NOW WE CAN BRIEFLY CONSIDER some of the chief themes in DVG’s literary output. Among Indian themes, his major works include the following:
The charming narrative poem, Antaḥpura Gīte (Songs of the Royal Chamber), expounding the philosophy and aesthetic aspects of the Madanika sculptures found in Belur Sri Chennakeshava Temple.
Gita-śākuntala (Songs from the Shakuntala): selected verses from Kalidasa’s immortal play, abhijñāna śākuntala.
śrīrāma parīkṣaṇaṃ and śrīkṛṣṇa parīkṣaṇaṃ: Two separate and unique creative poems providing multidimensional explorations of Sri Rama and Sri Krishna.
Miscellaneous poetry collections such as vasantakusumāñjalī, nivedana and so on.
Marulamuniyana Kagga, a companion of sorts to Mankutimmana Kagga.
DVG’s creative works using non-Indian themes include adaptations and translations. Chief among these are Umarana Osage, a Kannada adaptation of Umar Khayyam’s famous Rubiyat. DVG’s translation of Shakespeare’s Macbeth became the model for later Kannada translators of the British bard. Kanakālukā, DVG’s translation of Tennysons’ The Cup also belongs to this category.
The noteworthy feature in these Kannada translations of non-Indian literary works is how DVG never wavers from classicism: only the theme is non-Indian. The idiom and versification thoroughly adheres to the Indian classical tradition. These translations are also pioneering models of cultural adaptation using literature as the vehicle and medium. For example, DVG’s translation of Macbeth maybe called the perfect Kannada-ization of Shakespeare.
Relatively speaking, DVG’s plays do not enjoy the same level of success and acclaim as his poetry. His nine plays are spread over five hundred pages and while they are delightful to read and display elegance in taste, they cannot be adapted to the stage. Of these, four are translations:
Gita-śākuntala (Sanskrit)
Kanakālukā (English)
Macbeth (English)
Jack Cade (English)
The other five, which are his originals include:
Tilottama
Sri Vidyaranya Vijayam
Parashurama
Mahachunavane
Gardabhavijaya
Although all these dramas are imbued with literary value and provide aesthetic joy, in the final reckoning, we can concur with Dr. H.M. Nayak’s assessment of DVG’s legacy as a playwright:
DVG’s plays have failed to establish his reputation as a formidable playwright. The drama became one of the mediums for him to elucidate his philosophy of life. However, his plays must be evaluated from perspectives other than that of drama or the stage.
Because this essay series is largely introductory in nature, it forbids a detailed analysis of DVG’s entire literary corpus. The idea is to offer an appetiser or a sneak peek.
IN NO PARTICULAR ORDER, we can begin with his plays. We will consider the triad of his plays eponymously titled Prahasana-Trayi. It is hoped that these selections will provide a taste of DVG’s sweep and mettle in this genre.
A major reason for this selection is the fact that today, these plays have become so obscure as to have almost been forgotten even by DVG’s most ardent admirers. Another reason is their theme: politics and public life. The final reason is to provide a brief appreciation of DVG’s talent and prowess at creating effective parody and satire.
As the word suggests, Prahasana in general, is the literary genre of satire or farce. Thus, Prahasana Trayi literally means, “three farces.” This collection includes two plays and one Lavani (a form of folk song).
The first play is Jack Cade, which draws from an episode found in Shakespeare’s play, Henry VI, Part Two.
The second is the Lavani titled Maha-chunavane or general elections.
The third is a play titled Gardabhavijaya or The Triumph of Donkeys.
All three plays are unified by the satirical thread parodying the pathetic condition of Indian democracy almost immediately after Independence. We clearly detect the outpouring of DVG’s anguish at how public life had become debased and disfigured in these. It was his literary protest against how our political leaders were mocking the sacrifices of the freedom struggle made by countless selfless men and women like DVG himself.
Jack Cade was published in 1959, and Maha-chunavane, in 1965.
Gardabhavijaya or The Triumph of Donkeys was the last play, published on January 01, 1975, nine months before DVG passed away from this mortal world.
DVG’s preface to Prahasana Trayi is quite remarkable for its pithiness, which conceals its profundity. His opening sentence reads as follows:
The Veda speaks about the Brahman. The satires in this collection relate to the fool. Thus, a satire is that which reduces the elevated and the sublime to the vulgar and the ridiculous.
The next episode of this series will carry an analysis of Jack Cade.
To be continued
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