INTRODUCTION TO VACHANA

Vachana Sahitya, a rich and profound form of Kannada rhythmic composition, emerged in
the eleventh century as an integral part of the Sharana movement, leaving an indelible mark on the
cultural and philosophical landscape of Karnataka. The term "vachanas" itself signifies "that which is
said," encapsulating the essence of these prose texts that are both simple and yet incredibly
impactful.

Dating back close to a thousand years, the vachanas from the 11th and 12th centuries
continue to resonate with relevance in today's world. Crafted in just four or five verses, these
compositions, spearheaded by luminaries like Madara Chennaiah, transcended the boundaries of
time, addressing profound philosophical and reformist ideas. Madara Chennaiah, a cobbler by
profession, is revered as the first Vachanakara, a testament to the inclusive nature of the movement
that cut across societal norms.

The vachanas, characterized by their simplicity and depth, advocated social justice and
equality. Visionaries like Basavanna, credited with initiating the vachana movement, challenged
traditional Vedic rituals, asserting that the divine resides within the human body itself. The followers
of this movement, known as sharanas or sharanes, played a pivotal role in critiquing and reshaping
the social, economic, and cultural fabric of their time.

Basavanna and other vachana poets went beyond conventional boundaries, teaching the art
of reading and writing to cobblers, farmers, potters, blacksmiths, and others who were traditionally
excluded from formal education. The movement emphasized the unity of all castes and classes,
dismantling the entrenched discrimination based on race, gender, caste, and class.

Notably, women played a crucial role in the vachana movement, challenging societal norms
and contributing significantly to the creative expression of ideas. Figures like Kalavve, Kadira
Remmavve, Sule Sankavve, and Rechavve, hailing from marginalized castes and engaging in
professions shunned by society, brought dignity to their occupations through their artistic
endeavors. They deconstructed notions of superiority and inferiority, challenging the dominance of
Brahmanism and religious texts.

The vachanas have not only stood the test of time but have also captured the public
imagination through musical renditions. Ganayogi Panchakshari Gawai and Mallikarjun Mansur,
among others, brought these verses to life on stage, further preserving and promoting this cultural
treasure.

In the current sociopolitical climate, marked by widening divisions between communities,

the values embedded in the vachanas are more pertinent than ever. The emphasis on equality, social
justice, and the rejection of discriminatory practices remains a guiding light, encouraging a
reevaluation of societal norms and fostering a more inclusive and harmonious coexistence. As we
navigate through today's tumultuous times, the wisdom encapsulated in the vachanas continues to
offer timeless insights and a path towards a more equitable and compassionate society.
AMBIGARA CHOWDAIYA - VACHANA 126

Ambigara Chowdaiah, a revered saint, poet, and social critic of the 12th century, was a
distinctive figure among the sharanas, known for his straightforward and outspoken expression of
views. As a boatman by profession, he lived his life in accordance with the Lingayata dharma,
actively practicing the philosophy he believed in. Chowdaiah was an influential member of the
Anubhava Mantapa, a platform for spiritual and philosophical discussions during that era.

Not much information is available about Ambigara Chowdaiah's early life or the reasons for
his journey to Basavakalyana. He is believed to have hailed from Chowdadanapura village in
Ranibennur taluk, Haveri district. A memorial in his name on the banks of the Thungabhadra River
has become a pilgrimage center, reflecting the impact of his teachings.

Ambigara Chowdaiah's vachanas, characterized by the imagery derived from his profession
as a boatman, are relatively crude and bear the influence of Basavanna. His compositions were
particularly critical of the higher classes, reflecting his outspoken nature. Despite the lack of detailed
information about his life, Chowdaiah is revered as a saint for his 274 inspiring Pravachans,
emphasizing clean ideas, words, and deeds as the embodiment of godliness.

In Vachana 126, Ambigara Chowdaiah expresses impatience with those ignorant of Shiva. He
criticizes individuals who, despite reading the four Vedas, are compared to a dog dwelling in the
house of a Shiva devotee. The reference to Swapachyya, a person belonging to a lower caste,
covering food with his slippers in the presence of Saamavedi, one who has read the Vedas, serves as
a metaphorical critique of social hierarchies.

Ambigara Chowdaiah vehemently asserts that a dog is superior to those who claim the
existence of two gods instead of one. He challenges such notions and calls for a slap in the face of
those who propagate such beliefs. The vachana reflects Chowdaiah's unwavering devotion to Shiva
and his disdain for theological dualism.

Thus, Ambigara Chowdaiah's vachanas are characterized by their simplicity, directness, and
social criticism. He lived a life in accordance with his philosophical beliefs and left a lasting impact on
the spiritual and cultural heritage of Karnataka. His concept of God revolves around the purity of
ideas, words, and deeds, and he passionately criticizes those who deviate from the path of devotion
to Shiva.

AKKA MAHADEVI ( VACHANA 73 & VACHANA 124)

Akka Mahadevi, an iconic figure in the Vachana movement, was born in Udutadi,
Shivamogga District, Karnataka, to Sumati and Nirmalashetty, devout followers of the Trividhi
philosophy of Guru, Linga, and Jangama. From a young age, Akka displayed a profound interest in
religious practices, devoting herself to the worship of Lord Chennamallikarjuna.

As an adult, Akka Mahadevi took an extraordinary step by renouncing the world and
embracing the life of a Sanyasin, a holy one or saint—a decision questioned by Allamaprabhu and
Kinnari Bommayya. Despite intense scrutiny, she defended her choices, settling in Basavakalyan, the
capital of the Western Chalukya dynasty at that time. Akka Mahadevi became a symbol of the entire
Vachana movement and played a crucial role in the social empowerment of women.
 Akka's childhood deviance from traditional gender norms was evident in her choice of Lord
Chennamallikarjuna as a playmate, while her peers played with dolls. Uninterested in conforming to
societal expectations, she sought spiritual fulfillment beyond the restrictions imposed on women.

In Vachana no -73, Akka Mahadevi embarks on a spiritual journey, leaving Kalyana and
wandering alone through a forest in search of Chennamallikarjuna. She expresses her longing to be
united with God, using vivid metaphors such as hailstone melting in water, salt dissolving in water,
and milk mixing with milk. This vachana reflects Akka's profound spiritual quest and her willingness
to break free from conventional norms to seek divine union.

In Vachana -124, Akka challenges societal norms related to modesty and material
possessions. She questions the idea of confiscating the body's glory or peeling away the layers of
clothing, emphasizing the insignificance of external coverings compared to the inner essence. Akka
boldly addresses the shameless girl wearing the White Jasmine Lord's light, suggesting that there is
no need for external coverings and jewels when one is in the presence of divine radiance.

Akka Mahadevi's vachanas exemplify her courage to defy societal norms, especially those
imposed on women, in pursuit of spiritual truth and divine union. She remains a powerful symbol of
women's empowerment and a central figure in the Vachana movement, leaving a lasting legacy that
transcends time and continues to inspire generations.

SUMMARY OF VACHANA 73

Vachana no -73 by Akka Mahadevi is a poignant expression of the poet's intense yearning for
her divine Lord, portrayed as "white as jasmine." In this vachana, Akka addresses various elements
of nature, such as birds, swans, koils, bees, and peacocks, imploring them to reveal the whereabouts
of her beloved Lord.

The repetitive questioning, "don't you know? don't you know?" emphasizes the urgency and
depth of Akka's quest for the divine. Each natural element is invoked with a sense of anticipation, as
if Akka expects them to possess the knowledge of her Lord's location.

The use of diverse elements from nature, including birds, symbolizes the universal
connection between the poet and the world around her. Akka Mahadevi employs vivid imagery to
draw attention to the beauty and variety of the natural world, suggesting that all living beings are
interconnected and share a common source.

The central theme revolves around the poet's intense desire to be reunited with her Lord,
described metaphorically as "white as jasmine." The choice of jasmine as a symbol conveys purity,
beauty, and divine essence. Akka's Lord is not just a distant deity but an intimate presence, as
implied by the tender comparison to the whiteness of jasmine.

The vachana reflects Akka Mahadevi's spiritual journey and her yearning for divine union. By
invoking nature, she establishes a profound connection between the earthly realm and the spiritual
realm, suggesting that the Lord is omnipresent and can be found in every aspect of creation.

Thus, Vachana no -73 is a passionate and evocative expression of Akka Mahadevi's deep
spiritual longing. Through the use of nature imagery and repetitive questioning, the poet creates a
sense of urgency, seeking answers from the elements around her about the whereabouts of her
Lord. The vachana beautifully encapsulates the universal theme of seeking divine union and the
interconnectedness of all living beings in the quest for spiritual truth.

SUMMARY OF VACHANA 124

Vachana -124 by Akka Mahadevi is a powerful and thought-provoking expression that

challenges societal norms and delves into the deeper aspects of spiritual realization. In this vachana,
Akka questions the superficial nature of material possessions, emphasizing the impermanence of
external coverings and the true essence that lies beneath.

The vachana begins with a rhetorical question, highlighting the transitory nature of worldly
possessions: "You can confiscate money in hand; can you confiscate the body's glory?" Here, Akka
contrasts the tangible and perishable nature of wealth with the intrinsic, eternal beauty of the
human body. The emphasis is on the idea that material wealth can be taken away, but the innate
glory of the body remains untouched.

The metaphorical language continues as Akka questions the limits of external coverings: "Or
peel away every strip you wear, but can you peel the Nothing, the Nakedness that covers and veils?"
Akka challenges the notion that removing layers of clothing can expose the true essence. The
"Nothing" and "Nakedness" refer to the fundamental emptiness or purity that underlies physical
appearances.

The vachana takes a spiritual turn as Akka addresses a "shameless girl wearing the White
Jasmine Lord's light of morning." Here, the "White Jasmine Lord" symbolizes the divine, and the
"light of morning" represents spiritual illumination. Akka questions the need for external coverings
and jewels for someone who is adorned with the divine radiance. The term "shameless" challenges
societal expectations and norms regarding modesty, suggesting that true spirituality transcends
conventional notions.

The use of the term "you fool" adds a confrontational tone, emphasizing the folly of
prioritizing material coverings over the inherent spiritual brilliance within. Akka Mahadevi advocates
for a deeper understanding of self, where the pursuit of the divine and spiritual realization takes
precedence over societal expectations and material concerns.

Thus, Vachana -124 is a profound exploration of the ephemeral nature of material

possessions, the superficiality of external coverings, and the timeless essence that lies within. Akka
Mahadevi encourages a shift in perspective, urging individuals to recognize the inherent divinity
within themselves rather than being preoccupied with external adornments. The vachana serves as a
powerful commentary on spiritual awareness, challenging societal norms and inviting contemplation
on the true nature of self and existence.

SARVAGNA

Sarvagna, a revered saint and philosopher of the 16th century born in Karnataka, was known
for his profound wisdom, artistic talents, and devotion to Lord Shiva. His birth name was
Pushpadatta, but he earned the title "Sarvagna," meaning "the person who knows everything,"
attesting to his mastery in all forms of art and his scholarly achievements.
 Living during a time when societal norms were deeply rooted in ancient customs and
traditions, Sarvagna stood against practices such as untouchability and caste discrimination. He
advocated for equality, treating all individuals regardless of gender, caste, creed, or religion with
equal respect and dignity. In addition to being a poet, he was recognized as a great saint who
dedicated his life to spiritual pursuits and the worship of Lord Shiva.

Sarvagna's teachings, delivered through speeches, aimed to spread spirituality among the
masses. His words had a transformative impact on people, leading them to adopt better habits and
embrace a more meaningful and purposeful life. The selected vachanas from Guru and Spirituality
encapsulate some of Sarvagna's reflections on life, spirituality, and the human condition.

In the first vachana, Sarvagna expresses a plea to be released from the cycle of
reincarnation, symbolized by passing through countless wombs. The concept of maya, or illusion, is
invoked, highlighting the transient and deceptive nature of worldly existence. The prayer to the Lord
reflects a deep yearning for liberation from the entanglements of the material world.

The second vachana employs the metaphor of a monkey to describe the mind's restless and
fickle nature. Sarvagna likens the mind to a monkey climbing the body-tree and consuming sense-
fruits, underscoring the constant distractions and impulsiveness of the human mind in spiritual
literature.

The third vachana poignantly juxtaposes the sweetness of sugar on the tongue with the pain
of a dagger in the heart. Sarvagna's conscience is pricked, prompting a prayer to the Lord to
embrace and not desert him. This vachana captures the internal struggle, where the conflict
between worldly desires and spiritual yearning is vividly portrayed.

Therefore, Sarvagna's vachanas reflect his deep spiritual insights, advocacy for social
equality, and commitment to a life devoted to Lord Shiva. His words continue to resonate as
timeless wisdom, offering guidance on navigating the complexities of existence and fostering a
connection with the divine.

(Selected Vachanas from Guru and Spirituality)

Passing through countless wombs,

Taking innumerable births unmindful,
PrayLord. Could you not release me
From this mesh of maya?
Sarvagna.

Summary

This vachana by Sarvagna reflects the poet's contemplation on the cycle of birth and the
entanglements of maya, or illusion. In this vachana, Sarvagna expresses a deep longing for
liberation from the cycle of rebirth. He vividly portrays the relentless journey of the soul through
countless wombs, symbolizing the continuous cycle of reincarnation. The poet laments the
oblivious nature of these numerous births, emphasizing the need for release from the intricate
web of maya, the illusion that binds individuals to the material world.

The poet's plea to the Lord is poignant and heartfelt, seeking divine intervention to
break free from the cycle of birth and death. Sarvagna's prayer is a sincere request for spiritual
emancipation, a release from the repetitive and unmindful journey through various lifetimes.

Analysis

1. Cycle of Reincarnation: The vachana reflects Sarvagna's contemplation on the Hindu

concept of samsara, the cycle of birth, death, and rebirth. The imagery of passing through
countless wombs signifies the soul's journey through multiple lifetimes, highlighting the
transitory nature of existence.

2. Maya - The Illusion: Sarvagna uses the term "maya" to describe the intricate web that
traps individuals in the material world. Maya represents the illusionary nature of worldly
pursuits and attachments, hindering spiritual progress. The poet seeks liberation from this
illusion, emphasizing the ephemeral nature of material existence.

3. Prayer for Liberation: The central theme revolves around Sarvagna's plea to the Lord
for release from the cycle of maya. The prayer reflects the poet's yearning for spiritual freedom
and a desire to transcend the limitations imposed by earthly existence. It underscores the
profound spiritual quest for self-realization and liberation from the entanglements of the
material realm.

4. Unmindful Births: The poet emphasizes the unmindful nature of the countless births,
suggesting that individuals often go through the cycle of reincarnation without being fully
conscious of the spiritual implications. The vachana encourages mindfulness and self-awareness
as essential components of the spiritual journey.

In essence, Sarvagna's vachana captures the essence of the human predicament—

trapped in the cycle of birth and death, yearning for liberation from the illusionary web of maya.
The poet's prayer reflects a deep spiritual longing for a higher state of consciousness and the
divine grace needed to break free from the relentless cycle of samsara.

***

Like a monkey,
My mind climbs
The body-tree and
Eats the sense-fruits.

- Sarvagna.
Summary:

In this vachana, Sarvagna employs vivid metaphorical imagery to convey the nature of
the human mind. He likens the mind to a monkey, describing its behavior as it climbs the
metaphorical "body-tree" and consumes the "sense-fruits." The comparison to a monkey
implies the restlessness and unpredictability of the mind, emphasizing its tendency to indulge in
sensory experiences and distractions.

Analysis

1. Metaphor of the Monkey: The choice of a monkey as a metaphor for the mind is a common
motif in spiritual literature, especially in Indian philosophy. The monkey symbolizes the restless,
fickle, and impulsive nature of the mind, which constantly jumps from one thought to another,
much like a monkey swinging from tree to tree.

2. Body-Tree and Sense-Fruits: The "body-tree" is a symbolic representation of the human

body, and the "sense-fruits" signify sensory experiences. Sarvagna poetically portrays the mind's
activity as it climbs the tree, engaging in sensory indulgences and experiences. This imagery
reflects the human tendency to be entangled in the pursuit of sensual pleasures, leading to
distraction from spiritual contemplation.

3. Restlessness of the Mind: The vachana vividly illustrates the restlessness of the mind,
emphasizing its propensity to wander and indulge in sensory gratification. By comparing the
mind to a monkey consuming sense-fruits, Sarvagna highlights the distractions that hinder
spiritual growth and self-realization.

4. Spiritual Warning: The vachana serves as a spiritual admonition, cautioning against the
uncontrolled and undisciplined nature of the mind. Sarvagna's portrayal of the mind's activities
encourages self-awareness and discipline, suggesting that spiritual progress requires the taming
of the restless mind.

5. Wisdom in Simplicity: Sarvagna's choice of simple and relatable imagery, such as a monkey
and a tree, adds to the accessibility and impact of the vachana. The straightforward metaphor
allows for a universal understanding of the human condition and the challenges posed by the
untamed mind.

In essence, this vachana by Sarvagna serves as a reflective commentary on the nature of

the human mind and its tendency to be distracted by sensory experiences. Through the
metaphor of the monkey and the body-tree, Sarvagna urges individuals to cultivate discipline
and mindfulness, highlighting the importance of controlling the mind's restlessness in the
pursuit of spiritual growth.

***

Sugar in my tongue
And dagger in my heart.
Lo!My conscience is pricked.
 Pray,Lord,take me into Your bosom
And desert me not.
- Sarvagna.

Summary

In this vachana, Sarvagna employs evocative imagery to express the internal conflict within
himself. He compares the sweetness of sugar on his tongue to the pain of a dagger in his heart,
symbolizing the paradoxical nature of his experiences. The pricking of his conscience becomes a
poignant moment of self-awareness, leading Sarvagna to pray to the Lord to embrace him in His
bosom and not forsake him.

Analysis

1. Contrast of Sweetness and Pain: The vachana opens with a striking contrast between the
sweetness of sugar on the tongue and the pain of a dagger in the heart. This dichotomy encapsulates
the conflicting experiences within Sarvagna's inner being, highlighting the coexistence of pleasure
and pain in the human condition.

2. Metaphor of Conscience: Sarvagna's acknowledgment of a pricked conscience indicates a

heightened self-awareness. The metaphor of the pricked conscience suggests a moral awakening or
a realization of internal conflict. This moment becomes a pivotal point in the vachana, signifying a
turning point in the poet's spiritual journey.

3. Prayer to the Lord: The vachana concludes with a heartfelt prayer to the Lord. Sarvagna seeks
solace and refuge in the divine, asking to be taken into the Lord's bosom. The plea not to be
deserted reflects the poet's yearning for spiritual guidance and support in navigating the
complexities of life.

4. Symbolism of Sugar and Dagger: The use of sugar and a dagger as metaphors adds depth to the
vachana. Sugar represents the pleasurable and enjoyable aspects of life, while the dagger symbolizes
pain and inner turmoil. Sarvagna, in acknowledging both elements, paints a nuanced picture of the
human experience.

5. Universal Themes: The vachana touches upon universal themes of internal conflict, moral
awakening, and the human quest for divine connection. Sarvagna's candid expression of his inner
struggles makes the vachana relatable and resonant with readers across different times and
cultures.

6. Desire for Divine Guidance: Sarvagna's plea to the Lord reflects a deep desire for spiritual
guidance and support. The metaphorical language and emotional intensity convey the poet's
humility and vulnerability as he turns to the divine for solace and understanding.

In essence, Sarvagna's vachana captures the complex and contradictory nature of human
emotions and experiences. The juxtaposition of sweetness and pain, coupled with the poignant
moment of conscience pricking, leads to a sincere prayer for divine guidance and comfort. The
vachana serves as an introspective exploration of the human condition and the quest for spiritual
solace in the face of internal conflicts.
SHISHUNALA SHARIF

Biography of Shishunala Sharif

Shishunala Sharif, born in 1829 in the village of Shishuvinahala in Dharwad district,

Karnataka, was a prominent Indian social reformer, philosopher, and poet. Despite being born to
Muslim parents, he became widely known as the "Kabir of Karnataka" due to his profound influence
on spiritual and philosophical thought transcending religious boundaries.

Sharif's early education was under the guidance of the Hindu Guru Govinda Bhatta. During
this time, he was introduced to Vachana literature and the teachings of the mystic saint Allama
Prabhu. These influences played a significant role in shaping his worldview and inspiring him to
compose devotional lyrics. His philosophy centered around Hindu-Muslim unity, advocating the
rejection of caste, creed, and religious inequalities.

Poverty and the death of his wife led Sharif to embrace a life of wandering. Throughout his
travels, he sang his devotional songs, spreading messages of love, unity, and devotion to God. His
compositions, particularly the metaphysical poems known as tatvapada, were written in Kannada
and covered various aspects of life.

Shishunala Sharif passed away in 1889, leaving behind a legacy of spiritual wisdom and social
reform. His teachings continue to resonate with people, transcending religious boundaries and
promoting harmony.

Summary of the Vachana - "The Leaking House"

"The Leaking House" is a metaphysical poem by Shishunala Sharif that uses the imagery of a
dilapidated house to convey profound philosophical insights. In the poem, the leaking house
becomes a metaphor for the human condition, highlighting the imperfections and vulnerabilities of
our existence.

The poet describes the leaking of water from the housetop, symbolizing the ignorance and
lack of awareness in human life. The repetition of the phrase "The housetop is leaking water"
emphasizes the persistent nature of these imperfections.

Despite the awareness of the leaks, there are none to fix the timber, suggesting a lack of
proactive efforts to address the underlying issues. The poet expresses a sense of helplessness in the
face of broken beams, languorous lumbers, and a debilitated hinge, symbolizing the frailties of the
human condition.

The inability to ascend and repair reflects the challenges of overcoming ignorance and
addressing the deep-seated issues within oneself. The hovel is described as ragged with fractured
ventilators, portraying the internal and external disarray in the metaphorical house of our being.

The growth of grass and weeds, likened to the blights of the world, suggests the pervasive
influence of negative elements in both internal and external realms. However, amidst this turmoil,
the poet invokes a sense of hope and optimism by drawing attention to the gracious rain poured by
the Lord.
The concluding lines express the poet's belief that the Lord, symbolized as the "Hubby rain," will
foster and nurture, providing a sense of abiding support and guidance. The vachana, through its vivid
imagery, encourages contemplation on the imperfections of human existence, the need for self-
awareness, and the potential for spiritual growth and divine intervention. However, the poem
concludes with a hopeful note, invoking the gracious rain poured by the Lord, who is believed to
foster and nurture abidingly.

Analysis:

Metaphor of the Leaking House: The leaking house serves as a powerful metaphor for the
imperfections and vulnerabilities of human existence. The recurring image of water leakage
emphasizes the persistent nature of these imperfections, highlighting the inherent ignorance and
lack of awareness.

Lack of Repair: The absence of anyone to fix the timber signifies a lack of proactive efforts to
address the underlying issues in life. The poet's expression of helplessness in not being able to
ascend and repair reflects the challenges of overcoming ignorance and addressing deep-seated
problems.

Frailties of Human Condition: The description of broken beams, languorous lumbers, and a
debilitated hinge portrays the frailties and vulnerabilities of the human condition. The ragged hovel
and fractured ventilators further emphasize the internal and external disarray within the
metaphorical house of being.

Symbolism of Grass and Weeds: The growth of grass and weeds is symbolic of the pervasive
influence of negative elements, representing the blights of the world both within and outside. This
imagery underscores the challenges posed by internal and external factors that contribute to the
deterioration of the human condition.

Hopeful Conclusion: Despite the somber tone throughout the poem, the concluding lines introduce
a sense of hope and optimism. The invocation of the Lord and the imagery of the gracious rain
suggest the potential for spiritual growth and divine intervention. The belief that the Lord of
Shishuvinäla will foster abidingly adds a comforting and reassuring note to the poem.

In essence, "The Leaking House" invites contemplation on the imperfections of human

existence, the challenges of overcoming ignorance, and the potential for spiritual growth and divine
support. The poem skillfully uses metaphorical language and vivid imagery to convey profound
philosophical insights and a sense of hope amidst the struggles of life.

KANAKADASA

Biography of Kanaka Dasa:

Kanaka Dasa, born in 1495 in a shepherd family in the village of Bada, Haveri district, Karnataka, is
renowned as a poet, composer, religious and social reformer, and a devotee of Lord Vishnu. His
parents, Beerappa and Bachchamma, believed him to be a blessing from Shri Venkateshwara of
Thirupathi and named him Thimmappa. After miraculously surviving a mortal wound in battle, he
redirected his life towards spirituality, joining the Haridasa tradition and receiving the name Kanaka
Dasa from his spiritual master, Vyasaraja.

Social and Religious Reformer:

Kanaka Dasa played a pivotal role in addressing social issues, particularly critiquing the caste system
and advocating for equality. His literary works went beyond devotional themes and delved into
social aspects. His notable work, "Ramadhyanacharitre," serves as an allegorical representation of
the divisions between the rich and the poor.

Summary of “Do Not Quarrel Over Caste”

"DO NOT QUARREL OVER CASTE" is a profound vachana by Kanaka Dasa, a 16th-century
poet, philosopher, and social reformer from Karnataka, India. In this composition, Kanaka Dasa
passionately addresses the societal issue of caste discrimination, urging individuals to rise above the
divisive nature of caste and recognize the inherent unity of all beings. The vachana is a powerful
critique of the caste system, emphasizing the futility of quarreling over superficial differences and
calling for a direct connection with the divine.

The central theme revolves around the poet's plea to transcend the barriers imposed by
caste distinctions. Kanaka Dasa begins by straightforwardly advising against quarreling over caste.
He questions the legitimacy and origin of one's caste, prompting introspection and challenging the
societal norms that perpetuate caste-based discrimination. The poet employs rhetorical questions,
inviting individuals to ponder the source of their caste and highlighting the arbitrary nature of these
distinctions.

Kanaka Dasa then delves into a broader philosophical exploration, drawing attention to
universal aspects of existence that connect all of humanity. He emphasizes the commonality in birth,
the shared experience of treading upon the earth, and the universal relishing and consumption of
various aspects of life. Through vivid imagery, the poet conveys the idea that, at a fundamental level,
all human experiences are interconnected, rendering caste distinctions inconsequential.

The metaphor of water becomes a powerful tool in Kanaka Dasa's argument. By asking
whether individuals know the caste of water, he challenges the notion of assigning caste to
something as elemental and essential as water. This metaphor underscores the interconnectedness
of all matter and emphasizes the universality that transcends artificial social divisions.

The vachana takes a contemplative turn as Kanaka Dasa compares the human body to a
bubble on water. This imagery serves to highlight the transient and impermanent nature of the
physical form. The poet advises individuals to grasp and remember the source, encouraging a shift in
focus from the superficial aspects of life to a deeper spiritual realization.

In a pivotal moment, Kanaka Dasa calls upon individuals to pray directly to the All-knowing,
bypassing the intermediaries of caste-based distinctions. This direct invocation of the divine
reinforces the poet's message of breaking free from societal constraints and establishing a personal
connection with the ultimate source.
 The vachana reaches its crescendo with a call to discern Lord Hari (Vishnu) as the Best and
Master of all. Kanaka Dasa elevates the discourse from a critique of caste to a spiritual realm where
devotion to the divine becomes the guiding principle. The poet asserts that true nobility lies in
humbly bowing to the lotus feet of Adikeshava of Kaginele, emphasizing devotion as the path to
spiritual elevation.

Kanaka Dasa's vachana, though rooted in its historical and cultural context, transcends
temporal boundaries with its timeless message. It challenges the deeply ingrained social structures
and norms, urging individuals to recognize the unity that underlies all of creation. The vachana
resonates with universal themes of equality, spiritual realization, and devotion to a higher power.

Thus, "DO NOT QUARREL OVER CASTE" stands as a timeless piece of literature that
transcends the centuries, offering a profound critique of the caste system and an earnest call for
spiritual awakening. Kanaka Dasa's poetic brilliance, coupled with his social and spiritual insights,
makes this vachana a beacon of wisdom, inviting individuals to break free from the shackles of
societal divisions and embrace the universal essence that binds all of humanity.

KUVEMPU

Biography of Kuvempu

Kuppali Venkatappa Puttappa, widely known by his pen name Kuvempu, was born on
December 29, 1904, and left a lasting legacy as an Indian poet, playwright, novelist, and critic.
Hailing from Karnataka, he is hailed as the greatest Kannada poet of the 20th century. Kuvempu's
literary prowess earned him the distinction of being the first Kannada writer to receive the
prestigious Jnanpith Award.

Educated at Mysuru University in the 1920s, Kuvempu later served as a faculty member at
the same institution for nearly three decades. His significant contributions extended to academia,
where he held the position of vice-chancellor from 1956 to 1960. Kuvempu played a crucial role in
initiating education in Kannada as the language medium.

The accolades and honors bestowed upon Kuvempu underscore the profound impact of his
literary contributions. In 1964, the Government of Karnataka honored him with the title Rashtrakavi,
recognizing him as the "National Poet." In 1992, he was bestowed with the Karnataka Ratna,
translating to "The Gem of Karnataka." The Government of India also recognized his eminence by
conferring upon him the Padma Vibhushan in 1988.

Kuvempu's influence extended beyond the realm of literature, as he penned the Karnataka
State Anthem, "Jaya Bharata Jananiya Tanujate," which reflects his patriotic spirit.

SUMMARY - "WAKE UP, O YOUTH!"

Kuvempu's poem, "Wake Up, O Youth!" serves as a poignant call to action, resonating with
themes of societal transformation, progress, and the awakening of the youth.
 The poem commences with a vivid portrayal of the transition from old to new times. The old
is depicted as fading away, making room for the arrival of new vision and aspirations. Kuvempu
captures the essence of this temporal shift, emphasizing the changing landscape and the burgeoning
potential within the hearts of the youth.

Throughout the verses, the poet employs powerful metaphors to convey the transformative
energy sweeping through society. The "new juicy breeze" from the west symbolizes a fresh and
invigorating force that shakes the metaphorical life-tree of India, shedding the old leaves and
ushering in vibrant new sprouts. This imagery illustrates the rejuvenation and dynamism inherent in
the evolving times.

The poem then takes a global perspective, drawing attention to the transformations
occurring in Russia. Kuvempu paints a vivid picture of Russia, once dormant, now awakening and
roaring with vitality. The reference to Russia serves as a metaphor for the potential and power latent
in any nation or individual that embraces change and progress.

Kuvempu's exhortation to the youth to "get up" and "awake" is a recurring refrain,
reinforcing the urgency of the moment. The poet urges the youth to sweep away the "dirt of old
practice" with the flood of new arrivals and scientific thinking. He cautions against the potential
erosion of the achievements of Independence through adherence to outdated Vedic justifications.

The poem concludes with a rallying call for unity and collective action. Kuvempu encourages
the youth to sing the song of new life, challenging them to break barriers and raise their heads,
hands, and voices in unison. The underlying message is one of empowerment—when united, the
youth can overcome any obstacle.

In essence, "Wake Up, O Youth!" encapsulates Kuvempu's vision for societal rejuvenation,
urging the younger generation to embrace change, discard obsolete practices, and contribute to the
building of a progressive and harmonious society. The poem remains a timeless call to action,
inspiring individuals to recognize their agency in shaping a brighter future.

Key Ideas:-

1. Transition of Time: The poem opens with an acknowledgment of the fading old time and the
arrival of a new era. Kuvempu highlights the emergence of novel visions and aspirations,
signifying a transformative phase in the course of history.

2. Awakening of New Life: The poet draws attention to the disappearing old life and the
burgeoning new life that swells within the hearts of the youth. This imagery captures the
palpable energy and potential inherent in the younger generation.

3. Call to Action: Kuvempu employs a repetitive and emphatic call to action, urging the youth
to "Get up! Awake! Listen!" This refrain underscores the urgency of the moment and
emphasizes the need for a proactive response from the youth.

4. Metaphor of Western Breeze: The poet introduces a metaphorical Western breeze,

symbolizing a fresh, invigorating force that shakes the metaphorical life-tree of India. This
 breeze represents the winds of change and new ideas that are poised to reshape the societal
landscape.

5. Symbolism of Life-Tree: The life-tree metaphor continues, depicting the old stalks shedding
ripe leaves while new sprouts dance sprightly. This imagery conveys the cyclical nature of
life, the shedding of outdated elements, and the vibrant growth of new possibilities.

6. Russia's Transformation: Kuvempu brings a global perspective by referencing Russia's

transformation. The poem describes how Russia, once considered a slum, is now portrayed
as a lovely garden. The awakening of Russia symbolizes the potential for positive change on
a global scale.

7. Advocacy for Scientific Thinking: The poet advocates for the adoption of scientific thinking
as a new arrival that can sweep away the dirt of old practices. Kuvempu warns against the
potential destruction of the achievements of Independence through adherence to outdated
Vedic justifications.

8. Empowerment Through Unity: The poem concludes with a passionate plea for unity among
the youth. Kuvempu encourages them to sing the song of new life, symbolizing a collective
expression of progress and change. The call to raise heads, hands, and voices underscores
the power of collective action.

9. Empowering Proclamation: The final lines assert that if the youth walk united, none can
stop them. This proclamation encapsulates the empowering message of the poem—that
unity and collective endeavor can overcome obstacles and pave the way for a brighter
future.