KANURU HEGGADITI (1936): Kuvempu
In one sense, revisiting a classic is a contradiction of terms, because a classic has to be a constant presence in the cultural pantheon of a language community, instilling new modes of perception and action notwithstanding the auguries of space and time. This happens only when literary excellence and an enduring vision of life blend seamlessly. Of course, new tools of literary analysis and corresponding theories may illuminate these texts differently, even though they cannot dismiss a classic in its totality. Social relevance and aesthetic pursuits are not mutually exclusive and one has to make room for the dynamic nature of these phenomena.
‘Kanuru Heggaditi’ has flourished for eight decades, often weathering storms of adverse comments by modernist critics. Its fame is slightly overshadowed by its successor, ‘Malegalalli Madumagalu’ by the same author. This book in conjunction with a couple of others by Shivarama Karanth is responsible for releasing Kannada novels from the shackles of historical novels imbued with Nationalism and religious fundamentalism and a series of loose knit novels based on social reforms. Kuvempu, changed his lukewarm attitude towards fiction after reading masters of Great Realism such as Tolstoy and Hardy. More importantly there was an unexplored subaltern universe waiting for literary expression within him. His concerns for the Western modernism in tandem with the seminal influences of Indian renaissance as also an awareness of Upanishadic tradition as against the stifling orthodoxy succeeded in creating a complex mindset.
Huvayya, the protagonist, is at once an idealist with a fascination for nature and earth-bound ways of life. Unlike his contemporaries, he is forced to return to his village and confront a ‘decadent’ society in a state of flux. These close encounters and the consequent ‘loss of innocence’, does not result in cynicism and he indulges in a futile attempt to reform his surroundings. A tender and well reciprocated love with Seetha results in a multi-dimensional tragedy because of his Hamlet like hesitance to act upon his convictions. Of course, the novel ends in some kind of contrived peace and bonhomie.
An umpteenth visit to this novel makes me realise that the true protagonists are women characters such as Subbamma, Nagamma, Seethe, Danamma, Lakashmi and many others. They bear the brunt of the follies and cruelties of their hapless counterparts. Yet these ‘homemakers’ succeeded in healing the wounds or they succumb after a valiant attempt to survive. Many critics have identified Huvayya with the novelist, misled by some ideological similarities. However, a close scrutiny convinces us that the author was quite critical of Huvayya and made tongue in cheek comments about his naiveté. The greatness of this novel stems from the portrayal of marginalized characters rather than those loaded with an overdose of idealism. Huvayya begins the tradition of ‘weak’ and ‘indeterminate’ heroes in Kannada fiction. He is too refined and self-analytical to make any material difference. He could be compared with the strong, intelligent and vigorously active characters of ‘Malegalalli Madumagalu’ that succeed not only in reaching their personal goals but also bring about a qualitative change in the lives of their fellow beings. One notices that they were not contaminated by the emasculating influences of the western education. In reality, both these novels are named after women languishing in the throes of life.
‘Heggaditi’ is not a dry-as-dust compilation of societal realities and advocacy of the downtrodden. It’s a major contribution to fictional narrative tradition in Kannada. Kuvempu combines the aesthetic features of poetry and fiction and forges a unique style. He prose eschews sentimentalism and varies according to the demands of the situation. It’s highly nuanced because of its multiple layers. This work is replete with symbolism both in details as well as events that portend the future. It contains many techniques and tools later claimed by modernist writers as their own inventions. It rises above the mere contemporary and acquires universal significance as the author grapples with primal emotions such as hatred, jealousy, love and cowardice. We witness the genesis of some of the most dominant themes and ideological preoccupations of Kannada fiction in this classic. They are encyclopaedic in their span and details but they do not lose their focus unlike the ethnic narratives of our times delineating the travails of many generations. Kuvempu and other masters of his times were suffused with a vision that encompassed the dreams and nightmares of people at large.
As elsewhere, the greatness of this novel hails from the portrayal of marginalized characters rather than those loaded with an overdose of idealism. Colourful and down to earth characters such as ‘Baadugalla Soma’, ‘Kilistara Jockey’, ‘Seetemane Singappagouda’, ‘Mayagaati Gange’ and a host others enliven the novel. The bond between the human beings with the flora and fauna is depicted charmingly and it’s unsurpassed to this day. More importantly, they demand particular modes of reading and absorbing and they are capable of training the reader accordingly. They enhance the contemplative and self-critical dimensions of our personality in gentle and persuasive ways. In short, ‘Kanuru Heggaditi’ and other classics obliterate the difference between readings based on societal prioritisation and ‘merely’ aesthetic perusal of a literary work: they create an ‘integrated poetics’.
