised, comical Sanjaya brings only entertainment on the stage. Sanjaya was Vyasa’s favourite Shishya and there are references where he is quoted alongside Shuka ahead of other disciples. Nevertheless, it must be said that the actor Apurva Aniruddha plays the role presented to create a memorable experience.

Several other characters go through this journey of creative liberty becoming weak in the novel, and hence, in the play. Vidura becomes a confused man with some moral ambition but without clarity. Pandavas in general are without agency. Bheema alone has a greater presence in the novel. In the play, this exploration is severely curtailed as the women characters assume larger space. Arjuna with a lesser presence in the novel finds himself merely responding to situations in the play. The contempt that the novel has for Nakula-Sahadeva is carried over to the play while Vyasa Bharata is quite glorious about both. Sahadeva in particular is a guptagaminee in Mahabharata but plays a crucial role intermittently. Parva - the Novel itself makes Pandu very weak in order to create a stronger Kunti. However, Vyasa Bharata retains equal strength in both and yet explores the very same questions. The assumed creative liberty of the novel does not seem to result in substantial aesthetic and cultural fruits. The play could assume some distance from the novel in future to restore balance.

The biggest victim of all is Dharmaraja Yudhisthira himself. The novel itself paints him as a good man without wisdom and backbone while the play unwittingly amplifies it. Maharshi Vyasa portrayed Dharmaraja as the only man ascending to the heavens with his mortal body. Any retelling, reimagination, exploration of Mahabharata must deal with this dimension. The caste superiority-inferiority is also overplayed in the novel spilling over to the play. Suta-s are very much royal in Vyasa Bharata. Karna only suffered the wrong of being abandoned at birth and no more discrimination. Exalted sages Lomaharshana and Ugrashrava Souti are Suta-s themselves. Ekalavya is killed by Srikrishna much before the Kurukshetra war. He belonged to the privileged royalty of Nishadas with allegiance to Jarasandha - as Harivamsha Purana elaborates. Another interesting moment in Parva the novel is Vyasa and Bheeshma coming face to face. They return weak and without answers to their questions in both the novel and the play. But on those very matters, Vyasa Bharata assumes enormous clarity and answers all questions the novel and the play raise. These are matters that future adaptations and productions could consider and resolve.

Creative Liberty

All this leaves us with a larger question. What does creative liberty mean in the context of civilizational epics like Mahabharata? The moment we pick a few elements from the larger universe for emphasis it leads to a kind of altered universe. Suffice to say that creative liberties ought to operate within the universe of the original and not completely create a new universe. They must highlight a dimension of the original without affecting any other existing dimension. Any interpretation ought not present the original in a light contradictory to its original vision. At the least, assumed creative liberty ought not to make space for problematic modern readings/theories not consistent with the original Mahabharata. Unfortunately, ‘Parva the novel’ makes way for it. It was written in 1979 and reflected artistic/literary sensitivities and socio-political realities of the 1970s. It drifted to being a view of contemporary life but using the structure, lens and instrument of Mahabharata. In 2023, new adaptations will need to assume different forms and occupy different positions in the Mahabharata universe while holding a mirror to a side of the original.

(Figure 4:  Post-play ensemble of actors on stage)

Dr. SL Bhyrappa opened the body of Vyasa Bharata to observe its critical elements. In his new synthesis he picked only a few elements through which he sought to raise questions that Dharma is concerned about. However, the synthesis remained only at the questioning level without exploring answers which too were part of Vyasa Bharata. Further, the moment he brought them from the Puranic universe to the real world it assumed a greater Artha-Kama dimension. Questions raised were sporadic without offering a consistent worldview. Such an exposition only amplifies being wrong and being wronged reflecting only contemporary concerns. That may not be fair to either Vyasa Bharata or to our civilization.

As mentioned earlier, the Novel was a journey into the psychology of select characters. It's a psychological journey through the pages. This creative liberty worked well in the form of a novel as it is literature. A staged version (a movie much more) by default creates a material universe through the visual medium. The stage is very much a 3 dimensional physical space. The psychological journey becomes a material one. Hence, the characterization and their emphasis require a distance from the novel. These are questions about how a substance must be carried from one medium to the other. By default, the form of a novel cannot carry the complexity of an epic in verses. But the perils of the plane of realism can be somewhat avoided in a novel. In a play or a movie it is more difficult. As Parva triumphantly enters into the movie-medium, these are important questions to ask and find answers.

Nevertheless, Parva - A Play in English is a triumph of the theatrical genius of Sri. Prakash Belawadi. An impactful production that will continue to make waves. We will talk about it for a long time to come. It offers a template for how classic works should be adopted and presented in an engaging and thoughtful manner. It will further evolve in a continued engagement with the audiences. Time will tell what space it occupies in the Mahabharata universe and where it will beam its light on. Hopefully it will reignite an interest in the original Vyasa Bharata as well.

Last week there was excitement for the Indics of Bengaluru. ‘Parva’ – Dr. SL Bhyarappa’s legendary Kannada novel – was on stage in English. Produced and managed by Eneno Ase Media and Entertainment it was directed by the multifaceted Shri. Prakash Belawadi – Theatre person, Thinker, Actor and Culture Critique. Published in 1979, the novel was written over 3 years of elapsed time with many years of preparation before. It has a cult following across generations and virtually has the status of an epic in our times. Nearing 50 years but the fascination and conversation around Parva has not ceased.

Parva has drawn both fans and critics in equal measure. It is translated into most Bharateeya-Bhashas and is possibly the most sold English translation from Sahitya Academy. Left Liberals and Seculars grudgingly appreciate the novel. In form and substance it offers them material to problematize the culture. Indic Modernists have an unabashed appreciation of the novel for the composition it offers to see modern ideas in an ancient setup. Traditionalists have maintained a cautious distance appreciating literary genius but highlighting substantive problems in it. Thus, ‘Parva – the Novel’ is a legend of our times in its own right.

Parva – The Play

‘Parva – The Play’ is largely faithful to the ‘Parva – The Novel’ in terms of its substance. But the theatrical experience is Shri. Prakash Belawadi’s creative imagination. Holding a learned audience to an 8 hour indulgence is a phenomenal achievement. Mahabharata will always remain a fascination for the ‘Bharateeya Manas’. Yet the larger credit goes to the staged version, Shri. Belawadi’s stage vision and the performers. The hall was full and a significant section of the audience stayed through. While it says a lot about – Mahabharata, SL Bhyrappa and the novel itself, it says as much about an audience willing to sit through a marathon patiently. The audience, truly from a wide spectrum, applauded this scintillating performance. That it ran like a sprint made things easy and a joyful experience. It was an entertaining, engaging performance provoking the audiences to reflect and respond.

Everything else could be perfect but nothing can compensate for actors with a good hold on their craft. It’s challenging when you are staging something based on Mahabharata . Three actors truly carried the ensemble throughout – Kunti, Draupadi and Srikrishna. Divya Raghuram, who played the role of Kunti, is an outstanding actor with years of experience. Her mastery over the craft was in full display in every gesture and word. Kunti is the most intense character in Dr. SL Bhyarappa’s Parva. Divya carried that weight on her shoulders with poise, grace and understanding. Draupadi is an equally complex character in the novel. Siri Ravikumar – a relatively less experienced actress – played the role impactfully. All characters in Parva go through enormous inner struggle. Each finds their individual excess punctured by the other at some stage. Srikrishna alone is the exception. It is the only role in Parva mostly etched in the mould of the original Mahabharata. He stays above the ‘Samsara Sagara’ and cruises through the ocean of sorrow. It was delightfully played by a very young actress – Shibani Rao – who grasped the enormity of the role. Of the men – Duryodhana played by Abhijeet Shetty was exceptional. Krishna Hebbale as Karna was remarkable, portraying both the dilemma and tragedy very well. Harish Sheshadri as Dhritarashtra stood out. Nameless supporting characters were placed well to emphasise specific moments and aspects in each scene. Some present in the novel and others a thoughtful imagination of the play itself. They did their job neatly.

A critical review of a play like Parva cannot escape two other dimensions. A comparison with ‘Parva – the Novel’ is in order for obvious reasons. One must explore the similarities and differences between two. At the same time viewing both the play and the novel from the lens of Vyasa Mahabharata cannot be avoided. Mahabharata as an epic carries a cultural and civilizational importance and hence any derivation, adaptation, retelling cannot escape a conversation with the original. The critical question is what value does an adaptation bring to the existing universe where the original is at the centre or to the current times? Hence, the Play and the Novel are to be situated in its universe.

Parva – The Novel and Vyasa Bharata

‘Parva – The Novel’ is like a proto-Vedic society yet to attain Dharmic clarity or a post-Vedic society that has lost Dharma clarity. This reduction helps the novel underscore the difficulty of realising Dharma-clarity in the real world. Artistically, it is a triumph of structure, plotting and characterization presenting characters of Mahabharata in the flesh and blood. It makes a compelling reading and leaves you wonderstruck. Yet, the novel is a slice of the Vyasa Bharata in terms of substance cut through the sensitivities and sensibilities of a particular time period – the 70s. The novel is a partial reduction of the holistic Purushartha universe into a lesser Artha-Kama plane. Moksha is a suspicious idea and Dharma without clarity in the novel (The Shuka episode for instance). Thus, the light of Veda Vyasa dims into a darker universe of the night.

‘Parva – The Novel’ presents a stark Artha-Kama clash between characters each searching blindly and in vain for the balance of Dharma. Every character strives for that elusive Dharma in its sookshma. This is achieved through the portrayal of the internal turmoil of characters while still struggling to realize ‘clarity of Dharma’. Consequently, the whole novel is on the Artha-Kama plane although Dharma and Moksha make a cultural difference on that plane. In this penchant to characterize the sookshma – the subtle – the novel ends up giving an impression that on certain matters there is no clarity. But Vyasa Bharata is an epitome of clarity even while portraying the elusive nature of subtle Dharma. The novel still is a multidimensional exploration of what Dharma is. Yet this choice of internal turmoil as the central feature, presented through monologues and deep moments of confusion, has its implications.

A Play, however long it is, cannot bring all dimensions in equal measure from a novel. Parva – the play’ retains internal turmoil as the chief instrument on the stage. Substantively it picks two aspects from the novel as its anchor – the righteousness of Niyoga through which the Pandavas were born and staking of Draupadi in the Dyuta Sabha. Other explorations of the novel are not totally eliminated in the play. But they become satellites to these major planets of the Parva Solar System.

This anchoring results in a strong presentation of its women characters – much in line with ‘Parva – the Novel’. However, it renders men without agency for they become answerable to questions raised by Kunti and Draupadi. This reflects in the portrayal of Pandu and Dharmaraja respectively. The psychological space occupied by Draupadi and Kunti, when present and otherwise, makes other characters less emphasised. While Draupadi’s anguish has roots in Vyasa Bharata, Kunti’s sense of being wronged is a creative liberty assumed by Dr. SL Bhyrappa in the novel. The novel balances this aspect through a variety of other situations. This assumes a larger proportion in the play as it anchors on the two women. It also ends up creating space for modern preoccupations to be read into the Mahabharata universe. This further narrows down Dharma exploration. While this is a creative liberty assumed in the novel itself, there is scope to balance this out in the play given its constrained time and space.

Given the limits of time, ‘Parva – the Play’ could not have done justice to all characters as portrayed in the novel. But there is scope to retain the focus on the ‘complexity of decision making’. Suppression and oppression of men and women ought to be a sub-element of this larger exploration. The novel itself explores the psychology of women a lot more than men. But the technique used by the novel is that of subtle journeys in the mind. In their actions, the novel strives for a greater justice to both men and women. In the play, this psychological journey is transformed onto the ‘material’ plane completely as it is the ‘visual’ medium. A thought process in the mind is transformed into an absolute flesh and blood reality – assuming a level of emphasis not found in the novel. This results in the turmoil of women looming large over the entire play. Men do not get enough opportunity to present their Dharma exploration. They appear self-indulgent and confused.

(Figure 3:  A still from the play – Dhritarashtra and Gandhari)

Several other characters go through this journey of creative liberty becoming weak in the novel, and hence, in the play. Vidura becomes a confused man with some moral ambition but without clarity. Pandavas in general are without agency. Bheema alone has a greater presence in the novel. In the play, this exploration is severely curtailed as the women characters assume larger space. Arjuna with a lesser presence in the novel finds himself merely responding to situations in the play. The contempt that the novel has for Nakula-Sahadeva is carried over to the play while Vyasa Bharata is quite glorious about both. Sahadeva in particular is a guptagaminee in Mahabharata but plays a crucial role intermittently. Parva – the Novel itself makes Pandu very weak in order to create a stronger Kunti. However, Vyasa Bharata retains equal strength in both and yet explores the very same questions. The assumed creative liberty of the novel does not seem to result in substantial aesthetic and cultural fruits. The play could assume some distance from the novel in future to restore balance.

The biggest victim of all is Dharmaraja Yudhisthira himself. The novel itself paints him as a good man without wisdom and backbone while the play unwittingly amplifies it. Maharshi Vyasa portrayed Dharmaraja as the only man ascending to the heavens with his mortal body. Any retelling, reimagination, exploration of Mahabharata must deal with this dimension. The caste superiority-inferiority is also overplayed in the novel spilling over to the play. Suta-s are very much royal in Vyasa Bharata. Karna only suffered the wrong of being abandoned at birth and no more discrimination. Exalted sages Lomaharshana and Ugrashrava Souti are Suta-s themselves. Ekalavya is killed by Srikrishna much before the Kurukshetra war. He belonged to the privileged royalty of Nishadas with allegiance to Jarasandha – as Harivamsha Purana elaborates. Another interesting moment in Parva the novel is Vyasa and Bheeshma coming face to face. They return weak and without answers to their questions in both the novel and the play. But on those very matters, Vyasa Bharata assumes enormous clarity and answers all questions the novel and the play raise. These are matters that future adaptations and productions could consider and resolve.

As mentioned earlier, the Novel was a journey into the psychology of select characters. It’s a psychological journey through the pages. This creative liberty worked well in the form of a novel as it is literature. A staged version (a movie much more) by default creates a material universe through the visual medium. The stage is very much a 3 dimensional physical space. The psychological journey becomes a material one. Hence, the characterization and their emphasis require a distance from the novel. These are questions about how a substance must be carried from one medium to the other. By default, the form of a novel cannot carry the complexity of an epic in verses. But the perils of the plane of realism can be somewhat avoided in a novel. In a play or a movie it is more difficult. As Parva triumphantly enters into the movie-medium, these are important questions to ask and find answers.

Nevertheless, Parva – A Play in English is a triumph of the theatrical genius of Sri. Prakash Belawadi. An impactful production that will continue to make waves. We will talk about it for a long time to come. It offers a template for how classic works should be adopted and presented in an engaging and thoughtful manner. It will further evolve in a continued engagement with the audiences. Time will tell what space it occupies in the Mahabharata universe and where it will beam its light on. Hopefully it will reignite an interest in the original Vyasa Bharata as well.

Disclaimer: The opinions expressed in this article belong to the author. Indic Today is neither responsible nor liable for the accuracy, completeness, suitability, or validity of any information in the article.

We welcome your comments at [email protected]

Shivakumar GV

Shivakumar is a vagabond in the Thought World deeply interested in philosophical/intellectual foundations of Indian Civilization and conflicts in Modern India. In particular, he is Read more

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• Home » Movies » No One Came To Me To Make Parva Into A Movie In The Past Kannada Novelist Dr Sl Bhyrappa

No one came to me in the past to make ‘Parva’ into a movie: Kannada novelist Dr SL Bhyrappa

Director Vivek Agnihotri announces his next film, 'Parva', a three-part project based on Dr Bhyrappa's famous novel of the same name.

Published Oct 21, 2023 | 4:07 PM ⚊ UpdatedOct 21, 2023 | 4:29 PM

Vivek Agnihotri and team addressing the media. (Supplied)

Published in 1979, the novel “ Parva ” is considered one of the finest works of noted Kannada writer-novelist Dr SL Bhyrappa.

Now, the novel will finally be made into a movie by Vivek Agnihotri, the director-producer of The Kashmir Files (2022).

Dr SL Bhyrappa’s monumental work “ Parva ” presents the Mahabharata ‘s epic tale in the form of a compelling series of soliloquies through the key characters of Kunthi, Draupadi, Bheema, and Karna.

This novel stands as the Kannada writer’s most discussed and widely celebrated literary masterpiece.

Though there were talks in the past on “ Parva ” being made into a feature film by several Kannada directors, including Yogaraj Bhat of Mungaru Male (2006) fame, nothing materialised till recently when Dr Bhyrappa gave his consent to Bollywood director Vivek Agnihotri.

When asked the reason, the noted Kannada writer said, “No one came to me with a request to make ‘ Parva ‘ into a movie. In fact, no one dared to make it into a movie since no Kannada filmmaker had ever visualised it.”

Dr Bhyrappa added, “I don’t even have to tell what kind of movies Kannada filmmakers are up to. Even if somebody had approached me, I would have questioned them as to who would direct the film. However, I never had the opportunity to even ask.”

BIG ANNOUNCEMENT: Is Mahabharat HISTORY or MYTHOLOGY? We, at @i_ambuddha are grateful to the almighty to be presenting Padma Bhushan Dr. SL Bhyrappa’s ‘modern classic’: PARVA – AN EPIC TALE OF DHARMA. There is a reason why PARVA is called ‘Masterpiece of masterpieces’. 1/2 pic.twitter.com/BiRyClhT5c — Vivek Ranjan Agnihotri (@vivekagnihotri) October 21, 2023

Also Read: The OG (Only Good) thing about ‘Ghost’ is Shiva Rajkumar

Why vivek agnihotri.

Vivek Agnihori with Dr Bhyrappa. (Supplied)

The writer was addressing the launch of the film Parva in Bengaluru on Saturday, 21 October.

He said, “I saw Prakash Belawadi’s stage play ‘ Parva ‘ several times and even read his stage script. I liked the way it was done, and I was confident that it could be made into a movie when he came to me about the same. It also needed the right kind of producer to make it.”

Dr Bhyrappa also spoke about how the English theatre and director Peter Brook’s The Mahabharata  (1989) was present globally.

“When Vivek came to me, he said that he would take Parva global,” the novelist added.

In three parts

Team ‘Parva’. (Supplied)

Meanwhile, director Vivek Agnihotri said he intends to make Parva into a three-part movie, initially in Kannada and Hindi.

“It will be written by me and Prakash Belwadi, who has turned the novel Parva into a stage play. As of now, we have thought of primarily making it in two languages — Kannada and Hindi,” the filmmaker revealed.

He added, “However, I am thinking of adopting artificial technology which is growing rapidly. I did use the technology with some parts of it in the Tamil version of The Vaccine War (2023). I would like to use AI technology to make Parva in Spanish. Chinese and other foreign languages for greater reach. But as of now, it will be in two languages.”

On pan-India release plans, Vivek Agnihotri noted that they are currently writing the script. “We are going to shoot all parts in one go. This is a project that cannot be made with a deadline in mind.”

Also Read: ‘The Vaccine War’ is not as good as the title

I like yash: vivek agnihotri.

Dr Bhyrappa with Prakash Belawadi. (Supplied)

When asked who his favourite Kannada actor is, Vivek Agnihotri replied that he likes “Rocking Star” Yash.

“I like the way Yash performs and the way he carries himself. I want someone to send a word to Yash on my behalf,” Vivek Agnihotri added when asked if he wishes to cast Yash in Parva .

The Bollywood director clarified that he wouldn’t refer to the work ( Parva ) as mythological. “I call it eternal. The novel has already answered it. It is historical and about the making challenges, for any filmmaker, making a film is itself a challenge. As to Parva , considering it to be made into a film is itself the biggest challenge.”

A multifaceted personality, Prakash Belawadi revealed that the idea to make Dr Bhyrappa’s novel into a film took birth during his conversations with Vivek Agnihotri while working on The Tashkent Files (2019).

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Parva: A tale of war, Peace, Love, Death, God, and Man Hardcover – July 1, 2009

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• Print length 950 pages
• Language English
• Publisher Sahitya Akademi/New Delhi/India
• Publication date July 1, 2009
• Dimensions 9.06 x 6.02 x 0.94 inches
• ISBN-10 817201659X
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• Publisher ‏ : ‎ Sahitya Akademi/New Delhi/India; 2nd edition (July 1, 2009)
• Language ‏ : ‎ English
• Hardcover ‏ : ‎ 950 pages
• ISBN-10 ‏ : ‎ 817201659X
• ISBN-13 ‏ : ‎ 978-8172016593
• Item Weight ‏ : ‎ 3.09 pounds
• Dimensions ‏ : ‎ 9.06 x 6.02 x 0.94 inches
• Best Sellers Rank: #1,223,220 in Books ( See Top 100 in Books )

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Vivek Agnihotri brings author Dr S L Bhyrappa’s monumental novel ‘Parva’ on silverscreen

What sets this endeavour apart is the bilingual title ‘Parva,’ embracing both Kannada and Hindi, symbolising its all-encompassing nature and the aspiration to connect with audiences transcending linguistic barriers

Bengaluru: Dr. S L Bhyrappa’s celebrated literary masterpiece, ‘Parva,’ is poised for an extraordinary cinematic transformation, promising a grandiose and immersive movie experience. This ambitious venture is under the astute direction of the acclaimed Bollywood maestro, Vivek Agnihotri, renowned for his compelling work in cinematic gems like ‘The Kashmir Files’ , ‘The Tashkent Files’, and ‘The Vaccine War.’ ‘Parva’ holds an esteemed place in the hearts of literature connoisseurs and now embarks on an exhilarating journey into the world of cinema. What sets this endeavour apart is the bilingual title ‘Parva,’ embracing both Kannada and Hindi, symbolizing its all-encompassing nature and the aspiration to connect with audiences transcending linguistic barriers. The film, to be expertly crafted in both Kannada and Hindi, will be produced by Vivek Agnihotri under his banner, Buddha Films.

The official title and a striking movie poster unveiling took place at the grand Chowdaiah Memorial Hall in Bangalore, graced by the presence of the iconic Dr S L Bhyrappa. His invaluable blessings and best wishes have further kindled the anticipation surrounding this highly awaited cinematic endeavour.

Vivek Agnihotri, a seasoned storyteller, embraces the challenge of bringing ‘Parva’ to the silver screen. His partnership with Dr. S L Bhyrappa is a testament to their shared commitment, having previously collaborated on the enthralling ‘The Tashkent Files.’ Inspired by the resounding success of ‘The Kashmir Files,’ Dr. Bhyrappa urged Vivek Agnihotri to embark on the ‘Parva’ adaptation, which he wholeheartedly accepted. The project, which has been in the scripting and preparatory stages for the past year, will be presented in three captivating instalments.

‘Parva’ will stand as a distinctive project, transcending linguistic boundaries. It signifies the unwavering dedication of a multifaceted team and the unwavering support of Dr. S.L. Bhyrappa, who graced the grand unveiling. The film’s production is further enriched by the participation of Prakash Belawadi, who plays a pivotal role as a co-writer on this remarkable journey.

Actor turned producer Pallavi Joshi takes the helm of this cinematic voyage, emphasizing the shared responsibility among all team members in bringing ‘Parva’ to life on the silver screen. The collaboration with Dr Bhyrappa adds a unique and significant dimension to the production.

‘Parva’ promises to be a monumental cinematic spectacle, a narrative that transcends not only linguistic boundaries but also cultural and emotional horizons. It stands as a grand tribute to the realm of literature and the enchantment of cinema.

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best kannada books to read

Kannada is the Dravidian language of Karnataka and one of the classical languages of India. To taste the richness of literacy, few of the best Kannada books are available. For making the job effortless, here is the list of the best Kannada books to read in the year 2023. A total of 16 books from multiple genres are given here. This list is compiled based on the reader’s choice, rating and literacy richness.

Our Top Picks

• Aavarana : Best For concepts of religion, liberalism, and false concepts of Indian society 
• Malegalali Madumagalu   : Best For life of people in the hills of western ghats, kuvempu highlighted the social discrimination in terms of casteism, religion and women empowerment 
•   Karvalo : Best For  flying lizard present in the woods of  Western Ghats  

Best Kannada Books To Read

1. aavarana.

Avarana by S.L. Bhyrappa is one of the most famous Kannada novels of all time. It was initially published in the year 2007 in Kannada; it is later translated to English, Tamil, Hindi and many more. The novel uncovers the concepts of religion, liberalism, and false concepts of Indian society.

Details : -

• Author - Santeshivara Lingannaiah Bhyrappa
• Price - 311 rs.
• Page length- 400 pages

Video Review

2. Malegalali Madumagalu

Malegalalli Madumagalu is one of the quality novels of Kannada language written by Kuvempu . The author cherishes the wealth of the hills of malenadu through his words. Describing the life of people in the hills of western ghats, kuvempu highlighted the social discrimination in terms of casteism, religion and women empowerment. This is one perfect Kannada book to read if you are a lover of classics.

Details :- 

• Author _ Kuppali Venkatappa Puttappa
• Price - ₹375.
• Page length- 272 pages

Karvalo by K.P. Poornachandra Tejaswi is a non-fiction drama about a scientist, a farmer and a local cowboy. The storyline is about their journey of finding an extinct flying lizard present in the woods of Western Ghats . Tejaswi won the “Most creative novel of the year” award for this book in 1980.

• Author : Poornachandra Tejaswi,
• Price - ₹125
• Publication House: Pustaka Prakashana

4. Mookajjiya Kanasugalu

Mookajjiya Kanasugalu is a storyline between a Grandmother with the supernatural power of seeing past and future through dreams and her grandson subbaraya . The controversial thoughts of human beings about the old superstitious beliefs, cultural evolution and origin of tradition are described through the eyes of a Granny.  Kota Shivarama Karanth won the prestigious Jnanpith Award for this book.

• Author :  Karanth Shivarama
• Price - ₹185
• Publication House : SBS Publishers
• Pages : 280

5. Jugaari Cross

Jugaari Cross is another spectacular literature work written by K.P. Poornachandra Tejaswi . Unlike Karvalo which is a dramatic novel revealing the meaning of life, Jugaari cross is a suspense thriller . The storyline describes the World’s economic impact on an ordinary farming couple’s life.

• Author : Purnachandra Tejasvi
• Price - ₹250
• Publication House : Pustaka Prakashana
• Pages : 207

6. Kiragoorina Gayyaligalu

K.P. Poornachandra Tejaswi is a prominent writer and novelist in Kannada literature. He is known for his works like Jugari Cross , Karvalo, Chidambara Rahasya and many more. Kiragoorina Gayyaligalu is one such novel written by him about feminism. The novel was later directed into a movie of the same name in 2016. In which, Shweta srinivatsa plays the lead role of Dhannamma.

• Author : Rao Jadav A N
• Price - ₹50
• Publication House : Navakarnataka Publications Pvt Ltd

7. Chidambara Rahasya

Chidambara rahasya is an award-winning novel written by K.P. Poornachandra Tejaswi. It won Sahitya Akademi Award for Kannada in 1987. The book tells about the life of people in a small Indian village. Chidambara rahasya is one good book of plots and twists, which was later directed into a television serial in 2016 .

• Author :Poornachandra Tejaswi K P
• Price - ₹215
• Pages : 220

8. Rudraprayaagada Bhayaanaka Narabhakshaka

K.P. Poornachandra tejaswi has his very own way of writing to visualize the scene in the reader’s mind. Such a great talent of the author makes Rudraprayaagada Ada Bhayanaka Narabhakshaka an epic story treat for his readers.

• Author : Poorna Chandra Tejaswi
• Publication House : Pusthaka Prakaashana
• Price - ₹127
• Pages : 180

9. Kanooru Heggadithi

Kanooru Heggadithi or Kanuru Heggadathi by kuvempu is another masterpiece based on the lifestyle of village people. The rebellious female character Subbamma, the third wife of Chandre Gowda , takes revenge against all wrong men after her husband’s demise. Kuvempu has made a revolution in female characterization through his words. This book bridges the gap between the women’s revolution before independence 

And the current generation. This novel was later directed into a movie by the same name and won the prestigious National Film Award for Best Feature Film in Kannada in 2000.

• Author : Kuvempu
• Price - ₹380
• Publication House : pustak prakasna
• Pages : 590

10. Mankutimmana Kagga

Mankutimmana Kagga is one of the popular literature works in Kannada written by D.V. Gundappa in 1943 . This book is also known as the Bhagavad Gita of Kannada language. Mankutimmana Kagga is a collection of 943 poems that expresses the reality of life And its deep meaning. Kagga poems are the best version of teaching a person about ‘how to live a balanced life’. For a classic Kannada literature treat, do read Mankutimmana Kagga poems.

• Author : Srikanth
• Publication House : Srikanth
• Pages : 362

11. Chomana Dudi

Chomana Dudi by Kota Shivarama Karanth is a story based on untouchability that was practiced in India before independence. The novel name Chomana Dudi means Choma’s drum . An untouchable backward class farmer, Choma, struggling to farm on his land, faces hardships in life. That made him lock himself in his house and play the drums until his death. This novel is directed into a movie of the same name. It won 3 most prestigious National Film Awards , including one for “Best Story”.

• Author : K. Shivaraama Kaaranth
• Publication House : Total Kannada

12. Annana Nenapu

Annana Nenapu is a biography of K.P. Poornachandra Tejaswi. He is a prominent Kannada writer and son of the national poet of India, Rashtrakavi Kuvempu. The book ‘Annana Nenapu’ describes tejaswi’s childhood and good old days with his father. He also narrates the actual lifestyle of kuvempu and his bonding with his family. The book is an inspiration pearl to any tejaswi and kuvempu fan .

• Author : K P PURNACHANDRA TEJASVI
• Price - ₹210
• Publication House : PUSTAKA PRAKASHANA
• Pages : 236

Parva by S.L. Bhyrappa is a modern classic version of retelling the principles of the epic Mahabharata. The novel depicts the personal reflection of the Mahabharata characters, especially in the Kurukshetra war. It discusses the aspects of war in a more rational view. This is one of his prominent literature works which is translated into 7 different Indian languages and several other foreign languages like Chinese, and Russian. The Tamil and Telugu versions of this book won Sahitya Akademi’s Translation award in 2004 .

• Author : S.L. Bhyrappa
• Price - ₹825
• Publication House : Saahithya Bhandaara
• Pages : 600

14. Brahma Puriya Bhikshuka

Brahma Puriya Bhikshuka by Shatavadaani Dr Ganesh is a collection of intimate anecdotes of the life of the beloved writer D.V. Gundappa. In his book, he reported the values and principles of DVG in his work, society and life.

• Author : Shathaavadhaani R. Ganesh
• Price - ₹150
• Publication House : Saahithya Prakaashana (16 March 2017)

15. Cream of Kailasam

Cream of Kailasam by Keshava Rao B. S is a book that describes the humor of K. P Kailasam. Thanjavur Paramasiva Iyer Kailasam Or K.P. Kailasam was a famous playwright and writer in Kannada literature. He is popularly known for his titles Prahasana Prapitamaha and Kannadakke Obbane Kailasam.

• Author : B S Keshava Rao
• Publication House : Ankitha Pusthaka
• Price - ₹95
• Pages : 

16. Vamshavruksha

Vamsha vruksha by S. L. Bhyrappa is all about the revolutionizing transformation of families from a traditional bound background To modern India to preserving their integrity and their lineage. The story covers the taboos of widow remarriage, the interwoven tragedies and triumphs. Vamsha Viruksha was directed into a movie in 1977 by B. V. Karanth and Girish Karnad.

• Author : S L Bhariappa
• Price - ₹415
• Publication House : Sahitya Bhandara
• Pages : 560

In Kannada literature, writers like kuvempu worked hard to convey language richness to people through novels. For anyone exploring Kannada literature, these books are true gems to read. Each of these Kannada books has its unique way to provoke the reader’s mind.

Frequently asked questions (FAQs) 

Q1. which is the first kannada book.

A grammar of the Kurnata Language by William Carey, written and published in 1817, is the first printed book in the Kannada language. This book was printed in a Missionary Press in Kolkata about 2 centuries ago.

Q2. Who wrote the first Kannada book?

William Carey, a British Christian missionary from London, wrote the first Kannada book. He was a doctor and also a professor of several languages, including Kannada. With the help of two Kannada-speaking persons, Carey wrote the “A Grammar of the Kurnata Language” book in 1817.

Q3. Who is the founder of Kannada?

Beyond the fact of the Kannada language existence from the period 800-600 BC. The earliest ever Kannada literary work “Kavirajamarga” by the Rashtrakuta King Amoghavarsha I was written in the 9th century.

Q4. Who is the father of modern Kannada literature?

B. M. Srikantaiah is regarded as the "Father of modern Kannada literature". Belluru Mylaraiah Srikantaiah was a famous writer and translator of Kannada language in the 20th century .

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Kumara Vyasa Bharata Karna Parva Vol 9

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