Kalpa Vriksha of Kali Yuga

Fourth Delight

Sri Vyasa Raja Yati Sarvabhouma

51. The Haridasa Tradition and Dasa Literature

The Haridasas and their literature have persisted uninterruptedly through the ages. It can be said that the Haridasa tradition, which began after creation, continues to this day. To grasp the global significance of this tradition and to understand its vivid picture as reflected on the canvas of our consciousness, it becomes necessary to deliberate on certain aspects.

Who are the Haridasas? What are their connections with the Vedas, Puranas, and the Kali Yuga? What is the significance of their literature, which is a form of praise for the Lord? What is the path they followed, and how are Kannada Haridasas distinct from other Vaishnava saints of India? What are the characteristics, conduct, and speech of the Haridasas? What is their devotion to God, their worship, the literary works they composed, and the motivational force behind their writings? Who were the pioneers of Haridasa literature in Kannada, what is the lineage of this tradition, and who were the key figures responsible for the golden age of Haridasa literature? What are their unique contributions, and how have Kannada Haridasa works benefited the language, the people, and the culture?

Reflecting on these questions, even briefly, allows one to appreciate the profound significance of the tradition. In this chapter, we intend to present to readers, with thoughtful analysis, all the aforementioned topics according to our capacity.

All the scriptures, including the Vedas, proclaim that Shri Narayana is the supreme deity, the cause of creation, sustenance, and destruction. He governs all, including Brahma, Shiva, Indra, and all other deities. The Lord is flawless, endowed with infinite auspicious qualities, the giver of liberation, an incomprehensible and wondrous power, of unparalleled greatness, devoid of any internal contradictions, the friend of devotees, and knowable only through the Vedas. The Shrutis, Upanishads, Smritis, Itihasas, Gita, Pancharatra, Ramayana, Puranas, and all Sutras unanimously declare Shri Narayana as the supreme Parabrahman.

The Lord, out of His boundless compassion, liberates all beings from the cycle of birth and death, which is the root cause of their suffering. By granting them the eternal bliss of self-realization, He provides ultimate relief from all miseries. To attain His favor and grace, scriptures like the Vedas have been set forth to guide beings. They proclaim: “Everything except liberation is suffering; all beings are afflicted by sorrow. To alleviate this sorrow, the Vedas act,” and “Narayana alone is to be meditated upon by those seeking liberation from the bondage of karma.”

In the path of attaining Shri Hari’s grace, the first essential step is to become His servant. Those who surrender themselves entirely to the Lord, dedicate everything to Him, and continuously serve Him with devotion are known as Haridasas. Such Haridasas have existed in all times.

When enumerating the Haridasas, it is said that Goddess Lakshmi, revered as Akshara Purusha, is the foremost among them. Following Lakshmi Devi, Brahma Deva and Vayu Deva are considered principal Haridasas. After them, Bharati, Saraswati, Garuda, Shesha, Rudra, Souparni, Varuni, Uma Devi, and subsequently all the other deities, including Indra, are also regarded as Haridasas.

In the Puranic era, renowned figures such as Narada, Prahlada, Vibhishana, Dhruva, Ambarisha, Shibi, Bali, Rukrangada, Gajendra, and Ajamila gained fame as devotees of Lord Hari and became widely known as Haridasas due to their profound devotion. Thus, the lineage of the Haridasas has continued from time immemorial.

Shri Madhvacharya, emphasizing the preeminence of Brahma Deva, states:

"Asamshayaḥ Samshayachit Guru Ruko Manīṣibhiḥ | Tasmāddashtāgururmukhyah Sarveshāmapi Sarvadā ||"

This affirms that Brahma Deva, as the foremost preceptor of the universe, is the first Haridasa among conscious beings. He has extolled Lord Hari in various ways, including the following from the Bhagavata:

"Namonantāya Durantashaktaye! Vichitravīryāya Pavitrakarmaṇe ||

Vishvasasargasthititisaṃyamān Guṇaiḥ | Swalīlayā Saṃdandhate'vyayātmane ||"

This means that Shri Hari is the supreme deity, the creator, sustainer, and destroyer of the entire universe. Brahma Deva's praises are echoed in the Pancharatra Agama, where he states that Shri Hari uses himself, Shiva, and other deities as instruments in his divine play.

Rudra Deva, instructing his son Shanmukha, declares:

"Shri Vishnu alone is the supreme Parabrahman. His knowledge is the means to liberation. This is the conclusion of all scriptures. Anything contrary to this is delusion. Statements claiming equality between myself and Shri Hari, or that I am superior to Vishnu, or that liberated beings are indistinguishable from Shri Hari, are merely deceptive words meant to mislead the unworthy and are not the truth. Even in liberation, the distinction between Vishnu and us remains. This is the factual perspective. Meditate accordingly," Rudra advised.

From this deliberation, it becomes evident that Shri Hari is the supreme being, and all other sentient and non-sentient entities are subordinate to Him. The praises of Shri Hari, descriptions of His divine attributes, and teachings about His nature found in the scriptures are all considered Haridasa literature.

In the Puranic era, Prahlada Raja, a Haridasa, was renowned as a lifelong Vaishnava and a leading devotee. His hymns were of the highest order, vividly portraying the yearnings of a devotee. His guru, Devarshi Narada, holds the title of a propagator of the Bhagavata Dharma. As stated, "On the earth where Narada sowed the seed of the name 'Narayana'," Narada was the one who introduced the world to Haridasa traditions. At Narada’s request, Bhagavan Vyasa composed the Bhagavata Purana. Narada’s heartfelt presentation of his devotional activities to Vyasa is captivating.

When Gajendra was caught by the crocodile, he prayed to the Lord in various ways, including:

"Om Namo Bhagavate Tasmayata Etachidātmakaṃ | Purushāyādibījāya Pareshāyābhidhīmahi."

Similarly, the Gopis won over Shri Krishna with their love and devotion. Their lamentation during separation from Krishna, born of their deep longing, is well-known. Thus, the number of Bhagavatas is innumerable, and their hymns and compositions, including the Bhagavata Purana and other scriptures, are all forms of praise for the Lord.

All these great Bhagavatas worshipped the Lord through singing, praising, and dancing. As Krishna himself describes in the Gita:

"Santataṃ Chintayanto Māṃ Yatantaścha Dṛḍhavratāḥ | Namasantaścha Māṃ Bhaktā Nityayuktā Upāsate."

This means those who worship through constant meditation, unwavering commitment, and devotion are indeed Yogis.

The Padma Purana beautifully describes how all the Bhagavatas came together to sing, praise, and dance in honor of Shri Hari:

"Prahlādaḥ Tāḷadhārī Taralagatitayā Chodava Kāndhārī |

Vīṇādhārī Surarṣi Svarakuśalatayā Rāga Kartārjunaḥ Bhūt ||

Indro Vādīnmadangaṃ Jayajayasukarā Kīrtayante Kumārāḥ |

Tatrāgre Bhāvakartā Rasarachanatayā Vyāsaputra Śuko'Bhūt ||"

This means that Prahlada, Uddhava, Narada, Arjuna, Indra, the celestial youths, and Shri Shuka, the son of Vyasa, all came together to perform the kirtana (praise), singing, and dancing of Shri Hari. This scene vividly illustrates their collective devotion.

In the Kali Yuga, Shri Madhvacharya, born with the divine grace of Vak Devi, is considered one of the foremost Haridasas, ranking just after Brahma Deva. He incarnated to teach the profound secrets of Shri Hari's philosophy, served and praised the Lord in various ways, and became a recipient of His supreme grace. The sentiments expressed in his hymns are deeply profound. Shri Vayu Deva, through his three incarnations as Hanuman, Bhima, and Madhva, dedicated himself entirely to the service of Shri Hari. Every moment of his life and every breath of his being resonated with the name of Hari. As the supreme soul (Jeevottama), he is present within all beings and chants the Hamsa Mantra 21,600 times daily. He is said to have mastered 70 million great mantras. His every action was a service to Hari, and every word he spoke was a hymn of praise to Hari.

Madhvacharya’s composition, the Dwadasha Stotra, renowned as the "Harigeethe," is a hallmark of devotional music and serves as the central inspiration and focal point for the Kannada Haridasa literature of today. His works are steeped in devotion and lyrical beauty.

Acharya Madhva, through his Vedantic scriptures such as Tatvavada, Anuvyakhyana, Rig Bhashya Taatparya Nirnaya, and Karma Nirnaya, illuminated the essence of the Vedas, Upanishads, and the Puranas for noble souls. In these works, praises of Shri Hari appear in various forms. In some places, these hymns are as accessible as a ripe banana, while in others, they are as concealed as coconut meat within a hard shell. Whether as the glorification of Hari (Hari Keerthane) or exaltations like Hari Utkarsha Stava, they are present throughout.

Examples of his hymns include:

"Namami Nikhiladheesha Kireetaafpashtha Peethavat (“ನಮಾಮಿ ನಿಖಿಲಾಧೀಶ ಕಿರೀಟಾಫ್‌ಷ್ಟಪೀಠವತ್”)," describing Shri Hari from head to toe, and "Keshava Keshava Shasaka Vande," (“ಕೇಶವಕೇಶವ ಶಾಸಕ ವಂದೇ”) or"Matsakarupa Layodhi Viharin," (“ಮತ್ಸಕರೂಪ ಲಯೋಧಿ ವಿಹಾರಿನ್”)extolling the various forms of the Lord. These hymns encapsulate the meanings of all scriptures and are deeply devotional.

Acharya Madhva’s Dwadasha Stotra, composed in a musical style, served as an inspiration for his disciples, including Shri Narahari Tirtha and other Kannada Haridasas. These disciples created countless compositions, including Padas, Padyas, Suladis, Ugabhoogas, and Kannada poetry. For this reason, it is widely acknowledged that Shri Madhvacharya was the architect of the Kannada Haridasa tradition.

Shri Jayatirtha Gurupada, who is renowned as "Teekacharya" for composing commentaries on all the works of Shri Madhvacharya, is one of the most distinguished Haridasas. Born as an incarnation of Indra, Shri Jayatirtha is revered as the second in prominence among the trio of sages—Shri Madhva, Jayatirtha, and Vyasaraja. His writings, which expound on the greatness of Hari, stand as testimony to his devotion. Thus, he is celebrated with verses such as:

"Shrimadda Kalpavrikshashcha Jayacharyastu Dhenava |

Chintamanistu Vyasaraya Muniyavudahrtam ||" (“ಶ್ರೀಮದ್ದ ಕಲ್ಪವೃಕ್ಷಶ್ಚ ಜಯಾಚಾರ್ಯಸ್ತು ಧೇನವ | ಚಿಂತಾಮಣಿಸ್ತು ವ್ಯಾಸಾರ್ಯ ಮುನಿಯವುದಾಹೃತಮ್ ||)

This means that among the three sages, Madhva, Jayatirtha, and Vyasa, Jayatirtha occupies the second position and is widely acclaimed.

Who Are Haridasas?

Haridasas can generally be defined as those who embrace the Bhagavata Dharma, constantly immerse themselves in the knowledge of Hari, and dedicate their lives to teaching the truths of the Supreme Being. Their ultimate goal is the upliftment and welfare of all beings. They recognize everything as belonging to Hari and worship Him selflessly. Such noble souls, who have attained the direct vision of the Lord, are known as Haridasas. Haridasas have existed across all times and regions of India. While there are many Vaishnava saints in India, the Kannada Haridasas possess a unique distinction, as will be elaborated further.

Characteristics of Haridasas

The hallmark of a Haridasa is complete surrender to Hari, renouncing everything in pursuit of His grace. They find joy in Hari's blessings, endure the anguish of separation from Him, and are detached from worldly pleasures. Their lives are marked by constant contemplation of Hari, devotion expressed through love, friendship, and filial affection, and the humility of a servant. They exhibit divine anger and tender compassion in their relationship with the Lord. These qualities are common to all Haridasas. Many saints who practiced such devotion attained the vision of Hari.

For instance, saints like Tyagaraja, Tulsidas, and Tukaram experienced the direct presence of the Lord, as evidenced by their life stories. Scriptures reveal that such divine visions are the ultimate goal of life. When the Lord incarnated as Rama and Krishna, some pure-hearted beings saw their forms and recognized them as divine. However, their awareness was often fleeting, as ignorance once again veiled their perception. This indicates that an external vision of the Lord does not necessarily establish unwavering devotion. Thus, the Shrutis state:

"Yo Veda Nihitam Guhayam Parame Voman" (“ಯೋ ವೇದ ನಿಹಿತಂ ಗುಹಾಯಾಮ್ ಪರಮೇ ವೋಮನ್”)

This implies that the true yogi or enlightened one is he who perceives the divine reflection of the Supreme Being in the heart's core. The description of the Paramatma in the heart is extensively discussed in the Narayana Upanishad and other Upanishads. This vision of the Lord is liberation itself. Those who attain this are known as Aparoksha Jnanis (those with direct experiential knowledge).

The Brahmasutras also affirm this:

"Om Na Samanyadapralaber Matyuvanna Lokapatti Om" (“ಓಂ ನ ಸಾಮಾನ್ಯಾದಪ್ರಪಲಬೇರ್ಮತ್ಯುವನ್ನ ಲೋಕಾಪತ್ತಿ ಓಂ”) Here, Badarayana explains that liberation is achieved only through the direct vision of the divine reflection and no other way. Shri Madhvacharya supports this with authoritative references such as the Narayana Tantra and Adhyatma Prakasha. All his disciples upheld this perspective. Other schools of thought do not emphasize this concept of direct vision of Hari’s reflection as clearly as Madhvacharya does.

Distinction of Kannada Haridasas

Among India's Vaishnava saints, there is little evidence of this Bimba Aparoksha (direct vision of the divine reflection) in their lives or teachings. Kannada Haridasas, however, prominently highlight this concept in their lives and works. This unique feature is particularly evident in their compositions and stands out as a key aspect of their legacy.

The works of Shri Chandrikacharya, such as “Antarangadali Hariya Kanadav Huṭṭukurudano” (“ಅಂತರಂಗದಲಿ ಹರಿಯ ಕಾಣದವ ಹುಟ್ಟುಕುರುಡನೋ” ) (One who does not see Hari within is like a blind man from birth) and “Enna Bimbamoorutiy Poojipe Nanu” (ಎನ್ನ ಬಿಂಬಮೂರುತಿಯ ಪೂಜಿಪೆ ನಾನು ) (I worship my reflection’s deity), emphasize the practice of worship through inner reflection (Bimbopasana). Similarly, Shri Purandaradasa's compositions, like “Kanninolage Nōdo Shri Hariya | Olagaṇṇinolage Nōdo Mujjagadodiyanā” (“ಕಣ್ಣಿನೊಳಗೆ ನೋಡೋ ಶ್ರೀಹರಿಯ | ಒಳಗಣ್ಣಿನೊಳಗೆ ನೋಡೋ ಮುಜ್ಜಗದೊಡೆಯನಾ” ) (See Shri Hari within your eyes, see the Lord of the universe within your inner vision) and “Elliviraatapūje Hridayakamala Ashṭadala Hṛṣīkēsha Narayana Hamsagamana” (“ಎಲ್ಲಿವಿರಾಟಪೂಜೆ ಹೃದಯಕಮಲ ಅಷ್ಟದಳ ಹೃಷೀಕೇಶ ನಾರಾಯಣಾ ಹಂಸಗಮನ” ) (Where is the grand worship? It is in the eight-petaled lotus of the heart, O Narayana, who moves like a swan), describe the heart-lotus and mental worship. His song “Pindandadolagina Gandan Kanade Munderadaru Panditaru” (“ಪಿಂಡಾಂಡದೊಳಗಿನ ಗಂಡನ ಕಾಣದೆ ಮುಂಡೇರಾದರು ಪಂಡಿತರು” ) (Failing to see the Lord within themselves, scholars wander fruitlessly) further conveys the same message.

Vijayadasa’s “Antarangada Kadavu Teriyitindu” (“ಅಂತರಂಗದ ಕದವು ತೆರೆಯಿತಿಂದು” ) (Today, the inner door has opened) reflects the realization of direct experience (Aparoksha). Similarly, Gopala Dasa’s “Dhyanavane Madu Bimbamoorutiy” (“ಧ್ಯಾನವನೆ ಮಾಡು ಬಿಂಬಮೂರುತಿಯ” ) (Meditate upon the deity in reflection) describes the practice of Bimbopasana Yoga with remarkable clarity. Jagannatha Dasa, in his Harikathamritasara, writes “Ashṭadala Sahṛdayakamalādhishthitanu Tānāgi” (“ಅಷ್ಟದಳ ಸಹೃದಯಕಮಲಾಧಿಷ್ಟಿತನು ತಾನಾಗಿ” ) (The Lord resides in the eight-petaled lotus of the heart), emphasizing that Kannada Haridasas had profound inner experiences and were all Aparoksha Jnanis (those with direct experiential knowledge of the divine).

From this reflection, it becomes evident that such experiences are entirely true and attainable in life through the extraordinary grace of the Supreme Being. Following the scriptural path, the enlightened sages, including the Kannada Haridasas, adhered to this tradition. Those who attained such extraordinary realization are known as Atmaramas (rejoicing in the Self), Antararamas (rejoicing within), and Paramasiddhas (supreme accomplished ones).

By experiencing the blissful form of the Supreme Being in the heart’s core, all ignorance, attachment, aversion, sorrow, and other afflictions are eradicated. The bonds of the subtle body (Lingadeha) are loosened, as stated in the Mundaka Upanishad:

"Bhidyate Hridayagranthiḥ Chidyante Sarvasamshayaḥ |

Kṣīyante Chāsyakarmāṇi Tasmin Dṛṣṭe Parāvare ||" (“ಭಿದ್ಯತೇ ಹೃದಯಗ್ರಂಥಿ ಛಿದ್ಯಂತೇ ಸರ್ವಸಂಶಯಾ | ಕ್ಷೀಯಂತೇ ಚಾಸ್ಯಕರ್ಮಾಣಿ ತಸ್ಮಿನ್‌ದೃಷ್ಟೇ ಪರಾವರೇ ”)

(The knot of the heart is broken, all doubts are destroyed, and accumulated karmas are annihilated when the Supreme Being is realized.)

Such individuals who have had the vision of the Lord are called Aparoksha Jnanis. Our Kannada Haridasas belong to this group, exemplifying this profound spiritual achievement.

Hari is the independent creator, and an Aparoksha Jnani (one with direct experiential knowledge of the divine) abandons arrogance with the firm realization that he is but a servant of Hari. Immersed in the Lord, such a person attains the state of Asampragyata Samadhi, a transcendental state of consciousness. His life, appearing contrary to worldly existence, becomes entirely dedicated to the Lord. This dedication is known as Ankita (mark of surrender).

Among Kannada Haridasas, Ankita holds great significance. To forget their previous life, begin anew, and advance spiritually, they receive initiation and guidance from an enlightened guru. During this initiation, the devotee receives a chosen name of the Lord (Ankita Nama), which becomes their spiritual identity. From then on, the devotee is known by that name and engages in the pursuit of knowledge, meditation, and worship. Through these practices, they attain the vision of the Lord as a reflection (Bimba) in the heart and dedicate their entire being to Him. They live as steadfast adherents of the Bhagavata Dharma and as its propagators.

This unique tradition is exemplified by Kannada Haridasas such as Shri Purandara Dasa, Vijayadasa, Gopaladasa, and Jagannathadasa, all of whom were initiated with Ankita. Their lives offer numerous examples of profound spiritual experiences and demonstrate their status as Aparoksha Jnanis. They clearly reflected their spiritual realization in their actions and words. This emphasis on Ankita and Aparoksha Jnana distinguishes Kannada Haridasas from other Vaishnava saints and elevates them to a higher status.

The Spread of Bhagavata Dharma and the Origins of Haridasa Literature

Since the creation of the world, the propagation of Bhagavata Dharma has been continuous and uninterrupted. As mentioned earlier, Brahma Deva is the primal teacher of this tradition. His son, Narada, was not only a key figure in the Bhagavata tradition but also the one who sowed the seed of Narayana's name on Earth. In this lineage of Bhagavatas, saints like Prahlada, Dhruva, Kuleela, Ambarisha, and Rukrangada are said to have been disciples of Narada. Among them, Narada and Prahlada were the foremost propagators of Bhagavata Dharma. Both later incarnated on Earth to spread this dharma even more extensively.

Kannada Haridasa literature owes its vibrancy to Prahlada’s reincarnation as Shri Vyasaraja and Shri Raghavendra, as well as Narada’s incarnation as Shri Purandara Dasa. Even today, the name "Purandara Dasa" is synonymous with Kannada Haridasa literature. While Prahlada was a disciple of Narada, Shri Vyasaraja was the guru of Purandara Dasa. The Haridasa literature, which reached its zenith during Vyasaraja’s time, had actually begun two centuries earlier.

The Foundation of Kannada Haridasa Literature

The Madhva philosophy forms the foundational framework of Kannada Haridasa literature. Inspired by Shri Madhvacharya, his direct disciple Shri Narahari Tirtha is regarded as the pioneer of Kannada Haridasa literature. Shri Narahari Tirtha was the first to compose devotional songs (Padas) in Kannada, marking the beginning of this rich literary tradition.

Shri Beluru Keshavadas opined that "Achalananda Dasa, a devotee of the Bhagavata tradition known as Achalananda Dasa, composed Kannada devotional songs as early as the 9th century CE. This suggests that Kannada Haridasa literature began with Achalananda Dasa, not with Shri Narahari Tirtha." However, this claim is not reasonable. Keshavadas cited a reference to "Kashititankhya" in Achalananda Dasa’s book of hymns as evidence, claiming it indicated the year Śaka 801. But this interpretation is incorrect. In fact, "Kashititankhya" refers to Śalivahana Śaka 1281 (the year Vilambi), not Śaka 801.

Additionally, the very hymns of Achalananda Dasa contradict Keshavadas's claim, as they clearly indicate that Achalananda Dasa lived after Shri Madhvacharya. Therefore, it can be concluded that Achalananda Dasa came after Shri Madhvacharya and was likely a contemporary of Shri Narahari Tirtha.

In the Praachina Keertana Sangraha compiled by Kinnari Vidwan Hulaguru Krishnacharya, there is a hymn by Achalananda Dasa that goes as follows:

"Kēḷō Jīvanavē Nī Madhvamatavananusariśi |

Śrīlōlananghrigaḷa Nenedu Sukhisō" (“ಕೇಳೋ ಜೀವನವೇ ನೀ ಮಧ್ವಮತವನನುಸರಿಸಿ | ಶ್ರೀಲೋಲನಂಘ್ರಗಳ ನೆನೆದು ಸುಖಿಸೋ)

If Achalananda Dasa had lived 300 years before Shri Madhvacharya, it would not have been possible for him to include a line such as "Follow the Madhva philosophy" in his hymn. This clearly establishes that Achalananda Dasa was part of the Madhva tradition and lived after Shri Madhvacharya, or at least during the same time as Shri Narahari Tirtha.

There is also a historical tradition that, after Shri Narahari Tirtha, sixty Shaiva saints led by Aradhya went to Pandharpur and adopted the Madhva philosophy. Among them, one saint composed the following lines:

"Mangana Kittantāyitu Janmavu |

Lingava Kalakondu Gangeya Tīradi |

Adaitadvijāchāryanāgire Uddhariside, Madhvamatadavananisi" (“ಮಂಗನ ಕಿತ್ತಂತಾಯಿತು ಜನ್ಮವು | ಲಿಂಗವ ಕಳಕೊಂಡು ಗಂಗೆಯ ತೀರದಿ | ಅದೈತದ್ವಿಜಾಚಾರ್ಯನಾಗಿರೆ ಉದ್ಧರಿಸಿದೆ, ಮಧ್ವಮತದವನೆನಿಸಿ”)

This individual later became well-known, and there is a tradition in the Haridasa circles that Achalananda Dasa was one among them. Based on this, it can be established that the primary propagator and the first composer of Kannada Haridasa literature was Shri Narahari Tirtha.

Shri Narahari Tirtha's original name was Swami Shastri. He was a minister in the Kalinga kingdom and a profound scholar of Advaita philosophy, as well as a native Kannadiga. After engaging in debates with Shri Madhvacharya and being defeated, he was deeply impressed by the brilliance and wisdom of Madhvacharya. Consequently, he accepted Madhva initiation, took up Sannyasa (renunciation), and became known as "Narahari Tirtha," becoming a disciple of Shri Madhvacharya. He was the second among Madhvacharya's four primary disciples.

After the time of Shri Madhvacharya and as per his instructions, Shri Narahari Tirtha succeeded Shri Padmanabha Tirtha in managing the Vedantic empire established by Madhvacharya and earned widespread recognition.

Following his guru’s directive, Shri Narahari Tirtha went to the Kalinga kingdom to retrieve the idol of Shri Moola Rama, worshiped by Brahma in the Satya Yuga. At that time, the king had passed away, and the queen was pregnant. In response to the prayers of the royal family, Shri Narahari Tirtha administered the kingdom for twelve years until the prince came of age. He then crowned the prince and retrieved the idol of Shri Moola Rama from the Gajapati treasury, offering it to Madhvacharya.

Madhvacharya worshiped the idol for 81 days and appointed Shri Padmanabha Tirtha to continue the tradition of worship. Subsequently, Shri Padmanabha Tirtha, Shri Narahari Tirtha, and Shri Madhava Tirtha worshipped Shri Moola Rama. Later, the idol was worshiped by Tikacharya and is now enshrined in the matha of Shri Raghavendra Swami, where it continues to receive worship.

To commemorate bringing Shri Moola Rama to the matha, Shri Narahari Tirtha began composing Kannada devotional songs under the pen name (Ankita) "Raghupati." This earned him recognition as the founder of Kannada Haridasa literature. Though he authored hundreds of works, only a few have survived to the present day.

One of his notable compositions is the following verse:

"Entu Maruḷāde Nāne Entu Maruḷā |

Sujanavanditanaada Narahariya |

Bhajisu Shreesh Shree Raghupatiya || 3 ||"

“ಎಂತು ಮರುಳಾದೆ ನಾನೆಂತು ಮರುಳಾ 

ಸುಜನವಂದಿತನಾದ ನರಹರಿಯ | 

ಭಜಿಸು ಶ್ರೀಶ ಶ್ರೀರಘುಪತಿಯ || ೩ ||”

This Kannada hymn is deeply moving, portraying the plight of ignorant beings, the corrupt tendencies that arise from evil deeds, and the true righteous path that opposes such tendencies. It vividly contrasts these two paths, highlighting their vast differences. This composition demonstrates the maturity and spiritual depth of Shri Narahari Tirtha as a Haridasa.

Similarly, his other hymns, such as “Hariye Idu Sariye” (“ಹರಿಯೇ ಇದು ಸರಿಯೇ” ) (Hari is the right way) and “Tilikō Ninnolu Nīne” (“ತಿಳಿಕೋ ನಿನ್ನೊಳು ನೀನೇ” ) (Realize that you are within yourself), are rich in emotion and meaning, showcasing his profound devotion and literary excellence.

Over a century after Shri Narahari Tirtha, Haridasa literature was revitalized by Shri Lakshminarayana Munim, famously known as Shri Sripadaraja. Even today, the Haridasa tradition honors Sripadaraja prominently, as reflected in the invocation:

"Namah Sripadarajaya Namaste Vyasayogine |

Namah Purandararyaya Vijayaryaya Te Namah ||"

ನಮಃ ಶ್ರೀಪಾದರಾಜಾಯ ನಮಸ್ತೇ ವ್ಯಾಸಯೋಗಿನೇ | ನಮಃ ಪುರಂದರಾರ್ಯಾಯ ವಿಜಯಾರ್ಯಾಯ ತೇ ನಮಃ ||”

Sripadaraja, who incarnated in the 15th century, was a disciple of Shri Swarnavarna Tirtha, a successor in the sacred lineage of Shri Padmanabha Tirtha, one of Madhvacharya’s foremost disciples. Renowned as the pontiff of this lineage, Sripadaraja was a distinguished scholar in the Vedantic tradition established by Shri Madhvacharya. He studied under Shri Vibudhendra Tirtha, a revered pontiff of the Dakshinadi Matha, and mastered all scriptures, particularly the Dvaita philosophy as interpreted through Madhvacharya’s and Tikacharya’s traditions.

Sripadaraja became the royal preceptor to Saluva Narasimha, the Vijayanagara emperor. He absolved the king of the sin of Brahmahatya (killing a Brahmin) and helped him ascend the throne. Around 1484 CE, Saluva Narasimha honored Sripadaraja with a Ratnabhisheka (ceremonial anointment with jewels) for his spiritual guidance.

Following a dream, Sripadaraja retrieved the idol of Shri Ranga Vittala from Pandharpur and, inspired by this event, began composing Kannada devotional works under the Ankita (pen name) "Rangavittala." He is revered as the patriarch of Kannada Haridasa literature. Sripadaraja not only revived the Haridasa tradition but also nurtured it, giving it unparalleled prominence and ensuring its widespread dissemination.

Although he composed hundreds of padas (devotional songs), only a fraction of his works are available today, which is a great loss for Kannada literature. His compositions are profound, rich in emotion, and accessible in style. Despite the simplicity of the Kannada language used, his works are adorned with contextually appropriate embellishments. His hymns vividly portray humility, divine playfulness, and the glory of the Lord.

In addition to his padas, Sripadaraja composed works like Shri Narasimha Pradurbhava Dandaka, written in the dandaka style, which is considered a unique contribution to Kannada literature. Other notable compositions include Gopigeeta, Venugeeta, Bhramarageeta, Rukmini Satyabhama Vilasa, and Madhvanama. His extensive literary contributions enriched the treasure of Kannada Haridasa literature and set the foundation for its further growth.

For nearly 150 years, the Kannada Haridasa tradition flourished under his influence, producing numerous distinguished Haridasas. Before attaining divine union, Sripadaraja entrusted the responsibility of developing, nurturing, and spreading Haridasa literature to his beloved disciple, Shri Vyasaraja. This extraordinary saint is celebrated as "Dhruvamsha" by enlightened scholars, acknowledging his pivotal role in shaping the Haridasa tradition.

Shri Vyasaraja, a disciple of Shri Sripadaraja, belonged to both the Vedic and Haridasa traditions. It is believed that the devoted Hari bhakta Prahlada incarnated in the Treta Yuga as a monkey in Shri Rama's army and served the Lord. In the Dvapara Yuga, he was born as Bahika Raja, a devotee of Shri Krishna, and was killed by Bhimasena during the Kurukshetra war after praying to him. Shri Madhvacharya, in the Mahabharata Tatparya Nirnaya, states that Bahika Raja, at the time of his death, prayed to Bhimasena for two more births in the Kali Yuga to serve Shri Hari and him.

It is also said that when Prahlada was serving Shri Narasimha in Harivarsha, he met Narada and expressed his wish to be born in the Kali Yuga to worship Shri Krishna. Fulfilling this desire, he later incarnated as Shri Vyasaraja and subsequently as Shri Raghavendra Swami, serving Shri Hari and Bhimasena (Vayu Deva) in both lifetimes. Scholars regard his original form as Shankukarna, a celestial servant of Brahma in Satyaloka.

Shri Vyasaraja became the disciple of Shri Brahmanya Tirtha of the Poorvadi Matha, one of the two major institutions established by Madhvacharya. Ascending as the head of this Matha, Shri Vyasaraja was a prodigious scholar, mastering all scriptures and defeating numerous adversaries in debates to firmly establish the Dvaita philosophy. He composed monumental works such as Chandrika, Nyayamrita, and Tarkatandava, along with several other texts, greatly benefiting the philosophical community. This trilogy of works is famously referred to as "Vyasa Traya" among scholars.

Vyasaraja traveled across India twice, eradicating false doctrines, uplifting disciples, and spreading the teachings of Dvaita philosophy and Bhagavata devotion. His efforts significantly expanded the reach of Vaishnavism and the Bhagavata tradition. Notably, his predecessors, Shri Rajendra Tirtha and Shri Jayadhvaja Tirtha, had already introduced Vaishnava devotion in Bengal. Their disciple Vishnupuri received initiation and sannyasa from Shri Jayadhvaja Tirtha and propagated the Bhakti tradition as their representative.

When Shri Vyasaraja visited Bengal, he was given extraordinary respect as a representative of the Rajendra lineage. There, he continued spreading Madhva philosophy and Vishnu devotion. He entrusted Shri Lakshmitirtha with the responsibility of propagating these teachings. Shri Lakshmitirtha’s disciple, the renowned saint Shri Krishna Chaitanya of Bengal, became a major figure in the Vaishnava Bhakti tradition.

Shri Vyasaraja's contributions to spreading Krishna devotion and the Bhakti movement globally are unparalleled. It is no exaggeration to say that the widespread growth of Krishna Bhakti traditions worldwide owes much to Shri Vyasaraja. His unique contributions to the Bhakti path and their lasting global impact remain an invaluable legacy.

While Shri Vyasaraja was studying under Shri Sripadaraja, he visited Pandharpur, where he experienced a divine vision of Shri Krishna in a temple. Captivated by Krishna’s enchanting, cosmic tandava dance, Shri Vyasaraja was overcome with devotion and ecstasy. To commemorate this auspicious event, he composed a hymn in Kannada under the pen name (ankita) “Shri Krishna,” praising Krishna’s mesmerizing dance. This composition marked Shri Vyasaraja’s first contribution to the treasury of Haridasa literature.

Following this, under the guidance of his guru, Shri Vyasaraja went on to compose hundreds of Kannada works, enriching the Haridasa literature and bringing glory to Kannada language and culture.

As the royal preceptor of Vijayanagara, Shri Vyasaraja established a Sanskrit university that became unparalleled in South India. As its chancellor, he provided free food, clothing, lodging, and scholarships to thousands of students, empowering them to master all branches of knowledge, including scriptures, music, and fine arts. Among his disciples were hundreds of sannyasis and prominent figures such as Shri Vijayindra Tirtha, Shri Vadiraja, Shri Srinivasa Tirtha, Govinda Odeyaru, and Narayana Yati. Shri Vyasaraja also guided extraordinary saints like Shri Purandara Dasa and Kanaka Dasa, as well as his devoted disciple Narayanappa of Gadag.

These disciples became eminent scholars, authors, and spiritual leaders, contributing significantly to the development of Dvaita philosophy and Kannada Haridasa literature.

Shri Vyasaraja's Contributions to Kannada Haridasa Literature

Shri Vyasaraja’s contributions to the nation, the Kannada language, and Haridasa literature are extraordinary. When scriptures such as the Vedas, Upanishads, Gita, Puranas, and Mahabharata were primarily in Sanskrit, accessible only to scholars, Shri Vyasaraja made their teachings available to the common people for the first time by composing charming and profound works in Kannada. He incorporated music into these compositions, creating a revolutionary and transformative approach to sharing knowledge.

By translating complex Sanskrit scriptures into Kannada, Shri Vyasaraja democratized access to spiritual wisdom, which had previously been confined to scholars. His work brought immense prestige to the Kannada language, ensuring that the teachings of the scriptures reached the masses. The respect he garnered from philosophers and scholars for his Kannada compositions is unparalleled and testifies to his extraordinary influence.

Shri Vyasaraja’s efforts enriched Haridasa literature, made significant contributions to Kannada culture, and uplifted society through the dissemination of spiritual knowledge. His legacy of blending philosophy with devotion and music continues to inspire generations.

In the Vedic tradition of that time, it was widely believed that using vernacular languages like Kannada or other regional languages for spiritual purposes was highly forbidden. Scriptures like Shesha Dharma stated:

"Divyabhasham parityajya hanyabhashakritani vai |

Shastrani ye prashrunvanti te vai nirayagaminnah ||

Karnataka Dravidairyani rachitanam Andhrabhashaya |

Vanchasi ye prashrunvanti te vai nirayagamina ||"

This means that those who abandon the divine language Sanskrit and listen to scriptures composed in Kannada, Tamil, Telugu, or other vernacular languages are destined for hell.

Despite such statements, how did a scholar of Shri Vyasaraja’s stature compose and propagate scriptural teachings in Kannada? The answer lies in understanding the deeper context of these prohibitions. These scriptural warnings were not intended to discredit vernacular languages universally but to preserve the sanctity of Sanskrit for specific rituals and practices.

Kannada Haridasa Literature: A Divine Effort

The pioneers of Kannada Haridasa literature were not ordinary individuals. They were renowned scholars, deeply rooted in Sanskrit learning, and recognized as divine incarnations. Shri Madhvacharya, considered an incarnation of Vayu Deva and the foremost exponent of Dvaita philosophy, composed Harigeethe in Sanskrit, which later inspired the Haridasa tradition.

The first Kannada compositions were created by Shri Narahari Tirtha, a disciple of Shri Madhvacharya and a prominent pontiff of his lineage. Successive scholars such as Shri Sripadaraja, Shri Vyasaraja, Shri Vijayindra, and Shri Vadiraja, all of whom were exceptional Sanskrit scholars and Dvaita philosophers, contributed immensely to Kannada Haridasa literature. These saints would never engage in unorthodox or non-scriptural activities; their every action adhered strictly to the scriptures.

The Role of Language in Spiritual Practices

While core Vedic scriptures and rituals like Sandhya Vandanam, Shraddha, and Mantra Japa are always performed in Sanskrit, the purpose of language in conveying the glory of the Lord is different. Language here serves merely as a medium. Whether the language is Kannada or Sanskrit, the intent is the same: to foster devotion and understanding of the divine. Therefore, Sanskrit is essential for scriptural rituals, but for spreading the glory of the Lord and conveying spiritual teachings, any language can serve as a tool.

Justification from Scriptures and Saints

Shri Jagannatha Dasa, in his Harikathamritasara, addresses this point beautifully:

"Madhavana gunapelva prakrita | vādareyu sari kēḷi paramāhlāda | baḍadipparē nirantara balla kōvidaru!" ('ಮಾಧವನ ಗುಣಪೇಳ್ವ ಪ್ರಾಕೃತ | ವಾದರೆಯು ಸರಿ ಕೇಳಿ ಪರಮಾಹ್ಲಾದ ಬಡದಿಪ್ಪರೇ ನಿರಂತರ ಬಲ್ಲ ಕೋವಿದರು!”)

This means that narrating Madhava's virtues in a vernacular language and listening to them with devotion brings immense joy and spiritual benefit. He also states:

"Sanskritavidallendu kuhuki | tiraskarale'nahudu bhakti pu | raskaradi kēḷarige oliyuvanu puṣkarākṣasada ||" (“ಸಂಸ್ಕೃತವಿದಲ್ಲೆಂದು ಕುಹುಕಿ ತಿ ರಸ್ಕರಲೇನಹುದು ಭಕ್ತಿ ಪು | ರಸ್ಕರದಿ ಕೇಳರಿಗೆ ಒಲಿಯುವನು ಪುಷ್ಕರಾಕ್ಷಸದಾ ||”)

(Do not disdain devotion just because it is expressed in a vernacular language instead of Sanskrit. The Lord, who is Pushkaraksha, blesses those who listen with devotion, regardless of the language.)

Jagannatha Dasa further emphasizes:

"Kṛtipatikathānvitavenipa | prākṛtavē tā sanskritavenisi sa | kṛtiyanīvuḍu bhaktipūrvaka kēḷipēḷvarige." (“ಕೃತಿಪತಿಕಥಾನ್ವಿತವೆನಿಪ ಪ್ರಾಕೃತವೇ ತಾ ಸಂಸ್ಕೃತವೆನಿಸಿ ಸ | ಕೃತಿಯನೀವುದು ಭಕ್ತಿಪೂರ್ವಕ ಕೇಳಿಪೇಳ್ವರಿಗೆ ”)

(Even if the Lord's stories are narrated in a vernacular language, they transform into Sanskrit for those who listen with devotion, leading them to spiritual liberation.)

A Revolutionary Contribution

Thus, saints like Shri Vyasaraja and other Haridasas revolutionized spiritual practice by making the teachings of the Vedas, Upanishads, Puranas, and other scriptures accessible to common people through Kannada. Their works combined profound philosophy with simple language and musical compositions, enabling the masses to grasp and internalize complex spiritual teachings. This effort brought unparalleled glory to Kannada and created a unique legacy that continues to inspire devotion and learning.

The authority for the works of the Haridasas is reinforced by none other than Shri Vedavyasa, considered an incarnation of Narayana and the revered author of the Vedas. In the Bhagavata, he states:

"Stavairuchchāvaich prōtaiḥ purāṇaiḥ prākṛtairapi!"

This means that even if the glorifications of the Lord, His incarnations, divine pastimes, and teachings are written in vernacular languages like Kannada, one must listen to them and develop devotion toward Shri Hari. By stating this, he affirms that listening to the Lord’s glories, even in vernacular languages, leads to spiritual upliftment and serves as a legitimate means of devotion.

The Role of Great Saints in Kannada Haridasa Literature

Enlightened saints like Shri Narahari Tirtha, Shri Sripadaraja, and Shri Vyasaraja, who were well-versed in the divine will of the Supreme Lord, composed Kannada Haridasa literature as inspired by the Lord Himself. Their goal was the spiritual upliftment of both scholars and commoners. By distilling the essence of the Vedas, shastras, and puranas, they presented profound truths, the Lord’s glories, and His divine pastimes in Kannada, making these teachings accessible and relatable to everyone. Their contributions brought immense spiritual and cultural benefits to society.

Importance of Writing in Kannada

It is crucial to understand that the works of Shri Sripadaraja, Shri Vyasaraja, and other Haridasas in Kannada played a pivotal role in cultivating spiritual values, devotion, and awareness among the masses. Had their compositions been in Sanskrit alone, they would have been restricted to scholars, defeating the purpose of spreading spiritual knowledge widely. By using the language of the people and adopting a simple, heartfelt style, they ensured that their teachings touched the hearts of the common man. This accessibility is why Haridasa literature remains popular to this day.

While Sanskrit holds its unparalleled sanctity for core scriptures and rituals, vernacular languages like Kannada served as a medium to convey the shastras' essence to the common people. The goal of the Haridasas was never to disregard Sanskrit or the foundational scriptures but to bring their wisdom to the majority who did not understand Sanskrit. This balance between fidelity to the scriptures and accessibility for the masses is the essence of Haridasa literature, and it can be boldly proclaimed as a rational and noble endeavor.

The Revolutionary Vision of Shri Sripadaraja and Shri Vyasaraja

In today’s context, when Kannada pride and cultural identity are gaining prominence, the vision of saints like Shri Sripadaraja and Shri Vyasaraja becomes even more relevant. Over five centuries ago, these luminaries envisioned a need to present philosophy, religion, literature, and art in Kannada to the people. Through their monumental works, comprising millions of Kannada padas, suladis, and poetic compositions, they popularized the Kannada language and enriched its literature.

Their revolutionary foresight and devotion to Kannada can be considered groundbreaking achievements. It is clear that these great saints were deeply compassionate towards the underprivileged and downtrodden, dedicating their efforts to uplift them through spiritual knowledge and cultural empowerment.

Lasting Impact on Kannada Culture

The contributions of Kannada Haridasas have left an indelible mark on the cultural consciousness of Kannada people. The extraordinary service rendered by Shri Sripadaraja, Shri Vyasaraja, and their successors is why Kannada literature and culture continue to inspire pride among the people today. The awakening of Kannada identity owes much to their efforts, and their legacy will remain cherished forever by the Kannada-speaking world.

Among the disciples of Shri Vyasaraja, Shri Vijayindra Tirtha and Shri Vadiraja stand out prominently. Shri Vijayindra Tirtha was the pontiff of the illustrious lineage of Shri Kavindra and Shri Vibudhendra Tirtha, successors of Shri Madhvacharya's Mahasamsthana. A master of all scriptures, he was renowned as Sarvatantrasvatantra (independent in all fields of knowledge). After Shri Vyasaraja, Shri Vijayindra Tirtha upheld the Dvaita philosophy, composing hundreds of works, defeating opponents in debates, and propagating the philosophy through teaching and discourse.

As a devoted disciple of Shri Vyasaraja, he played a key role in nurturing Kannada Haridasa literature as per his guru's instructions. Not only did he promote it in every possible way, but he also composed many devotional songs under the Ankita (pen name) "Vijayindra," significantly enriching the Haridasa treasury.

Examples of his compositions include:

"Yogivarya Vyasarayaremba Vichitra Megha | Bega Vishnupada Torisutaa Banditidiko," (“ಯೋಗಿವರ್ಯ ವ್ಯಾಸರಾಯರೆಂಬ ವಿಚಿತ್ರ ಮೇಘ | ಬೇಗ ವಿಷ್ಣುಪದ ತೋರಿಸುತ್ತಾ ಬಂದಿತಿದಿಕೋ ”)

"Chandira Ramana Rani Sitheya Mukhadandake Sotu Lajjeyinda Rathricharanaada," (“ಚಂದಿರ ರಾಮನ ರಾಣಿ ಸೀತೆಯ ಮುಖದಂದಕೆ ಸೋತು ಲಜ್ಜೆಯಿಂದ ರಾತ್ರಿಚರನಾದ ||”)

He also composed an extraordinary Suladi beginning with "Parabomma Hariyu Ta Narara Rupa Talida, Naranada Dasharathana Varagehadalli Avatarisi," alongside numerous other songs and Suladis, elevating Kannada Haridasa literature. Scholars recognize him as a divine incarnation from the Vayu Gana (celestial lineage of Vayu) and praise him as belonging to the exalted Rju Gana.

Shri Vadiraja Tirtha

Shri Vadiraja Tirtha, another principal disciple of Shri Vyasaraja, was the pontiff of the Sodhe Matha. A blessed scholar, he mastered all scriptures under Shri Vyasaraja. Shri Vadiraja was a devoted worshiper of Shri Hayagriva Deva and traveled across India, visiting sacred sites and composing the Tirtha Prabandha, an excellent Sanskrit poem describing the deities and glories of these pilgrimage centers. His Rukminisha Vijaya, a grand epic in Sanskrit, is considered a monumental contribution to Sanskrit literature.

Shri Vadiraja composed around 50-60 smaller Sanskrit works, including hymns and poems. His Vedantic texts, such as Yuktimallika and Lakshabharana, are regarded as outstanding contributions to Dvaita philosophy. Following the path laid by his guru, Shri Vadiraja composed hundreds of devotional songs under the Ankita "Hayavadana," making extraordinary contributions to Haridasa literature. He also wrote Kannada poetic works, such as:

Lakshmi Shobhane,

Tatparya Nirnaya (a Kannada translation),

Vaikuntha Varnane,

Gundakriya,

Swapnagada, among others.

These works brought immense spiritual and literary value to Kannada literature. Scholars acclaim Shri Vadiraja as a divine incarnation of Lathavya, who will attain the future position of Brahma, further highlighting his celestial stature.

Contributions to Kannada Haridasa Literature

The contributions of Shri Vijayindra Tirtha and Shri Vadiraja Tirtha to Kannada Haridasa literature are unparalleled. Their compositions and philosophical works not only enriched the literary and spiritual heritage but also played a crucial role in spreading devotion and uplifting society. Their enduring legacy ensures that their contributions will never be forgotten.

Purandaradasa is a towering figure of the golden age of Kannada Haridasa literature, whose name remains eternally linked with this literary tradition. His contributions were so profound that his guru, Shri Vyasaraja, held him in the highest regard. It is said that Shri Vyasaraja honored Purandaradasa's vast body of work, comprising songs, verses, Suladis, and Ugabhogas, by placing it on the Vyasa Peetha and referring to it as the “Purandaropanishad.” This act of recognition underscores the divine nature and immense value of Purandaradasa’s contributions to Kannada Haridasa literature.

Purandaradasa’s name has become immortal in the Kannada Haridasa tradition due to the unparalleled literary treasure he bestowed. He is said to have composed a staggering total of 425,000 songs. In one of his hymns, beginning with:

"Vasudevana Namavaliya Klaptiyanu Vyasarayara Dayadinda Bannipenu! Kedara-Rameshwara-Kerala Bhutadala Pada Ravinda Kshetra Pratikshetravu Adaradi Lakshadippattaydu Savira Krutiyu! Veda Shastra Purana Sammatidinda ||1||"

“ವಾಸುದೇವನ ನಾಮಾವಳಿಯ ಕ್ಲಪ್ತಿಯನು ವ್ಯಾಸರಾಯರ ದಯದಿಂದ ಬಣ್ಣಿಪೆನು! ಕೇದಾರ-ರಾಮೇಶ್ವರ-ಕೇರಳ ಭೂತದಳದ ಪಾದರವಿಂದ ಕ್ಷೇತ್ರ ಪ್ರತಿಕ್ಷೇತ್ರವು ಆದರದಿಂದ ಲಕ್ಷದಿಪ್ಪತ್ತೈದುಸಾವಿರ ಕೃತಿಯು! ವೇದಶಾಸ್ತ್ರಪುರಾಣ ಸಮ್ಮತದಿಂದ ||೧ ||”

Purandaradasa himself elaborates on the vastness of his compositions, mentioning how they were inspired by the grace of Shri Vyasaraja.

Purandaradasa’s Composition Style

The systematic approach Purandaradasa adopted for his compositions ensured their accessibility and spiritual depth. His immense output and lyrical brilliance not only enriched Kannada Haridasa literature but also made it a powerful medium to instill devotion and spiritual wisdom in the masses.

Because of the vast and profound literature Purandaradasa provided, Shri Vyasaraja honored it by calling it "Purandaropanishad" and praised him with the words, "If one speaks of a Haridasa, it is none other than Purandaradasa!" Purandaradasa's style was extremely simple yet deeply captivating, and even today, hundreds of his songs remain effortlessly ingrained in the daily lives of Kannadigas.

Purandaradasa is celebrated as the "Father of Carnatic Music." By providing lyrical compositions in Kannada and shaping the structure of Carnatic music, he and his lineage of Haridasas gave it a definitive form and promoted it widely. From that time to the present, all composers, musicians, and scholars of music have revered him as the pioneer and patriarch of Carnatic music. The credit for blending music with Kannada Haridasa literature and popularizing it through singing first goes to Shri Sripadaraja, Shri Vyasaraja, and Shri Purandaradasa. This is a remarkable contribution that continues to inspire pride. By setting devotional songs to music, they made them appealing and accessible to all, achieving their purpose effectively.

Purandaradasa’s Family Legacy

All four of Purandaradasa’s sons embraced the Dasadiksha (vow of a Haridasa) and contributed to Haridasa literature. Writing under the pen names Varadapurandara Vittala, Gurupurandara Vittala, Abhinava Purandara Vittala, and Guru Madhvapati, they composed thousands of devotional songs, significantly enriching the tradition. Shri Vijayadasa praised them as incarnations of Chandra (Moon), Surya (Sun), Brihaspati (Jupiter), and Dhruva Maharshi, highlighting their divine stature.

Kanakadasa’s Contributions

Another luminary who enriched Kannada Haridasa literature was Shri Kanakadasa. Writing under the pen name Adikeshava, Kanakadasa composed thousands of independent devotional songs, as well as Kannada poetic works such as Mohana Tarangini, Haribhakti Sara, Nalacharitre, Narasimha Stava, and Ramadhyana Charitre. His riddles (Mundiges) posed challenges even to scholars and reflected his profound intellect.

Kanakadasa's compositions are marked by simplicity of language, depth of meaning, and words that resonate deeply with the heart. His works often included fearless critiques, addressing issues such as idol worship of minor deities like Mari and Masani and promoting true devotion to Shri Hari. These songs, using the everyday language of the people, influenced and reformed superstitious practices, instilling devotion in many. This was a significant social reform.

Originally a follower of the Shri Vaishnava tradition, Kanakadasa became a disciple of Shri Vyasaraja after receiving Shri Hari's guidance. Taking Dasadiksha under Vyasaraja, he became a distinguished follower of the Madhva tradition and a leading member of the Haridasa group. Haridasas regarded him as an incarnation of Yama and extolled his contributions.

Conclusion

The unparalleled literary contributions of Shri Purandaradasa and Shri Kanakadasa greatly enriched Kannada Haridasa literature. Their works blended devotion, social reform, and cultural pride, leaving an enduring impact on Kannada society. Their legacy of literature and music continues to inspire generations and serves as a foundation for the spiritual and cultural identity of the Kannada people.

Another eminent figure influenced by Shri Vyasaraja was Gadag’s Narayanappa. A follower of the Madhva tradition, he was a disciple of Shri Vyasaraja and a close friend of Purandaradasa. Narayanappa composed the Kannada Mahabharata and, through Purandaradasa, approached his guru, Shri Vyasaraja, at the Vishwapavanamatha. He sought Vyasaraja’s blessings and requested him to review and endorse his epic.

Shri Vyasaraja thoroughly examined the work, and overjoyed by its excellence, composed the following verse in honor of the Mahakavya’s significance:

"Arasugaligidu Veera Dwijarige |

Paramavedada Sara Yogeeshwarara Tatvavichara |

Mantrijanake Buddhiguna |

Virahigala Shringara Vidyaparinataralankara |

Kavyake Guruvenalu Virachisida Kumaravyasa Bharatava ||"

ಅರಸುಗಳಿಗಿದು ವೀರ ದ್ವಿಜರಿಗೆ | ಪರಮವೇದದ ಸಾರ ಯೋಗೀಶ್ವರರ ತತ್ವವಿಚಾರ ಮಂತ್ರೀಜನಕೆ ಬುದ್ಧಿಗುಣ | ವಿರಹಿಗಳ ಶೃಂಗಾರ ವಿದ್ಯಾಪರಿಣತರಲಂಕಾರ ಕಾವ್ಯಕೆ ಗುರುವೆನಲು ವಿರಚಿಸಿದ ಕುಮಾರವ್ಯಾಸ ಭಾರತವ ||

With this, Shri Vyasaraja bestowed the title Kumaravyasa upon Narayanappa as a mark of respect. Following Vyasaraja’s recommendation, the scholar-king Krishnadevaraya, known for his patronage of learning, honored Narayanappa in a special way.

Narayanappa’s poetry is imbued with Vishnu devotion, reflecting the supremacy of Lord Vishnu (Vishnu Sarvottamatva) and extolling the greatness of Vayu Deva. Such a composition, emphasizing Madhva philosophy, could only have been crafted by a devoted follower of Madhva. His poetry itself stands as testimony to his deep roots in the tradition.

The following verse from Narayanappa’s invocation in his epic confirms his Madhva allegiance:

"Vanditāmara Sevanaayaka Nandamuniyati Chakravartiya |

Kanda Nata Samsara Kānana Ghana Davānalananu |

Nandanandana Sannibhanu |

Sānandadindale Nammavanu Krupeyinda |

Salahuge Deva Jagadaaradhya Gururaya ||"

“ವಂದಿತಾಮರ ಸೇವನಾಯಕ ನಂದಮುನಿಯತಿಚಕ್ರವರ್ತಿಯ 

ಕಂದ ನತಸಂಸಾರಕಾನನ ಘನದವಾನಳನು | 

ನಂದನಂದನ ಸನ್ನಿಭನು 

ಸಾನಂದದಿಂದಲೇ ನಮ್ಮವನು ಕೃಪೆ 

ಯಿಂದ ಸಲಹುಗೆ ದೇವ ಜಗದಾರಾಧ್ಯ ಗುರುರಾಯ

This verse, praising the Lord, clearly identifies Narayanappa as a follower of Madhva philosophy. His works highlight his devotion and the profound philosophical principles of Dvaita, leaving an indelible mark on Kannada literature.

In this verse, Narayanappa praises Shri Madhvacharya. Similarly, when describing the occasion where Kunti Devi receives Bhimasena from Vayu Deva, he writes:

"Enda Balakaravindalochane

Yandu Sakshadevamadvara

Tandeyanu Rjuganada Mukhyapranadevanannu"

“ಎಂದ ಬಳಿಕರವಿಂದಲೋಚನೆ 

ಯಂದು ಸಾಕ್ಷಾದೇವಮಧ್ವರ 

ತಂದೆಯನು ಋಜುಗಣದ ಮುಖ್ಯಪ್ರಾಣದೇವನನ್ನು '

These lines unequivocally establish Narayanappa as a staunch Madhva follower. In many other instances, he glorifies the greatness of Shri Hari and Vayu. Upon examining all these details, it becomes clear that Narayanappa was not only a Madhva devotee but also a disciple blessed by Shri Vyasaraja.

Shri Purandaradasa, in one of his Suladis, sings:

"Harisharanarenna Mane Mettalu Mane |

Pavannavayitu aaa |

Harisharanarenna Koodi Mataade Manavu |

Karanangalu Pavanna aaa ||

Hari Gadugina Veera Narayanaswami |

Hari Purandara Vittalare aaa"

“ಹರಿಶರಣರೆನ್ನ ಮನೆ ಮೆಟ್ಟಲು ಮನೆ | 

ಪಾವನ್ನವಾಯಿತು ಆಆಆಆ | 

ಹರಿಶರಣರೆನ್ನ ಕೂಡಿ ಮಾತಾಡೆ ಮನವು | 

ಕರಣಂಗಳು ಪಾವನ್ನ ಆಆಆಆ || 

ಹರಿ ಗದುಗಿನ ವೀರನಾರಾಯಣಸ್ವಾಮಿ | 

ಹರಿ ಪುರಂದರವಿಠಲರೇಯ ಆಆ

Here, Purandaradasa not only praises Narayanappa’s Mahabharata, which extols the supreme principle (Paratattva) Shri Krishna, but also mentions that Narayanappa visited his home, conversed with him, and dined there. This further highlights that Narayanappa was a Madhva devotee (Harisharana), following the path of Shri Madhvacharya as elucidated in his Tatparyanirnaya.

Contributions of Shri Vyasaraja

Shri Vyasaraja was instrumental in nurturing and guiding eminent figures like Shri Vijayindra, Shri Vadiraja, Shri Purandaradasa, Shri Kanakadasa, Narayanappa, and Timmanna Kavi. These great scholars, Harisharanas, and poets significantly enriched Kannada literature and spiritual tradition, a testament to Shri Vyasaraja’s profound influence and visionary mentorship.

During the 16th and 17th centuries, known as the golden age of the Vijayanagara Kannada Empire under the reign of Krishnadevaraya, Haridasa literature, initially promoted by Shri Sripadaraja, flourished remarkably under the leadership of Shri Vyasaraja. Under the guidance of Shri Vyasaraja, the royal guru, a gathering of enlightened individuals collaborated, with Purandaradasa as their leader, to create the extraordinary body of Kannada Haridasa literature. Through the composition of millions of Kannada songs, verses, Suladis, and poetic works, they contributed to an expansive and profound repository of Haridasa literature, enriching the Kannada language and culture.

This immortal literature continues to inspire Kannada pride and serve as a source of motivation and reverence for all, earning the eternal gratitude of the Kannada people.

Evolution of Kannada Haridasa Literature

The tradition of Kannada Haridasa literature, initiated in the 13th century by Shri Narahari Tirtha, gained momentum under Shri Sripadaraja and reached its pinnacle under Shri Vyasaraja. The fruits of this legacy, enriched further by saints like Purandaradasa and Kanakadasa, were enjoyed and cherished by the people. This era is rightly considered the golden age of Kannada Haridasa literature.

The Haridasas of this golden age were not merely devout mystics; they were Aparoksha Jnanis (realized souls) and divine incarnations. Their compositions are invaluable treasures, with each sentence being as profound and concise as Upanishadic verses. This illustrious group included great scholars and philosophers like Shri Sripadaraja, Shri Vyasaraja, Shri Vijayindra, and Shri Vadiraja; eminent Haridasas like Shri Purandaradasa; enlightened souls like Kanakadasa, born in lower castes but attaining spiritual heights; and poets like Narayanappa and Timmanna, whose works enriched Kannada literature.

Shri Vyasaraja: A Central Figure

Shri Vyasaraja, as both the teacher and inspiration for these luminaries, played a pivotal role in nurturing and guiding this tradition. He was a fountain of motivation and wisdom, supporting these extraordinary individuals in their spiritual and literary endeavors. The patronage they received from Krishnadevaraya, the emperor of Karnataka, was another significant factor contributing to the flourishing of Kannada literature during this period.

Legacy and Contributions

This collective effort of brilliant minds not only enriched Kannada literature but also immensely benefited the Madhva tradition and society at large. The golden age of Kannada Haridasa literature stands as a testament to the harmonious blend of devotion, scholarship, and cultural pride, creating a legacy that continues to illuminate and inspire.

In ancient times, the Puranas spoke of the Bhagavata greats such as Narada and Prahlada. Their spiritual legacy came together once more in human form during Kali Yuga, leading to the emergence of this extraordinary devotional literature. The impact of this literature on Kannada literature and society has been eternal. Furthermore, the Haridasa tradition flourished under the stewardship of Shri Vyasaraja’s later incarnation, Shri Raghavendra Swami.

This lineage was further nurtured and developed by scholars and saints like Shri Vadindra, Shri Vasudhendra, Shri Varadendra, Shri Bhuvanendra Tirtha, and Shri Vyasa Tattvajna Tirtha, as well as luminaries like Shri Vijayadasa, Shri Gopaladasa, and Shri Jagannathadasa. Together, they greatly expanded the Haridasa tradition and contributed to the creation of extraordinary devotional literature.

It can be unequivocally stated that these saints and scholars have made unparalleled contributions to Kannada literature, society, culture, and language. The inspiring and central figure behind this remarkable tradition was Shri Vyasaraja Gurusarvabhouma. No proud Kannadiga could ever forget the immense contributions and guidance of Shri Vyasaraja, whose influence continues to resonate across generations.