Kanakadasa Major works...

Kanakadasa Major works...

Nalacharitre
Haribhaktisara
Nrisimhastava
Ramadhanyacharitre; a rare work on class struggle
Mohanatarangini

Kanakadasa wrote about two hundred forty Karnataka Music compositions (Kirtane, Ugabhogas, padas and mundiges or philosophical songs) besides five major works. His compositions are published in many languages. For example about 100 songs in Kannada and 60 songs in English are published in popular books.

His writings were unique in style. In Ramadhanyacharitre, an allegory on the conflict between the socially strong and weak castes and classes, presented as an argument between two foodgrains, rice and ragi, is a most creative literary piece with a powerful social message,In the work, rice represents the socially powerful, such as Brahmins, and ragi (millet) represents the working people. The two grains come before Rama to argue their case and establish their superiority. In the end Rama sends both of them to prison for six months. At the end of the period, rice has turned rotten while the hardy ragi survives, earning Rama's blessings. This shows the intelligence of Kanaka Daasa in trying to reform the society. He was blunt in criticizing those who were opposing good practices. In one his compositions he says,"Eternal hell is for those who criticize noble men,for those who condemn Madhva's teachings...".

Nalacharitre (Story of Nala)
Haribhaktisara (crux of Krishna devotion)
Nrisimhastava (compositions in praise of Lord Narasimha)
Ramadhanyacharite (story of ragi millet) and an epic
Mohanatarangini (Krishna-river).
Kanakadasa rationalized bahkti (devotion) by giving worldly similes. His writing has intimate touch that identifies the reader with the poet himself. His two famous compositions in translation are given below. One condemns caste system in a refined poetic way and the other wonders, at the colorful and baffling creation of God Almighty in child-like wonder.

His Nalacharite is based on the famous love-story of Nala and Damayanti, which appears in Mahabarata. Though a great devotee of Lord Krishna, Kanakadasa gives his own interpretation. Nala who is in love with Damayanti, exercises restraint svayamvara (choosing bride/bridegroom) ceremony to win over Damayanti by allowing Indra and other gods a chance to win over her. When he loses everything in a dice-game and goes to forest, stubbornly followed by Damayanti, he deserts her in sleep, hoping that she may go back to her parents and have better life. He later drives king Rituparna to second declared svayamvara of Damayanti, to see his wife married to a suitable person and be happy! Lord Krishna appears only once casually to rescue the caravan with which the hapless Damayanti was traveling and was attacked by wild elephants.

Haribhaktisara is essence of devotion to Lord Krishna as the name indicates. A work of one hundred and ten verses with chorus line 'deva rakshisu nammananavarata', it is a prayer song, sung by Madhva men and women in Karnataka while performing everyday chores. It teaches complete surrender to God.

Nrisimhastava is a work dealing with glory of god Narasimha (half man-half lion).
Kanakadasa's Ramadhanyacharite has quite an unconventional theme. It is about a battle of words between ragi (millet) and rice, each claiming superiority. They go to god Rama for justice. With the help of sages, Rama proves the superiority of ragi over rice. Ragi becomes blessed by absorbing quality of Raghava, another epithet of Rama. It is interpreted as poverty and humility being upheld by the poet above material wealth. Even today ragi is food of the poor.
Mohanatarangini, although a kavya (poem in classical style) written with all conventional eighteen descriptions, deals with eroticism. Pleasure-based eroticism of Shri Krishna with consorts and Aniruddha-Usha form the main theme.

It excels in depicting contemporary life. The description of Shri Krishna's Dwaravati (Dwaraka) is very similar to that of Vijayanagara, under Krishnadevaraya as noticed by foreign travelers. The market place with colorful stalls with various commodities, well demarketed lanes brimming with craftsmen, clients and merchants, royal garden parties and glory of the palace etc find place in Mohanatarangini. It echoes the contemporary Portuguese travelers' accounts. A drinking bout of men and women of working class is very picturesque. We feel as if Kanakadasa is providing a running commentary on an actually happening scene. It is for such unconventional and down-to-earth descriptions as also for social awareness that the great poet-saint has become immortal.

[['English Translation of Nee Mayeyolago']]

Are you a creature of illusion? or illusion your creation? Are you a part of the body? Or is the body a part of you?
Is space within the house? Or the house within space? Or are both space and the house within the seeing eye? Is the eye within the mind? Or the mind within the eye? Or are both the eye and the mind within you?
Does sweetness lie in sugar, or sugar in sweetness? Or do both sweetness and sugar lie in the tongue?
Is the tongue within the mind? Or the mind within the tongue? Or are both the tongue and the mind within you?
Does fragrance lie in the flower? Or the flower in fragrance? Or do both the flower and fragrance lie in the nostrils? I cannot say, O Lord Adikeshava of Kaginele, O! peerless one, are all things within you alone?

ನಾನು ಹೋದರೆ ಹೋದೇನು - Thou shall go if Thy Leaves

This was a famous phrase Kanakadaasa is quoted to have said in front of all vedantists when asked who will attain Moksha in Kaginele peetha. Kanakadasa humbly solves the issue by assertively telling that no one here will reach moksha but if Naanu (self) is lost I may attain it.

Kanakadasa in Udupi

Kanakadasa has special association with Udupi and as he was the follower of Sri Vyasaraja Swamiji. On the advice of Vyasaraja Swamiji he had come to Udupi. But it was time when the discrimination on the basis was at its peak. The Brahmin fundamentals did not let him to enter the temple as he was from a lower cadre of the society. He stood outside and prayed to Lord Krishna by singing songs of praising Lord Krishna. Owing to the call of his devotee Lord Krishna gave darshan to Kanaka through a window .
Today that window stands as a tribute to Kanakadasa. Almost all devotees who visit Udupi Krishna temple try to have a peep at the idol through the small window wishing to relive the ecstasy, Kanaka had at the divine 'darshan'. It is also a memorial to Kanakadasa and a testimony to the eclectic Hindu belief that devotion, poetry and sainthood are above caste and creed and certainty above orthodoxy.

Kanakana kindi

There are many popular legends regarding Lord Krishna's revelation to saint Kanakadasa. We can unravel the mystery of this episode on the basis of the available historical documents as follows. Kanakadasa came to Udupi as a pilgrim. Sri Vadiraja teertha who was in charge of Udupi mutt at that time knew about this pious devotee of the Lord, and made arrangements for his stay in a hut in the roadside in front of the temple. Kanakadasa used to play on his tambuura and sing in the hut, but the wall of the temple was there between the icon and himself. Being of a lower class, by tradition he was forbidden to enter the temple and have darshana of Sri Krishna. The wall of the shrine was, of course, a barrier to the physical eyes, but who could prevent the vision of his inner eyes? They were fully open and the Sri Krishna was visible to Kanakadasa.
Some time passed and then one night there was an earthquake and a small crack appeared in the wall of the shrine. Through this crack Kanakadasa was able to have darshana of the icon of Krishna. Sri Vadiraja teertha became aware of this crack and of the fact that Kanakadasa was using it to have darshana of Sri Krishna. Instead of having the crack plastered over, Sri Vadiraja enlarged it and turned it into a window. To commemorate Lord Krishna's darshana to Kanaka Dâsa, the window has been designated as 'Kanaka's window.'
From that time onward, Kanakadasa could have the darshana of Sri Krishna with his physical eyes as well as his inner eye. To perpetuate this sacred memory, the tradition of looking at the icon of Sri Krishna through this window before entering the shrine was started.
Not only pilgrims, but even the piiThaadhipati-s of the eight Mutts who go to take charge of the temple at the time of paryaaya come in procession to this window. It is only after looking at the icon through this window that they enter the shrine. This tradition has been going on since the time of Sri Vadiraja teertha.

Kanakadasa offers rice gruel to Lord Krishna

There is another incident connected with him which is not known to many people. But for Sri Vadiraja Teertha, it would have been forgotten a long time ago. That interesting episode can be stated thus: It was noon and Kanakadasa had baked rice cake for his lunch. Suddenly, his attention was drawn towards a small hole on the Northern side of the discourse hall. From the kitchen inside, some rice gruel (teLi) was flowing out through the hole. Kanakadasa took the shell of a coconut and filled it with some gruel. He then took the cake and the gruel to the front of the temple and prayed for Krishna to accept the offerings, and then ate it.
Sri Vadiraja teertha came to know of this due to his divine vision, summoned his attendants and said, 'Kanaka is a great devotee. Krishna is more pleased with his gruel water than with our costly dishes. He may be a shepherd by caste, but he does not lag behind in his devotion and enlightenment. He is like pure gold (`kanaka' means "gold"). From this day onwards we will also offer rice gruel and cake to Sri Krishna to perpetuate the memory of Kanaka's great devotion.'
This tradition continues even today. Rice gruel and cake are offered, along with other dishes, except that the coconut shell has been replaced by a silver goblet. Sri Vadiraja teertha has thus immortalized this episode in the history of Udupi.