Pada_GV by Rajaram B.S.

Pada G.V. Commemorative Souvenir published during the Centenary Celebrations of Prof. G. Venkatasubbiah First Edition: September 2012 ÂŠ Sri Jayarama Seva Mandali (R)

Published by : S.K. Gopalakrishna Secretary

Prof. G.V. Birth Centenary Celebration Committee

Sri Jayarama Seva Mandali (R) No. 492/A, Sri Jayarama Seva Mandali Road 1st Main, 8th Block, Jayanagar Bangalore - 560 070. Editors: Prof. M.K. Sridhar Dr. P. Raghothama Rao

Design: Canvas, BSK 2nd Stage, Bangalore - 560 070

Prize Winners of the Ramayana Essay Competition held in connection with the Centenary Celebrations of Prof. G.V. Language Prize

Kannada

English

Name

School

Class

First

Abhighna G.

V.V.S. Sardar Patel High School

IX ‘B’

Second

Sushma G.S.

The New Cambridge High School

X ‘A’

Third

Anughna G.

V.V.S. Sardar Patel High School

IX ‘B’

First

Vishnu Priya C. Sri Kumaran’s Childrens Home

IX ‘B’

Second

Hitesh R.

V.E.T.School

IX ‘B’

Third

Shubangi N.

Sri Kumaran Children’s Home (TSF) X

83 Abstract The Ramayana is considered as a primordial Hindu Epic. Primarily it deals with the saga of the kings of solar race, and especially that of Rama. Devout Hindus believe that Rama was an incarnation of Lord Vishnu, who descended down to the earth for warding off evil and unrighteousness (Adharma) and for establishing truth and righteousness (Dharma). The epic is termed as an extension of the everlasting ideals and values of the Vedas. Sage Valmiki has portrayed several characters in the Ramayana, which mirror the good and evil nature of human beings, and success and failure of family relationships. The story of Rama was sung as a ballad by wandering bards in the assemblies of kings. Initially it was an oral tradition and later got concretized into a written tradition. Ramayana itself says that the first recitation took place in the forest before a gathering of sages, the second in the streets of Ayodhya, and the third and final one in the palace of Rama, after the horse sacrifice, through which Rama confirmed his enthronement. The Ramayana of Valmiki attracted the denizens of South East Asia for centuries and has been orally recited and later written, sculpted and performed from Cambodia to Bali even to this day. The Thai Ramayana saga called as Ramakien has been much appreciated by the Thai people for ages from the Ayudhya period (B.E. 1952-2310) as a sacred story and hence the first king of Ayudhya was named Rama. The Thai Ramayana has several similarities and minor differences with Valmiki Ramayana which have been brought out well by scholars of both Thailand and India. The theme of Ramayana was impacting the Thai people in several ways so that they represented the varied themes in theatre performances, sculptures, paintings, oral, written, and electronic media.

Oral Traditions of Valmiki Ramayana & Thai Ramayana Prof. Melukote K. Sridhar

Hon. Director, The Indological Research Foundation, Bangalore, India. E mail: drmksridhar@yahoo.com

This paper captures some of the highlights of the oral traditions of Ramakien and Valmiki Ramayana, importance of the Ramayana in Thai theatre, similarities in the oral traditions of Ramayana in West Bengal, Malay Ramayana, and Thai Ramayana, the subtle differences between ‘Nong Yai’ and ‘Khon’ styles and other related themes. Key words: Ballad, Munda Ramayana, Ramakien, Nong Yai, Khon, Khmer, and Hikayat Seri.

Introduction I am a student of the Ramayana ever since the halcyon days of my childhood like any other Hindu child in India or elsewhere in the world where Hindus reside, as parents start narrating the story of the Ramayana to their children from very early days. Several incidents and sub stories from the Ramayana are a part of language syllabi from the pre –nursery school to the twelfth standard and also sometimes in the degree courses in Indian educational curriculum. As a teacher, I have been teaching the Ramayana for 28 years in India as well as in the USA ( 2000, 2004 and 2005), and has found that it serves as an excellent window through which both Indian and foreign students get great vistas of the world of Indian civilization. It is a story and also a tradition of storytelling. Rendition of the Ramayana was prevalent along the entire length and breadth of India from the post – vedic period itself. Modern researchers place the date of the Vedas around 7-8 millenium BCE . The story and the verses of the Ramayana were memorized, narrated, sung and dramatized by people of the sub continent since several centuries. In fact the Ramayana says that Lava and Kusha, the sons of Sita and Rama sang the glory of their parents in hermitages, streets and city of Ayodhya. “For more than two millennia, this oral and later the written tradition has enjoyed a unique popularity throughout the subcontinent of South Asia (comprising the modern states of India, Pakistan, Bangladesh, Nepal, and Sri Lanka) and beyond - for versions of the tale have flourished in Thailand, Cambodia, Laos, Vietnam, and Indonesia. ‘Although the core story of the travails of Prince

84 Rama and Princess Sita and their companions remains much the same everywhere, storytellers and poets in dozens of languages have chosen not simply to translate some “original” version, but instead have retold the saga in their own words, often modifying and embellishing it according to regional traditions or their own insights and interpretations. At the same time, this tale has been continuously recreated orally - with all the fluidity we expect in oral performance - by a whole spectrum of tellers ranging from traditional bards and singers to modern film and video producers (an epic television serialization of the story held Indian audiences spellbound in 1987-89), and also including countless grandmothers. Indeed, for most modern Indians, the “original” Ramayana is as likely to mean a bedtime story heard in childhood as the 2000+ year old Sanskrit epic of the poetsage Valmiki.” The Ramayana is an important part of the Hindu canon (smruti). The name Ramayana is a tatpurusa compound of Rama and ayana “going, advancing”, translating to “the travels of Rama”. Ramayana had a profound impact on art, culture and life in the Indian subcontinent and South east Asia. In the East, sea voyages were encouraged through coast of Bengal, Burma, Malay peninsula, South East Asian nations and had gone up to Taiwan . The Indian ocean was an area of social and cultural diversity rooted in four different civilizations, the Trano-Arabic, the Hindu, The Indonesian, and Chinese. Sea borne trade, supplemented by the central Asia caravan routes, created a strong sense of unity. The idea of a common geographical space defined by the exchange of ideas and material objects was quite strong, not only in the minds of merchants but also in those of political and ordinary people . The favorable Indian Monsoon too helped the sea faring merchants in transmitting Indian culture in South east Asia. The story of Rama also inspired a large amount of second generation literature in various languages, notable among which are the works of the sixteenth century Hindi poet Tulsidas, Tamil poet Kamba (1300AD) and Muddana’s Ramashvamedha in Kannada language (1900AD). Starting from the 8th century, the colonization of Southeast Asia by Indians began. Several large empires like the Khmers, the Majapahits, the Sailendras,

the Champas and Sri Vijaya were established. Because of this, the Ramayana became popular in Southeast Asia and manifested itself in text, temple architecture and performance, particularly in Indonesia (Java, Sumatra, Bali and Borneo), Thailand, Cambodia, Laos, Malaysia, Myanmar, Philippines and Vietnam. Many other Asian cultures have adapted the Ramayana, resulting in other national epics. Kakawin Ramayana is an old Javanese rendering of the Sanskrit Ramayana from ninth century Indonesia. It is a faithful rendering of the Hindu epic with very little variation. Phra Lak Phra Lam is a Lao language version, whose title comes from Lakshmana and Rama. The story of Lakshmana and Rama is told as the previous life of the Buddha. In Hikayat Seri Rama of Malaysia, Dasharatha is the great-grandson of the Prophet Adam. Ravana receives boons from Allah instead of Brahma. However according to a renowned scholar in Thai literature Professor Phraya Anuman Rajthon, Ramayana did not come from India directly but through Indonesia about 900 years ago.

The Ramayana, an Epic and a Ballad A need arose for the post Vedic writers to reiterate the everlasting values of the Vedas and Upanishads to the common people and hence chose the medium of ballads and epics. The foremost among the epics is the Ramayana which is called the primordial epic poem written by sage Valmiki consisting of twenty four thousand verses in seven sections (Kanda). The poem is written in simple metre called Anushtubh. It deals with the story of Rama and Sita, considered as the divine incarnation of Lord Vishnu and Goddess Lakshmi by devout Hindus all over the world. “The Ramayana is the story of the triumph of good over evil, of order over chaos, of dharma over adharma. Rama and Sita are ideal examples of dharmic gender roles for Hindu couples. He is honest, brave, the fulfiller of all his ethical responsibilities, and devoted to his wife”. The story of Rama was sung as a ballad by wandering bards in the assemblies of kings. “The Ramayana itself says that the first recitation took place in the forest before a gathering of sages, the second in the streets of Ayodhya, and the third and final one in the palace of Rama, after the

horse sacrifice, through which Rama confirmed his enthronement ”. The epic “seeks to hold out lofty ideals in the life of the individual, the family, and society; it also holds out high political and economic ideals. It is in fact, an epitome of Indian civilization, for the highest spiritual and metaphysical ideals are also set forth, stressing the transience of life, so full of misery, and the external nature of the soul. While fate is recognized as extremely powerful, good actions and penance are stated to be the means of overcoming it. Complete surrender to God is laid down as the way to attaining the summum bonum of life, moksha.” The everlasting values of the Vedas and Upanishads were depicted through the characters of the epic such as Rama, Sita, Lakshmana, Bharata, Shatrughna, Dasharatha, Kausalya, Sumitra, Kaikeyi, Vali, Sugriva, Hanuman, Ravana, Kumbhakarna, Vibhishana, Mandodari, Shabari, Vasista, Vamadeva, Vishvamitra and others. Each of the epic character stood for one or other value, benevolent or malevolent. “Rama’s obedience toward his father, his generosity toward Kaikeyi, Sita’s fidelity in following Rama into the jungle and during her captivity, Bharata’s and Lakshmana’s brotherly loyalty and the greatness and strength of Rama” merits our attention. ‘As a fluid storytelling tradition, the Ramayana doesn’t simply provide set answers. It also raises troubling questions that have been pondered and debated by audiences for centuries, and that have resulted, in some cases, in radical reinterpretations of characters and events, or in the creation of such “alternative” retellings as those that give greater prominence to women or that even cast the “villains” as the real such heroes. In this way, it has functioned less as a fixed message than as a kind of language within which South Asian culture thinks about itself, and projects (and argues about) its ideals of the good life and the just society.’ Munda Ramayana and the Chadravati’s Ramayana of West Bengal mentions about the oral traditions of the complete theme of Valmiki Ramayana. Women of East Bengal sing Chadravati’s Ramayana during several auspicious occasions like birth of a child, sacred thread ceremony of Brahmin families

85 and mainly during marriage ceremony. It appears that a poetess by name Chadrasvati during her celibacy worshipped Lord Shiva and composed the Ramayana orally. Some of the incidents narrated by her have parallels in the Ramayana versions of Malaya and Thailand. For instance, ‘Rama had a sister named Kakiya. She provoked Ramachandra to send Sita to exile. This incident occurs in the Malaysian and Thai Ramayana also’. Asutosh Bhattacharya analyzes these deviations of theme by Chandrasvati from the original as a result of the compositions of a sad and lonely woman who laid emphasis on the sentiment of pathos (karuna) than that of the heroic (vira). Hence the women of Bengal who have kept this oral tradition alive even to this day like it . The Munda Ramayana has also been orally transmitted and preserved by tribal people of Bengal residing in border areas. The tribals are Santhal, Munda and Bhuiya who speak a dialect called Munda. These tribal people have fully adopted the entire theme of Valmiki Ramayana in their own language. They entertain the audience through a musical performance and use a stringed instrument called Kindri. Among the performers, one leads the music while the rest repeat the verses and the show goes on for the whole night. It appears like a narrative song .

Rama Saga in Thailand The Ramayana of Valmiki has allured the denizens of South East Asia for several centuries. It has been orally recited, written extensively, sculpted and performed from Cambodia to Bali. Yogeshvar’s old Javanese Ramayana namely Ramayna Kakawin survives in Malay peninsula even to this day. It exists in all the forms and is an integral part of the performing arts and especially the Malay shadow play. The Hikayat Seri Rama, a popular Malay version of Valmiki Ramayana is closely connected with popular Javanese versions. Stutterheim (1925) and Zieseniss (1925) have pointed the entire Malay Rama saga to Indian sources. Zieseniss has averred that the Hikayat Seri Rama represents a popular form of the Rama saga which might have reached Indonesia from various regions of India between 13th and 14th centuries and got fused into their culture.

Thai Rama saga called the Ramakien reveals that much of the Hikayat Seri Rama of Malaya resembles the Ramakien which have been represented in the bas – reliefs of Ankor –Vat according to Zieseniss. Several versions of the Javanese Serat Kanda of the Thai Rama saga have been translated into Malay language. Amin Sweeney informs us that Malay Ramayana closely resembles the Thai Ramayana saga than what opined by the research of Stutterheim and Zieseniss. Amin Sweeney has extensively compared 24 versions from the living puppeteers and counter- compared with Malay and Thai literary versions. They were based on the shadow play of Malay called the Wayang Scan. The Wayang stories are found in the Malay and Thai literary versions.

approximately 50,286 verses and complete by itself. King Rama II during his regime (B.E.2352: 1809AD) in order to adopt the story on to the stage, abridged the earlier version by re- writing some portions of the story. This shorter version of Ramakein consists of 14,300 verses. During the reign of king Rama III, the king wrote his own Ramayna which consists of 1664 verses . Later Ram IV (B.E.2453: 1910AD) wrote Ramayana in the form of a dialogue consisting of six sections. They are:

Ramakien – The Ramayana of Thailand

In Ramakien, Sita is the daughter of Ravana and Mandodari (T’os’akanth (=Dasakanth) and Mont’o). Vibhisana (P’ip’ek), the astrologer brother of Ravana, predicts calamity from the horoscope of Sita. So Ravana has thrown her into the waters, who, later, is picked up by Janaka (Janok). While the main story is identical to that of the Ramayana, many other aspects were transposed into a Thai context, such as the clothes, weapons, topography, and elements of nature, which are described as being Thai in style. It has an expanded role for Hanuman and he is portrayed as a lascivious character. Ramakien can be seen in an elaborate illustration at the Wat Phra Kaew temple in Bangkok.

Thailand’s popular national epic Ramakien is derived from the Hindu epic. The word is derived from the Sanskrit word ramakirti meaning the fame of Rama . Ramakien has been greatly appreciated by Thai people for several centuries and most of the Thai ancestors knew the story of Ramayana through oral traditions . It was regarded as a sacred story during the Ayudhya period (B.E. 1952-2310: 1409-1767 AD) and hence the first king of Ayudhya was called Rama and the capital was called Ayodhya. It has seven Kandas or sections like Valmiki’s Ramayana. The incidents such as the bravery of Lord Hanuman, the ungratefulness of Torapi (Darvi), the breaking of Vali’s promise and the faithfulness of Sita are great mottoes in Thailand. When Taksin became the king of Dhonburi (B.E.2310: 1767 AD) it is learnt that he wrote the Ramayna in Thai consisting of 2012 verses in four volumes. They are: 1. Phra Mangkutes (practicing the art of bow) 2. Hanuman courting Nang Vanarin 3. King Malivaraj adjudicating the case 4. Thosakan (Dashakanta) setting up the ceremony of making sand acid to be his weapon. King Rama I (B.E.2328: 1785 AD) in collaboration with many poets composed the Ramayana in Thai verses and the epic consists of 2976 pages and

1. 2. 3. 4. 5. 6.

Episode of Sita being taken from Ayodhya Episode of burning Lanka city Episode of Bibhek being expelled Episode of making a bridge to Lanka city Episode of the burning of Lanka city Episode of Nagapasha.

Other Southeast Asian adaptations of Valmiki’s Ramayana include Ramakavaca of Bali, Maradia Lawana of the Philippines, the Reamker of Cambodia and the Yama Zatdaw of Myanmar. Aspects of the Chinese epic Journey to the West were also inspired by the Ramayana, particularly the character Sun Wukong, who is believed to have been based on Hanuman.

Ramayana in Thai Theatre The Ramayana plays a significant role in Thai theatre. The epic is shown on the stage in the form of ‘Nong Yai’ and ‘Khon’. The Nong Yai is derived from two words Nong meaning skin or hide and Yai meaning big. They are big transparencies of master craftsmanship on which the figures of Rama. Sita, Hanuman and other characters

86 are beautifully and elegantly painted so that they appear like real pictures. These painted transparencies are mounted on two sticks and held up and displayed on the giant screen. The verses from the Ramakien are recited in chorus from the background. The transparencies are moved out in correspondence with the recitation and the themes while the dancer dance keeping in tune with the theme.

already a well-established literary tradition in Thailand. It was also renamed as ‘Ramakien’; – which means ‘the glory of Rama’ in Thai. The general episodes represented in masked dance are: episode of killing Kekana sun, Maiyarab or the magician, a floating lady, Nagapasha, the weapon of Brahma (Bromastra), Sita wading through the fire, Hanuman, the volunteer, Rama’s journey in the forest and Rama’s ruling over Ayodhya.

There is one more kind of Nang called as the Nang Talung. The pictures here are smaller compared to Nong Yai with more freedom for the arm movement of the dancers . Music also plays a predominant role in Thai theatre.

Conclusion

‘Khon’; is a traditional performance in which dancing and acting are combined. It was initially produced as a form of entertainment in the royal courts. Khon distinguishes itself from other forms of performances of South East Asia by its elaborate masks which are worn by leading performers, except for human and divine characters, who instead wear headdresses to indicate their ranks. The masks generally indicate personalities of the characters and titles such as simians, demons, garudas or other great mystical beasts. Some martial arts of Thai such as sword and baton fighting, known in Thai as “krabi krabong” are also introduced in these performances. Yet, Khon dance maintains a soft, delicate and elegant rhythm which are characteristics of traditional Thai dance . Khon draws most of its story and characters from the Ramayana Epic, which can be dated back to as early as the reign of King Ramkamhaeng of the Sukhothai period (CE 1279-1317). By the Ayutthaya period (1350-1767), Ramayana was

The myths and legends of any civilization are intertwined with the culture of that country. The people take delight in associating themselves with the geneology of the sages and kings. Thus we find the oral traditions of any literary form gains popularity and spreads far and wide over a period of time. As we have seen from the above discussion, the oral traditions of the Ramayana resulted in several other versions of the Epic in South east Asia embracing regional and national cultures leading to new creative literary and art forms such as Ramkien, Hikayat seri Rama, Nong Yai, Nang Talung, Khon, etc., and a new genre of sculptures and paintings. Thus there is a connectivity of the contemporary people with the remote past of their culture and civilization. Such connections give great delight, happiness, satisfaction and peace to the minds of the people. Sage Valmiki declares in the Ramayana thus: “There is no essence equal to forgiveness. There is no wealth equal to fame. There is no benefit equal to knowledge. There is no text superior to the Ramayana” . This age-old proclamation by the poet and the existing popularity of Ramayana among people all over the world and especially in South east Asia strengthens the poet’s statement.

Acknowledgements I offer my grateful thanks to Ms Sophana Srichampa, Ph.D, Chair, Organizing Committee and Secretary General, SSEASR, Bangkok,Thailand, and Dr Purushottama Bilimoria, Professor of Philosophy and Religion, University of Melbourne and University of Deakin, Australia, for giving me an opportunity to present this paper at the 2nd International SSEASR Conference, Bangkok, Thailand ( May 24 –27, 2007). A special thanks to Prof. Purushottama Bilimoria for guiding me while preparing the paper.

Bibliography Primary sources Ramayana, Critical Edition, 1960-1975, The Oriental Institute of Baroda. The Ramayana of Valmiki, Vol. 1, The Balakanda, Robert Goldman, trans. and Vol 2, The Ayodhyakanda, Sheldon Pollock, trans. Princeton, 1984 & 1986. Secondary sources Amin Sweeney P. L., The Ramayana and the Malay Shadow Play, National University of Malaysia Press, Kaulalampur, 1972. Amin Sweeney P. L., ‘The Ramayana in the Malay world studies in Indo – Asian Art and Culture’ in Acharya Raghuvira Commemoration volume 2, 1973. Arya, Ravi Prakash (ed.). Ramayana of Valmiki: Sanskrit Text and English Translation. (English translation according to M. N. Dutt, introduction by Dr. Ramashraya Sharma, 4-volume set) Parimal Publications: Delhi, 1998 ISBN 81-7110-156-9. Asutosh Bhattacharya, ‘Oral tradition of the Ramayana in Bengal’, in Raghavan V. (Ed), The Ramayana Tradition in Asia, Sahitya Akademi, New Delhi, 1980. pp. 614 - 616.

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Sen N, “The Influence of the Epics on Indian Life and Literature” in Cultural Heritage of India, General ed., Bhattacharya H. Vol 2. Stutterheim W., Rama Legends and Rama reliefs in Indonesia, Jakarta and Munich, 1969. The story of Ramakian - From the Mural Paintings along the Galleries of the Temple of the Emerald Buddha, ISBN 974-7588-35-8. Thai Ramayana (abridged) as written by King Rama I, ISBN 974-7390-18-3. Young Oon Kun, 1976, World Religions, vol 2 India’s religious quest, Golden Gate Publishing Co, New York, 10036. Zieseniss, The Rama saga in Malaysia, Singapore, 1963. Web sources http://web.mit.edu/natya/www/ramayana/ dancesStyles.html http://www.maxwell.syr.edu/moynihan/programs/ sac/outreach/ramayana

90 Educational Qualification l

GV... a time-line

M.A. Kannada (1937) with First rank from Mysore University; Won Gold Medal and Honnasetty Prize. l B.T. (1939) from Mysore University.

Area of work Field of Education l 1939-43. Lecturer, Dept. of Kannada, Maharaja College, Mysore l 1943-72. Professor of Kannada, Vijaya College, Bangalore. l 1972-73. Principal, Vijaya Evening College, Bangalore. l 1968-73. Visiting Professor, Methodology of Teaching Kannada, R.V. College of Education, Bangalore. l 1971-80. Visiting Professor, Methodology of Teaching Kannada, B.E.S. College of Education, Bangalore. l 1960-64. Member, Academic Council, Mysore University. l 1964-69. Member, Senate, Bangalore University. l 1964-69. Member, Academic Council, Bangalore University. l 1964-67. Chairman, Board of Studies for Kannada, Bangalore University. Lexicography Involved in preparation of an authoritative, Encyclopaedic, Chronological, Monolingual Kannada dictionary on historical principles of Kannada Sahitya Parishat from student days. From 1954 member of the Editorial committee; From 1973 to 1980 Chief Editor; From 1980 to 92 Chairman and Chief Editor of the Dictionary committee. After he took over as Chief Editor of this project, for which Govt of Karnataka has granted more than Rs. One Crore, he gave a Phillip and got ready 7 volumes by 1992. The 9000 pages dictionary is now ready and has been reprinted during 2010.

Prof. G. Venkatasubbiah

# 58, 31st Cross, 7th Block Jayanagar Bangalore 560 070 Tel.: (080) 2664 9232 Mob: +91 94835 49232 e-mail: arunagv@gmail.com Date of Birth: 23 August 1913

Literary Field l 1954-56. Hon. Secretary, Kannada Sahitya Parishat l 1964-69. President, Kannada Sahitya Parishat l 1964-69. Editor, Kannada Nudi l 1965-67. Member, Editorial committee, Kannada Encyclopaedia. l 1965-70. Member, Karnataka Sahitya Academy, Govt. of Karnataka. l 1965-70. Member, Bharatiya Bhasha Samiti of Govt of India, representing Kannada language. l 1970-85. Member, Consultative Committee of ‘Shabdasagara’ lexicographical Project of Govt. of Andhra Pradesh. l 1973-90. Vice-president, All India Lexicographers Association. l 1979-89. Member, Committee of Management, Karnataka Janapada Trust, Bangalore. l 1990-2000. Member, Committee of Management, Keladi Museum and Historical Research centre, Keladi, Karnataka. l From 1992. Member, Advisory committee, Institute of Asian Studies, Chennai, for their Multilingual Dictionary (Kannada – English – Tamil – Japanese) l 1997-2006 Chairman, Janapriya Sahitya Prakatana Samiti, Dept. of Kannada and Culture, Govt. of Karnataka. l 1997-98. Chairman, Selection committee of prestigious award ‘Pampa Prashasti’ of Govt. of Karnataka. Others l Sub-Committee Chairman / Member Banking Services Recruitment Board (BSRB), Bangalore.

91 Publications Dictionaries And Lexicology 1) Kannada - Kannada Samkshipta Nighantu. 1975 2) I B H Kannada - Kannada – English Dictionary 1981; Revised and enlarged in 2012 3) Muddana Padaprayogakosha 1996 (Concordance of Poet Muddana) 4) Igo Kannada Samajika Nighantu vol. 1. 1996 (Socio Linguistic Dictionary) 5) Igo Kannada Samajika Nighantu vol. 2. 2001 6) Igo Kannada Samajika Nighantu vol. 3. 2009 7) Patrika Padakosha 1998 8) Eravalu Padakosha (Dictionary of Foreign Loan words) 1998 9) Kannada Klishta Padakosha (Dictionary of difficult Kannada words) 2006 10) Prof. GV’s Prism English Kannada Nighantu 2001 very useful dictionary for translators • First English Kannada Dictionary made available on Web • Also First English Kannada Dictionary published in Braille 11) Kannada Nighantu Shastra Prichaya 1993 (First Kannada book on modern lexicography) 12) Kannada Nighantu Parivara 2003 13) Shabda mattu Artha 2010 14) Kannada Lexicography and Other Articles (English) 2012 Literary Criticism, History of Literature 1) Nayasena (Criticism) 1942 2) Collage Translation (Translation Aid) 1952 3) Bhashantara Pathagalu Part 1 (Translation Aid) 1954 4) Bhashantara Pathagalu Part 2 (Translation Aid) 1954 5) Bhashantara Pathagalu Part 3 (Translation Aid) 1954 6) Anukalpane (Criticism) 1957 7) Kannada Shasana Parichya ( Text book on Epigraphy) 1968 8) Kannada Sahitya Nadedubanda Dari ( History of Literature) 1978 9) Prof. T. S. Venkanniah (Essay on Life and Works) 1986 10) D. V. Gundappa (Central Sahitya Academy Publication)1996 11) Kannadavannu Ulisi Belasidavaru (Essays on Life and Works of Great literary figures of Karnataka) 1999 12) Sahitya mattu Shikshana (Essays on literature and education) 2000 13) Kannadada Nayakamanigalu (Essays on Life and Works of Great literary figures of Karnataka) 2000 14) Inuku Nota (Glimpses of important works of ancient writers of Kannada) 2002 15) Karnataka Vaibhava (Radio Features) 2003 16) Paramarshana(Criticism) 2003 17) Kavya Chitana ( Short Essays) 2003 18) Silunota( Short Essays) 2003 19) Margadarshakaru (Essays on Life and Works of Great literary figures of Karnataka) 2006 20) Gatiprajne (Criticism) 2007 21) Samaya Sandharbha Sannivesha (Literary Miscellany) 2008 22) Kumaravysana Antharanga Yuddha Panchakadalli (Criticism) 2010 23) Sirigannada Saraswataru (Essays on Life and Works of Great literary figures of Karnataka) 2011 24) Kavya Chintana mattu Jivana Manthana ( Short Essays) 2011

25) G.V. Vichara Vihara (Literary Miscellany) 2011 26) Ondishtu Ramayana Ondishtu Mahabharata (Literary Miscellany) 2011 27) Puranakathavaliya Ganjam Timmannaih (Life Sketch of Prof. GV’s Father) 2012 Under Print Editorial Work 1) Kannada Ratna Parichaya (Collection of selected works of writers) 1964 2) Nalachampu Sangraha (Edited and abridged old Text) 1966 3) Akrura Charitreya Sangraha (Edited and abridged old Text) 1966 4) Karna Karnamruta (Edited and abridged old Text) 1966 5) Kavyalahari (Edited with Others) 1968 6) Kavya Samputa (Edited with Others) 1970 7) Nagarasana Karnataka Bhagavadgite (Edited old Text) 1984 Reprinted 2011 8) Muddana Bhandara Vol. I (Edited all works of popular medieval Poet) 1987 9) Muddana Bhandara Vol. II (Edited all works of popular medieval Poet) 1987 10) Sri Rama Sambhava (Edited, Essays on Ramayana) * 1996 11) Baligondu Belaku, Ramayanada Drishti (Edited, Essays on Ramayana)* 2007 12) Samskruta Ramayana Natakagalalli Patra Vaividhya (Edited, Essays on various Sanskrit plays on Ramayana) *2010 13) Ramayanada Antaranga (Edited, Essays on Ramayana) *2012 Under Print * These four books (totalling more than 1750 pages) are the outcome of four seminars conceived and executed by Prof. GV, under the banner of Sri Jayarama Seva Mandali, 8th Block, Jayanagar, Bangalore. More than 50 scholars participated in these seminars and they were guided by Prof. GV in a number of meetings before each seminar and high value papers were presented. Scholars have appreciated these as equivalent to work done by a University.

14) Karnataka Ekikaranada Anubhavagalu (Edited, Essays on Unification of State of Karnataka) 2007 15) Sadhana Samuddesha (Edited Translation of one chapter of Bhartruhari’s Sanskrit classic work ‘Vakyapadeeyam’) 2008 16) Hoysala Karnataka Rajatotsava Samputa 17) Edited 54 Books on life and achievement of great personalities of Hoysala Karnataka Group 2008 -2012 18) Tamilu Kategalu (Edited Translation work) # 1991 19) Telugu Kathegalu (Edited Translation work) # 1991 20) Malayalam Kathegalu (Edited Translation work) # 1991 21) Kannada Kategalu ((Edited Selection for Translation) # 1991 22) Irupatu Kannada Cherukathakal (Malayalam) # 1993 - Published by Sahitya Akademi, New Delhi 23) Kannada Kathanikala Sankalanam (Telugu) # 1996 - Published by Sahitya Akademi, New Delhi # Co-ordinated translation workshop along with Dr. Ramachandra Sharma, organised by Department of Kannada and Culture, Govt. of Karnataka during1983. 20 selected short stories each from Tamil, Telugu, and Malayalam were translated to Kannada languages. Similarly 20 Kannada short stories were translated to other three languages and have been published by Sahitya Akademi. These books are outcome of that workshop.

24) Ratnakaravarni 25) Dasa Sahitya 26) Sarvajna 27) Sri Basaveshvara

92 Translation 1) Linden Johnson Kathe 1964 2) Samyukta Samsthanagalannu Parichaya Madikolli 1965 3) Shankaracharya (For National Book Trust) 1972 4) Kabeer (For Central Sahitya Academy ) 1974 5) Saraladasa (Central Sahitya Academy Publication ) 1985 6) Idu Namma Bharata (From Part 15 to Part 25, total 11 books) 1980-82 7) Tilidudellava Bittu (Translation of J. Krishnamurthy’s book ‘Beyond The Known’) 2005 8) Muddanana Muru Ramayanagalu ( From Old Kannada) 2007

2010 Organised a 7 day seminar on Ramayana at Sri Jayarama Seva Mandali, Bangalore and papers presented published in a book, ‘Samskruta Ramayana Natakagalalli Patra Vaividhya’. 2011 Presided over ‘77th All India Kannada Sahitya Sammelana’ organised by Kannada Sahitya Parishat at Bangalore. 2012 Organised a 7 day seminar on Ramayana at Sri Jayarama Seva Mandali, Bangalore and papers presented being published in a book, ‘Ramayanada Antaranga’.

Books For Children 1) Robinson Crusoe 1967 2) Kavi Janna 1972 3) Chavundaraya 1975 4) Chinnara Chitra Ramayana 2011

1967 ‘Vidyalankara’ title with Gold medal conferred by Sri. Sri, Charukeerti Bhattaraka Swamiji of Sravanabelagola. 1974 ‘Sahitya Jivi’ Felicitation volume with articles by senior writers of Kannada and presented to Prof. GV during his 60th birthday celebration organised by his students. 1974 Prof. GV’s friends and students have established Gold Medal in Mysore University in his name. 1974 Prof. GV’s friends and students have established Gold Medal in Bangalore University in his name. 1974 Prof. GV’s friends and students have established endowment lectures in his wife Smt. G V Lakshmi’s name at Kannada Sahitya Parishat, Bangalore. 2004 Public honour and presentation of Felicitation volume ‘SHABDA SAGARA’ during his 90th birthday celebration organised by his students and friends. 2005 ‘Prof. JIVI Jiva-Bhava’ a monogram on Prof. GV published by Bharatiya Vidya Bhavan, Bangalore. 2007 ‘Karnataka Ekikarana Suvarna Puraskara’ awarded with Gold Medal during Golden Jubilee celebration of Unification of the State of Karnataka for outstanding work done during unification by Govt of Karnataka. 2010 Prof. GV’s friends and students have established endowment lectures in his name at : (a) Gokhale Institute of Public Affairs, Bangalore and (b) Indian Institute of World Culture, Bangalore. 2010 ‘Lipyantara’ documentary film on Nadoja Prof. G Venkatasubbiah produced by Shri Dharmasthala Manjunatheshwara Dharmotthana Trust of Rajarshi Dr. Virendra Heggade and directed by Sri K Suchendra Prasad. 2011 ‘Kannadada Jiva Prof. G.V.’ collection of articles on life and works of Prof. GV by Sundara Prakashana, Bangalore. 2011 ‘Vidvadjjivita Prof, G. Venkatasubbiah Gourava Grantha’ a felicitation volume containing exhaustive reviews on the works of Prof. GV by various scholars of South Canara, and published by Rashtrakavi Govinda Pai Samshodana Kendra, MGM College, Udupi and released during 77th Akhila Bharata Kannada Sahitya Sammelana which was presided over by Prof. G Venkatasubbiah. This is the first time such a felicitation volume was prepared and presented by scholars of a region during Kannada Sahitya Sammelana. 2011 Kannada Sangha of M/s Bosch Ltd., Bangalore (earlier known as M/s MICO Ltd., - A German Automobile Company) has established an endowment of Rs. One Lakh at Kannada Vishvavidyalya, Hampi, Karnataka to award a prize in Prof. G. Venkatasubbiah’s name every year to an outstanding young Research Scholar for his Ph.D. thesis, from the interest on the endowment amount.

Research 1) Collected additional material by research to Sri. Ra. Narasimhacarya’s ‘Karnataka Kavicharite’, first published during 1907 and new edition published in 1961 2) Published articles in volumes of Comparative Literature, Encyclopaedias etc. Published many research papers both in English and Kannada papers at seminars on Literary Criticism, Lexicography etc.

Conferences / Seminars Attended / Organised 1965 Organised 45th Kannada Sahitya Sammelana at Karwar by changing its earlier features and concept by giving importance to modern Literary Criticism. 1967 Organised 46th Kannada Sahitya Sammelana at Shravanabelagola. 1972 Presided over Jilla Sahitya Sammelana at Chikkamagalur. 1972 Presided over Jilla Sahitya Sammelana at Bidar. 1972 Presided over Sahitya Sammelana at Sri. Sringeri Shankaramath, Sringeri. 1989 Presided over ‘Kosh Vijnan – Siddhant aur Moulyankan’, a conference on lexicography arranged by Kendriya Hindi Sanstan, Agra, U.P. 1990 Organised a workshop for young lexicographers. 1992 Chief Guest at ‘Can-Am Kannada Sammelana’ Montreal, Canada. 1993 Gave first ‘Prof S.S. Basavanal memorial Lecture’ at Karnataka University Dharwada. 1994 Chief Guest at International Lexicographers’ Conference, Dharwada. 1994 Presided over 62nd Sahitya Sammelana organised by Sri Manjunatha Kshetra, Dharmastala. 1996 ‘Prof. Mariyappa Bhat memorial lectures’ at Madras University, Chennai. 1996 Organised a 7 day seminar on Ramayana at Sri Jayarama Seva Mandali, Bangalore and papers presented published in a book, Rama Sambhava. 1998 Prof A. C. Devegowda memorial lecture on ‘Sahitya mattu Shikshana’. 2003 Presided over First Taluk Kannada Sahitya Sammelana held at Srirangapattana. 2007 Organised a 7 day seminar on Ramayana at Sri Jayarama Seva Mandali, Bangalore and papers presented published in a book, ‘Baligondu Belaku’. 2007 Presided over ‘Alwas Nudisiri’ Rashtriya Sammelana, of Kannada country and language at Mudubidre, Dakshina Kannada.

Felicitation Volumes presented, Documentary film, Medals and Prize established etc.

93 Awards & Honours 1937 Gold Medal and Honnasetty Prize for obtaining First rank in M.A. Kannada from Mysore University. 1987 Best book prize from Karnataka Sahitya Academy for ‘Muddana Bhandara’. 1991 ‘Karnataka Rajyotsava Prashasti’ for his outstanding contribution to Kannada Lexicography and Literature from Govt. of Karnataka. 1997 ‘Karnataka Sahitya Academy Gourava Prashasti’ for his outstanding contribution to Kannada Lexicography and Literature from Karnataka Sahitya Academy, Govt. of Karnataka. 1998 ‘Shamba Prashasti’ awarded in the name an outstanding Scholar of Karnataka Dr. Sham. Ba. Joshi, by Karnataka Sangha, Shivamogga. 1999 ‘Sediyapu Prashasti’ awarded in the name an outstanding Scholar of Karnataka Sri. Sediyapu Krishnabhatta, by Rashtrakavi Govinda Pai Samshodana Kendra, MGM College, Udupi. 1999 ‘Shivarama Karantha Prashasti’ awarded in the name Dr. Shivarama Karantha, Jnanapeetha awardee, instituted by Dr. Shivarama Karantha Prtisthana, Mudubidare. 2000 Special Award from Patrika Academy, Govt of Karnataka for his column ‘Igo Kannada’. 2002 ‘Muddana Puraskara’ awarded by poet Muddana Shata Smruti Samiti, Nandalike. 2002 ‘Ankana Shri Prashasti’ awarded for his column ‘Igo Kannada’ instituted by Kalachetana Samskritika Academy, Gadag. 2003 ‘Andolana Ankana Shri Prashasti’ awarded for his column ‘Igo Kannada’ instituted by Jilla Karyanirata Patrakartara Sangha, Mandya. 2005 ‘Masti Prashasti’ awarded in the name of Dr. Masti Venkatesha Iyengar, Jnanapeetha awardee, instituted by Dr. Masti Venkatesha Iyengar Prashasti Samiti, Bangalore. 2005 ‘Goruru Prashasti’ awarded in the name of popular writer of Karnataka Dr. Goruru Ramaswamy Iyengar, instituted during his centenary celebrations.

2004 ‘Aryabhata Prashasti’ awarded for his outstanding contribution to Kannada Lexicography and Literature by Aryabhata Samskrutika Pratishtana. 2004 ‘Sri Krishna Prashasti’ awarded by Sri. Sri. Pejawara Muth Swamiji for his outstanding contribution to Kannada Lexicography and Literature. 2008 ‘A Na Kru – Nirman Prashasti’ award in the name of Great Scholar and Writer Dr. A. Na. Krishnarao instituted during his centenary celebrations by A Na Kru Pratishtana, Bangalore. 2009 First ‘Manushri Rashtriya Prashasti’ award presented by Kannada Sahitya Parishat, Bangalore for outstanding contribution to humanity. 2009 ‘Bhagirati Sahitya Puraskara’ award instituted by Bhagirati Rao N Mane Group of Educational Institutions, Bangalore. 2010 First ‘Keshava Prashasti’ awarded in memory of great scholar Prof. Taltaje Keshava Bhatta instituted by Prof. Taltaje Keshava Bhatta Pratishtana, Mangalore. 2010 First ‘Gokak Prashasti’ awarded in the name of Dr. Vinayaka Krishna Gokak, Jnanapeetha awardee, instituted by Vinayaka Krishna Gokak Pratishtana, Bangalore. 2010 ‘Kannada Vijnana Parishat Rajatotsava Prashasti’ award instituted by Kannada Vijnana Parishat, Bangalore to commemorate its silver jubilee. 2011 ‘Sri. Vanamali Seva Prashasti’ awarded for outstanding contribution to Kannada Lexicography and Literature, instituted by Sri. Vanamali Seva Trust, Mysore. 2012 ‘Karnataka Bhasha Bhushana’ awarded by Karnataka Samshodhakara Vedike, Bangalore. 2012 ‘Kulapati Dr. K.M. Munshi Sanman’ awarded for outstanding contribution to Kannada Lexicography and Literature, instituted by Bharatiya Vidya Bhavan. Bangalore on his 100th birthday. 2013 Honorary Doctorate was conferred upon Prof. G.V. during the First Convocation of Rani Chennamma University, Belgaum.

Prof. G.V. honoured by his students of class of 1970 - a rare moment in the life of a teacher !

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