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Kannada Literature / 149
conducive atmosphere, Pampa had an added advantage of the family background where two religions, of Brahmanism and Jainism, had fused into one main stream.
5.6.2.4.2. Pampa, while rendering Mahā-Bhārata into Kannada has ably attempted to give a re-orientation to the theme by culturally localising the immortal saga, wherever appropriate. He experimented with the theme, the language, the form and metre, with a sense of native consciousness. Pampa has occasionally given vent to his heart felt emotions; at one stage he expresses vociferously - what is it that others can give us or others can achieve for us? worship, fame, profane profit-that is all; albeit, all this and much more can easily be a achieved by complete dedication toJinendra; this is perhaps the quintessence of the author's message. Pampa Bhārata is creme de la creme, the cream of the cream, the very best of Kannada literature. Pampa does not slavishly follow the original Bhārata in his treatment of either the theme as such or the characters. Pampa has created highly romantic and ingenious innovations of his own by localizing certain descriptions and concepts. Arjuna is made the hero of the epic who is assigned the significant role of saving the grace of his family by his extraordinary prowess and skill charged with the grace of gods. In the depiction of the stainless bosom friendship of Duryodhana and Karna, the poet has smartly suggested and recorded the itimate comradeship between the king Arikēsari-II and the author himself, the patron and protege. The character of Karņa is so portrayed charged with intensity that Karņa stands singular as a symbol of Fidus Achates.
5.6.2.5. Kirti Nārāyaṇa, Vikrānta Nārāyaṇa, and Vira Nārāyaṇa were included among the nearely twenty five titles of the Răstrakūta monarchs. Therefore, Pampa has meaningfully appropriated the epithet of udātta Nārāyaṇa for his partron in the very first verse of the epic Vikramārjuna
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