October 2021
ಕನ್ನಡರಾಜ್ಯೋತ್ಸವ ಬಂದೊಡನೆಯೇ ಕನ್ನಡವನ್ನು ಕುರಿತ ಚಿಂತನೆ ನಮ್ಮೆಲ್ಲರ ಮನಸ್ಸಿನ ಮೇಲ್ಪದರಕ್ಕೆ ಬರುವುದು ಅಚ್ಚರಿಯೇನಲ್ಲ. ಈ ಮೂಲಕ ಮೈದೋರುವ ವಿಚಾರ ಸಾರ್ವಕಾಲಿಕವಾದರೆ ಅದಕ್ಕಿಂತ ಒಳ್ಳೆಯ ಸಂಗತಿ ಮತ್ತಾವುದು? ಸದ್ಯದ ಈ ಬರೆಹ ಇಂಥ ಒಂದು ಮೂಲಭೂತಚಿಂತನೆಯನ್ನು ಆಸಕ್ತರೊಡನೆ ಹಂಚಿಕೊಳ್ಳುವ ಹವಣು.
ಜಗತೀಕರಣದ ಅಬ್ಬರದಲ್ಲಿ ತತ್ತರಿಸಿಹೋಗುವ ಮೌಲ್ಯಗಳ ಪೈಕಿ ಭಾಷೆಯೂ ಒಂದು. ಇದರ ಎದುರು ನಿಲ್ಲುವ ಭಾಷೆಗೆ ಉಂಟಾಗುವ ನಷ್ಟ ಎಲ್ಲೆ ಮೀರಿದ್ದು. ಚೋದ್ಯವೇನೆಂದರೆ ಜಗತೀಕರಣದ ಆಯುಧವಾಗಿ ಬಳಕೆಗೊಳ್ಳುವ ಭಾಷೆ ಕೂಡ ತನ್ನ ನಯ-ನವುರುಗಳನ್ನೂ ವೈವಿಧ್ಯ-...
The author
Unlike many other Sanskrit works which either keeps us in the dark about the authorship or it's time period, these pesky questions about Matta-vilāsa are settled beyond doubt. The author being Pallava Mahendravarman and the time period being the early 7th century CE. Mahendravarman was one of the greatest kings hailing from the Pallava dynasty which at its peak had a vast empire in Southern India spanning Tamil Nadu, Kerala, parts of...
Another day, when Naravāhanadatta was in the court, a prince by name Samaratuṅga came to him and said, ‘O lord! My cousin Saṅgrāmavarṣa and his four sons are jointly destroying the country. I will go and arrest them!’ Knowing well that Samaratuṅga had but a small army, Naravāhanadatta offered to send his army along. However, without seeking the support of the king's army he waged a war and arrested all five of them. Naravāhanadatta bestowed upon...
The Mahābhārata is no different though the episodes related to Hāsya are few and far. Bhima’s childhood antics are sure to invoke some laughs, so does Uttarakumāra’s boasting in Virāṭa Parva followed by Bṛhannalā’s antics (Mahābhārata Virāṭa Parva Critical Text BORI, sargas 34-36) which has been utilized well by the later poets like Kumāravyāsa, who wrote in Kannada.
Kālidāsa also masterfully inserts Hāsya in all his dramas through the behavior...
Music Practice
In 1909, during the birth anniversary ceremony of Krishnaraja Wodeyar III, there was a music recital by Bidaram Krishnappa in the Royal Court of Mysore. Upon listening to him sing, Sarma was enchanted. The dormant desire to learn and practise music was activated. For several years, Sarma had learnt music from Karigiri Rao and Chikka Rama Rao and was in constant touch with the musical luminaries of that time such as ‘Vīṇā’...
ಅತೀಂದ್ರಿಯಸಿದ್ಧಿ-ಚಿತ್ರಕವಿತೆ
ಶಂಕರ-ಆನಂದವರ್ಧನರು ಬ್ರಹ್ಮ ಮತ್ತು ರಸಗಳಲ್ಲಿಯೇ ತಾತ್ಪರ್ಯವುಳ್ಳವರಾದ ಕಾರಣ ಇವಕ್ಕೆ ಹೊರತಾಗಿ ನಿಲ್ಲಬಲ್ಲ ಯಾವ ಅಂಶವನ್ನೂ ಮಿಗಿಲಾಗಿ ಆದರಿಸುವುದಿಲ್ಲ. ಏಕೆಂದರೆ ಇಂಥ ಅಸ್ಥಾನದ ಆದರಣೆಯು ಪೂರ್ಣಾನುಭವಕ್ಕೆ ಚ್ಯುತಿಯನ್ನು ತರುತ್ತದೆ. ಇದೇ ಕಾರಣದಿಂದ ಸಿದ್ಧಪುರುಷರಲ್ಲಿಯೂ ಅವರ ಸಿದ್ಧಿಗಳಲ್ಲಿಯೂ ಗೌರವಭಾವವನ್ನು ತಳೆದಿದ್ದರೂ ಬ್ರಹ್ಮದಲ್ಲಿ ಪರ್ಯವಸಿಸದ ಯೋಗಿಪ್ರತ್ಯಕ್ಷದಂಥ ಅಂಶಗಳನ್ನೂ ಬಗೆಬಗೆಯ ಸಿದ್ಧಿಗಳನ್ನೂ ಪರಮಾರ್ಥಕ್ಕೆ ಅನಪೇಕ್ಷಿತವೆಂದು ಶಂಕರರು ಬದಿಗಿಡುತ್ತಾರೆ.[1] ಹೀಗೆಯೇ ದೇವೀಶತಕದಂಥ ಅಪೂರ್ವವಾದ...
Vīravara’s son woke up and quickly understood the situation and said, “Father! I am indeed fortunate to be of service for our master’s wellbeing! We owe him our daily bread - hence it is only fit that I serve him in his time of need! Take me along, by all means!”. Vīravara happily said “Truly you take after me, my son!”. The king who had followed Vīravara overheard all this and felt amazed at their courage. Vīravara took his son on his shoulders...
Introduction
Prahasana as a genre has a unique place not just in Sanskrit drama but even in all of classical Sanskrit literature. Prahasana is one among the ten types of rūpakas (plays) and it mainly deals with satirical humour, which not only entertains the rasikas but also gives a light-hearted perspective of the society and practices prevalent in the era when they were composed. In the guise of humour, they offer serious criticism of social...
Appendix 5. Vyavasāya (Sustained effort)
vyavasāyātmikā buddhirekeha kurunandana || (2.41)
Here vyavasāya refers to sustained effort or continuous industry focused on a single goal. That is penance (tapas). A person needs to be of a single-pointed mind to satisfy any immense objective. If, on the other hand, his mind were to vacillate from one side to another every moment, none of his efforts would go very far.
80 or 90 percent of us need to...