Goa’s oldest Konkani newspaper completes platinum
Vavraddeancho Ixtt, the only Konkani weekly THAT HAS BEEN IN CONTINUOUS PUBLICATION since 1933, CONCLUDES its platinum jubilee
celebrations with a special closing ceremony function ON COMING MONDAY.
In 1933 Vauraddeancho Ixtt, a Konknni weekly was started by Fr. Arsencio Fernandes and Fr.Graciano Moraes. It is still run by the Pilar Society till date. Today Vauraddeancho Ixtt is the only weekly of its kind published in this script and language.
AT A FUNCTION TO BE HELD on December 22, 2008 at Pilar Seminary Annexe at 4 pm, GOA’S REVENUE Minister Jose Philip D’Souza will be the chief guest for the function while editor of Renovocao and Diocesan Centre for Social Communications Media, Fr Francisco Caldeira will be the guest of honour. The Superior General of the Society of Pilar, Fr Tony Lopes will preside.
On the occasion, V Ixtt awards will be distributed to several Konkani writers and those who have contributed towards the Konkani language and Goan culture. Besides, young Konkani writers and social activists, who have been closely associated with the Konkani weekly and Goa, will also be felicitated.
Prizes will be distributed to the winners of various competitions conducted during the V Ixtt platinum jubilee celebrations.
The highlights of the programme will include the release of the special issue, almanac and the launch of the new ‘V Ixtt‘ supplement. The cultural programme will comprise of platinum jubilee song, violin instrumental with piano accompaniment, raag, comedy skit, dance and a mando.
The programme is open for the general public.
Started in 1933 as the Church attempted to retain its links with the workers in a world fast turning secularised and politicised, the weekly was to reach out the working class and people at the grassroots to educate, inform and educate them on issues like “Communism vis-a-vis religion”.
However, over the years, and as it gained wider popularity, the scope extended to the coverage of social, political, cultural and religious themes. V Ixtt can boast of a glorious past as one weekly that provided news and views that satisfied the reading appetite of a large readership in Goa and Mumbai.
Having run by priests and the Society of Pilar, its credibility and respect always remained consistent. In recent years, its editors have been young priests of the Society of Pilar, like Fr Peter Raposo and Fr Feroz Fernandes, who managed the publication while in their 20s and 30s.
Ixtt’s contribution to the freedom movement of Goa is worth the mention.
Ixtt under the aegis of the Society of Pilar followed a line of thought closer to the aspiration of the freedom movement of our Motherland India and Goa. It was on the Vespers of the independence of India that V Ixtt began to publish from the precincts of the old Monastery of Pilar, where its editorial office and press was housed.
The weekly enjoyed quite good freedom to express itself without rigorous Portuguese censorship upto the early 50’s. However, the picture started changing after the Liberation of Dadra and Nagar Haveli and the freedom struggle movement to liberate Goa from the clutches of the Portuguese.
“During this period, the Press buckled under the pressures of rigorous Portuguese censorship. Nothing could be published in Goa without getting it censored by the Portuguese Police with the rubber-stamp of approval that read ‘Visado pela censura’ (Seen by the Censor),” says former editor Fr Peter Raposo, in an essay tracing the history of Romi Konkani journalism in Goa.
Ixtt, under the editorship first of Fr. Conceicao Rodrigues (1944-54) and later of Fr. Jeronimo Pereira (1954-69), had to face insurmountable pressures to toe the Portuguese line. In order to survive most of the times, Ixtt maintained silence towards the policies of Salazar the Portuguese dictator without however openly
criticizing the Portuguese Government, which would be suicidal.
But this silence itself was construed as opposition to the Portuguese Sovereignty in Goa.
On August 12, 1961, three months before the liberation of Goa, the Governor Vassalo da Silva, by his decree, suspended the publication of Ixtt for 90 days as a punishment for not being patriotic towards Portugal and showing pro-India tendencies. Thus Ixtt was the only paper of Goa which remained firm and suffered for its nationalistic aspirations.
Today Ixtt still continues to be popular. At present Ixtt has almost 7000 regular subscribers and in fact this number is increasing. Ixtt was online since 1999 sharing a link on Goacom.com, today it has its own website (http://www.v-ixtt.com).
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Monday, January 5, 2009
Articles on Konkani Orthography & Paras.Varna
Articles on Konkani Orthography & Paras.Varna
May 7, 2008
A real nice article that details the history of Paras.Varna and how it has been put on the back burner in languages like Konkani.
A must read for anyone interested in Konkani Orthography and the Konkani Language.
This article is written by Dr S M Tadkodkar.
This article can be found at the below location:
DISAPPEARANCE OF ‘PARAS.VARNA’ IN THE INDIAN LANGUAGES: IS IT GOOD OR BAD FOR INDIAN LANGUAGES?’ - By DR S M Tadkodkar
3 May 2008
DISAPPEARANCE OF 'PARAS.VARNA' IN THE INDIAN LANGUAGES: IS IT GOOD OR BAD FOR INDIAN LANGUAGES?' - By DR S M Tadkodkar
It is claimed that 25 languages are being annihilated every year for obvious reasons. (Could the UNESCO Report be an authentic one?) Indian languages have become victims of an onslaught invasion of English (language) since the day they have come in its contact.
They have already lost their own grandeur, luster and are presently on the verge of losing their identity.
All are requested to make an attempt of having an entourage into any dictionary of Indian words of a particular language. Indeed everyone will explore flora and fauna of Indian lingua franca. Indian languages have bloomed in the company of their mother, viz. Sanskrit. Sanskrit has its own Art (and Science) of Poetics. It has its own Science of Rhetoric i.e. Alankaar Shastra.
Sanskrit is being patronized at university level, outside India. While the learning-teaching process in Sanskrit has come to a screeching halt in almost all the institutions in India, the Indian languages have lost the reservoir of Alankàr Shàstra. They have, clandestinely, been adopting the Western Poetics. The new generation wonders about, whether they have any roots in the Indian soil.
Presently, Indian languages have been boasting about having their own grammar. Indeed, they have their own grammar. But, how much is their own grammar and how much has been borrowed from English?
Why has English been taking toll from the Indian languages? This is not only the pertinent question to be asked.
Instead, "Why are you surrendering, unconditionally, to the global icon in the ocean of languages?" is the question that should be raised first.
India has been taking pride of shutting schools in their vernacular languages. Why? Simply because,
"We have to compete with the West?" is the stern reply.
If asked, "How many of the countries in the West have shut down schools being run in their own native languages to gain an edge over English? If they have not shut down their schools in their own languages, then, how are they going to survive?"
No one has any answer to these questions.
Contents
I. Learning-teaching process in Sanskrit
II. The rule of 'Paras.warNa'
III. 'ऋ' to pronounce cerebral 'ru' (मूर्धन्य)
IV. The Roman script is surging
I. Learning-teaching process in Sanskrit:
Basically, Indian languages have the following consonants (वर्ण) in the alphabetical order:
'क्' वर्ग : क्, ख्, ग्, घ्, ङ्
'च्' वर्ग : च्, छ्, ज्, झ्, ञ्
'त्' वर्ग : त्, थ्, द्, ध्, न्
'ट्' वर्ग : ट्, ठ्, ड्, ढ्, ण्
'प्' वर्ग : प्, फ्, ब्, भ्, म्
य्, र्, ल्, व्, श्, स्, ह्, ळ्, क्ष्, ज्ञ्
II. The rule of 'Paras.warNa':
Indian languages have a perfect arrangement for their nasal sounds.
As per the orthography, the nasal sounds follow the rule of 'Paras.warNa' (परस-वर्ण) except in case of the following consonants:
य्, र्, ल्, व्, श्, स्, ह्, ळ्, क्ष्, ज्ञ्
'क्'-वर्ग वर्ण (consonants) follow the nasal sounds inculcating guttural (कण्ठ्य) - 'ङ्' e. g.
'कंकण' > 'कङ्कण', 'कोंकणी' > 'कोंकणी', 'ब्यांक,' > 'ब्याङ्क', 'शृंखला' > 'शृङ्खला', 'मंगल'>'मङ्गल', 'जांघ'>जाङ्घ';
'च्' वर्ग वर्ण follow the nasal sounds inculcating palatal (तालव्य) - 'ञ्' e. g.
'चंचला'>'चञ्चला', 'कंचन'>'कञ्चन', 'लांछन'>'लाञ्छन', 'रंजन'>'रञ्जन, 'झंझा'>'झञ्झा';
'त्' वर्ग वर्ण follow the nasal sounds inculcating dental (दन्त्य) - 'न्' e. g.
'तंत्र' > 'तन्त्र', 'मंथरा' > 'मन्थरा', 'आनंद' > 'आनन्द', 'अंधार' > 'अन्धार';
'ट्' वर्ग consonant follow the nasal sounds inculcating cerebral (मूर्धन्य) - 'ण्' e. g.
'घंटा'>'घण्टा', 'थंड'>'थण्ड', 'षंढ'>'षण्ढ', 'पंढरपूर'>'पण्ढरपूर';
(please note that 'ऋ' (short vowel), 'ऋ' (long vowel), 'र्' and 'ष्' may also be included under the cerebral (मूर्धन्य) category)
'प्' वर्ग वर्ण follow the nasal sounds inculcating labial (औष्ठ्य) 'म्' e. g.
'परंपरा'>'परम्परा', 'फांपर'>फाम्पर', 'गुंफा'>'गुम्फा', 'अंबा'>'अम्बा', 'दंभ'>'दम्भ';
In view of the above
1.'अन्जीर'= 'a fig' should have been written as 'अञ्जीर'
2.'आन्ट'='an intestine' should have been written as 'आन्त' or 'आंत'
3.बाळंतेर can also be written as बाळन्तेर
1.'आम्ब्शे'=sour 'आम्ब्शे' is more appropriate word formation than -
2.'आम्शे'= sour
III. 'ऋ' to pronounce cerebral 'ru' (मूर्धन्य):
We write 'रुख' ('Rukh') for 'a tree' (Sanskrit meaning 'Vruksha') because generally people residing in the Western Indian belt (especially Goa and Maharashtra) write 'ऋ' to pronounce cerebral 'ru' (मूर्धन्य). The logically convincing answer behind this acceptance is very simple:
Grammarians of Indian languages have included pronunciation of the cerebral 'ru' (मूर्धन्य) in the category of the vowels of 'उ' and 'ऊ' and not in the category of vowels of 'अ' or 'इ'. Therefore the word to pronounce as 'Sanskrit' is incorrect. Indeed, it should have been pronounced as 'Sanskrut'.
Today, most of the 'progressive' people have forgotten about the rule of paras.warNa (परसवर्ण).
It was because of hegemony of the Hindi, the English language adopted the pronunciations from the former during its colonial rule. In course of time, it compelled clandestinely all the Indian languages to follow a universal rule, which was acceptable to both Hindi and English. In the bargain the pronunciation of 'ऋ' in the Indian languages has become 'ri'.
e. g. 'अम्रित= nectar of immortality
This immortality has been snatched away from the Indianness. The structure of Indian languages has been in doldrums, historical pride of having identity and integrity has been dwindling.
IV. The Roman script is surging:
In the beginning, English (and Portuguese culture) drove Indians out of the Sanskrit umbrella. Presently, it is pushing Indians away from their own Indian languages, in the name of economic development under the carpet of English languages. The fierce competition between the Urdu (along with Arabian, Persian) and English languages to rule the fabric of secular element among the Indian languages has become more prime ambition than anything else…
… and that is the reason the Roman script is surging …
Archbishop D. Francisco da Assunçao disallowed 'Crista Puranna' (written by Father Thomas Stephens,a British Jesuit priest, published in 1616, comprising more than 11,000 strophes) a classic in Marathi that saw immeasurable popularity (printed six editions), for reading in temples of Jesus Christ, in 1776. Such ban was the beginning of the end of writing in vernaculars. While the British, during their colonial regime, were encouraging vernaculars in India, Portuguese were out to give a clean shave to Indian languages. It was 1684, the year, that saw sadly the extermination of vernaculars. The Viceroy Francis de Tavera, Count of Alvor on the June 27, 1684 published a decree of Law that screamed:
"In order to put an end to all conveniences, it would be suitable to set aside the use of vernacular idiom and insist that all apply themselves to speak Portuguese since the use of both the languages at one and same time gives us cause to various conveniences; including that being not understood…I assign three years, period within which the Portuguese languages is ought to be studied and spoken. Moreover, this language alone should be used in their parts in their dealings and other contracts, which they may wish to enter into, those using the vernacular being severely punished for not obeying this mandate." (Anant Kakaba Priolkar,The Printing Press in India, Bombay, 1958)
While Dr. Joaquim Heliodoro da Cunha Rivara, who was an ardent lover of Konkani language, publishing an essay on Konkani in 1858 had appealed to its speakers to revive their lingua franca. But, the policies, those are being adopted (and being admitted) today in the 21st century are not that different to those, which were followed in the 17th century by the foreigners.
A question that remains unanswered is – Is it good or bad for Indian languages?
-----------------------------
© Dr S M Tadkodkar
-----------------------------
Posted by Roshan Pai Ramesh
Labels: Dr S M Tadkodkar, Konkani Grammar, Konkani Orthography, Su Ma Tadkod
http://konkani.savemylanguage.org/2008/05/disappearance-of-parasvarna-in-indian.html
May 7, 2008
A real nice article that details the history of Paras.Varna and how it has been put on the back burner in languages like Konkani.
A must read for anyone interested in Konkani Orthography and the Konkani Language.
This article is written by Dr S M Tadkodkar.
This article can be found at the below location:
DISAPPEARANCE OF ‘PARAS.VARNA’ IN THE INDIAN LANGUAGES: IS IT GOOD OR BAD FOR INDIAN LANGUAGES?’ - By DR S M Tadkodkar
3 May 2008
DISAPPEARANCE OF 'PARAS.VARNA' IN THE INDIAN LANGUAGES: IS IT GOOD OR BAD FOR INDIAN LANGUAGES?' - By DR S M Tadkodkar
It is claimed that 25 languages are being annihilated every year for obvious reasons. (Could the UNESCO Report be an authentic one?) Indian languages have become victims of an onslaught invasion of English (language) since the day they have come in its contact.
They have already lost their own grandeur, luster and are presently on the verge of losing their identity.
All are requested to make an attempt of having an entourage into any dictionary of Indian words of a particular language. Indeed everyone will explore flora and fauna of Indian lingua franca. Indian languages have bloomed in the company of their mother, viz. Sanskrit. Sanskrit has its own Art (and Science) of Poetics. It has its own Science of Rhetoric i.e. Alankaar Shastra.
Sanskrit is being patronized at university level, outside India. While the learning-teaching process in Sanskrit has come to a screeching halt in almost all the institutions in India, the Indian languages have lost the reservoir of Alankàr Shàstra. They have, clandestinely, been adopting the Western Poetics. The new generation wonders about, whether they have any roots in the Indian soil.
Presently, Indian languages have been boasting about having their own grammar. Indeed, they have their own grammar. But, how much is their own grammar and how much has been borrowed from English?
Why has English been taking toll from the Indian languages? This is not only the pertinent question to be asked.
Instead, "Why are you surrendering, unconditionally, to the global icon in the ocean of languages?" is the question that should be raised first.
India has been taking pride of shutting schools in their vernacular languages. Why? Simply because,
"We have to compete with the West?" is the stern reply.
If asked, "How many of the countries in the West have shut down schools being run in their own native languages to gain an edge over English? If they have not shut down their schools in their own languages, then, how are they going to survive?"
No one has any answer to these questions.
Contents
I. Learning-teaching process in Sanskrit
II. The rule of 'Paras.warNa'
III. 'ऋ' to pronounce cerebral 'ru' (मूर्धन्य)
IV. The Roman script is surging
I. Learning-teaching process in Sanskrit:
Basically, Indian languages have the following consonants (वर्ण) in the alphabetical order:
'क्' वर्ग : क्, ख्, ग्, घ्, ङ्
'च्' वर्ग : च्, छ्, ज्, झ्, ञ्
'त्' वर्ग : त्, थ्, द्, ध्, न्
'ट्' वर्ग : ट्, ठ्, ड्, ढ्, ण्
'प्' वर्ग : प्, फ्, ब्, भ्, म्
य्, र्, ल्, व्, श्, स्, ह्, ळ्, क्ष्, ज्ञ्
II. The rule of 'Paras.warNa':
Indian languages have a perfect arrangement for their nasal sounds.
As per the orthography, the nasal sounds follow the rule of 'Paras.warNa' (परस-वर्ण) except in case of the following consonants:
य्, र्, ल्, व्, श्, स्, ह्, ळ्, क्ष्, ज्ञ्
'क्'-वर्ग वर्ण (consonants) follow the nasal sounds inculcating guttural (कण्ठ्य) - 'ङ्' e. g.
'कंकण' > 'कङ्कण', 'कोंकणी' > 'कोंकणी', 'ब्यांक,' > 'ब्याङ्क', 'शृंखला' > 'शृङ्खला', 'मंगल'>'मङ्गल', 'जांघ'>जाङ्घ';
'च्' वर्ग वर्ण follow the nasal sounds inculcating palatal (तालव्य) - 'ञ्' e. g.
'चंचला'>'चञ्चला', 'कंचन'>'कञ्चन', 'लांछन'>'लाञ्छन', 'रंजन'>'रञ्जन, 'झंझा'>'झञ्झा';
'त्' वर्ग वर्ण follow the nasal sounds inculcating dental (दन्त्य) - 'न्' e. g.
'तंत्र' > 'तन्त्र', 'मंथरा' > 'मन्थरा', 'आनंद' > 'आनन्द', 'अंधार' > 'अन्धार';
'ट्' वर्ग consonant follow the nasal sounds inculcating cerebral (मूर्धन्य) - 'ण्' e. g.
'घंटा'>'घण्टा', 'थंड'>'थण्ड', 'षंढ'>'षण्ढ', 'पंढरपूर'>'पण्ढरपूर';
(please note that 'ऋ' (short vowel), 'ऋ' (long vowel), 'र्' and 'ष्' may also be included under the cerebral (मूर्धन्य) category)
'प्' वर्ग वर्ण follow the nasal sounds inculcating labial (औष्ठ्य) 'म्' e. g.
'परंपरा'>'परम्परा', 'फांपर'>फाम्पर', 'गुंफा'>'गुम्फा', 'अंबा'>'अम्बा', 'दंभ'>'दम्भ';
In view of the above
1.'अन्जीर'= 'a fig' should have been written as 'अञ्जीर'
2.'आन्ट'='an intestine' should have been written as 'आन्त' or 'आंत'
3.बाळंतेर can also be written as बाळन्तेर
1.'आम्ब्शे'=sour 'आम्ब्शे' is more appropriate word formation than -
2.'आम्शे'= sour
III. 'ऋ' to pronounce cerebral 'ru' (मूर्धन्य):
We write 'रुख' ('Rukh') for 'a tree' (Sanskrit meaning 'Vruksha') because generally people residing in the Western Indian belt (especially Goa and Maharashtra) write 'ऋ' to pronounce cerebral 'ru' (मूर्धन्य). The logically convincing answer behind this acceptance is very simple:
Grammarians of Indian languages have included pronunciation of the cerebral 'ru' (मूर्धन्य) in the category of the vowels of 'उ' and 'ऊ' and not in the category of vowels of 'अ' or 'इ'. Therefore the word to pronounce as 'Sanskrit' is incorrect. Indeed, it should have been pronounced as 'Sanskrut'.
Today, most of the 'progressive' people have forgotten about the rule of paras.warNa (परसवर्ण).
It was because of hegemony of the Hindi, the English language adopted the pronunciations from the former during its colonial rule. In course of time, it compelled clandestinely all the Indian languages to follow a universal rule, which was acceptable to both Hindi and English. In the bargain the pronunciation of 'ऋ' in the Indian languages has become 'ri'.
e. g. 'अम्रित= nectar of immortality
This immortality has been snatched away from the Indianness. The structure of Indian languages has been in doldrums, historical pride of having identity and integrity has been dwindling.
IV. The Roman script is surging:
In the beginning, English (and Portuguese culture) drove Indians out of the Sanskrit umbrella. Presently, it is pushing Indians away from their own Indian languages, in the name of economic development under the carpet of English languages. The fierce competition between the Urdu (along with Arabian, Persian) and English languages to rule the fabric of secular element among the Indian languages has become more prime ambition than anything else…
… and that is the reason the Roman script is surging …
Archbishop D. Francisco da Assunçao disallowed 'Crista Puranna' (written by Father Thomas Stephens,a British Jesuit priest, published in 1616, comprising more than 11,000 strophes) a classic in Marathi that saw immeasurable popularity (printed six editions), for reading in temples of Jesus Christ, in 1776. Such ban was the beginning of the end of writing in vernaculars. While the British, during their colonial regime, were encouraging vernaculars in India, Portuguese were out to give a clean shave to Indian languages. It was 1684, the year, that saw sadly the extermination of vernaculars. The Viceroy Francis de Tavera, Count of Alvor on the June 27, 1684 published a decree of Law that screamed:
"In order to put an end to all conveniences, it would be suitable to set aside the use of vernacular idiom and insist that all apply themselves to speak Portuguese since the use of both the languages at one and same time gives us cause to various conveniences; including that being not understood…I assign three years, period within which the Portuguese languages is ought to be studied and spoken. Moreover, this language alone should be used in their parts in their dealings and other contracts, which they may wish to enter into, those using the vernacular being severely punished for not obeying this mandate." (Anant Kakaba Priolkar,The Printing Press in India, Bombay, 1958)
While Dr. Joaquim Heliodoro da Cunha Rivara, who was an ardent lover of Konkani language, publishing an essay on Konkani in 1858 had appealed to its speakers to revive their lingua franca. But, the policies, those are being adopted (and being admitted) today in the 21st century are not that different to those, which were followed in the 17th century by the foreigners.
A question that remains unanswered is – Is it good or bad for Indian languages?
-----------------------------
© Dr S M Tadkodkar
-----------------------------
Posted by Roshan Pai Ramesh
Labels: Dr S M Tadkodkar, Konkani Grammar, Konkani Orthography, Su Ma Tadkod
http://konkani.savemylanguage.org/2008/05/disappearance-of-parasvarna-in-indian.html
Konkani Language’s Struggles in the Early 20th Century
Konkani Language’s Struggles in the Early 20th Century
May 7, 2008
A take on the various struggles that the Konkani language had to undertake in the early 20th century. This article takes us back to the days of Dr V P Chavan, and the coverage of his presentations in the 1920s.
An interesting read for people interested in Konkani History.
Again this wonderful article has been published by Dr S M Tadkodkar.
The article can be found here:
VIEWS AND REVIEWS ON KONKANI LANGUAGE IN 1923 - By Dr S M Tadkodkar
1 May 2008
VIEWS AND REVIEWS ON KONKANI LANGUAGE IN 1923 - By Dr S M Tadkodkar
It is quite heartening to talk on Goa's mããya-bhaas i. e. Konkani. The Sun and the Moon do not speak about their own identity. Konkani speakers too, leave apart some respectable names, did not speak aloud about own distinct identity then. The most astonishing fact is that until mid-twentieth century intellectual non-Goans, in quite a large number, spoke more on existence, nature and lineage of the great traditional language of the Konkan region. The neez-goemcaars got moral and technical support from them. John Leyden (1775-1811), William Carey (1761-18340), John Wilson (1804-1875), Dr. Joaquim Heliodoro Da Cunha Rivara (1800-1879) can be named among the best lot. Some of them were viciously critical too. The Maharashtrians too were not lagging behind. But quite a few among them were interested in focusing on the opinion that Goa's mããya-bhaas was a dialect of the principal language of Maharashtra i. e. Marathi.
Among all of them Rao Sahib Dr. V. P. Chavan (some time vice president of THE ANTHROPOLOGICAL SOCIETY OF BOMBAY), Dr. Sumitra Mangesh Katre, Dr. S. B. Kulkarni, with in-depth study, maintained that Goa's mããya-bhaas has distinct and independent identity. For Rao Sahib Dr. V. P. Chavan it was a painful experience to observe that although the Goa's mããya-bhaas was spoken by over a million and a half people in 1924, it still remained neglected and uncared for. He said, "…its pristine beauty, its mellifluence, its picturesque, its natural sweetness, all these produce a homely sort of feeling. These characteristics, perhaps, have given it vigour to withstand the onslaughts of more powerful and classical languages in its neighbourhood." Dr. V. P. Chavan expected a lot, on this count, from the Press. He said, "We look to the Press to give us all sorts of news from all parts of the world. But the influence of the Press is not limited to being what is called 'Newsy'. The Press has a higher function to do, i. e. to educate the people and direct its intelligence to higher and nobler things in life." The Press did not fail him. Dr. Chavan delivered, in the presence of fifty erudite listeners (who had arrived from Pune, Thane as well), a series of lectures on the subject, titled "The Konkan and the Konkani Language" under the auspices of THE ANTHROPOLOGICAL SOCIETY OF BOMBAY during the span of three months. After the second lecture was delivered on Wednesday evening, the 5th September, 1923 (All the three lectures, later on, were printed in Volume XII of the Society's Journal), the Indian Press did shower accolades for the bravery (!) The Times of India (TOI, Bombay), 7.9.1923), a daily of esteem said that the lecture (followed by a discussion) showed that Mumbai (the then Bombay) was not quite as heedless of things of the mind as it was supposed to be. A letter written by some one, namely 'S. V. K.', and published in TOI (5.10.1923) after the third lecture was delivered on Wednesday, the 3rd October, 1923, mentioned Dr. Chavan as a member of a backward community and opined that those who had the fortune to listen those lectures, enjoyed a literary treat, which was hardly to be met with in scientific associations those days. He further underlined that those lectures revealed a depth of knowledge, considerable accuracy, high culture and hard work in the absence of any available literature.
Konkan and the Konkani Language, Dr V P Chavan
ISBN : 8120606663
This book is the reprint of a series of lectures delivered under the auspices of
the Anthropological society of Bombay in 1923 by Dr V P Chavan.
On the backdrop of these lectures, TOI (11.10.1923) was worried about the future of Konkani. Further, it suggested that the only thing likely to arrest the decay of Konkani would be a revival of that particular kind of local patriotism, which had emerged as a political phenomenon in more than one part of the world! The Prajamitra and the Parsee (Bombay, 9.11.1923) has sketched the lectures as follows: "Dr. Chavan had to break his own ground in as much as there was next no previous guide. The elementary grammar published several decades ago by Dr. Gerson Da Cunha was not available to him. He describes Konkan, traces its relation to Maharashtra, defines its geographical limits, for a moment turns aside to dilate on the castes and creeds of Konkan, establishes the proposition of Konkani as a feeder of the classical language, refers to the destructive activity of the Portuguese, comes down to the number of Portuguese words, and discusses its relation with Canaries… One cannot but admire Dr. Chavan's concentration, which helps to reveal the unknown depths of the Konkani, which one would, otherwise, have regarded as a negligible patois.''
Instantly, one would remember Itihasaachaarya Vishwanath Kashinath Rajwade, who had mentioned that the literature written, during the 17th century, by the catholic missionaries in Goa was in Paishaachee language and great scholar Prof. Anant Kakaba Priolkar proved the contention as a wrong one. The Bombay Chronicle (Thursday, 21.2.1924) had to take cognizance of the lectures delivered by Dr. Chavan. It observed them as follows: "The innate conservation of the people of India has given a vitality to some of the dialects, which is truly wonderful. Take, for example, the Konkani dialect, which is spoken at present by at least a million and half people in Western India. Though it has had no alphabet of its own and no literature worth mentioning, it has continued to live even in a vigorous condition at times, for nearly 1500 years, and this, in spite of the fact that a sister language very closely allied to it, namely Marathi, with an alphabet and a literature of its own, has been trying to crush it out of existence by the sheer force of its wider popularity with the governing class. The study of the origin, growth and vicissitudes of such dialect, therefore, cannot be lacking in interest to the students of anthropology, and Indian history." An evening periodical Advocate of India (Wednesday, 27.2.1923) complimented Dr. Chavan for his learned paper and passed on some remarks as follows: "Though the dialect has held the field for fifteen hundred years, Dr. Chavan, is not sure that it will survive a century more, since Konkani-speaking Christians are taking more and more to the use of English or Portuguese even at home…Still, to philologists the charm of this dialect, which has shown such a wonderful vitality for a thousand years and more will never cease."
The Voice of India (Tuesday, 4.3.1924) had appreciated Dr. Chavan in the following words: "There is no tawdry exterior betokening laboured vacuity in Dr. Chavan's studies. The disciplined thinking of a scientific man, this – he imports into the letters…Unless we are greatly mistaken this scholar and medicine man, in more senses than one, is the author of those enlivening letters contributed to the Times of India under the nom-de-plume of Kunbi. …broad-minded appreciation is reflected in Dr. Chavan's pages, which gives ample evidence of how the apparently insipid pursuit of antiquated dialects can be translated into refreshing studies infusing in the reader a desire to hear more and more from author." The lectures delivered by Dr. Chavan convinced The Indian Mail (Thursday, 20.3.1924) about the distinct quality of Konkani language. As such, this periodical wrote, "People in these days are inclined more or less to adopt a language, which has the greatest utilitarian value, and it is therefore a significant feature of the Konkani language that, in spite of its not being a written language, it is still a live one." While exclaiming kudos to Dr. Chavan, The All India Saraswat (April 1924) said, "Dr. Chavan has an interesting explanation to offer regarding the origin of the words Konkan and Canaries. He suggests that the former is derived from kim kinnwam – what is this drug? The drug being the intoxicating beverages derived from palm trees abundant on the west Coast. As to the latter word, Dr. Chavan shows that it has no connection with Canaries language as such. The expression Lingua Canarina used by the Portuguese to denote Konkani was only meant to suggest that it was the language of Canarins or Christians born of Indian parents." The Goan World (May 1924) expressed a sense of gratitude for Dr. Chavan's onerous but fruitful research, saying, "As Goans, we consider it to be our duty to convey to Dr. Chavan our deep sense of indebtedness for the invaluable work he has done on behalf of the language of our forefathers, and we feel sure that the highly appreciative words in which the leading news and political organs of this city have spoken of his scholarly achievements. "We, as Goans, have it in our hands to contribute something to the great national movement that is now being spiritedly carried on, by cultivating our purely Indian tradition and by making an organised effort to save our mother-tongue from its present state of stagnation."
All these views on Konkani language and reviews on the lectures delivered by Dr. Chavan in 1923 form into a significant documentation for the students of history and languages.
-----------------------------
© Dr S M Tadkodkar
-----------------------------
May 7, 2008
A take on the various struggles that the Konkani language had to undertake in the early 20th century. This article takes us back to the days of Dr V P Chavan, and the coverage of his presentations in the 1920s.
An interesting read for people interested in Konkani History.
Again this wonderful article has been published by Dr S M Tadkodkar.
The article can be found here:
VIEWS AND REVIEWS ON KONKANI LANGUAGE IN 1923 - By Dr S M Tadkodkar
1 May 2008
VIEWS AND REVIEWS ON KONKANI LANGUAGE IN 1923 - By Dr S M Tadkodkar
It is quite heartening to talk on Goa's mããya-bhaas i. e. Konkani. The Sun and the Moon do not speak about their own identity. Konkani speakers too, leave apart some respectable names, did not speak aloud about own distinct identity then. The most astonishing fact is that until mid-twentieth century intellectual non-Goans, in quite a large number, spoke more on existence, nature and lineage of the great traditional language of the Konkan region. The neez-goemcaars got moral and technical support from them. John Leyden (1775-1811), William Carey (1761-18340), John Wilson (1804-1875), Dr. Joaquim Heliodoro Da Cunha Rivara (1800-1879) can be named among the best lot. Some of them were viciously critical too. The Maharashtrians too were not lagging behind. But quite a few among them were interested in focusing on the opinion that Goa's mããya-bhaas was a dialect of the principal language of Maharashtra i. e. Marathi.
Among all of them Rao Sahib Dr. V. P. Chavan (some time vice president of THE ANTHROPOLOGICAL SOCIETY OF BOMBAY), Dr. Sumitra Mangesh Katre, Dr. S. B. Kulkarni, with in-depth study, maintained that Goa's mããya-bhaas has distinct and independent identity. For Rao Sahib Dr. V. P. Chavan it was a painful experience to observe that although the Goa's mããya-bhaas was spoken by over a million and a half people in 1924, it still remained neglected and uncared for. He said, "…its pristine beauty, its mellifluence, its picturesque, its natural sweetness, all these produce a homely sort of feeling. These characteristics, perhaps, have given it vigour to withstand the onslaughts of more powerful and classical languages in its neighbourhood." Dr. V. P. Chavan expected a lot, on this count, from the Press. He said, "We look to the Press to give us all sorts of news from all parts of the world. But the influence of the Press is not limited to being what is called 'Newsy'. The Press has a higher function to do, i. e. to educate the people and direct its intelligence to higher and nobler things in life." The Press did not fail him. Dr. Chavan delivered, in the presence of fifty erudite listeners (who had arrived from Pune, Thane as well), a series of lectures on the subject, titled "The Konkan and the Konkani Language" under the auspices of THE ANTHROPOLOGICAL SOCIETY OF BOMBAY during the span of three months. After the second lecture was delivered on Wednesday evening, the 5th September, 1923 (All the three lectures, later on, were printed in Volume XII of the Society's Journal), the Indian Press did shower accolades for the bravery (!) The Times of India (TOI, Bombay), 7.9.1923), a daily of esteem said that the lecture (followed by a discussion) showed that Mumbai (the then Bombay) was not quite as heedless of things of the mind as it was supposed to be. A letter written by some one, namely 'S. V. K.', and published in TOI (5.10.1923) after the third lecture was delivered on Wednesday, the 3rd October, 1923, mentioned Dr. Chavan as a member of a backward community and opined that those who had the fortune to listen those lectures, enjoyed a literary treat, which was hardly to be met with in scientific associations those days. He further underlined that those lectures revealed a depth of knowledge, considerable accuracy, high culture and hard work in the absence of any available literature.
Konkan and the Konkani Language, Dr V P Chavan
ISBN : 8120606663
This book is the reprint of a series of lectures delivered under the auspices of
the Anthropological society of Bombay in 1923 by Dr V P Chavan.
On the backdrop of these lectures, TOI (11.10.1923) was worried about the future of Konkani. Further, it suggested that the only thing likely to arrest the decay of Konkani would be a revival of that particular kind of local patriotism, which had emerged as a political phenomenon in more than one part of the world! The Prajamitra and the Parsee (Bombay, 9.11.1923) has sketched the lectures as follows: "Dr. Chavan had to break his own ground in as much as there was next no previous guide. The elementary grammar published several decades ago by Dr. Gerson Da Cunha was not available to him. He describes Konkan, traces its relation to Maharashtra, defines its geographical limits, for a moment turns aside to dilate on the castes and creeds of Konkan, establishes the proposition of Konkani as a feeder of the classical language, refers to the destructive activity of the Portuguese, comes down to the number of Portuguese words, and discusses its relation with Canaries… One cannot but admire Dr. Chavan's concentration, which helps to reveal the unknown depths of the Konkani, which one would, otherwise, have regarded as a negligible patois.''
Instantly, one would remember Itihasaachaarya Vishwanath Kashinath Rajwade, who had mentioned that the literature written, during the 17th century, by the catholic missionaries in Goa was in Paishaachee language and great scholar Prof. Anant Kakaba Priolkar proved the contention as a wrong one. The Bombay Chronicle (Thursday, 21.2.1924) had to take cognizance of the lectures delivered by Dr. Chavan. It observed them as follows: "The innate conservation of the people of India has given a vitality to some of the dialects, which is truly wonderful. Take, for example, the Konkani dialect, which is spoken at present by at least a million and half people in Western India. Though it has had no alphabet of its own and no literature worth mentioning, it has continued to live even in a vigorous condition at times, for nearly 1500 years, and this, in spite of the fact that a sister language very closely allied to it, namely Marathi, with an alphabet and a literature of its own, has been trying to crush it out of existence by the sheer force of its wider popularity with the governing class. The study of the origin, growth and vicissitudes of such dialect, therefore, cannot be lacking in interest to the students of anthropology, and Indian history." An evening periodical Advocate of India (Wednesday, 27.2.1923) complimented Dr. Chavan for his learned paper and passed on some remarks as follows: "Though the dialect has held the field for fifteen hundred years, Dr. Chavan, is not sure that it will survive a century more, since Konkani-speaking Christians are taking more and more to the use of English or Portuguese even at home…Still, to philologists the charm of this dialect, which has shown such a wonderful vitality for a thousand years and more will never cease."
The Voice of India (Tuesday, 4.3.1924) had appreciated Dr. Chavan in the following words: "There is no tawdry exterior betokening laboured vacuity in Dr. Chavan's studies. The disciplined thinking of a scientific man, this – he imports into the letters…Unless we are greatly mistaken this scholar and medicine man, in more senses than one, is the author of those enlivening letters contributed to the Times of India under the nom-de-plume of Kunbi. …broad-minded appreciation is reflected in Dr. Chavan's pages, which gives ample evidence of how the apparently insipid pursuit of antiquated dialects can be translated into refreshing studies infusing in the reader a desire to hear more and more from author." The lectures delivered by Dr. Chavan convinced The Indian Mail (Thursday, 20.3.1924) about the distinct quality of Konkani language. As such, this periodical wrote, "People in these days are inclined more or less to adopt a language, which has the greatest utilitarian value, and it is therefore a significant feature of the Konkani language that, in spite of its not being a written language, it is still a live one." While exclaiming kudos to Dr. Chavan, The All India Saraswat (April 1924) said, "Dr. Chavan has an interesting explanation to offer regarding the origin of the words Konkan and Canaries. He suggests that the former is derived from kim kinnwam – what is this drug? The drug being the intoxicating beverages derived from palm trees abundant on the west Coast. As to the latter word, Dr. Chavan shows that it has no connection with Canaries language as such. The expression Lingua Canarina used by the Portuguese to denote Konkani was only meant to suggest that it was the language of Canarins or Christians born of Indian parents." The Goan World (May 1924) expressed a sense of gratitude for Dr. Chavan's onerous but fruitful research, saying, "As Goans, we consider it to be our duty to convey to Dr. Chavan our deep sense of indebtedness for the invaluable work he has done on behalf of the language of our forefathers, and we feel sure that the highly appreciative words in which the leading news and political organs of this city have spoken of his scholarly achievements. "We, as Goans, have it in our hands to contribute something to the great national movement that is now being spiritedly carried on, by cultivating our purely Indian tradition and by making an organised effort to save our mother-tongue from its present state of stagnation."
All these views on Konkani language and reviews on the lectures delivered by Dr. Chavan in 1923 form into a significant documentation for the students of history and languages.
-----------------------------
© Dr S M Tadkodkar
-----------------------------
AMCHIGELE KONKANI: PROVERBS, METAPHORS, IDIOMS & EUPHEMISMS
AMCHIGELE KONKANI: PROVERBS, METAPHORS, IDIOMS & EUPHEMISMS
CONTRIBUTOR: Udyavara Suresh Kamath
raa.ndayi ullaitaa aassa
Devanaagri: रांदयि उल्लैता आस्स
Literal Meaning: The curry is talking.
Context Of Usage: The curry is soured/spoilt.
___________________________________________________________________
CONTRIBUTOR: Veena Shanbhogue
Vatteri Vathale Vagha, Makka yevnu khaga.
baDDi diivnu peTTa khaavche.
Devanaagri: बड्डि दीव्नु पेट्ट खाव्चे
Literal Meaning: Give a stick (to someone) and inturn get beaten.
Context Of Usage: Try to help and end up causing a problem for oneself.
chaaraaNe ku.nkaDa, baaraaNe maasolu
Devanaagri: चाराणे कुंकड, बाराणे मासोलु
Literal Meaning: Four annas for the chicken and twelve annas for the masala.
Context Of Usage: A relatively inexpensive thing that costs more to maintain.
Miscellaneous Notes: Four annas make up the equivalent of present day 25 paisas (or a quarter of a rupee).
Kalika devika Bammunu Na,Bethaalaka Baila na.
Jalke Kulleka Karte cheepa.
raatri paLayile baayi.ntu, disaa vachchunu poDche
Devanaagri: रात्रि पळयिले बायिंतु, दिसा वच्चुनु पोड्चे
Literal Meaning: Fall during the day into a well which was seen in the night.
Context Of Usage: Doing a mistake inspite of having forseen the consequences.
baaNshire aa.ngTika jari borDera
Devanaagri: बाण्शिरे आंग्टिक जरि बोर्डेर
Literal Meaning: A kitchen towel with golden stringed border.
Context Of Usage: An useless thing being advertised as a posh item.
Miscellaneous Notes:The word 'borDera' is infact a direct usage of the English word 'border'.
Apneyle Payya mullhanthu kuwale Kustha,Vingadaley Gharanthule sasama venchuche.
Kaileyle Peela Kaileka Chanda.
Gaavanka Raayu , Aavsuka Puthu.
Aarthi getleri Ushnna,Theertha getalari Shaitya.
Channini Ujwaadaka Satthe dharlale vyara.
Nonchantulo Bhattu
Kulthanthulo Maavllo
Ek kopana bayntu udleri dhaa kopu ailerichi wairi yevcha jaina.
Bhattana bayntu udleri mellho[got] saligraamu.
Khaddana gellele maana goddana yethave.
Goo monu bhairi uddochai nai, shaena monu gharantu hadchai nai.
Huna udka gotu.
Arsin mandige (jaundice) jalleleka gauvn bhari halduve dista.
Ranni paideka kanu gashtilave.
Nelari davarlyari mooyi vartha, vayri davarlyari kailo varta.
Kurdo dolyaka gajgo aada.
Kurdekai kannso changu.
Ujjaka toopa rokoche!!
Ghayaka meeta lavche
Vinash kalaka vipreet buddhi!!!
Chordubala golirukka paallha!!!
Duddana jevonu muthana havonche!!!!
Ambya rukkaka ambo shivay ponosu jattave?.
Alshaka bikkanda bhaji malyari, nakka harvenchi khatha mhanalo kai!!!!!
Hasti bhagleri kitle bhagatha? kirngule bota sujaleri kitle sujjatha?
Hanthula ashile titlechi payu sodka!!!!.
Moosu khavnu jathi sodche!!!.
Ujjo nathille Dhuvvoru Yethave?
Kunkadalaggi Nimgunu Masolu Vattithave?
Ragade Dhano Ragadeka Jadave?Vaalika Phala Jadave?
Mukari gellelichi Donni Makshi yevche!!
Dha Balanjallalena , Doni Balanjallelegi nimgile Kai!!
Venku Panamburaka Chamkale manke !!
Mattheri Rakayile Uddaka Payyari Yenashi Rabthave?
Chelliye charduvaank raandapa shikoka monu na, mashi vaasraka pounchaka shikoka monu na !!
Ashaana saasama virkatha monu bota aada dharta, tashaana hasthi devnu vatha assa.!!
Galleri tukunu vontinthu !!
Hagekaaru ailyaari hodi mannayi davarka !!
mashi phatiri paavsu !!
Dabbeka takeetha dhankne!!
Joona jallaleka nankuta laggana!!
Anpathyaachaka pannari vaadi, makka nelaari vaadi !!
Ganvcho choru puni vai, parganvcho sobagu nai !!
Ushte haathaana kaillo thain dhaavndaina !!
Vonnthika matthe dhadanu ghevcheve?
Choraale mana choraaka khathaa !!
Thonna bota ghaallerii chaabbuka yenaa !!
Haandiri chardaaka ghevnu gaanvu bhari chardaaka sodhita kai !!
Choraale hathaanthu bigaathu dillale manke!!
Thang-thangele haathu thang-thangelechi matheri !!
Dhavi hasthi posche !!!
Hollho hasthe paadhu !!!
Payyana Gallali gaanti hathana mekollu jaina!
Walle onthika pathoru marle manke!
Soone amka chabta monu ammi sooneka chabcheve?
Bailmansheka tigele chardu chanda darleka vingadali baila chandi!
Phulla phormbolakai puske ghani waggi yetha!
Mantharika wakkala kelle manke!
Majra bodari divvo davarle manke!
Kanto kanteinachi kadka!
Thusuva bithavailo ingalo!
Kalhena shingarnu yethana gori wochunu bayintu udli!
Chaari aidana ottu jalari shabdu jainathile rabthave?
Thonnantu theelhu timbana !!
Eka ullailyari uune doni ullailyari chada !!
Ranniri thukunu ujjantu padche manke !!
Yelu thukunu theelu thain!
Lonniyanthulo aggolu thandle manke!
Hattha kanto!!!
Bharlalo kallso!
Ardha bharlale kallso shabdu karta!
Manthaarika vakkala kelle manke !!
Surveka ayyilo kaanu puni vai maggiri ayyile sheenga nai!
Thaggele ghodeka thinneechi paiyu!
Kashta kalerichi ishta meltha!
Duddu divchaka shukraru!
Annana hoyyilechi amberukuka galpasu gevcheve?
Kellele karma khavche!
Sithanthulo patthoru!
Devu itthe kumbaruve?
Aakashaka nisanni davarta!
Pottaaka bhuka nathile brahmanaaka thakkanthu pathoru aylo kai !!
Daanta aashile tavali kobbu na, kobbu ashile tavali daanta na!!
Majjara dolei dhampunu doodha pitha maleri loka kalnavei ?
Jarlena meesha riggaile manke !!
Bappusu seru jaleri puthu sawaseru !!
Matheri thukkunu khandheri ailein !!
saatha maheineiri jallalive ?
chiklantu pathoru uddailyri amgelechi angari ussalltha !!
kunkadana rananatleri phalle jainave ?
doleri yevche badlaka dole arari yevvo !!
Onnthikai kaanu assa !!
sooryale ujwadaaka divvo dharle manke !!
kaaniyentulo manthari !!
chaari seru meeta !!
kobbu goda monu gaanti sametha khavche nai !!
Doni donniyentu paayu davarche !!
Aaji suryu kanchaana udayu jalla ?
Thondaari marle manke jawab dille !!
Swargaaka thinnee genu !!
Bhuthaaka phoola galle manke jalle !!
Sakala pallhe tikini nanka vairi !!
Rinaa phondu kornu ghalla !!
Koppariga mellhaa ki kasane ?
Pallhailyari thonnanthu phadikudko galka !!
Nelaari naa !!
Aalsunu khatha !!
Musundu phugla !!
Dhavo jarlo/dhaven karaathe !!
Angaari ailaave ?/darshana ailaave ?
Soone santha !!
Haggunu saronu davarla !!
Chikke/gatti amsaani assa !!
Haathu udaare !!
Haathu hodu !!
Hathu guddo !!
Dolhe hodda !!
Jeeba sappaayi/Jeeba sadeela !!
Mathenthu kappusu naa !!
Mathe sadila !!
Addi shikkilin hadda thain khathachi!
Sooneka simhasanari baskaraileri thakka gobra ponduchi aatwatha !!!
Matheiri baskaraileiri haggatha!
Mathe vailena hathu kadche!
Angaari ponnu ulloche!
Jeevu sonu dhanvche!
Jeevu khavche!
Doz maarche!
Cherbi wadlya !!!
Vaathi divche!
Haathu divche!
Melle manke needa!
Mittaka thain gathi naa!
Pushshile pitta polo !!
Payyaa vaanna payyaa shivay maatheri davarche nai !!
Charnu oche mooyi tukunu ubbunu voche kaaileka tai sangla !!
Sagle Ramayana aikunu jathari, Ramu Seetheka kasa javka monu nimgile kain !!
Kappanichaka palaylari mashi vasru baala neeta karta kai !!
Vaaghale bhainya vaaghaka, vindrale bhainya vindraka !!
Melleri samudrantu ponu morka, pottu todantu nai !!
Phudhe doni payu ashile, atha chaari payu jalla !!
Amgelo haathu Jagannathu !!
Mellele mashika doodha chadha !!
Mankadaale hathaantu manikya!
Thonda kasane! chowti ragado si haltha assa ?
Holle katharta / sodtha !!
Aaji kassane, ganji mattaka jevnaka vocheve?
Aakash paathaala ek kelle !!
Gaanv bhari dangura maarle !!
Meeta - mirsaanga galnu sangle !!
Samma phaphunu solle !!
Bikkandaka chikke ruvalo mandla !!
Limbiyo pilche !!
Aaji kaapika khana kasane? kuldevu ve?
keeru so ullaitha !!
Guddeka guddo aada assa !!!
Phulla undya vottu vayu devaalya pavlo !!
Udkaanthu homu kellya vari jalle !!
Sankata aylyari Venkatramanu !!
Jalkya majjara !!
Takka chikke vayri davarlo !!
[H]askaaru-[H]uskaaru naa !!
Hanve kasane mashi dolo konklaave ??
Nanka tudiyeri kopu !!
Mankdaalo upaasu !!
Pitta bomme !!!
Sudramaata !!!
Musu maartha assa !!
Ithe ? suru jalleve ??
Keerthimukhu so!! kain palailyarii assa mu !!!
Jeevaaryaetha !!!!
Ghoderi baisunu ayilo ve ??
Jeevu taandunu yethave !?
___________________________________________________________________
Contributor: Sabitha Shenoy
mullaka addavana madkeka bharavana.
vairi polonu tukarlari tondari padta.
nesu nattila patta kappad.
bammunu nave kappada hadta monu ashile kappad bhanshire kellale.
jambul piktana kailya tonda ruuva.
anna bhaini akka thi makka nakka, amma bhaini maushi thi makka pauchi.
nanchuka kalnathilaka angana ore.
ajjegdele goparadaana.
peeta ashile bobbo korche.
venkule rayappaka kambali.
ashich kharchilari ananthadichi aasthi paavna.
tirupati venkataramanu duddu sona, dharmastala manjunathu uttara sona.
baisunu khellari kopparige paavna.
darlo baisunu vaitu jallo, bailmanishi bhovnu vaaiti jalli.
dha janali aavsu vatteri palli.
raatri palayile baintu disache podche.
hasti bhagla kodkyantu vachchana.
mashi phatiri paavsu.
patradya panna vaile uddaka.
duddaka ayilaka mhashi mola kasalaka?
vardike mantvantu paddo soddunu ayilavari.
porne paan piktana tarne paana hashile kai.
tanaa raashintu soova sodhlyavari.
dha janaana chamkuche kadena taana kirlana.
konai melnatlari kaderi bhaggu jalari bhaggu.
gaon kadche gaonkaraka haggu naa bhaat.
tuppa aasheka guvva lendo gillalo.
gaujentu kaartipunnava.
pitle kannancho
tael pallaloyi rallo, naarlu pallaloyi rallo.
bhangra peskati
mukavaili mhashi naagdi monu maakshichi mhashi hashili kai.
dhave ghodyachi chaakri.
karte kantuche
pattala guvantu phattoru udailavari.
bebbo gillalo divvodu shi palla.
chari juttunottu meltachi, doni phanti ottu melnachi.
kaanu phunki malari vaan phunkle.
soonaeka neshe dillari madke tonda ghalta.
madae vavanthalaka kesu jadu ve?
phattoru khaavnu jirochi praaya !
ujjo khaavnu ingalo hagta.
ujja parayi shi.
mattari maanikya davarla (headstrong)
molla takita mhaalu: khaana takita shena !
ammaka vardika (loss)
shendi dovorche (deceive)
gandi vaati dovorche (deceive)
phanna ghalche/vaalnu ghalche / pilche ( to talk bad things about somebody in their absence to creat misunderstanding)
pottantu mirsang chirdila vari (jealous)
timbat ghalche (to make somebody wait)
gandiri maarlari daantu podka !
soona gu jai malari kanta rashiri hagta (bahut bhaav khaana)
kodu mallari sanka paashaana shi- very bitter
saatt pakle vailo- very unstable person
yamale gandika shinga ghaltalo- very smart person
dolyantule kajjal khamptalo- smart thief
gaandi bota ghalnu hungatalo- Miser
tashile bodaka lashili kutti.
shoodra mhatu-(something lousy)
khinatela- stunted growth;dwarf
allu vallana -very weak
shingaliku-funnily dressed
khambo nattile ghar, chembu nattilo bhattu, ambo nattile jevana, embo chablavari sarvajna
___________________________________________________________________
Contributor: Archana Mallya
Hodi dhoni makshichi saana dhoni vattha.
Venku na panambura gellele vari.
Duddu malaria jeevu sodtha.
Bramamchale guva rakkile sunnya vari.
Ussaltha gi kasshi.
Ussaltha ve, vassa mallyari kopshi.
Tu mallyari tujjanu mhantha.
Gandiri marlyari danthu padtha.
Nannye ranni kaanu ghasla ve
Kanna vare gella ve.
Gandi mussu riglla ve.
Sunne gelle santhe, khavnu aille kante
Sujjile majjar asshi.
Vindracheri kopparri ghara ujjo divche.
Parli khelle majjar asshi
Hardyari baisunu khatta.
Paatalla jalyari pollo, daati jalyari baakri.
Tussva bashilo kollo paayu phapunnu dhavlo.
Gu nayin bhattu hagillo
Gu paallayile dukkarashi hastha kassale.
Kajjalmova gandini phalle jayana.
Gavanka raayu jalyari, aavsuka puthu chi.
Bhallu khakya galnu , gaavu purai sudunailo.
Majjra bodari divvo davarlya vari.
Gharra vassu movcha aayillo
Dollyari ayille pathiri gelle
Dudhailye ka mashi molla kassalya ka.
Kaillo boshaka anni ghello modchaka samjalle.
Vaara sollele sheetha undye yenna.
Vashya heendu uuvarra gellele vari.
Maryadnathilo gavanthu hoodu.
Budanthaka teeni kaden.
Mellele mashika duudha chada.
Nonchantullo bhatuso.
Vatteri vattale vaaga, maaka yevnu khaaga.
Uthakanthu haagille vairi yethachi.
Tuven karthana kailya bodda dhave jatha.
Su mallyari sukrudo mantha.
Biggan takita bighatu.
Mathye kullanke kartya chipputa.
Rayya dhuveka phulla ghoshani marllele vari.
Rayya baillena puski marlyari gavun bhari ghanni.
Maynka jalla ghayu naakashile kaddena, jaavayin jalla dactru.
Ekka lenda kudke purai.
Devan korche barryaka/changgakachi.
Ghummataka Baila na, Kaalkadevika bammunu na.
Bharllelo kallso chakundena.
Dhuvoru laggilo vassaso.
Tondari Bhath maarlyari lhayi javka.
Aavsu pallaytha potta, bailla pallaytha motta.
Potta bhorruka gello yeni, motta bandugellelo aillo.
Surve ayille kaanu puni vhayi magirayille sheengha nayin.
___________________________________________________________________
Contributor: Sheshagiri Shenoy
Bonk.che sooone chabana, chabche sooone bonkana
Gudari (Hill) vachay gaeke (cow) dhaan korunu devache
changa gaylaari angaa goo!
hasthik(elephant}eethya ghantae{bell}
kadgee pikocha polochay
barlalay kalso chakunday na
dhvra{smoke} madaynthu karthik punav!
Pato nathiley rail sudochaye
mattayari baisailari thona hagatha
hagujathana hithal sodhuche
sooru pillalai mankad ashi keltha
dhadhan pickoche
thu malarai thuj-annu
umthi kalsari udha galche
kham thak mam
shayne seetha
bod dhaatte
ashthe potathola
puske nana - nanne
kopu nankka thudherayi
___________________________________________________________________
Contributor: Srikanth Mallya
boD khaavnu kumbo kelle
Devanaagri: बोड खाव्नु कुम्बो केल्ले
Literal Meaning: Ate my head and made it hollow.
Context Of Usage: An irritating person who talks a lot (on unintersting topics) to give one an headache.
http://www.savemylanguage.org/literature/konkani_ProverbsAndOthers.php
CONTRIBUTOR: Udyavara Suresh Kamath
raa.ndayi ullaitaa aassa
Devanaagri: रांदयि उल्लैता आस्स
Literal Meaning: The curry is talking.
Context Of Usage: The curry is soured/spoilt.
___________________________________________________________________
CONTRIBUTOR: Veena Shanbhogue
Vatteri Vathale Vagha, Makka yevnu khaga.
baDDi diivnu peTTa khaavche.
Devanaagri: बड्डि दीव्नु पेट्ट खाव्चे
Literal Meaning: Give a stick (to someone) and inturn get beaten.
Context Of Usage: Try to help and end up causing a problem for oneself.
chaaraaNe ku.nkaDa, baaraaNe maasolu
Devanaagri: चाराणे कुंकड, बाराणे मासोलु
Literal Meaning: Four annas for the chicken and twelve annas for the masala.
Context Of Usage: A relatively inexpensive thing that costs more to maintain.
Miscellaneous Notes: Four annas make up the equivalent of present day 25 paisas (or a quarter of a rupee).
Kalika devika Bammunu Na,Bethaalaka Baila na.
Jalke Kulleka Karte cheepa.
raatri paLayile baayi.ntu, disaa vachchunu poDche
Devanaagri: रात्रि पळयिले बायिंतु, दिसा वच्चुनु पोड्चे
Literal Meaning: Fall during the day into a well which was seen in the night.
Context Of Usage: Doing a mistake inspite of having forseen the consequences.
baaNshire aa.ngTika jari borDera
Devanaagri: बाण्शिरे आंग्टिक जरि बोर्डेर
Literal Meaning: A kitchen towel with golden stringed border.
Context Of Usage: An useless thing being advertised as a posh item.
Miscellaneous Notes:The word 'borDera' is infact a direct usage of the English word 'border'.
Apneyle Payya mullhanthu kuwale Kustha,Vingadaley Gharanthule sasama venchuche.
Kaileyle Peela Kaileka Chanda.
Gaavanka Raayu , Aavsuka Puthu.
Aarthi getleri Ushnna,Theertha getalari Shaitya.
Channini Ujwaadaka Satthe dharlale vyara.
Nonchantulo Bhattu
Kulthanthulo Maavllo
Ek kopana bayntu udleri dhaa kopu ailerichi wairi yevcha jaina.
Bhattana bayntu udleri mellho[got] saligraamu.
Khaddana gellele maana goddana yethave.
Goo monu bhairi uddochai nai, shaena monu gharantu hadchai nai.
Huna udka gotu.
Arsin mandige (jaundice) jalleleka gauvn bhari halduve dista.
Ranni paideka kanu gashtilave.
Nelari davarlyari mooyi vartha, vayri davarlyari kailo varta.
Kurdo dolyaka gajgo aada.
Kurdekai kannso changu.
Ujjaka toopa rokoche!!
Ghayaka meeta lavche
Vinash kalaka vipreet buddhi!!!
Chordubala golirukka paallha!!!
Duddana jevonu muthana havonche!!!!
Ambya rukkaka ambo shivay ponosu jattave?.
Alshaka bikkanda bhaji malyari, nakka harvenchi khatha mhanalo kai!!!!!
Hasti bhagleri kitle bhagatha? kirngule bota sujaleri kitle sujjatha?
Hanthula ashile titlechi payu sodka!!!!.
Moosu khavnu jathi sodche!!!.
Ujjo nathille Dhuvvoru Yethave?
Kunkadalaggi Nimgunu Masolu Vattithave?
Ragade Dhano Ragadeka Jadave?Vaalika Phala Jadave?
Mukari gellelichi Donni Makshi yevche!!
Dha Balanjallalena , Doni Balanjallelegi nimgile Kai!!
Venku Panamburaka Chamkale manke !!
Mattheri Rakayile Uddaka Payyari Yenashi Rabthave?
Chelliye charduvaank raandapa shikoka monu na, mashi vaasraka pounchaka shikoka monu na !!
Ashaana saasama virkatha monu bota aada dharta, tashaana hasthi devnu vatha assa.!!
Galleri tukunu vontinthu !!
Hagekaaru ailyaari hodi mannayi davarka !!
mashi phatiri paavsu !!
Dabbeka takeetha dhankne!!
Joona jallaleka nankuta laggana!!
Anpathyaachaka pannari vaadi, makka nelaari vaadi !!
Ganvcho choru puni vai, parganvcho sobagu nai !!
Ushte haathaana kaillo thain dhaavndaina !!
Vonnthika matthe dhadanu ghevcheve?
Choraale mana choraaka khathaa !!
Thonna bota ghaallerii chaabbuka yenaa !!
Haandiri chardaaka ghevnu gaanvu bhari chardaaka sodhita kai !!
Choraale hathaanthu bigaathu dillale manke!!
Thang-thangele haathu thang-thangelechi matheri !!
Dhavi hasthi posche !!!
Hollho hasthe paadhu !!!
Payyana Gallali gaanti hathana mekollu jaina!
Walle onthika pathoru marle manke!
Soone amka chabta monu ammi sooneka chabcheve?
Bailmansheka tigele chardu chanda darleka vingadali baila chandi!
Phulla phormbolakai puske ghani waggi yetha!
Mantharika wakkala kelle manke!
Majra bodari divvo davarle manke!
Kanto kanteinachi kadka!
Thusuva bithavailo ingalo!
Kalhena shingarnu yethana gori wochunu bayintu udli!
Chaari aidana ottu jalari shabdu jainathile rabthave?
Thonnantu theelhu timbana !!
Eka ullailyari uune doni ullailyari chada !!
Ranniri thukunu ujjantu padche manke !!
Yelu thukunu theelu thain!
Lonniyanthulo aggolu thandle manke!
Hattha kanto!!!
Bharlalo kallso!
Ardha bharlale kallso shabdu karta!
Manthaarika vakkala kelle manke !!
Surveka ayyilo kaanu puni vai maggiri ayyile sheenga nai!
Thaggele ghodeka thinneechi paiyu!
Kashta kalerichi ishta meltha!
Duddu divchaka shukraru!
Annana hoyyilechi amberukuka galpasu gevcheve?
Kellele karma khavche!
Sithanthulo patthoru!
Devu itthe kumbaruve?
Aakashaka nisanni davarta!
Pottaaka bhuka nathile brahmanaaka thakkanthu pathoru aylo kai !!
Daanta aashile tavali kobbu na, kobbu ashile tavali daanta na!!
Majjara dolei dhampunu doodha pitha maleri loka kalnavei ?
Jarlena meesha riggaile manke !!
Bappusu seru jaleri puthu sawaseru !!
Matheri thukkunu khandheri ailein !!
saatha maheineiri jallalive ?
chiklantu pathoru uddailyri amgelechi angari ussalltha !!
kunkadana rananatleri phalle jainave ?
doleri yevche badlaka dole arari yevvo !!
Onnthikai kaanu assa !!
sooryale ujwadaaka divvo dharle manke !!
kaaniyentulo manthari !!
chaari seru meeta !!
kobbu goda monu gaanti sametha khavche nai !!
Doni donniyentu paayu davarche !!
Aaji suryu kanchaana udayu jalla ?
Thondaari marle manke jawab dille !!
Swargaaka thinnee genu !!
Bhuthaaka phoola galle manke jalle !!
Sakala pallhe tikini nanka vairi !!
Rinaa phondu kornu ghalla !!
Koppariga mellhaa ki kasane ?
Pallhailyari thonnanthu phadikudko galka !!
Nelaari naa !!
Aalsunu khatha !!
Musundu phugla !!
Dhavo jarlo/dhaven karaathe !!
Angaari ailaave ?/darshana ailaave ?
Soone santha !!
Haggunu saronu davarla !!
Chikke/gatti amsaani assa !!
Haathu udaare !!
Haathu hodu !!
Hathu guddo !!
Dolhe hodda !!
Jeeba sappaayi/Jeeba sadeela !!
Mathenthu kappusu naa !!
Mathe sadila !!
Addi shikkilin hadda thain khathachi!
Sooneka simhasanari baskaraileri thakka gobra ponduchi aatwatha !!!
Matheiri baskaraileiri haggatha!
Mathe vailena hathu kadche!
Angaari ponnu ulloche!
Jeevu sonu dhanvche!
Jeevu khavche!
Doz maarche!
Cherbi wadlya !!!
Vaathi divche!
Haathu divche!
Melle manke needa!
Mittaka thain gathi naa!
Pushshile pitta polo !!
Payyaa vaanna payyaa shivay maatheri davarche nai !!
Charnu oche mooyi tukunu ubbunu voche kaaileka tai sangla !!
Sagle Ramayana aikunu jathari, Ramu Seetheka kasa javka monu nimgile kain !!
Kappanichaka palaylari mashi vasru baala neeta karta kai !!
Vaaghale bhainya vaaghaka, vindrale bhainya vindraka !!
Melleri samudrantu ponu morka, pottu todantu nai !!
Phudhe doni payu ashile, atha chaari payu jalla !!
Amgelo haathu Jagannathu !!
Mellele mashika doodha chadha !!
Mankadaale hathaantu manikya!
Thonda kasane! chowti ragado si haltha assa ?
Holle katharta / sodtha !!
Aaji kassane, ganji mattaka jevnaka vocheve?
Aakash paathaala ek kelle !!
Gaanv bhari dangura maarle !!
Meeta - mirsaanga galnu sangle !!
Samma phaphunu solle !!
Bikkandaka chikke ruvalo mandla !!
Limbiyo pilche !!
Aaji kaapika khana kasane? kuldevu ve?
keeru so ullaitha !!
Guddeka guddo aada assa !!!
Phulla undya vottu vayu devaalya pavlo !!
Udkaanthu homu kellya vari jalle !!
Sankata aylyari Venkatramanu !!
Jalkya majjara !!
Takka chikke vayri davarlo !!
[H]askaaru-[H]uskaaru naa !!
Hanve kasane mashi dolo konklaave ??
Nanka tudiyeri kopu !!
Mankdaalo upaasu !!
Pitta bomme !!!
Sudramaata !!!
Musu maartha assa !!
Ithe ? suru jalleve ??
Keerthimukhu so!! kain palailyarii assa mu !!!
Jeevaaryaetha !!!!
Ghoderi baisunu ayilo ve ??
Jeevu taandunu yethave !?
___________________________________________________________________
Contributor: Sabitha Shenoy
mullaka addavana madkeka bharavana.
vairi polonu tukarlari tondari padta.
nesu nattila patta kappad.
bammunu nave kappada hadta monu ashile kappad bhanshire kellale.
jambul piktana kailya tonda ruuva.
anna bhaini akka thi makka nakka, amma bhaini maushi thi makka pauchi.
nanchuka kalnathilaka angana ore.
ajjegdele goparadaana.
peeta ashile bobbo korche.
venkule rayappaka kambali.
ashich kharchilari ananthadichi aasthi paavna.
tirupati venkataramanu duddu sona, dharmastala manjunathu uttara sona.
baisunu khellari kopparige paavna.
darlo baisunu vaitu jallo, bailmanishi bhovnu vaaiti jalli.
dha janali aavsu vatteri palli.
raatri palayile baintu disache podche.
hasti bhagla kodkyantu vachchana.
mashi phatiri paavsu.
patradya panna vaile uddaka.
duddaka ayilaka mhashi mola kasalaka?
vardike mantvantu paddo soddunu ayilavari.
porne paan piktana tarne paana hashile kai.
tanaa raashintu soova sodhlyavari.
dha janaana chamkuche kadena taana kirlana.
konai melnatlari kaderi bhaggu jalari bhaggu.
gaon kadche gaonkaraka haggu naa bhaat.
tuppa aasheka guvva lendo gillalo.
gaujentu kaartipunnava.
pitle kannancho
tael pallaloyi rallo, naarlu pallaloyi rallo.
bhangra peskati
mukavaili mhashi naagdi monu maakshichi mhashi hashili kai.
dhave ghodyachi chaakri.
karte kantuche
pattala guvantu phattoru udailavari.
bebbo gillalo divvodu shi palla.
chari juttunottu meltachi, doni phanti ottu melnachi.
kaanu phunki malari vaan phunkle.
soonaeka neshe dillari madke tonda ghalta.
madae vavanthalaka kesu jadu ve?
phattoru khaavnu jirochi praaya !
ujjo khaavnu ingalo hagta.
ujja parayi shi.
mattari maanikya davarla (headstrong)
molla takita mhaalu: khaana takita shena !
ammaka vardika (loss)
shendi dovorche (deceive)
gandi vaati dovorche (deceive)
phanna ghalche/vaalnu ghalche / pilche ( to talk bad things about somebody in their absence to creat misunderstanding)
pottantu mirsang chirdila vari (jealous)
timbat ghalche (to make somebody wait)
gandiri maarlari daantu podka !
soona gu jai malari kanta rashiri hagta (bahut bhaav khaana)
kodu mallari sanka paashaana shi- very bitter
saatt pakle vailo- very unstable person
yamale gandika shinga ghaltalo- very smart person
dolyantule kajjal khamptalo- smart thief
gaandi bota ghalnu hungatalo- Miser
tashile bodaka lashili kutti.
shoodra mhatu-(something lousy)
khinatela- stunted growth;dwarf
allu vallana -very weak
shingaliku-funnily dressed
khambo nattile ghar, chembu nattilo bhattu, ambo nattile jevana, embo chablavari sarvajna
___________________________________________________________________
Contributor: Archana Mallya
Hodi dhoni makshichi saana dhoni vattha.
Venku na panambura gellele vari.
Duddu malaria jeevu sodtha.
Bramamchale guva rakkile sunnya vari.
Ussaltha gi kasshi.
Ussaltha ve, vassa mallyari kopshi.
Tu mallyari tujjanu mhantha.
Gandiri marlyari danthu padtha.
Nannye ranni kaanu ghasla ve
Kanna vare gella ve.
Gandi mussu riglla ve.
Sunne gelle santhe, khavnu aille kante
Sujjile majjar asshi.
Vindracheri kopparri ghara ujjo divche.
Parli khelle majjar asshi
Hardyari baisunu khatta.
Paatalla jalyari pollo, daati jalyari baakri.
Tussva bashilo kollo paayu phapunnu dhavlo.
Gu nayin bhattu hagillo
Gu paallayile dukkarashi hastha kassale.
Kajjalmova gandini phalle jayana.
Gavanka raayu jalyari, aavsuka puthu chi.
Bhallu khakya galnu , gaavu purai sudunailo.
Majjra bodari divvo davarlya vari.
Gharra vassu movcha aayillo
Dollyari ayille pathiri gelle
Dudhailye ka mashi molla kassalya ka.
Kaillo boshaka anni ghello modchaka samjalle.
Vaara sollele sheetha undye yenna.
Vashya heendu uuvarra gellele vari.
Maryadnathilo gavanthu hoodu.
Budanthaka teeni kaden.
Mellele mashika duudha chada.
Nonchantullo bhatuso.
Vatteri vattale vaaga, maaka yevnu khaaga.
Uthakanthu haagille vairi yethachi.
Tuven karthana kailya bodda dhave jatha.
Su mallyari sukrudo mantha.
Biggan takita bighatu.
Mathye kullanke kartya chipputa.
Rayya dhuveka phulla ghoshani marllele vari.
Rayya baillena puski marlyari gavun bhari ghanni.
Maynka jalla ghayu naakashile kaddena, jaavayin jalla dactru.
Ekka lenda kudke purai.
Devan korche barryaka/changgakachi.
Ghummataka Baila na, Kaalkadevika bammunu na.
Bharllelo kallso chakundena.
Dhuvoru laggilo vassaso.
Tondari Bhath maarlyari lhayi javka.
Aavsu pallaytha potta, bailla pallaytha motta.
Potta bhorruka gello yeni, motta bandugellelo aillo.
Surve ayille kaanu puni vhayi magirayille sheengha nayin.
___________________________________________________________________
Contributor: Sheshagiri Shenoy
Bonk.che sooone chabana, chabche sooone bonkana
Gudari (Hill) vachay gaeke (cow) dhaan korunu devache
changa gaylaari angaa goo!
hasthik(elephant}eethya ghantae{bell}
kadgee pikocha polochay
barlalay kalso chakunday na
dhvra{smoke} madaynthu karthik punav!
Pato nathiley rail sudochaye
mattayari baisailari thona hagatha
hagujathana hithal sodhuche
sooru pillalai mankad ashi keltha
dhadhan pickoche
thu malarai thuj-annu
umthi kalsari udha galche
kham thak mam
shayne seetha
bod dhaatte
ashthe potathola
puske nana - nanne
kopu nankka thudherayi
___________________________________________________________________
Contributor: Srikanth Mallya
boD khaavnu kumbo kelle
Devanaagri: बोड खाव्नु कुम्बो केल्ले
Literal Meaning: Ate my head and made it hollow.
Context Of Usage: An irritating person who talks a lot (on unintersting topics) to give one an headache.
http://www.savemylanguage.org/literature/konkani_ProverbsAndOthers.php
Konkani Literature - An Article
Konkani Literature - An Article
December 2, 2008
The Sahitya Academy in India is one place where the great literary minds of today meet and share their thoughts.
Dr S M Tadkodkar, a prolific author himself, has presented a research paper to the Sahitya Academy in October 2008. Its a brilliant paper that details the state of ‘Konkani Literature’ as it exists today, ofcourse drawing from the history as well. It is worthwhile also to note that Shri Ravindra Kelekar, has been bestowed the prestigious Jyanpith Award. The award for Indian authors is as (or more) prestigious than the Nobel Prize for the literature.
Dr Tadkodkar’s thoughts in the article are expressed in the most simplest of ways possible. Hence making it a brilliant read even for the uninitiated into the Konkani Literary field.
You can enjoy the article at the below location:
Konkani Literature Today - A Research Paper
Wednesday, 26 November 2008
Konkani Literature Today
Konkani Literature Today
A Research Paper read by
Dr. S. M. Tadkodkar
(1) 1/B, S-5, IInd Floor,
Kamat Plaza, Panaji, Tiswadi, Goa – 403 001
Phone: 0832-2423577
(2) Head
Department of Postgraduate Instruction and Research in Marathi,
Goa University,
Taleigaon Plateau,
Tiswadi, Goa – 403 206
Presented during the Meet of the North-Eastern and Western Indian Writers
organized at Pune (Maharashtra) on October 18th and 19th, 2008 by
Sahitya Akademy
(NATIONAL ACADEMY OF LETTERS)
On the outset, let me thank Shri. Sunil Gangopadhyaya, the Chairman of Sahitya Akademy, Shri. Pundalik Narayan Nayak, Convenor of Advisory Board for Konkani and Chairman of Goa Konkani Academy and Shri. K. S. Rao, who is Regional Secretary of Sahitya Akademy for giving me an opportunity to present my research note amidst an august audience,
The Konkani language is spoken along the Western coastal land of Arabian Sea. There, we come across varieties in spoken structure of the Konkani. Obviously, all that is being written in these varieties could have been termed as Konkani literature. Regretfully, one has to mention here that due to political ambient – surrounding – a large number of Konkani speakers cannot embrace the Konkani language officially, which has been included in the eighth schedule of Constitution of India and which is the state language of Goa.
Karmelin, by Shri Damodar Mauzo.
This book is the English translation of the original Konkani novel. Translation by Vidya Pai. ISBN-10: 8126019182
Today, when we say about literary language of the Konkani, then we have to consider the literature produced in Kannada, Malayalam, Devanagari and Roman scripts, which is spread in the states of Karnataka, Kerala, Goa and Maharashtra. I am not aware of any other fact about such a language, which has as many as four scripts that are being adopted at various places for reading, writing and publishing valuable literary books in a quite large number.
Whenever we mention about standard Konkani literature, then we just cannot overlook the literary contribution in the scripts, which are mentioned above. Quite often, we come across these two terms ‘Modern’ and ‘Modernity’
Literature in this, which is one of the most beautiful languages in India, can be viewed in sequence of the concepts ‘modern’ and ‘modernity’.
‘Modern’ is the concept, which relates to the specific times, which identifies to latest style of life. It may also be defined as “contemporary or characteristic of the present moment in time” or “modern is applied to writing marked by a strong and conscious break with tradition”.
The term ‘Modernity’ indicates to the values based on rationalization of thoughts. It is believed that the modern sociological thought begun with Ibn Khaldun, an Arab sociologist from North Africa. His Muqaddimah was written in 1377. Modernity is a term that refers to the modern era. It is indeed distinct from modernism; this term is viewed in different contexts viz. cultural and intellectual movements of between 1630 and 1940. Modernity is a term, which also indicates to the universal values of life accepted in modern era. One may hold an opinion that the process of modernity ended in last phase of the 20th century. It is replaced by values of post-modernism. One might stretch the concept of modernity “to cover the developments denoted by post-modernism and into the present”.
Well, on this backdrop modern period of the Konkani literature could have been viewed simultaneously in terms of advent of values of modernity as well. If this view-point is accepted then the day of liberation of Goa on December 19, 1961, from the 450 year colonial oppressive rule of Portuguese regime can be said as the beginning of modern period and modernity in the Konkani literature.
Late Dayanand Bandodkar, the first Chief Minister of the then Goa, Daman and Diu, (which was union territory in the Union of India) and his able lieutenant late V. S. S. Karmali, who was Education Minister of the government, opened primary and secondary schools at every nook and corner in the newly liberated part of Goa. This enhanced literacy among the peasants and other working class. Generation after that educational upheaval offered a special flavor to Konkani literature.
Pictured: Shri Padmabhushan Ravindra Rajaram Kelekar
Update: Since Dr Tadkodkar's presentation of this paper, Shri Kelekar has been awarded the prestigious Jnyanpeetth Award.
The much honoured writers in Konkani today are Padmabhushan Ravindra Rajaram Kelekar, A. N. Mahambro, Damodar Mauzo, Chandrakant Kenny, Hema Naik, Mahabaleshwar Sail, Ramesh Veluskar, Madhav Borkar, Edwin D’Souza, Devidas Kadam, Dilip Borkar, N. Shivadas, Sheela Kolambkar, Meena Kakodkar, Gajanan Joag and others.
Among the research scholars are Suresh Amonkar, Harischandra Nagvenkar, Mrs. Priyadarshini Tadkodkar, Dr. Kiran Budkulay, Dr. Ram Bhat, Dr. Maria Aurora Couto, Dr. Madhavi Sardessai and others.
Other renowned writers are Prakash Thali, Dr. Prakash Vazarikar, Prakash Parienkar, Dr. Jayanti Nayak and others.
I also should make a special mention of periodicals in Konkani. They relentlessly assisted the litterateur folk representing Konkani language and literature. Some of the names are ‘Rutu’, ‘Jaag’, ‘Kullagar’, ‘Konkani’, ‘Konkan Times’, Sunaparant, Vavraddeancho Ixtt (Roman-script Konkani, weekly), Gulab, Bimb .
It is very difficult to embrace all genre of Konkani literature, in such petit note. As such today, I will try to focus only on the Konkani poets and their sensibility in view of the modernity.
But, one thing should be made amply clear that when we make mention about certain Konkani literature, which belongs to modern period, some historians do not hesitate to mention Ligorio da Costa, Carlos Trinidad Dias and Arnold Menezes, who were the early Mando (a semi-literary folk song) composers of the 19th century and also Smt. Kamalamal, Narahari Prabhu, Suhas Dalal and Manjeshwari Govind Pai, who wrote devotional poetry during the late 20th century.
Konkani poetry began shedding its traditional skin after Kashinath Shridhar Nayak (1899-1983, whose pen-name was ‘Bayabhau’.). His ‘Saddyaavelim Fulam’ (1946) opened the doors for those who longed to break the shackles of traditional mode of writing. He is therefore known as the pioneer of Konkani modern poetry. Another attempt of shedding anxiety of influence is seen in the ‘Painzonnam’ (1960) of Padmashree Bakibab Borkar (1910-84), and so also Manohar Sardessai for the concept traditional exhibition of love and philosophical, introspectional trance, still remained at the core. Basically, he and his contemporary Pandurang Bhangui, Shankar Ramani (1923-2004) represent the poetic genre of the entire classical romanticism in the Konkani poetry.
Traditional patriotism i. e. love for country cannot be shed for it is omnipotent. It presents glimpses of anxiety of influence, in the poetry of Manohar Sardessai (‘Gomya Tuzya Mogakhatir’). Waman Sardessai (1923-94, pen name ‘Abhijit’) was a freedom fighter. He said, “Silent is my sorrow like nameless wild flower in forest” This element, indeed, represented the contemporary Konkani poetry.
This poetry was rich in idiom and had assurance of touch as well as touch of assurance. It had dipped in the realm of solitude and at times into recluse and silence. These and other poets were singing a swan song. When they came across the stark naked reality, they screamed saying that the contemporary ground reality was not the dream they had visualized. Their dream had shattered! Shankar Bhandari’s (1928-87) ‘Ganarajya’ is a satire which presents contradictions in the basic value systems of romantic and classical politics and stark naked ground reality. “Gonnachem ailem raj, khoyancho Gonna konn janna.” (We say, Ganna’s – Common man’s - rule has arrived, but who knows Ganna – the common man? Which Ganna?)
In this note, I have attempted to present, through a bird’s eye view, the glimpses of modernity in the Konkani literature today.
Sociological thought, which is omnipotent in the modernity, is distinctly visible in the poetry written by Padmashree Raghunath Vishnu Pandit (1917-1990). Pandit gave a war cry against social injustice and inequality, hegemony and hypocrisy. He, apparently, was the torch-bearer of this era from 1963. Earlier, stray instances did take place, which may have links with sociological thought, e. g. a poem by Adeodoto Barreto (1905-37). He addresses laborer class in 1937 in his poem ‘Bekaryanc’. He also longs for liberation of Goa from Portuguese rule and unification with India. His dream came true in 1961. But the spurt for sociological thought in Konkani poetry is seen only after 1963. Manohar Sardessai rightly said once that Pandit’s poetry is rooted in the Goan soil. His poetry brought in rustic language.
Pandit was followed by a rich generation of poets, which indeed brought the genuine touch of modernity. The first among them is Nagesh Karmali. Pandit did not foresee a classless society, but Karmali did and advocated for it. He opposed the measures, which are repressive in character. He adhered to force revolts and revolutions. This was only the medium for the creation of a free and democratic classless society, at least in theory. The transition from feudal institutions to modern institutions was marked by a series of revolutions, reference of which is found in the Karmali’s poetry.
Karmali, intuitionally a socialist, says,”Poetry had visited me in several forms, sometimes soft and silent, at times troubled and all at ease. At times (it came as if) roaring destruction like invading waves.”
Another tall descendant of Pandit is Pundalik Narayan Nayak. His ‘Bangarbaeel’ (the bull, which is not castrated) is the perfect and ultimate product of tyranny. As such, he appears to be oppressive. He would not listen to injustice and would surge ahead with might. Pundalik’s poetry worships equality and comradeship, but he is not canonically a communist. His, the then, poetry did not believe in popular democracy, but his plays have trust in it. While Pandit’s poetry brought in rustic language, Pundalik’s poetry nourished classical brutality. It is its forte.
He says, “You just cannot castrate the bull / You have no guts to sell the bull / Let my bull go, wherever he desires / Let him do that pleases him / The bull is the savior of fifty two generations / The bull is the descendant of my race.”
But even his staunch critic will not deny that Pundalik’s poetry is brutally honest. I strongly feel that his poetry destroys the unpleasant but uncanny, weird and necessities of the times in which he lived.
Vijayabai Sarmalkar did ask about woman’s stature in the then social matrix. But her voice does not appear to be dominating. To fill in the gap of strong voice of a woman, some of poetesses viz. Hema Nayak, Nutan Sakhardande, Shakuntala Arsekar, Jayanti Nayak, Prashanti Talponkar, Shanti Tendulkar, Maya Kharangate, Neela Telang ventured upon social inequality. Some of them are romantic feminists. Rather the number of female litterateur exceeds the male writers in Konkani literature as far as impact of modernity is concerned.
Glaring point of ‘modernity’ is that it postulates encouragement of advance or progress in useful sciences and arts. Surprisingly enough, Konkani poetry does not glorify this aspect of modernity. Especially, another modernist poet Prakash Padgaonkar does not have any admiration for ‘rapid, unplanned and senseless industrialization.’ This poet is a romantic modernist. Universally, sensibility about human agony lies beneath the essence of modernity. This is evident in the poetry of Padgaonkar.
While Shivanand Tendulkar, Arun Sakhardande, Su. Ma. Tadkod (pen name of Dr. S. M. Tadkodkar) have ardent faith on approach to the modernity, the other glaring names are of Sudesh Lotlikar, Jess Fernandes. Apparently, they do believe as the American Christian fundamentalists still agree with Martin Luther who recognized that "Reason is the greatest enemy that faith has; it struggles against the divine word, treating with contempt all that emanates from God."
Tendulkar (pen name – Kashinath Shamba Lolienkar) represents the vein of radical existentialism in Konkani writing. He believes in this context that man defines himself. Though this belief has a part of philosophical bearing, it indicates the presence of tenets of modernity.
Neelba Khandekar could have been one of the fore-runners as far as the concept of modernity is concerned. A strong germ of modernity exists in his poetry but it slips in the realm of radical existentialism.
Rajay Pawar could have been another descendant of Pandit, Karmali and Pundalik Nayak. Surprisingly, it is apparent that, the commitment vanished in course of time.
One cannot disagree that people have begun in believing that modernist shop has global implications. Reason is being searched to comprehend this failure. The approach, which is in the name of sociological thought under the pretext of humanism, has come under various scanners. Modernism is a flaw, corrupt in the name of modernism and humanist tradition and has played itself out and is now floundering and directionless. If Modernism is at an end, we are now facing a new period. The name given to this new period is Postmodernism.
But this viewpoint or commitment is not imbibed as yet in the Konkani poetry. But poets write for joy. An attempt of shedding anxiety of influence is not seen for the concept traditional exhibition of love and philosophical, introspectional trance, still remained at the core.
Uday Bhembro, Ghanekar Bhicajee, Tomazinho Cardozo, (1941), Yusuf A. Sheikh, Gajanan Raikar, Sharatchndra Shenoy, Ram Prabhu-Choddanekar, R. Ramnath, Dattakumar Vyankatesh Kamat, Paresh Narendra Kamat, Shashikant Punaji, Gulab Vernekar, Guadulup Dias and others, Suresh Borkar are the core romanticists of Konkani poetry.
Yusuf Sheikh says, “In these entangled threads there are knots, and many minds are entangled in these knots.” Suresh Borkar says, “What does my life lack? Receiving is joy. Giving is joy. Cup of my life is full of happiness.” Both these poets represent the poetic genre of the entire classical romanticism in the Konkani poetry.
Bibliography:
(Please note that the dates given against some of the names need corrections.)
1. Bakibab Borkar (1910-1984), ‘Painzonnam’ 1960 and ‘Sasai’, 1980
2. Barreto Adeodoto (1905-1937), ‘Bekaryanc’ (the only poem), 1935,
3. Bhandari, Shankar (1928-1987),
4. Bhembro, Uday (1939), ‘Channyache Raatee’, 1966,
5. Borkar, Madhav (1954), ‘Chonvor’, 1969,
Vatacheo Sanvelleo’, 1972,
‘Uzvaddacho Rukh’, 1975,
‘Porzollachem Dar’, 1986,
‘Yaman’, 1999,
‘Avyaktachim Gaannee’, 2002
6. Borkar, Suresh (1938), ‘Vajrathikam’, 1985,
7. Bhangui, Pandurang (1923), ‘Odrushtache Kalle,’ 1972
‘Dixttavo’, 1972
‘Chanfelli Saanz’, 2000
8. Cardozo, Tomazinho - ‘Mando’ and ‘Pakllyo’,
9. Kamat, Paresh Narendra, ‘Allang’, 2000,
10. Karmali, Nagesh (1923), ‘Samvar’, 1974
‘Zoargat’, 1975
‘Vaunshvrukshanchem Dennem’ 1992
‘Thang-Athang’, 2003
11. Kharangate, Maya, ‘Kayapanjee’,
12. Khandekar, Neelba, ‘Vedha’, ‘Suryavaunshi’, 1999
13. Kelekar,Yeshawant, ‘Punzalelim Fulam’
14. Lolienkar Kashinath Shamba, Kashi Mhonnta’, 1982,
‘Kashik Mhannachench Paddtta’, 1997,
‘Kasheen Mhannapachem Soddunk Naa’,
15. Lolienkar, Prasad, ‘Mullam’, 1995
16. Naik, Kashinath Shridhar (Bayabhau) (1899-1983) – ‘Saddyaavelim Fulam’, 1946,
17. Naik, Bharat, ‘Mana Mana’, 1982
18. Nayak, Manoraya, ‘Kalp-Ful’, 1993
19. Nayak, Pundalik Narayan 1952), ‘Ga Ami Rakhanne’, 1976
‘Raan Sundari’, 1974
20.Padgaonkar, Prakash (1948), ‘Uzvaddachim Pavlam’, 1976,
Vascoyan’, 1977
‘Hanv Manis Ashwatthamo’, 1985
‘Kavita: Kaal Railwaychyo, Manharashyachyo, Pavasa- Pantyachy’, 1993
‘Ani Sarg Ghaddpak Dhartarecho’, 1994
21. Pawar, Rajay, Pawas-Fulam’, 1997
22.Pandit, Raghunath Vishnu (1917-1990), ‘Ailem Tashem Gailem’, 1963,
Mhojem Utor Gavdyanchem’, 1963,
‘Urtalem Tem Dhortolem’, 1963,
‘Dhortorechem Kavan’, 1963
‘Chandraval’, 1963
‘Darya Gazota’, 1979
23. Raikar, Gajanan, ‘Banwad’ and ‘Sumwari’,
24.Ramani, Shankar (1923-2004), ‘Zoglanchem Zadd’, 1987
‘Nillem Nillem Brahma’ 1993
‘Brahm-Kamal’, 1995,
‘Niranjan’, 2002
25. Sardessai Manoharrai, (1925-2007), ‘Aiz re Dholar Padlee Badee’, 1961,
‘Goyam Tujya Mogakhateer’, 1961,
‘Zayat Zage’, 1964
‘Zayo-Zuyo’, 1970
‘Pissollim’, 1978 (SA Award)
26.Sarmalkar, Vijaya (1924), ‘Gontthalam’,
27.Sheikh, Yusuf A., ‘Gantthee’, 1982,
28.Telang, Neela, ‘Kallzachee Bharatee’,
29.Veluskar, Ramesh (1947), ‘Morpakham’, 1977,
‘Matee’, 1983
‘Angani Nachata Moar moaraya’, 1988,
‘Savulgoaree’, 1989,
‘Hiranya-Garbha’, 1993,
‘Surya-Vaunshee ani Tanarjyotee’,1999
-----------------------------
© Dr S M Tadkodkar
-----------------------------
Posted by Roshan Pai Ramesh
Labels: Dr S M Tadkodkar, Konkani Literature, Su Ma Tadkod
6 comments:
Who Am I said...
baari santhosh jalle. CONGRATULATIONS TO Padmabhushan Ravindra Rajaram Kelekar FOR THE AWAQRD AND Dr. S. M. Tadkodkar FOR HIS EFFORTS.
Pai u too are doing a great job in keeping the community connected
27 November 2008 03:52
Ganesh Shenoy said...
Dear Roshan,
Congratulations to you and all Konkani Samaj bandhavas.
I am sure this is a proud moment for all of us. Glad to know that the Article of Dr.Tadkodkar is presented to the Sahitya Akademy.
Wish you all the best in all your endeavours for enhancing the quality & quantity of our language vocabulary.
Warm regards
Ganesh Shenoy
02 December 2008 15:32
Who Am I said...
Vei Ganesh, yen vishai avangelankka baari kushi jaavncha vishai...Roshanala yen 'Save your language' kaama future generationaka bho avashya jatha... Nirmalaa Shrethar
02 December 2008 16:53
Anonymous said...
What is GSB Konkani? What right do you have to castigate KOnkani?
Konkani is language of masses, nobody has or can claim a copyright or total control over it.
04 December 2008 04:18
Roshan Pai Ramesh said...
Dear Anonymous,
As you know ignorance is bliss.
'Castigate'? Where did you even get this idea?
As you might well know, assumption is the mother of all freak pups.
So please don't assume. If you have a query about the project do politely ask us and we will tell you what we stand for and what we do. Exactly the opposite of what you have gone around accusing.
I am not willing to let people use this site for random mud slinging. Though the temptation to do so does exist. However I am not going to stop people expressing their thoughts either.
Cheers,
Roshan Pai Ramesh
Chief Editor:
www.savemylanguage.org
"GSB Konkani Dictionary Project"
04 December 2008 13:08
Who Am I said...
I too strongly condemn this anonymous post claiming "Castigating". In this English Era, i honestly feel its our duty to save our language and take it to the next generation. Otherwise 10 years from now 'Konkani', not only Konkani, any Indian language for that matter, might get extinct. I am with you Pai...
05 December 2008 05:03
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December 2, 2008
The Sahitya Academy in India is one place where the great literary minds of today meet and share their thoughts.
Dr S M Tadkodkar, a prolific author himself, has presented a research paper to the Sahitya Academy in October 2008. Its a brilliant paper that details the state of ‘Konkani Literature’ as it exists today, ofcourse drawing from the history as well. It is worthwhile also to note that Shri Ravindra Kelekar, has been bestowed the prestigious Jyanpith Award. The award for Indian authors is as (or more) prestigious than the Nobel Prize for the literature.
Dr Tadkodkar’s thoughts in the article are expressed in the most simplest of ways possible. Hence making it a brilliant read even for the uninitiated into the Konkani Literary field.
You can enjoy the article at the below location:
Konkani Literature Today - A Research Paper
Wednesday, 26 November 2008
Konkani Literature Today
Konkani Literature Today
A Research Paper read by
Dr. S. M. Tadkodkar
(1) 1/B, S-5, IInd Floor,
Kamat Plaza, Panaji, Tiswadi, Goa – 403 001
Phone: 0832-2423577
(2) Head
Department of Postgraduate Instruction and Research in Marathi,
Goa University,
Taleigaon Plateau,
Tiswadi, Goa – 403 206
Presented during the Meet of the North-Eastern and Western Indian Writers
organized at Pune (Maharashtra) on October 18th and 19th, 2008 by
Sahitya Akademy
(NATIONAL ACADEMY OF LETTERS)
On the outset, let me thank Shri. Sunil Gangopadhyaya, the Chairman of Sahitya Akademy, Shri. Pundalik Narayan Nayak, Convenor of Advisory Board for Konkani and Chairman of Goa Konkani Academy and Shri. K. S. Rao, who is Regional Secretary of Sahitya Akademy for giving me an opportunity to present my research note amidst an august audience,
The Konkani language is spoken along the Western coastal land of Arabian Sea. There, we come across varieties in spoken structure of the Konkani. Obviously, all that is being written in these varieties could have been termed as Konkani literature. Regretfully, one has to mention here that due to political ambient – surrounding – a large number of Konkani speakers cannot embrace the Konkani language officially, which has been included in the eighth schedule of Constitution of India and which is the state language of Goa.
Karmelin, by Shri Damodar Mauzo.
This book is the English translation of the original Konkani novel. Translation by Vidya Pai. ISBN-10: 8126019182
Today, when we say about literary language of the Konkani, then we have to consider the literature produced in Kannada, Malayalam, Devanagari and Roman scripts, which is spread in the states of Karnataka, Kerala, Goa and Maharashtra. I am not aware of any other fact about such a language, which has as many as four scripts that are being adopted at various places for reading, writing and publishing valuable literary books in a quite large number.
Whenever we mention about standard Konkani literature, then we just cannot overlook the literary contribution in the scripts, which are mentioned above. Quite often, we come across these two terms ‘Modern’ and ‘Modernity’
Literature in this, which is one of the most beautiful languages in India, can be viewed in sequence of the concepts ‘modern’ and ‘modernity’.
‘Modern’ is the concept, which relates to the specific times, which identifies to latest style of life. It may also be defined as “contemporary or characteristic of the present moment in time” or “modern is applied to writing marked by a strong and conscious break with tradition”.
The term ‘Modernity’ indicates to the values based on rationalization of thoughts. It is believed that the modern sociological thought begun with Ibn Khaldun, an Arab sociologist from North Africa. His Muqaddimah was written in 1377. Modernity is a term that refers to the modern era. It is indeed distinct from modernism; this term is viewed in different contexts viz. cultural and intellectual movements of between 1630 and 1940. Modernity is a term, which also indicates to the universal values of life accepted in modern era. One may hold an opinion that the process of modernity ended in last phase of the 20th century. It is replaced by values of post-modernism. One might stretch the concept of modernity “to cover the developments denoted by post-modernism and into the present”.
Well, on this backdrop modern period of the Konkani literature could have been viewed simultaneously in terms of advent of values of modernity as well. If this view-point is accepted then the day of liberation of Goa on December 19, 1961, from the 450 year colonial oppressive rule of Portuguese regime can be said as the beginning of modern period and modernity in the Konkani literature.
Late Dayanand Bandodkar, the first Chief Minister of the then Goa, Daman and Diu, (which was union territory in the Union of India) and his able lieutenant late V. S. S. Karmali, who was Education Minister of the government, opened primary and secondary schools at every nook and corner in the newly liberated part of Goa. This enhanced literacy among the peasants and other working class. Generation after that educational upheaval offered a special flavor to Konkani literature.
Pictured: Shri Padmabhushan Ravindra Rajaram Kelekar
Update: Since Dr Tadkodkar's presentation of this paper, Shri Kelekar has been awarded the prestigious Jnyanpeetth Award.
The much honoured writers in Konkani today are Padmabhushan Ravindra Rajaram Kelekar, A. N. Mahambro, Damodar Mauzo, Chandrakant Kenny, Hema Naik, Mahabaleshwar Sail, Ramesh Veluskar, Madhav Borkar, Edwin D’Souza, Devidas Kadam, Dilip Borkar, N. Shivadas, Sheela Kolambkar, Meena Kakodkar, Gajanan Joag and others.
Among the research scholars are Suresh Amonkar, Harischandra Nagvenkar, Mrs. Priyadarshini Tadkodkar, Dr. Kiran Budkulay, Dr. Ram Bhat, Dr. Maria Aurora Couto, Dr. Madhavi Sardessai and others.
Other renowned writers are Prakash Thali, Dr. Prakash Vazarikar, Prakash Parienkar, Dr. Jayanti Nayak and others.
I also should make a special mention of periodicals in Konkani. They relentlessly assisted the litterateur folk representing Konkani language and literature. Some of the names are ‘Rutu’, ‘Jaag’, ‘Kullagar’, ‘Konkani’, ‘Konkan Times’, Sunaparant, Vavraddeancho Ixtt (Roman-script Konkani, weekly), Gulab, Bimb .
It is very difficult to embrace all genre of Konkani literature, in such petit note. As such today, I will try to focus only on the Konkani poets and their sensibility in view of the modernity.
But, one thing should be made amply clear that when we make mention about certain Konkani literature, which belongs to modern period, some historians do not hesitate to mention Ligorio da Costa, Carlos Trinidad Dias and Arnold Menezes, who were the early Mando (a semi-literary folk song) composers of the 19th century and also Smt. Kamalamal, Narahari Prabhu, Suhas Dalal and Manjeshwari Govind Pai, who wrote devotional poetry during the late 20th century.
Konkani poetry began shedding its traditional skin after Kashinath Shridhar Nayak (1899-1983, whose pen-name was ‘Bayabhau’.). His ‘Saddyaavelim Fulam’ (1946) opened the doors for those who longed to break the shackles of traditional mode of writing. He is therefore known as the pioneer of Konkani modern poetry. Another attempt of shedding anxiety of influence is seen in the ‘Painzonnam’ (1960) of Padmashree Bakibab Borkar (1910-84), and so also Manohar Sardessai for the concept traditional exhibition of love and philosophical, introspectional trance, still remained at the core. Basically, he and his contemporary Pandurang Bhangui, Shankar Ramani (1923-2004) represent the poetic genre of the entire classical romanticism in the Konkani poetry.
Traditional patriotism i. e. love for country cannot be shed for it is omnipotent. It presents glimpses of anxiety of influence, in the poetry of Manohar Sardessai (‘Gomya Tuzya Mogakhatir’). Waman Sardessai (1923-94, pen name ‘Abhijit’) was a freedom fighter. He said, “Silent is my sorrow like nameless wild flower in forest” This element, indeed, represented the contemporary Konkani poetry.
This poetry was rich in idiom and had assurance of touch as well as touch of assurance. It had dipped in the realm of solitude and at times into recluse and silence. These and other poets were singing a swan song. When they came across the stark naked reality, they screamed saying that the contemporary ground reality was not the dream they had visualized. Their dream had shattered! Shankar Bhandari’s (1928-87) ‘Ganarajya’ is a satire which presents contradictions in the basic value systems of romantic and classical politics and stark naked ground reality. “Gonnachem ailem raj, khoyancho Gonna konn janna.” (We say, Ganna’s – Common man’s - rule has arrived, but who knows Ganna – the common man? Which Ganna?)
In this note, I have attempted to present, through a bird’s eye view, the glimpses of modernity in the Konkani literature today.
Sociological thought, which is omnipotent in the modernity, is distinctly visible in the poetry written by Padmashree Raghunath Vishnu Pandit (1917-1990). Pandit gave a war cry against social injustice and inequality, hegemony and hypocrisy. He, apparently, was the torch-bearer of this era from 1963. Earlier, stray instances did take place, which may have links with sociological thought, e. g. a poem by Adeodoto Barreto (1905-37). He addresses laborer class in 1937 in his poem ‘Bekaryanc’. He also longs for liberation of Goa from Portuguese rule and unification with India. His dream came true in 1961. But the spurt for sociological thought in Konkani poetry is seen only after 1963. Manohar Sardessai rightly said once that Pandit’s poetry is rooted in the Goan soil. His poetry brought in rustic language.
Pandit was followed by a rich generation of poets, which indeed brought the genuine touch of modernity. The first among them is Nagesh Karmali. Pandit did not foresee a classless society, but Karmali did and advocated for it. He opposed the measures, which are repressive in character. He adhered to force revolts and revolutions. This was only the medium for the creation of a free and democratic classless society, at least in theory. The transition from feudal institutions to modern institutions was marked by a series of revolutions, reference of which is found in the Karmali’s poetry.
Karmali, intuitionally a socialist, says,”Poetry had visited me in several forms, sometimes soft and silent, at times troubled and all at ease. At times (it came as if) roaring destruction like invading waves.”
Another tall descendant of Pandit is Pundalik Narayan Nayak. His ‘Bangarbaeel’ (the bull, which is not castrated) is the perfect and ultimate product of tyranny. As such, he appears to be oppressive. He would not listen to injustice and would surge ahead with might. Pundalik’s poetry worships equality and comradeship, but he is not canonically a communist. His, the then, poetry did not believe in popular democracy, but his plays have trust in it. While Pandit’s poetry brought in rustic language, Pundalik’s poetry nourished classical brutality. It is its forte.
He says, “You just cannot castrate the bull / You have no guts to sell the bull / Let my bull go, wherever he desires / Let him do that pleases him / The bull is the savior of fifty two generations / The bull is the descendant of my race.”
But even his staunch critic will not deny that Pundalik’s poetry is brutally honest. I strongly feel that his poetry destroys the unpleasant but uncanny, weird and necessities of the times in which he lived.
Vijayabai Sarmalkar did ask about woman’s stature in the then social matrix. But her voice does not appear to be dominating. To fill in the gap of strong voice of a woman, some of poetesses viz. Hema Nayak, Nutan Sakhardande, Shakuntala Arsekar, Jayanti Nayak, Prashanti Talponkar, Shanti Tendulkar, Maya Kharangate, Neela Telang ventured upon social inequality. Some of them are romantic feminists. Rather the number of female litterateur exceeds the male writers in Konkani literature as far as impact of modernity is concerned.
Glaring point of ‘modernity’ is that it postulates encouragement of advance or progress in useful sciences and arts. Surprisingly enough, Konkani poetry does not glorify this aspect of modernity. Especially, another modernist poet Prakash Padgaonkar does not have any admiration for ‘rapid, unplanned and senseless industrialization.’ This poet is a romantic modernist. Universally, sensibility about human agony lies beneath the essence of modernity. This is evident in the poetry of Padgaonkar.
While Shivanand Tendulkar, Arun Sakhardande, Su. Ma. Tadkod (pen name of Dr. S. M. Tadkodkar) have ardent faith on approach to the modernity, the other glaring names are of Sudesh Lotlikar, Jess Fernandes. Apparently, they do believe as the American Christian fundamentalists still agree with Martin Luther who recognized that "Reason is the greatest enemy that faith has; it struggles against the divine word, treating with contempt all that emanates from God."
Tendulkar (pen name – Kashinath Shamba Lolienkar) represents the vein of radical existentialism in Konkani writing. He believes in this context that man defines himself. Though this belief has a part of philosophical bearing, it indicates the presence of tenets of modernity.
Neelba Khandekar could have been one of the fore-runners as far as the concept of modernity is concerned. A strong germ of modernity exists in his poetry but it slips in the realm of radical existentialism.
Rajay Pawar could have been another descendant of Pandit, Karmali and Pundalik Nayak. Surprisingly, it is apparent that, the commitment vanished in course of time.
One cannot disagree that people have begun in believing that modernist shop has global implications. Reason is being searched to comprehend this failure. The approach, which is in the name of sociological thought under the pretext of humanism, has come under various scanners. Modernism is a flaw, corrupt in the name of modernism and humanist tradition and has played itself out and is now floundering and directionless. If Modernism is at an end, we are now facing a new period. The name given to this new period is Postmodernism.
But this viewpoint or commitment is not imbibed as yet in the Konkani poetry. But poets write for joy. An attempt of shedding anxiety of influence is not seen for the concept traditional exhibition of love and philosophical, introspectional trance, still remained at the core.
Uday Bhembro, Ghanekar Bhicajee, Tomazinho Cardozo, (1941), Yusuf A. Sheikh, Gajanan Raikar, Sharatchndra Shenoy, Ram Prabhu-Choddanekar, R. Ramnath, Dattakumar Vyankatesh Kamat, Paresh Narendra Kamat, Shashikant Punaji, Gulab Vernekar, Guadulup Dias and others, Suresh Borkar are the core romanticists of Konkani poetry.
Yusuf Sheikh says, “In these entangled threads there are knots, and many minds are entangled in these knots.” Suresh Borkar says, “What does my life lack? Receiving is joy. Giving is joy. Cup of my life is full of happiness.” Both these poets represent the poetic genre of the entire classical romanticism in the Konkani poetry.
Bibliography:
(Please note that the dates given against some of the names need corrections.)
1. Bakibab Borkar (1910-1984), ‘Painzonnam’ 1960 and ‘Sasai’, 1980
2. Barreto Adeodoto (1905-1937), ‘Bekaryanc’ (the only poem), 1935,
3. Bhandari, Shankar (1928-1987),
4. Bhembro, Uday (1939), ‘Channyache Raatee’, 1966,
5. Borkar, Madhav (1954), ‘Chonvor’, 1969,
Vatacheo Sanvelleo’, 1972,
‘Uzvaddacho Rukh’, 1975,
‘Porzollachem Dar’, 1986,
‘Yaman’, 1999,
‘Avyaktachim Gaannee’, 2002
6. Borkar, Suresh (1938), ‘Vajrathikam’, 1985,
7. Bhangui, Pandurang (1923), ‘Odrushtache Kalle,’ 1972
‘Dixttavo’, 1972
‘Chanfelli Saanz’, 2000
8. Cardozo, Tomazinho - ‘Mando’ and ‘Pakllyo’,
9. Kamat, Paresh Narendra, ‘Allang’, 2000,
10. Karmali, Nagesh (1923), ‘Samvar’, 1974
‘Zoargat’, 1975
‘Vaunshvrukshanchem Dennem’ 1992
‘Thang-Athang’, 2003
11. Kharangate, Maya, ‘Kayapanjee’,
12. Khandekar, Neelba, ‘Vedha’, ‘Suryavaunshi’, 1999
13. Kelekar,Yeshawant, ‘Punzalelim Fulam’
14. Lolienkar Kashinath Shamba, Kashi Mhonnta’, 1982,
‘Kashik Mhannachench Paddtta’, 1997,
‘Kasheen Mhannapachem Soddunk Naa’,
15. Lolienkar, Prasad, ‘Mullam’, 1995
16. Naik, Kashinath Shridhar (Bayabhau) (1899-1983) – ‘Saddyaavelim Fulam’, 1946,
17. Naik, Bharat, ‘Mana Mana’, 1982
18. Nayak, Manoraya, ‘Kalp-Ful’, 1993
19. Nayak, Pundalik Narayan 1952), ‘Ga Ami Rakhanne’, 1976
‘Raan Sundari’, 1974
20.Padgaonkar, Prakash (1948), ‘Uzvaddachim Pavlam’, 1976,
Vascoyan’, 1977
‘Hanv Manis Ashwatthamo’, 1985
‘Kavita: Kaal Railwaychyo, Manharashyachyo, Pavasa- Pantyachy’, 1993
‘Ani Sarg Ghaddpak Dhartarecho’, 1994
21. Pawar, Rajay, Pawas-Fulam’, 1997
22.Pandit, Raghunath Vishnu (1917-1990), ‘Ailem Tashem Gailem’, 1963,
Mhojem Utor Gavdyanchem’, 1963,
‘Urtalem Tem Dhortolem’, 1963,
‘Dhortorechem Kavan’, 1963
‘Chandraval’, 1963
‘Darya Gazota’, 1979
23. Raikar, Gajanan, ‘Banwad’ and ‘Sumwari’,
24.Ramani, Shankar (1923-2004), ‘Zoglanchem Zadd’, 1987
‘Nillem Nillem Brahma’ 1993
‘Brahm-Kamal’, 1995,
‘Niranjan’, 2002
25. Sardessai Manoharrai, (1925-2007), ‘Aiz re Dholar Padlee Badee’, 1961,
‘Goyam Tujya Mogakhateer’, 1961,
‘Zayat Zage’, 1964
‘Zayo-Zuyo’, 1970
‘Pissollim’, 1978 (SA Award)
26.Sarmalkar, Vijaya (1924), ‘Gontthalam’,
27.Sheikh, Yusuf A., ‘Gantthee’, 1982,
28.Telang, Neela, ‘Kallzachee Bharatee’,
29.Veluskar, Ramesh (1947), ‘Morpakham’, 1977,
‘Matee’, 1983
‘Angani Nachata Moar moaraya’, 1988,
‘Savulgoaree’, 1989,
‘Hiranya-Garbha’, 1993,
‘Surya-Vaunshee ani Tanarjyotee’,1999
-----------------------------
© Dr S M Tadkodkar
-----------------------------
Posted by Roshan Pai Ramesh
Labels: Dr S M Tadkodkar, Konkani Literature, Su Ma Tadkod
6 comments:
Who Am I said...
baari santhosh jalle. CONGRATULATIONS TO Padmabhushan Ravindra Rajaram Kelekar FOR THE AWAQRD AND Dr. S. M. Tadkodkar FOR HIS EFFORTS.
Pai u too are doing a great job in keeping the community connected
27 November 2008 03:52
Ganesh Shenoy said...
Dear Roshan,
Congratulations to you and all Konkani Samaj bandhavas.
I am sure this is a proud moment for all of us. Glad to know that the Article of Dr.Tadkodkar is presented to the Sahitya Akademy.
Wish you all the best in all your endeavours for enhancing the quality & quantity of our language vocabulary.
Warm regards
Ganesh Shenoy
02 December 2008 15:32
Who Am I said...
Vei Ganesh, yen vishai avangelankka baari kushi jaavncha vishai...Roshanala yen 'Save your language' kaama future generationaka bho avashya jatha... Nirmalaa Shrethar
02 December 2008 16:53
Anonymous said...
What is GSB Konkani? What right do you have to castigate KOnkani?
Konkani is language of masses, nobody has or can claim a copyright or total control over it.
04 December 2008 04:18
Roshan Pai Ramesh said...
Dear Anonymous,
As you know ignorance is bliss.
'Castigate'? Where did you even get this idea?
As you might well know, assumption is the mother of all freak pups.
So please don't assume. If you have a query about the project do politely ask us and we will tell you what we stand for and what we do. Exactly the opposite of what you have gone around accusing.
I am not willing to let people use this site for random mud slinging. Though the temptation to do so does exist. However I am not going to stop people expressing their thoughts either.
Cheers,
Roshan Pai Ramesh
Chief Editor:
www.savemylanguage.org
"GSB Konkani Dictionary Project"
04 December 2008 13:08
Who Am I said...
I too strongly condemn this anonymous post claiming "Castigating". In this English Era, i honestly feel its our duty to save our language and take it to the next generation. Otherwise 10 years from now 'Konkani', not only Konkani, any Indian language for that matter, might get extinct. I am with you Pai...
05 December 2008 05:03
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Ravindra Kelekar - Jnanpith Award - And what is really means?
Shri Ravindra Kelekar - Jnanpith Award - And what it really means?
December 2, 2008
Shri Ravindra Kelekar has been bestowed the Jnanpith Award for 2006 in November 2008. This event marks an important time for the Konkani Language.
Inspite of Konkani being recognised as an official language by the Indian Constitution, the Jnanpith Award had been elusive to the Konkani authors of this age. However Shri Kelekar has finally managed to break that jinx. The elusiveness of the award has ofcourse nothing to do with the standard of konkani literature that is abound today (or is it not?). Ofcourse when we compare the amount and standard of Konkani literature compared to say the other great languages of India, like Kannada and Hindi, there is a real lot to catch up there.
However, what this one event has achieved is great. It now moves Konkani into the bigger league. Its a sort of silent promotion so to say. This event has been a shot in the arms for the existing Konkani authors. Most of them young and ambitious. They now know that the sky is the limit for them.
I hereby take great pleasure to congratulate Shri Ravindra Kelekar again.
http://konkanilanguage.files.wordpress.com/2008/12/ravindra_kelekar1.jpg
December 2, 2008
Shri Ravindra Kelekar has been bestowed the Jnanpith Award for 2006 in November 2008. This event marks an important time for the Konkani Language.
Inspite of Konkani being recognised as an official language by the Indian Constitution, the Jnanpith Award had been elusive to the Konkani authors of this age. However Shri Kelekar has finally managed to break that jinx. The elusiveness of the award has ofcourse nothing to do with the standard of konkani literature that is abound today (or is it not?). Ofcourse when we compare the amount and standard of Konkani literature compared to say the other great languages of India, like Kannada and Hindi, there is a real lot to catch up there.
However, what this one event has achieved is great. It now moves Konkani into the bigger league. Its a sort of silent promotion so to say. This event has been a shot in the arms for the existing Konkani authors. Most of them young and ambitious. They now know that the sky is the limit for them.
I hereby take great pleasure to congratulate Shri Ravindra Kelekar again.
http://konkanilanguage.files.wordpress.com/2008/12/ravindra_kelekar1.jpg
History of Konkani – Our Mother tongue
History of Konkani – Our Mother tongue
By lifeisanovel
We have tried to trace the evolution of Konkani from the days of the fledgling Indian civilization in the Saraswati River valley to its present status as the official language of Goa.
The word “Konkani” is used to describe both a language of the Indian subcontinent and a group of people. It is derived from “kum”, meaning “Mother Earth” and “Kana”, meaning ‘dust’ or ‘atom’. Thus, Konkani would mean “a part of Mother Earth”. This appellation could well describe the hardy people of the Konkan region, who are primarily farmers and fishermen. The Konkani people trace their history as far back as the fourth millennium BC and they share their name with the coastline and the language they speak.
The journey of our ancestors did not complete within a day or two. It took centuries and so did our language it took many forms and was inspired by many languages. When our ancestors resided in Trihotrapura they came in contact with other languages such as Maithili, Magadhi and Ardha Magadhi with a result that a new language, Konkani took shape.
Thus when they reached Goa, it appears along with Sanskrit they had taken Konkani also, and Konkani began its evolution as a vernacular form of Sanskrit. Konkani did not show any traces of influence of any other language till around the 16th century. The members of this branch of languages draw heavily from the influences of Sanskrit, widely considered to be one of the oldest languages in the world. Striking similarities are evident between the languages derived directly or indirectly from Sanskrit in the Indo-Aryan family. This made Konkani also one of the languages of the Indo-Aryan family. Since Konkani was their contact language through which they communicated with others they became Konkani’s. The locality where they resided became Konkan.
They were migrating from place to place and although times were changing, our ancestors never abandoned their duties and culture. This was the main reason that while in Goa, they could not tolerate the harsh treatment meted out to them by the Portuguese in the name of religion. To preserve their own religious faith and culture, leaving behind everything, home, wealth and cattle, they migrated overnight southwards to Bhatkal, Mulki, Mangalore, Calicut and Cochin.
During this time the original scripts and epics written in Konkani were burnt by the Portuguese. In the process of migration, a lot of literary wealth in the form of folk tales, songs, sayings, proverbs etc. was lost. Because of lack of support and patronage by the rulers, the language did not thrive though it survived. As a result, the literary tradition of the Goan Konkani’s seemed doomed. Also they never migrated to one single place and their homes were scattered all over India. This resulted in the language not having a common script. Therefore, in Konkan Devanagari script was followed. While in Goa it was Roman, in Bhatkal they followed Kannada and Persian, while in Mangalore again they followed Kannada. Some of them also migrated to Kerala and here the Malayalam scripts were used.
Obviously even in the schools, the education was imparted in the local language of the respective states and Konkani did not receive much importance and position. And so it became weak and poor, they still somehow managed to retain the language as mother-tongue. As generations rolled, the younger generation could not manage to keep up with the language and took up speaking the local language of the state they resided in, as a result of which the language received a further blow.
However, every coin has two faces. On one side if the consequences of the inquisition left Konkani with a large variety of influences on the flipside, the inquisition ensured the rich diversification of Konkani into distinctive and melodic dialects across the Indian sub-continent. Although lacking a script, Konkani’s derives pride in the fact that their language is considered to be the original tongue of the ancient Saraswat Brahmins.
Tags: Goa, history, india, Indo-Aryan, konkani, languages, Mother tongue, Sanskrit
This entry was posted on December 12, 2008 at 1:22 pm and is filed under GSB. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
http://mykonkani.wordpress.com/2008/12/12/history-of-konkani-%e2%80%93-our-mother-tongue/
By lifeisanovel
We have tried to trace the evolution of Konkani from the days of the fledgling Indian civilization in the Saraswati River valley to its present status as the official language of Goa.
The word “Konkani” is used to describe both a language of the Indian subcontinent and a group of people. It is derived from “kum”, meaning “Mother Earth” and “Kana”, meaning ‘dust’ or ‘atom’. Thus, Konkani would mean “a part of Mother Earth”. This appellation could well describe the hardy people of the Konkan region, who are primarily farmers and fishermen. The Konkani people trace their history as far back as the fourth millennium BC and they share their name with the coastline and the language they speak.
The journey of our ancestors did not complete within a day or two. It took centuries and so did our language it took many forms and was inspired by many languages. When our ancestors resided in Trihotrapura they came in contact with other languages such as Maithili, Magadhi and Ardha Magadhi with a result that a new language, Konkani took shape.
Thus when they reached Goa, it appears along with Sanskrit they had taken Konkani also, and Konkani began its evolution as a vernacular form of Sanskrit. Konkani did not show any traces of influence of any other language till around the 16th century. The members of this branch of languages draw heavily from the influences of Sanskrit, widely considered to be one of the oldest languages in the world. Striking similarities are evident between the languages derived directly or indirectly from Sanskrit in the Indo-Aryan family. This made Konkani also one of the languages of the Indo-Aryan family. Since Konkani was their contact language through which they communicated with others they became Konkani’s. The locality where they resided became Konkan.
They were migrating from place to place and although times were changing, our ancestors never abandoned their duties and culture. This was the main reason that while in Goa, they could not tolerate the harsh treatment meted out to them by the Portuguese in the name of religion. To preserve their own religious faith and culture, leaving behind everything, home, wealth and cattle, they migrated overnight southwards to Bhatkal, Mulki, Mangalore, Calicut and Cochin.
During this time the original scripts and epics written in Konkani were burnt by the Portuguese. In the process of migration, a lot of literary wealth in the form of folk tales, songs, sayings, proverbs etc. was lost. Because of lack of support and patronage by the rulers, the language did not thrive though it survived. As a result, the literary tradition of the Goan Konkani’s seemed doomed. Also they never migrated to one single place and their homes were scattered all over India. This resulted in the language not having a common script. Therefore, in Konkan Devanagari script was followed. While in Goa it was Roman, in Bhatkal they followed Kannada and Persian, while in Mangalore again they followed Kannada. Some of them also migrated to Kerala and here the Malayalam scripts were used.
Obviously even in the schools, the education was imparted in the local language of the respective states and Konkani did not receive much importance and position. And so it became weak and poor, they still somehow managed to retain the language as mother-tongue. As generations rolled, the younger generation could not manage to keep up with the language and took up speaking the local language of the state they resided in, as a result of which the language received a further blow.
However, every coin has two faces. On one side if the consequences of the inquisition left Konkani with a large variety of influences on the flipside, the inquisition ensured the rich diversification of Konkani into distinctive and melodic dialects across the Indian sub-continent. Although lacking a script, Konkani’s derives pride in the fact that their language is considered to be the original tongue of the ancient Saraswat Brahmins.
Tags: Goa, history, india, Indo-Aryan, konkani, languages, Mother tongue, Sanskrit
This entry was posted on December 12, 2008 at 1:22 pm and is filed under GSB. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
http://mykonkani.wordpress.com/2008/12/12/history-of-konkani-%e2%80%93-our-mother-tongue/
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