Dasa Sahitya is a literary genre in Kannada, first seen in the late fifteenth century. Making its mark both in literature and in Indian classical music, Dasa Sahitya attracted the attention of missionaries and other colonial functionaries, and was...
more
Index theologicus der Universitätsbibliothek Tübingen
Inter-library loan:
No inter-library loan
Dasa Sahitya is a literary genre in Kannada, first seen in the late fifteenth century. Making its mark both in literature and in Indian classical music, Dasa Sahitya attracted the attention of missionaries and other colonial functionaries, and was one of the first genres to be edited and published in Kannada in the mid-nineteenth century. Very soon, native editors and publishers started working on the genre. Usually classified under bhakti literature in the literary historiography of Kannada literature, Dasa Sahitya was published by individuals of varying interests. This article makes a survey of some of the early publications of the genre, and notes varying concerns and interests with which they were produced. We refrain from classifying these works as either 'colonial' or 'nationalist', while noting that the genre and the associated works were inextricably linked to the brahmin community from the days of the early publications, even as this community projected it as part of 'Kannada' culture. We also note evidence of cultural opposition to the change from manuscript to print.
Within the holdings of the Thomas Fisher Rare Book Library at the University of Toronto there is a curious, rarely examined handwritten book entitled Opera Evangelica, containing translations of several apocryphal works in English. It opens with a...
more
Within the holdings of the Thomas Fisher Rare Book Library at the University of Toronto there is a curious, rarely examined handwritten book entitled Opera Evangelica, containing translations of several apocryphal works in English. It opens with a lengthy Preface that provides an antiquarian account of Christian apocrypha along with a justification for translating the texts. Unfortunately, the book's title page gives little indication of its authorship or date of composition, apart from an oblique reference to the translator as ‘I. B.’ But citations in the Preface to contemporary scholarship place the volume around the turn of the eighteenth century, predating the first published English-language compendium of Christian apocrypha in print by Jeremiah Jones (1726). A second copy of the book has been found in the Cambridge University Library, though its selection of texts and material form diverges from the Toronto volume in some notable respects. This article presents Opera Evangelica to a modern audience for the first time. It examines various aspects of the work: the material features and history of the two manuscripts; the editions of apocryphal texts that lie behind its translations; the views expressed on Christian apocrypha by its mysterious author; and its place within manuscript publication and English scholarship around the turn of the eighteenth century. Scholars of Christian apocrypha delight in finding ‘lost gospels’ but in Opera Evangelica we have something truly unique: a long-lost collection of Christian apocrypha.