ಇನ್ನೂ ಹರಿಯದ ನದಿಗೆ
ಎದೆ ತೆರೆದು ಕಾದ ಸಾಗರ
ನಾ... ಎಂದ ಇವನು
ಎದೆ ತೆರೆದು ಕಾದ ಸಾಗರ
ನಾ... ಎಂದ ಇವನು
ಇನ್ನೂ ಬರೆಯದ ನಿನ್ನ
ಕವಿತೆಗೆ ಸ್ವರವಾದೆ
ನಾ.. ಅಂದಳು ಅವಳು
ಕವಿತೆಗೆ ಸ್ವರವಾದೆ
ನಾ.. ಅಂದಳು ಅವಳು
ಅವಳು ಭಾವದ ನದಿಯಾದಳು
ಇವ ತಂಗಾಳಿಯ ಸ್ವರವಾದ.
ಇವ ತಂಗಾಳಿಯ ಸ್ವರವಾದ.
6 Jul 2015
Rangi Taranga kannada movie songs lyrics | kareyole kareva ole rangi Taranga kannada song lyrics
Kare Ole
Kareyole Kareva ole Kare maadi Karedole
Karadalli Kalama hididu Kari shaayi Baredole
Kallina KoLalali Kalarava nudisi Kayyanu beesi KaredoLe
Kanninge KaaNada Kaagadadalli Kunchadi Kavyava KoredoLe
Kareyole Kareva ole Kare maadi Karedole
Kanakaangi Kayyallondu Kanchina Kodapaana Kere neera Kudiyodakku KaTuvaada KadivaaNa
Kere dande Kadeyallello Kunthone Kadu JaaNa Athi KsheeNa smrithiyuLLona Kendaavare LakushaaNa Kempaada Kamala Kandu Kesaralle KalethoLe Kshanavella Kruthaka Katheyale KaLeyoda KalithoLe Kallina KoLalali Kalarava nudisi Kayyanu beesi KaredoLe Kanninge KaaNada Kaagadadalli Kunchadi Kavyava KoredoLe Kareyole Kareva ole Kare maadi Karedole Karadalli Kalama hididu Kari shaayi Baredole
30 Jun 2015
Durgastamana(ದುರ್ಗಾಸ್ತಮಾನ ) by TaRaSu (Durgastamana pdf)
CLICK THE IMAGE TO GET DURGASTAMANA TARASU KANNADA NOVEL.
Written in flat four and half months amidst illness and hospitalisation "Durgastamana" brought TaRaSu the Kendra Sahitya Academy award posthumously in 1985. It is inspiration on overdrive. It is TaRaSu's swan song. TaRaSu's forte is historical novels and he has reached the pinnacle of excellence in Durgastamana. TaRaSu has breathed and lived the life of Madakari Nayaka. The book is a testimony to that fact.
Madakari Nayaka is a footnote in Indian history but he is the heart and soul of Durgastamana. Madakari Nayaka is Chitradurga and Chitradurga is Madakari Nayaka. So complete is the identification. And for the people of Chitradurga Madakari Nayaka was not just a king a ruler, he was "our Madakari Nayaka" one of their own. And so it is for TaRaSu another son of Chitradurga. He has paid his due to his homeland in full by writing Durgastamana .
Madakari Nayaka son of Bharamappa Nayaka of Jaanakalludurga (a small fort town close to Chitradurga) becomes the king of Chitradurga on the death of Kasturi Rangappa Nayaka II who dies childless. He is trained by the able Prime minister Kalli Narsappyya and the dead king's mother. TaRaSu tells the tale of Madakari Nayaka as he first helps Hyder Ali as Hyder Ali goes about gobbling up all the small kingdoms more by guile and less by bravery. Time and again he betrays Madakari Nayaka and finally Madakari Nayaka learns some hard lessons and switches sides. And finally dies protecting his beloved Chitradurga in an epic confrontation.
What powerful imagery TaRaSu creates as he tells the story of Chitradurga's and Karnataka's brave heart Madakari Nayaka. Betrayed by his kith and kin and finally his own lieutenants Madakari Nayaka fights alone for his kingdom. Hyder Ali and his trusted Prime minister Purnayya spin a web of lies and deceit, erode the unity of Chitradurga's people in the guise of Jihad and win Chitradurga by guile what they could not by bravery.Yes all is fair in love and war, but the soul can feel, see and recognise valour, integrity, honesty and bravery. And so it is here, Hyder Ali stands exposed naked. There would have been no Tipu Sultan fighting the English if Madakari Nayaka had got him in one encounter. And now perhaps I will never cry over the picture of Tipu sending his two children as guarantees to the English. So tarnished is the image of Hyder Ali and Purnayya.
Knowing history, with mounting dread I read the last 100 pages. I could neither read nor put down the book over the last 50 pages. Frustration overwhelms you as you see Hyder Ali's tricks paying dividends and Madakari Nayaka losing. TaRaSu builds up so strong a case in favour of Madkari Nayaka. The author identifies himself with his protagonist and takes you along with him.
I close my eyes and I hear battle cries. Night falls as Madakari Nayaka falls defending his beloved Durga(Chitradurga) and his brother's cry " Anna , anna, Madakarianna" roams over the battlefield like a ghost. It seemed Durga itself was yearning for Madakari Nayaka. And I, the reader yearned for him too. "Darkness fell. And day never dawned". Symbolically on this sad and poignant note TaRaSu ends his epic novel "Durgastamana".
TaRaSu plays with the language so deftly to create the ambiance, the intrigues and the times of Madakari Nayaka [mid 1700]. Every detail of the political and regional turmoil, the administrative and defence setup of Chitradurga and the battle scenes are crafted exquisitely. Madakari Nayaka the person, the moral conflicts that he faces and the choices that he makes are all detailed with great care. The detailing and emotions are so rich. At no point does the pace slack, it moves from scene to scene with a fluidity that is beautiful.
Did TaRaSu get all the facts right? Don't expect someone of TaRaSu's stature to deviate from it. Wikipedia itself says TaRaSu has actually set the record straight on Madakari Nayaka. TaRaSu himself talks about the meticulous research that he did to unearth the truth about some myths surrounding Madakari Nayaka. There is a list of all his references at the end.
I always wondered why all tales of valour were about the Rajputs until now. Here is our own Madakari Nayaka with a heart so big and brave and with none to rival him. And yes the "vanakay obbava" episode is chronicled in the novel. Jayanti who plays that role in the Kannada movie "Nagara Haavu" has aced it. My hair stands on end even now when I watch her.
Now I have got to see Chitradurga's fort and salute Madakari Nayaka
Extracted from the review of : Suchetha
durgastama pdf
#durgastamana (download durgastamana by tarasu) durgastamana pdf free download
19 Jun 2015
Old rare photographs of Mysore.
Found some old rare photographs of Mysore. Here are a few of them:
Full-length standing carte-de-visite portrait of a young prince of Mysore, from the 'Album of cartes de visite portraits of Indian rulers and notables', taken by Bourne and Shepherd, early 1870s. Mysore was the capital of the Wodeyar rulers, who were governors of southern Karnataka under the Vijayanagar Kings. The Wodeyar dynasty ruled almost uninterruptedly from 1399 until Indian independence, except for the 38 year rule of Haidar Ali and his son Tipu Sultan, in the 18th century.
This photograph of the Palace, Mysore taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'.The note accompanying this photograph reads, ''The view shown here is the east face of the palace which was burnt down in 1897 immediately after the marriage of the first Princes[s]. It was built in the ultra Hindu style. The front, which was gaudily painted in primary colours, and supported by elaborate carved wooden pillars, comprised a spacious porch [seen here] and in rear the Dasara Hall, an open gallery, where the Maharaja showed himself to the people on occasions of state seated on his throne." The courtyard is crowded with mounted state troops and other officials.
This photograph of a Main Street, Mysore taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'. Mysore, once the dynastic capital of the state, was superseded by Seringapatam as the seat of the court from 1610 until Tipu's death in 1799. In 1831, upon British occupation, the seat of administration was transferred to Bangalore. At the end of the street a small way-side shrine can be seen.
This photograph of the interior of the Jubilee Institute, Mysore taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'. "Constructed in 1887, in commemoration of the Jubilee of Her Most Gracious Majesty the Queen, Empress of India, as a museum for exhibiting the arts, economic and other products of the country. It contains a library of ancient oriental literature and the latest productions of the west. The foundation stone was laid by H.H. the late Maharaja on the 20th June, 1887. The exterior of the building is decorated with figures of Hindu mythology.", reads the note accompanying this photograph.
Photograph of the temple on Chamundi Hill in Mysore. The Chamundi Temple complex is situated on the homonymous hill that overlooks the town of Mysore and is dedicated to the guardian goddess divinity of the ruling Wadiyar family who built the shrine in the 17th century. Two gopuras constitute the access to the temple. The outer gateway, which can be seen in this photograph, is a steep pyramid built over an earlier stone wall. A mandapa leads to the shrine where the goddess is enthroned.
This photograph of the Government House, Mysore taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'.The caption notes accompanying this view reads, "..was formerly known as the Lower Residency, but is now reserved for European guests of H.H. the Maharaja. The front portion of the building was erected in 1805, under Major Wilks and is of the Doric order of architecture. The old and handsome portico with the verandah was later enclosed to form an extra drawing-room. The back of the building was added a few years later, by Sir John Malcolm, and comprises one of the largest rooms without pillars in Southern India. It was designed by De Haviland."
This photograph was taken by Del Tufo and Company in the 1890s and published in the 'Souvenir of Mysore' album that forms part of the Curzon Collection. A caption accompanying this view of market buildings from New Market Road reads, "The photo shows the two faces of the Market with the Dufferin Fountain on the left. All articles of daily consumption as food are vended here. The building is fireproof, having arched roofs."
This photograph of the Public Offices, Mysore taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'.A caption note accompanying this photograph reads, "Designed and built by Col. (now Sir) Richard Sankey, 1864-1868, for the Mysore Chief Commissioner's offices. The Mysore Government now holds its offices in the building, and the Council of Regency meets weekly in the large central hall upstairs."
Photograph of a collection of elaborately embellished tombs at Seringapatam in Karnataka, taken by an unknown photographer in the 1860s. These are the tombs of the Wodeyar Rajahs, the ruling dynasty of Seringapatam, whose sovereignty was taken over by Haider Ali, the Commander of the Rajah's army, on the death of the contemporary ruler. The Wodeyar Rajahs were later reinstated by the British after the death of Tipu Sultan, Haider Ali's son, at the storming of the capital in 1799.
Full length studio portrait of Krishnaraja Wadiyar IV, the Maharaja of Mysore and his brothers and sisters by M. Burahnudin in 1895. This photograph is from the Elgin Collection: 'Autumn Tour 1895. Vol II'. Mysore was the capital of the Wodeyar rulers, who were governors of southern Karnataka under the Vijayanagar Kings. The Wodeyar dynasty ruled almost uninterruptedly from 1399 until Indian independence, except for the 38 year rule of Haidar Ali and his son Tipu Sultan, in the 18th century. Born June 4th 1884 the Maharaja Krishnaraja Wadiyar IV succeeded to office as a minor on the death of his father. He is regarded as one of the most enlightened rulers of modern India; he is credited with transforming Mysore (modern Karnataka) into a model princely state and his period of rule has often been called the ‘Golden Age of Mysore’.
This photograph of the Jagan Mohan Palace, Mysore taken in the 1890s by M. Burahnudin, is from the Curzon Collection's 'Souvenir of Mysore Album'. The view is from the garden looking towards the main façade of the Jagan Mohun Palace. Notes accompanying the album read, "..is a lofty building with tall Ionic columns in the verandah, reaching to the second storey. It was built by Krishna Raja Wodeyar III, as an ornament to the town and a place of amusement for European officers. The walls of the upper storey are painted with pictures, verging on the grotesque, representing the Raja in procession at Dasara and on shikar expeditions."
This photograph of the Amba Vilasa, Mysore Palace taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'. "This portion of the palace [called the Amba Vilasa], which was rebuilt in the Indo-Saracenic style in 1895, was also burned down with all its treasures of pictures of the Krishna Wodeyar period which consisted principally of officers connected with Mysore, painted by European artists, in the fire of 1897; the walls, columns, and iron girders alone remaining."
Photograph of the car & temple on Chamundi Hill in Mysore. The complex of the Chamundi Temple is situated on the homonymous Hill that overlooks Mysore. It is dedicated to the guardian divinity of the ruling Wadiyar family who founded the shrine in the 17th century. This is a view looking towards the gopura of the Chamundi Temple, with a temple car standing in the foreground. This ornate carved wooden car is surmounted by a throne standing on the back of a carved lion figure. The car was presented to the temple by the Maharaja of Mysore in 1848.
This photograph of the Sita Vilasa Chatram, Mysore taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'.General view from the street of the Sita Vilasa Chatram or resting house .
This photograph of the H.H. Maharani's Temple, Mysore taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'.The view depicts the single-storey hospital building and an accompanying note reads, "Erected to the memory of H.H. the Dowager Maharani Depajammuni, C.I., the fourth Maharani of H.H. Krishna Raja Wodeyay III, who was invested with the Order of the Crown of India in 1878. Her Highness was...for some years, the Guardian of H.H. the late Maharaja. Although Her Highness lived to the advanced age of 89, she retained all her faculties to the end, and made charitable bequests on her death-bed."
Photograph of the granite bull on Chahmundi Hill in Mysore.Chamundi Hill overlooks the town of Mysore and is named after the shrine dedicated to the homonymous goddess, the guardian divinity of the ruling Wadiyar family who built the temple in the 17th century. On the road ascending the hill there is a huge monolithic statue of Nandi, the mount of the god Shiva, with ceremonial bells and garlands. It dated from 1659.
Photograph of the temple at Nanjagud in Karnataka, taken by an unknown photographer in the 1860s, from the Photograph album of Major General Jackson Muspratt Muspratt-Williams.
The photograph shows the multi-storeyed pyramidal gopura or entrance gateway to the temple. The storeys are decorated with mouldings and architectural elements and end in a barrel vaulted roof with arched ends. The style of architecture is typical of theone that developped in Karnataka in the sixteenth century. From this period onwards entrance gateways became the dominant feature of the religious complexes. These monumental compositions consist of a granite basements finely carved and pyramidal towers decorated with fully modelled plaster sculptures.
Photograph of the Nandi bull on Chamundi Hill near Mysore in Karnataka, from Taylor and Fergusson's 'Architecture in Dharwar and Mysore', taken by William Henry Pigou in 1856. Chamundi Hill, overlooking Mysore, takes its name from the goddess Chamundi to whom a temple is dedicated near its summit. The goddess, a form of Shakti who as Chamundi slew the demon Mahishasura, is the tutelary deity of the Wodeyars, rulers of the former princely state of Mysore. Nandi, the sacred bull, is the vehicle of Shiva, the consort of the goddess, and symbolises great strength and virility, the animal force in man. The massive Nandi sculpture on the road that ascends Chamundi Hill is 5 ms tall and the largest of its type in India. It was carved from a single rock at the behest of Dodda Devaraja Wodeyar (ruled 1659–72).
Photograph of the Chamundi temple with the temple car to the left, near Mysore, Karnataka, from Taylor and Fergusson's 'Architecture in Dharwar and Mysore', taken by William Henry Pigou in c.1856. The granite hill overlooking the town of Mysore is called Chamundi Hill after the goddess enshrined in the temple near its summit. Chamundi, the slayer of the demon Mahishasura, is a form of the mother goddess Shakti, and is the family deity of the Wodeyar princes of Mysore. The temple is the oldest at Mysore, with local tradition relating that it was founded in the 12th century, but its gateway with its pyramidal tower or gopuram was completed in 1827. The shrine itself is a small structure with a small porch. Outside the temple is the chariot used during ceremonies to carry the statue of the goddess. It is adorned with the lion which is her mount.
Full length studio portrait of Krishnaraja Wadiyar IV, the Maharaja of Mysore by M. Burahnudin, 2nd February, 1895. This photograph is from the Elgin Collection: 'Autumn Tour 1895. Vol II'. Born June 4th 1884 the Maharaja succeeded to office as a minor on the death of his father. Krishnaraja Wadiyar IV is regarded as one of the most enlightened rulers of modern India; he is credited with transforming Mysore (modern Karnataka) into a model princely state and his period of rule has often been called the ‘Golden Age of Mysore’.
This photograph of the Temple Car, Chamundi Hill, Mysore taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'.The view shows a temple car in the foreground with the gopura (the great pyramidal tower over the entrance-gate to the precint of a temple. S India) of the Chamundi Temple beyond. The car was presented to the temple by the Maharaja of Mysore in 1848. This temple was dedicated to the goddess Chamundeshwari, who was believed to have killed the evil demon-king Mahishasura.
Photograph from an album of 40 albumen prints by Edmund David Lyon. Karnataka has a long tradition of paintings used to decorate the walls of temples and palaces, although most surviving paintings date from the post-Vijayanagar era, after the 16th century. Srirangapatna, the seat of the Mysore Wodeyars who made it their capital in 1610, was a cultural centre and source of paintings. The tradition continued in the era of Haider Ali and Tipu Sultan who took over from the Wodeyars in the second half of the 18th century. The walls of Darya Daulat Bagh, the summer palace of Tipu Sultan, are covered with impressive paintings. On the west wall are portraits of Haider and Tipu and scenes from the second Anglo-Mysore war in which they were victorious over the British, and on the east wall are portraits of Tipu's contemporaries and scenes from everyday life. Lyon's 'Notes to Accompany a Series of Photographs Prepared to Illustrate the Ancient Architecture of Southern India' (Marion & Co., London, 1870), edited by James Fergusson, gives the following description: '[this] - shows the Paintings on the wall at the east side of the building. The subjects represent different scenes and ceremonies of Mussulman life, though in direct violation of the second commandment to which Mohammedans generally strictly adhere. These paintings are singularly interesting, as exhibiting, at the end of the eighteenth century, exactly the same mechanical stage of art as was reached by the Italians in the end of the thirteenth. The frescoes in the Arena chapel at Padua show exactly the same mode of dividing and depicting subjects, and the same imperfect notions of perspective, as here shown; though the sentiments in the two cases are very different'.
This view of Mysore from the Jagan Mohan Palace, taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'. The photograph was taken from an upper storey of the palace and shows the palace gardens in the foreground. Notes accompanying this print read, "The view shown is a portion of old Mysore with the west gate of the fort in the distance. The street in the centre has been named 'Lukshmi Vilasa' in honor of the bride of H.H. the Maharaja." The palace was built in 1861 by Krisnaraj Wodeyar IV.
Photograph from an album of 40 albumen prints by Edmund David Lyon. The walls, pillars, arches and domes of Darya Daulat Bagh are covered with a profusion of paintings. Located in Srirangapatna in Karnataka, this building was the summer palace of Tipu Sultan, ruler of Mysore, 1782-99. Lyon's 'Notes to Accompany a Series of Photographs Prepared to Illustrate the Ancient Architecture of Southern India' (Marion & Co., London, 1870), edited by James Fergusson, gives the following description: '[this] is a view of the large room on the upper storey, which is fitted up as a drawing-room being carpeted and well furnished. The same style of ornamentation is continued on the inner as well as on the outer walls. Anyone at all familiar with the palaces of Agra and Delhi will easily be able to trace the origin of every feature in this building. It is purely Mohammedan in its form, with the slightest possible admixture of Hindu taste in its details. Its worst defect is the attenuation it exhibits as compared with the manly vigour which is seen in the works of Akbar and the earlier Mogul Emperors of India. There is nothing else now at Seringapatam worthy of a visit, as every vestige of the old palace has disappeared. The mosque is quite modern, having been built by Tippoo just before his death. The unhealthiness of the place is such that the population of the town is every year decreasing. There is a ruinous, poverty-stricken air about the place which warns the visitor truthfully of its condition, and foolhardy will lie be if he tarries here one hour longer than necessary, especially after the sun is down. Both the Deria Dowlut and the fort may easily be visited the same day. The latter is interesting in an historical sense only. The place is still shown on the south side where the great breach was made, and where the British troops advanced to the storm. Here, too, Tippoo fell. Close to this is the building where the European prisoners were confined, and so many gallant hearts pined in captivity.'
18 Jun 2015
Old photographs of Bangalore | vintage photos of Bangalore | black and white photographs of Bangalore | Rare photographs of Bangalore -- Part I
Here are old photographs of Bangalore:
Photograph of the Halsur Tank, Bangalore, from the Macnabb Collection (Col James Henry Erskine Reid): Album of Indian views, taken in 1902 . The lake or tank lies to the North-West of Ulsur (Halsur) which is situated east of Bangalore. J.W. Morris in the 'Guide to Bangalore and Mysore Directory 1905' said that the condition of the lake was regarded as dangerous to public health because of the weed-choked, shallow waters and many a European Soldier drowned here, perhaps caught in the weeds and lotus plants. In the early 20th century water-works for supplying the European Troops stationed here, were situated on the side of a rock adjoining the lake, but this was abandoned with the introduction of a piped water supply. The lake with a garden near by is a popular attraction today.
This photograph of the interior of the Durbar Hall, Palace, Bangalore taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'. "The entire right wing of the palace consists of a spacious hall, lofty, and well-lighted by bay-windows. The design and construction are modern, as also the furniture and hangings. It is here that the Maharaja holds his durbars, and receives distinguished visitors, when in Bangalore." A durbar is the court kept by an Indian ruler, a public audience or levee held by a native prince, or by a British governor or viceroy in India.
This view of the ruined fort at Bangalore was taken by Nicholas Bros in the 1860s to form part of an album entitled 'Photographs of India and Overland Route'. It shows two masonry-built battered round bastions in a style typical of defensive architecture in India throughout the medieval and modern periods. The site was originally the location of a mud fort built by a Vijayanagar chieftain in 1537. The existing fort was built Haidar Ali in 1761 and was later occupied by his son, Tipu Sultan. The fort is unusual in its oval shape. It originally had eight gates. Only the Delhi Gate, which is particularly known for its fine plasterwork motifs, remains.
A photograph of the Band Stand at the Lal Bagh Gardens in Bangalore from the 'Vibart Collection of Views in South India' taken by by an unknown photographer about 1855. These pleasure gardens belonged to Haidar Ali and later his son Tipu Sultan. It was made into a horticultural garden in 1856 under the management of a professional Superintendent. A Band Stand was soon added from where music was played in the evenings. Later a handsome and spacious conservatory was built, the foundation stone of which was laid on the eve of the visit of Prince Albert Victor Wales to the gardens.
This photograph of the Victoria Jubilee Hospital, Bangalore taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'. "The Victoria Diamond Jubilee Hospital, Bangalore City... constructed in commemoration of the auspicious occasion of the completion of the sixtieth year of the reign of Her Most Gracious Majesty, the Queen-Empress of India. The foundation stone was laid by H.H. the Maharani-Regent on Diamond Jubilee day, 22nd June, 1897. It is intended as a charitable institution for the purpose of affording medical relief to sufferers of all classes without distinction as to caste, creed, or color. It was opened on the 8th December 1900, by His Excellency Lord Curzon of Kedleston."
Photograph of pupils from the matriculation class at Bangalore High School in Karnataka from the Archaeological Survey of India Collections: India Office Series (Volume 46), taken by an unknown photographer in 1866. This image shows the European master seated at the table in the centre surrounded by his pupils. The Imperial Gazetteer of India states, "There are three classes of secondary schools - the vernacular and English middle schools, and the high schools...The English secondary school stage is divided into middle and high school sections, which really form portions of the same course...the English school education should ordinarily be completed by the time the pupil attained the age of sixteen...In English secondary schools the main course has hitherto led up to the matriculation or entrance examination of one or other of the Universities. There are other courses of a more practical character leading up to different examinations...A purely literary education has been more popular among both parents and students, as being in itself more attractive to them and as affording a better opening for remunerative employment. The matriculation has generally been accepted as a qualifying test by Government and private employers as well as by the Universities, and has been regarded as the common goal of the school career."
This photograph of Glass House at Lal Bagh Gardens, Bangalore taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'. The Glass House at the Lal Bagh Gardens was built to commemorate Prince Albert's visit to Bangalore. The foundation stone was laid by the Prince on 30 November 1889. It was a popular venue for horticultural shows and competitions.
Photograph of the Halsur Tank, Bangalore, from the Macnabb Collection (Col James Henry Erskine Reid): Album of Indian views, taken in 1902 . The lake or tank lies to the North-West of Ulsur (Halsur) which is situated east of Bangalore. J.W. Morris in the 'Guide to Bangalore and Mysore Directory 1905' said that the condition of the lake was regarded as dangerous to public health because of the weed-choked, shallow waters and many a European Soldier drowned here, perhaps caught in the weeds and lotus plants. In the early 20th century water-works for supplying the European Troops stationed here were situated on the side of a rock adjoining the lake, but this was abandoned with the introduction of a piped water supply. The lake with a garden near by is a popular attraction today.
This photograph of the Head Works and Sluice, Chamaraj Water Works, Bangalore taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'.Caption notes with the album read, "Constructed for the water supply of Bangalore and named 'The Chamrajendra Water Works' after his late Highness. The embankment, which is thrown across the Arkavati River, dams back 767 c. ft. of water from catchment of 212 square miles. The inception of the scheme is due to Sir Sheshadri Iyer, the Dewan."A Dewan is the Minister of Finance.
Photograph of a group of 24 girls and their teacher at the London Mission Girls' Boarding School, Bangalore, taken by Henry Dixon in the 1860s. This photograph is from the Archaeological Survey of India Collections and was shown at the 1867 Paris Exhibition. The state of Mysore was one of the most progressive regions in pre-independent India. It was a pioneer in establishing modern systems of education; the London Mission was the first school for girls in Mysore, established in Bangalore city in 1840. The photographer was Capt. Henry Dixon of the 22nd Regiment, Madras Native Infantry.
Photograph of a stone slab with a relief sculpture of a battle scene, and a Kanarese inscription above, from Begur in Karnataka from the Archaeological Survey of India Collections: India Office Series (volume 21, 'a' numbers), taken by Henry Dixon in the 1860s. Begur is a village south of Bangalore which has two twin granite temples, probably dating from the end of the Ganga period, eleventh century.
Photograph of Mr. Brett's house at Hosur, Tamil Nadu from the Archaeological Survey of India Collections: India Office Series (volume 21, 'a' numbers) taken by Henry Dixon in the early 1860s. This view looks across the garden and along the drive towards the house, with the entrance and a porte-cochère at the right. Built in the form of a mediaeval castle by the Collector Mr Brett (1859-62), this building served as the divisional officer's 'bungalow'. It was purchased by the Government in 1875 and was known locally as The Castle.
Photograph of a general view of the house known locally as The Castle, from the Archaeological Survey of India Collections: India Office Series (volume 21, 'a' numbers) taken by Henry Dixon in the early 1860s. Built in the form of a mediaeval castle by the Collector Mr Brett (1859-62), this building served as the divisional officer's 'bungalow'. It was purchased by the Government in 1875. The family group gathered on the verandah is possibly the Bretts.
Courtesy: British Library
17 Jun 2015
ಹೇಳಲೇನು ಕಾರಣ!
ಹೇಳಿ ಹೋಗು ಕಾರಣವಾ ಹೋಗುವ ಮೊದಲು
ಹೇಳಿ ಹೋಗು ಕಾರಣವಾ ಹೋಗುವ ಮೊದಲು
ನನ್ನ ಬಾಳಿಂದ ದೂರವಾಗುವ ಮೊದಲು
ಹೇಳಿ ಹೋಗು ಕಾರಣವಾ ಹೋಗುವ ಮೊದಲು
ನಿದ್ರೆ ಬಾರದ ಕತ್ತಲ ರಾತ್ರಿಯಲ್ಲಿ ಮಹಡಿಯ ಮೇಲೆ ನಿಂತು ಗಾಢ ಮೌನವಹಿಸಿದ ಆಕಾಶದಲ್ಲಿ ಚಂದ್ರನನ್ನು ನೋಡುತ್ತ ತನ್ನ ಮೋಬೈಲ್ನಿಂದ ಹಾಡುಗಳನ್ನು ಕೇಳುತ್ತಿದ್ದ ಅವನಿಗೆ ಸಿ.ಆಶ್ವತ್ ಹಾಡಿರುವ ಈ ಹಾಡು ಅನೀರಿಕ್ಷಿತವಾಗಿ ಪ್ಲೇಯಾಗಿ ಕಾಡದೆ ಇರಲಿಲ್ಲ. ಈ ಹಾಡು ನೇರ ಅವನ ಮನಸ್ಸಿಗೆ ನುಗ್ಗಿ ಮರೆತು ಹೋಗಿತ್ತ ಸಾಕಷ್ಟು ನೆನಪುಗಳು ಕಾಡಲಾರಂಭಿಸಿತು.
ಬಲವೆಂಬ ಹಣತೆಯ ಎದೆಯಲ್ಲಿ ಬೆಳಗಿ ಬೆಳಕಾದೆ ಬಾಳಿಗೆ
ಇಂದೇಕೆ ಹೀಗೆ ಬೆಳಕನ್ನು ತೊರೆದು ನೀನೆಕೆ ಸರಿದೆ ನೆರಳಿಗೆ
ಸುಡುಬೆಂಕಿ ಬೆಳಕು ಉಳಿಯಿತು ನನ್ನ ಪಾಲಿಗೆ
ಹೇಳಿ ಹೋಗು ಕಾರಣವಾ ಹೋಗುವ ಮೊದಲು
ಅದೊಂದು ವಾಕ್ಯ ಒಂದೇ ಒಂದು ವಾಕ್ಯ ಅವನಿಗೆ ಕಾಡದೆ ಇರಲಿಲ್ಲ: ಹೇಳಿ ಹೋಗು ಕಾರಣ!
ಭರ್ತಿ ಆರು ವರ್ಷದ ಅವನ ಕನಸಿಗೆ, ಅವನ ಪ್ರೀತಿಗೆ ಕಾರಣವೆ ಹೇಳದೆ ಹೋದ ಅವನ ಬದುಕಿನ ಜೀವನಾಡಿ ಅವನ ಆ ಮುದ್ದು ಹುಡುಗಿ ನೆನಪಾಗದೆ ಇರಲಿಲ್ಲ. ಅವನ ಪ್ರೀತಿಗೆ ಇಂದು ತುಂಬು ಆರು ವರ್ಷ! ಅವನ ಕಾಯುವಿಕೆಗೂ ಕೂಡ! ಆ ಆರು ವರ್ಷದಲ್ಲಿ ಒಮ್ಮೆಯು ಅವನನ್ನು ಹಿಂತಿರುಗಿ ನೋಡದವಳು ಆಕೇ. ಆರು ವರ್ಷದ ಅವನ ಕಣ್ಣಿರಾದವಳು ಅವಳು. ಆರು ವರ್ಷದ ಅವನ ಕಷ್ಟಕಾರ ಜೀವನದಲ್ಲಿ ಒಮ್ಮೆಯೂ ಬಾರದವಳು ಅವಳು. ಕಾರಣ ಹೇಳದೆ ಹೋರಟು ಹೋದವಳು!
ಈ ಭರ್ತಿ ಆರು ವರ್ಷದಲ್ಲಿ ಅವನು ಅವಳನ್ನು ನೆನಪು ಮಾಡಿಕೊಳ್ಳದ ನೀರವ ಕ್ಷಣವಿರಲಿಲ್ಲ.. ಆಸಲಿಗೆ ಈ ಆರು ವರ್ಷದಲ್ಲಿ ಅವಳು ಅವನಿಗೆ ನೆನಪು ಮಾಡಿಕೊಳ್ಳುವ 'outsider' ಆಗಿರಲಿಲ್ಲ! ಅವಳು ಅವನ ಬದುಕಿನ ಜೀವತಂತು. ಕರುಳ ವೀಣೆ. ಎದೆಯ ಢವಢವ
ಯಾವಗ ಅವಳು ಆರು ವರ್ಷದಲ್ಲಿ ಒಮ್ಮಯು ಅವನನ್ನು ತಿರುಗಿ ನೋಡಲಿಲ್ಲವೊ. ಅವನಿಗೆ ಜೀವನ ಪಾಠ ಕಲುಹಿಸಲು ಪ್ರಾರಂಭಿಸಿತು. ಸಾಹಿತ್ಯ ಓದಲು ರುಚಿಸಿತ್ತು, ನಿಧಾನವಾಗಿ slowly slowly he was getting into the literature. ಜೀವನ ಬದಲಾಗುತ್ತ ಹೋಯ್ತು. ಸಾಹಿತ್ಯ ಕ್ರೀಡೆ ಆಸೆ ಹುಟ್ಟಿಸಿತು. ಅವಳು ಅವನ ಮನಸಿನಿಂದ ನಿಧಾನವಾಗಿ ಕರಗಿ ಹೋಗುತ್ತಿದ್ದಳು. One fine day she was melted. She was melted from his heart! ಸಂಪೂರ್ಣವಾಗಿ ಅವಳು ಅವನ ಜೀವನದಿಂದ ಮರೆಯಾಗಿ ಬಿಟ್ಟಳು. He began to enjoy his life. ಜೀವನ ಬಣ್ಣಗಳಿಂದ ತುಂಬಿತ್ತು. Life was colourful! ಬದುಕು ಸುಂದರವಾಗಿತ್ತು. ಆಗಲೇ ಅವನಿಗೆ ಅವನ ಜೀವನ ಸಂಗಾತಿ ಸಿಕ್ಕದ್ದು.. ಪ್ರೀತಿಯ ಜ್ಯೋತಿ... ಪ್ರೀತಿಯ ತಾಯಿ... ಬದುಕಿಗೆ ಸ್ಫೂರ್ತಿಯ ಸೆಲೆ!
ಅವನ ಆರು ವರ್ಷ ಕುಂದು ಹೋಗಿದ್ದ, ಕಾಯುವಿಕೆಯಲ್ಲಿ ನರಳಿಹೋಗಿದ್ದ ಬದುಕಿಗೊಂದು ಸ್ಫೂರ್ತಿ ದೊರೆತಾಗ ಮತ್ತೆ ಅವನ ಬದುಕಿಗೆ 'ಬಿರುಗಾಳಿ?'ಯಾಗಿ ಸುಳಿದು ಬಿಟ್ಟಳು ಅವಳು ಹೇಳಲೇನು ಕಾರಣವಾ! ಎಂದು...
ಹೇಳಲೇನು ಕಾರಣ ಮತ್ತೋಮ್ಮೆ ಬಂದು
ಹೇಳಲೇನು ಕಾರಣ ಮತ್ತೋಮ್ಮೆ ಬಂದು
ನಿನ್ನ ಬಾಳಿಂದ ದೂರಾಗಲು ಇಷ್ಟವಿಲ್ಲವೆಂದು
ಹೇಳಲೇನು ಕಾರಣ ಮತ್ತೋಮ್ಮೆ ಬಂದು..
ಆರು ವರ್ಷದಲ್ಲಿ ಕೇವಲ ಕಾರಣಕ್ಕಲ್ಲ ತನ್ನ ಪ್ರೀತಿಯ ಬಗ್ಗೆ ತನ್ನ ಕನಸು ಕನವರಿಕೆಯ ಬಗ್ಗೆ ಹೇಳಲು ಅವನು ಎಷ್ಟೆ ಪ್ರಯತ್ನಿಸಿದರು ಸಿಕ್ಕಲಿಲ್ಲ! ಬದುಕು ಕತ್ತಲೆಯಲ್ಲೆ ಇದ್ದಗಾ ಬಾರದ ಅವಳು. ಪ್ರತಿ ನಿತ್ಯದ ಹಾಗುಹೋಗುಗಳಲ್ಲು ಕಣ್ಣಿರು ಸುರಿಸುವಾಗ ಬಾರದ ಅವಳು ಈಗ! ಬದುಕು ಸುಂದರವಾಗುವಾಗ, ಖುಷಿಯಿಂದ ಬಣ್ಣದಿಂದ ತುಂಬಿರುವಾಗ ಹೇಳಲೇನು ಕಾರಣ ಎಂದು ಬಂದಿದ್ದಾಳೆ.. ಒಮ್ಮೆಲೆ ಬೆಚ್ಚಿಬಿದ್ದ ಆತ. ಆದರೆ ಯಾವುದನ್ನು ಮುಚ್ಚಿಡದೆ ಅವನ ಮನಸ್ಸಿನಲ್ಲಿದ್ದ ಅಷ್ಟು ಭಾವನೆಗಳನ್ನು ಅಕ್ಷರ ರೂಪಕ್ಕೆ ತರಲು ಪ್ರಯತ್ನಿಸಿದ.
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ಪ್ರೀತಿಯ ಹುಡುಗಿ,
ಪ್ರೀತಿ ಇದೆಯೇ, ಗೊತ್ತಿಲ್ಲ. ನಾನು ಈ ಪತ್ರ ಬರೆಯಬೇಕು ಎಂದು ನಿರ್ಧರಿಸಿದವನೇ ನನ್ನ ಡೈರಿ ತೆಗೆದು ಬರೆಯಲಾರಂಭಿಸಿದೆ ನಾನು ಈ ಪತ್ರ ಬರೆಯಲು ತೆಗೆದುಕೊಂಡ ಸಮಯಕ್ಕಿಂತಲೂ ನಾನು ನಿನ್ನ ಏನೆಂದು ಸಂಭೋದಿಸಲಿ ಎನ್ನುವುದಕ್ಕೆ ಬಹಳ ಸಮಯ ತೆಗೆದುಕೊಂಡೆ. ಬೇರೆನೂ ತಿಳಿಯದೆ ನಿನ್ನನ್ನು ಹುಡುಗಿ ಎಂದು ಕರೆದಿದ್ದೆನೆ. ಪ್ರೀತಿ ಇದೇಯೋ ಇಲ್ಲವೋ ನಂಗೊತ್ತಿಲ್ಲ. ಕೇವಲ ಕಾಯುವಿಕೆಯಲ್ಲಿ ಪ್ರೀತಿ ಆಡಗಿತುತ್ತ I don't know ಆದರೆ ಆರು ವರ್ಷ I mean six long years ನೀನು ನನ್ನ ಬದುಕಿನಲ್ಲಿ ಹಾದು ಹೋಗದ ಗಳಿಗೆ ಇರಲಿಲ್ಲ. I was waiting you for six years. ಅದ್ರೆ ನಿನ್ನ ಒಂದೇ ಒಂದು ಸುಳಿವು ಕೂಡ ಇರಲಿಲ್ಲ. ಮಾತಿಗಲ್ಲ ನನ್ನ ಮೌನಕ್ಕೂ ನೀನು ಸೀಗಲಿಲ್ಲ ಹುಡುಗಿ. Then I realised its time to move on. ನಿಜ! ನಾನು ಬದುಕಿನ ಈ ಚಕ್ರದಲ್ಲಿ ಮುಂದುವರೆಯಲೇ ಬೇಕಾಗಿತ್ತು. ನಾನು ನನ್ನ ಸ್ಥಿರ ಹೆಜ್ಜೆಯನ್ನು ಮುಂದಕ್ಕೆ ಇಟ್ಟು ಮುಂದುವರೆಯಲೇ ಬೇಕು.. ಮತ್ತು ಮುಂದುವರೆಯುತ್ತೆನೆ.
ಹುಡುಗಿ, ನಿನಗೆ ಗೊತ್ತು ನಾನು ಹೆಚ್ಚು ಮಾತಡೊಲ್ಲವೆಂದು ಅದಕ್ಕೆ ನನಗೆ ಸಾಹಿತ್ಯ ಇಷ್ಟವಾಯ್ತ, ಗೊತಿಲ್ಲ. ಆದರೆ ನಿನಗೆ ಹೇಳಲಾಗದ ಹಲವು ಸಂಗತಿಗಳನ್ನು ನಾನು ಈ ಪತ್ರದಲ್ಲಿ ಬಿಚ್ಚಿಡಲಿದ್ದೆನೆ! ಬಹುಶಃ ಕಣ್ಣ ಒಂದು ಹನಿ ನೀರು ಬಾರದೆ ಈ ಪತ್ರ ಬರೆಯುವುದು ಕಷ್ಟವಾಗಬಹುದು ಆದರೆ ನಾನು ಅದಷ್ಟು ಸಂಗತಿಗಳನ್ನು ನಿನಗೆ ಹೇಳಲೆಬೇಕು! ಮನಸ್ಸು ಗಟ್ಟಿ ಮಾಡ್ಕೊ, ಹೇಗೆ ಆರು ವರ್ಷ ನಾನಿಲ್ಲವೆಂದು ಕೊಂಡಿದ್ದೆ ಆಗೇಯೆ ಗಟ್ಟಿಮಾಡಿ ಈ ಪತ್ರ ಓದು! ಬದುಕಿನ ಸತ್ಯಗಳು ತೆರೆದುಕೊಳ್ಳುತ್ತದೆ.
ಆರು ವರ್ಷವೆಂದರೆ ಚಿಕ್ಕ ಘಳೀಗೆಯಲ್ಲ! ಅದು ಭರ್ತಿ 2000ಕ್ಕೂ ಹೆಚ್ಚು ದಿನ ಅಂದರೆ ಭರ್ತಿ 5000ಕ್ಕು ಹೆಚ್ಚು ಗಂಟೆಗಳು. yes ಅಷ್ಟು ಗಂಟೆಗಳು ಅಷ್ಟು ಕ್ಷಣಗಳು ನಿನನ್ನ ಆರಧಿಸಿದ್ದೆನ? ಗೊತ್ತಿಲ್ಲ! But definitely you were one among in my life! ಅದರೆ ಅಷ್ಟು ವರ್ಷವಾದರು ನೀನು ಬರಲಿಲ್ಲವಾದರೆ ನಾನು ಏನು ಮಾಡಬೇಕು ಹೇಳು. Life must go on. ಬದುಕು ಮುಂದುವರೆಯಬೇಕು! , ಬದಲಾವಣೆ ಜಗದ ನಿಯಮ! ಜಗತ್ತು ಬದಲಾಯ್ತು ನಾನು ಅದರಿಂದ ಹೊರತಗಾಲಿಲ್ಲ. ನೋಡು ಹುಡುಗಿ ನಾನು ಬರೆದ ಹೇಳಿ ಹೋಗು ಕಾರಣವೆಂಬ ಪತ್ರಕ್ಕೆ ಒಂದು ವರ್ಷದ ನಂತರ ಹೇಳಲೇನು ಕಾರಣವೆಂದು ಬಂದಿದ್ದಿಯಾ! But you are too late! ಆದರೆ ನೀನು ಮತ್ತೊಮ್ಮೆ ಹೋಗಲ್ಲವೆಂದು ಏನು ನಂಬಿಕೆ? ಇಲ್ಲ ನಾನು ಆಳುವುದಿಲ್ಲ. ಹುಡುಗಿ ನಾನು ನೀನ್ನಿಂದ ದೂರವಾಗಲೇ ಬೇಕು. ನಿನ್ನನ್ನ ಮರೆಯಲೇಬೇಕು ಕಾರಣವೇನೆಂದು ಈಗ ಬೇಡ . ಇದಕ್ಕೆ ಜಗದ ನಿಯಮ.. ನನ್ನ ಮನಸ್ಸಿನ ನಿರ್ಣಯವೆಂದು ಹೆಸರಿಡಲಾರೆ. ನಾನು ಇಷ್ಟು ವರ್ಷ ನಿನಗಾಗಿ ಪಟ್ಟ ಕಷ್ಟ , ಕಣ್ಣಿರು , ನೋವುಗಳು ಸಾಕು. I'm moving ahead.. moving away from you. ನಿನ್ನ ಬದುಕಿಗೆ ಶುಭವಾಗಲಿ. I'm vanishing from you. ಮತ್ತೊಮ್ಮೆ ಹುಡುಕುವ ಪ್ರಯತ್ನ ಮಾಡಬೇಡ.
ಬದುಕೊಂದು ಸುಂದರ ಪಯಣದಂತೆ ಆ ನಿನ್ನ ಪಯಣದಲ್ಲಿ ನಾನು ಕೇವಲ ಒಂದು ರಸ್ತೆಯಲ್ಲಿ ಬರುವ ಹುಬ್ಬಗಿರಬಹುದು. ಅದಕ್ಕೆ ಹಂಪಿನ ಮೇಲೆ ಬಹಳಷ್ಟು ಹೊತ್ತು ನಿಲ್ಲಬಾರದು. ಮುಂದೆ ನಡೆ. ಬದುಕು ಮತ್ತಷ್ಟು ಸುಂದರವಾಗಿದೆ. Happy journey ನಿನ್ನ ಸುಂದರ ಬದುಕಿನ ಪಯಣಕ್ಕೆ ನನ್ನ ತುಂಬು ಹೃದಯದ ಆರೈಕೆ. ಈ ಬಾರಿ ಕಾರಣ ಕೇಳುವುದಿಲ್ಲ ಹೋಗಿಬೀಡು, ನನ್ನ ಬಾಳಿಂದ ದೂರವಾಗು!
-ಇಂತಿ
ನಿನ್ನ ಜೀವನದಲ್ಲಿ ನಾನು ಏನಾಗಿದ್ದೆನೋ ಗೊತ್ತಿಲ್ಲ!
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ತನ್ನ ಮನಸ್ಸಿನಲ್ಲಿದ್ದ ಕೇಲವೆ ಕೇಲವು ಸಂಗತಿಗಳನ್ನು ಬರೆದು ಆಕೆಗೆ ಕೊಡುವಷ್ಟರಲ್ಲಿ ಅವನಿ ನಿಟ್ಟಿಸಿರಾಗಿ ಬಿಟ್ಟ.. ಆದರೆ ಅವಳಿಂದ ಬಂದ ಉತ್ತರ ಅವನಿಗೆ ದಂಗುಬಡಿಸಿತ್ತು! ಅವಳು ಬರೆದ ಉತ್ತರ ಮುಂದಿನ ಭಾಗದಲ್ಲಿ
(ಮುಂದುವರೆಯುತ್ತದೆ- To be continued)
13 Jun 2015
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13 May 2015
ಅವಳು ಸೂರ್ಯರಶ್ಮಿ ಇವನು ಪ್ರೇಮ ಚಂದಿರ.
ಮುಂಜಾನೆ ತಂಪು ಸೂರ್ಯ
ಹಕ್ಕಿಯ ಚಿಲಿಪಿಲಿಗಳ
ನಡುವೆ ನೆನಪಾಗುವ ಆಕೆ
ಮಧ್ಯಾಹ್ನ ಉರಿಬಿಸಿಲ
ಧೂಳು ದುಮ್ಮನಗಳ
ನಡುವೆಯು ಕಾಡುತ್ತಾಳೆ..
ಅವಳು ಪ್ರೀತಿ ಸೋಕಿಸುವ ಸೂರ್ಯರಶ್ಮಿಯಾದರೆ
ಇವನು ಆ ಪ್ರೀತಿಯ ಹೊಂಗಿರಣ!
ಸಂಜೆಯ ತಂಗಾಳಿಯೊಡನೆ
ಉಕ್ಕುವ ಪ್ರೀತಿ, ರಾತ್ರಿಯ
ಕತ್ತಲಲ್ಲಿ ಆ ಪ್ರೀತಿಯನ್ನು
ಹಾಡಾಗಿ ಹೊರಹೊಮ್ಮಿಸುತ್ತಾಳೆ..
ಅವಳು ತಡವರೆಸುವ ತಂಗಾಳಿಯಾದರೆ
ಇವನು ನಿರ್ಮಲವಾದ ಪ್ರೇಮ ಚಂದಿರ...
12 May 2015
ಮಳೆ ನಿಲ್ಲುವ ಹೋತ್ತು
ಮಳೆ ಆರ್ಭಟಿಸಿ ನಿಲ್ಲುವ ಹೊತ್ತು
ನಾ ಕಾದಿದ್ದೆ, ಅದು ಅವಳಿಗೂ ಗೊತ್ತು
ಮಳೆಯಲ್ಲಿ ತೊಯ್ದು ತಂಪೇರಿತು ವನ
ಅವಳನ್ನು ನೋಡದೆ ಕಾವೇರಿತು ನನ್ನೀ ಮನ..
ಅವಳು ಇನ್ನೇನು ಬರುವ ಹೊತ್ತು
ಕಾದು ಕಾವೇರಿದ ಮನ ತಂಪೇರಿತ್ತು
ಇದೋ, ಈಗ ಬಂದಳೆಂದಿತ್ತು ಮನ
ಅದರೂ ಬರಲಿಲ್ಲವೆಂದು ಮುನಿಸಿಕೊಂಡಿತ್ತು
ತಂಗಾಳಿಯೂ ತಡವರಿಸಿ ಪ್ರೀತಿ ಸೋಕಿಸಿತ್ತು
ಹುಸಿ ಮುನಿಸು ಹೆಚ್ಚಾಗಿತ್ತು
ಮೌನ ಮುರಿಯುವ ಹೊತ್ತು ಬಂದಾಗಿತ್ತು
ಕಡೆಗೂ ಸೊನೆ ಮಳೆ ನಿಂತಾಗಿತ್ತು;
ಅದರೂ ಬರಲೇ ಇಲ್ಲ ಅವಳೂ
ಮೇಧಿನಿ ಮಳೆಗೆ ಕಾಯುವಂತೆ, ಅವಳಿಗಾಗಿ ಕಾಯುತ್ತ
-ಕನಸು ಕಣ್ಣಿನ ಹುಡುಗ
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