Last night, I read Devudu Narasimhashastri’s novel ‘Mayura’, and was struck by how faithfully the film had followed its plot. However, there are some major differences; the film is more political. In the novel, Kannada subjectivity, especially as a political community, wasn’t a major preoccupation but here with Rajkumar enacting the role of Mayura, what is emphasized in the film is the struggle to liberate the homeland: the founding of the Kadamba kingdom thus symbolizes the establishment of a Kannada community, overthrowing the Tamil yoke, which is significant in the context of the struggle to unify Kannada speaking regions under a single administrative unit (called Karnataka) during colonial and post-colonial eras. Today, I want to turn my attention to the content of this Kannada subjectivity, in particular to the values associated with the Kannada speaking people and how Mayura Sharma is made to embody all those values.
While the plot of the film follows the novel faithfully, there is one new important scene introduced in the film. Upon learning that he is a prince and the son of King Chandravarma, Mayura feels compelled to visit the Pallava court, reveal his identity and announce his intentions to fight for the freedom of Kannadigas. Being a dharmic Ksatriya, who believes in transparency and honesty, Mayura has to risk the danger of being captured. But this is also a moment not only to display his bravery and transparency, but also to demonstrate his qualifications to rule his land. The objective of the scene is to contrast his behavior with that of the Pallava prince Vishnugopa, who, in fact, is denouncing Mayura in the Pallava court and offers to lead an expedition to capture the rebel. Mayura, dressed in the attire of a prince, quietly listens to Vishnugopa’s diatribe, jumps into the assembly hall and announces himself:
“I am that Mayura, hearing whose name, the Pallava crown trembles today and seeing whose face your prince’s voice collapsed.”
Proclaiming his recently discovered true identity as a sword wielding Kshatriya (and not a Veda-studying Brahmin) Mayura represents himself as a loin, who has come to hunt, and not to seek fodder in the Pallava court. He calls Vishnugopa as an accomplished talker and characterizes Pallavas as greedy, land grabbing kings, who killed his parents Raja Chandravarma and queen Pushpavati through deceit. Such conduct is foreign to Kannadigas, who are transparent and compassionate, he proclaims at the end of this scene, when he could have easily killed the Pallava king Sivaskandhavarma:
“What flows in our veins are the dharma, morals and culture of the Kannada speakers. Our character from birth is to show compassion towards those helpless and weak, even if they are evil and deceitful, even if they have caused injustice and committed evil deeds.”
This self image of Kannadigas as compassionate and tolerant people, who protect especially those who seek refuge, is widespread. Often contemporary Kannada activists declare this to be a sign of weakness too, since outsiders, having taken refuge here, also tend to abuse Kannada hospitality and refuse to integrate into the local society. An inquiry into such stereotypes is best left for another day.
Mayura also argues that misfortune at birth or the circumstances of one’s childhood (or even during their adult life) do not negate one’s birth and destiny. His own childhood in a Brahmin household, he believes, did not alter his destiny, which is to win back the kingdom. Therefore, taking the example of puranic kings, Mayura addresses Vishnugopa and declares:
“Hariscandra had to go to burial ground. King Nala became a cook while Dharmaraja had to live in the forest. Chandrahasa grew in the streets. Just because dullards like you do not respect them, their geneology doesn’t change. ….. Today ends the forcible subjugation of Kadambas and today your glory too ends. If you were to give up our kingdom before we bravely demolish you, you will survive. Otherwise, you will be burnt by our anger.”
Thus, Mayura represents himself as a compassionate and brave Kshatriya, who embodies the spirit and values of the epic heroes invoked here: Hariscandra’s commitment to truth, Nala’s bravery and steadfastness, Dharmaraja’s unwavering belief in dharma and Chandrahasa’s compassion. He will also fight to liberate his land, just like these four epic heroes, who lost their kingdoms through deceit but regained the same through bravery and dharmic conduct.
Yet, beyond these assertions, Mayura also had to be tested by all the elders and wisemen in the Pallava court, with regard to his ability and preparation to be a king; I also believe that the significance of this scene is also to establish values and mores, which are expected of all kings (and by extension men who seek public office in the present). Let me quote at length from this exchange:
Question: even if we were to give you the kingdom, shouldn’t you have the ability to rule? A king should be an expert in all the 64 arts.
Mayura: for that reason, I have studied in Kanchi. If the Pallava emperor has any doubts, then he may test me.
Question: for the king, who is like a father to his subjects, who are the relatives?
Mayura: Truth, knowledge, compassion, dharma, and forgiveness.
Question: who is a knowledgeable (wise) man?
Mayura: one who can consider all women as mothers, wealth that doesn’t belong to him as mud, all beings as oneself!
Question: what is important for the body?
Mayura: head.
Question: what is important among the sense organs?
Mayura: eyes.
Question: who are important in an emperor’s court?
Mayura: scholars.
Question: what is the chief quality of Kshatriyas?
Mayura: bravery.
Question: who doesn’t desire evil for anyone?
Mayura: the unborn, the dead and the man in a painting.
Question: How does a king turn bad?
Mayura: from evil thoughts.
Question: how does a companion adopt evil ways?
Mayura: from bad company.
Question: how does a son lose his way?
Mayura: from upbringing.
Question: How does a Brahmin turn bad?
Mayura: by not studying the Vedas.
Question: how does a lineage turn bad?
Mayura: (addressing Vishnugopa, who asks the question) from an evil son like you.
Question: what is sharp in the world?
Mayura: fire.
Question: what is sharper than that?
Mayura: fall sunlight.
Question: what is sharper than that?
Mayura: this sword.
Note the sequence of questions. The scene ends with Mayura approaching the King and holding his sword against the king’s neck, which he claims to be sharpest of all objects. But he doesn’t use it against the helpless king and leaves the assembly, declaring his intention to liberate his homeland.
There is much to write on this exchange and a few other similar sequences. I will pick up on those aspects in the next posting.
Post a Comment