{ದ್ರುತವಿಲಂಬಿತ} ದ್ರುತವಿಲಂಬಿತವನ್ನು ಸಂತುಲಿತಮಧ್ಯಾವರ್ತಗತಿಯ ಹಂದರದ ಮೇಲೆ ಹಬ್ಬಿದ ವೃತ್ತವಲ್ಲಿಗಳ ಜೊತೆಗೆ ಸೇರಿಸಿಕೊಳ್ಳುವುದು ಸ್ವಲ್ಪ ಚಿಂತ್ಯವೆನಿಸಬಹುದು. ಆದರೆ ಈ ಬಂಧದ ಹಾಸು-ಹೊಕ್ಕನ್ನು ಬಿಡಿಸಿ ನೋಡಿದರೆ ಈ ಸೇರ್ಪಡೆಯ ಔಚಿತ್ಯ ಸ್ಪಷ್ಟವಾಗುತ್ತದೆ.
ಮೊದಲಿಗೆ ದ್ರುತವಿಲಂಬಿತದ ಪ್ರಸ್ತಾರವನ್ನು ಪರಿಕಿಸೋಣ:
u u u – u u – u u – u –
Nāṭaka has a special place in the world of Sanskrit literature. Indian aestheticians have always held that nāṭaka occupies the highest rung in the hierarchy of different genres of creative literature. Their view is, indeed, justified. Several forms of fine arts and performing arts undergo an aesthetic blend to give birth to a nāṭaka. The product is marvellous and transcends the sum of its components. From a historical perspective, we can say that nāṭaka is the final and the largest flower that blossomed in the floral bunch of Sanskrit literature.
Hanūmān, who was hiding behind the branches of the tree, had thus seen and heard everything that had taken place there. He thought, ‘I have found Sītā, but I must not go back without reassuring her. If I don’t do so, she will not survive the night. I must also take her message to Rāma. Let me wait until the rākṣasīs slacken their vigilance. I probably must speak to her employing Saṃskṛta – the cultured language familiar to the humans. But then, she might take me for Rāvaṇa if I speak to her in Saṃskṛta and get frightened.
Impurities comprise impressions carried over from many lives, or natural temperaments — different tastes, wavering wants and infatuations, etc. Thus, the unconscious tastes and impressions from past lives are the impurities. Some of them are to be suppressed and purged. Others are to be experienced fully and then only can they be done away with. Purifying the sattva means eradicating the past impressions. This happens when they are indulged and used up in dealings with the world.
Hanūmān looked for Sītā everywhere in the vicinity of the palace. He searched the creeper-covered pavilions, picture galleries, and night rooms, but was unable to find her. He fell into despair and thought, ‘Sītā must have been killed by the rākṣasa or must have died of his torture. What will I tell the vānaras? Well, dauntless self-reliance is the root of all success and is the gateway to happiness.
There are three types of pleasure as well.
yat-tadagre viṣamiva pariṇāme’mṛtopamam ।
tat-sukhaṃ sāttvikaṃ proktam ātma-buddhi-prasādajam ॥BG 18.37
India seems to be the only civilization that has philosophically contemplated upon the nature of Ānanda and realised it to be the ultimate outcome of art. Ānanda, which transcends time and space, is the untainted Joy evoked through art – this fundamental principle does not appear to have been expressed in clear terms in other civilizations. Additionally, the process of arriving at this – the prakriyā – is also not adequately delineated[1].
Hanūmān assumed a body of immeasurable size right in front of the vānaras. Pressed down by the huge vānara, the mountain trembled for a moment which caused the fresh blossoms from the trees to fall; waters poured out from the mountain and it looked like an elephant in rut exuding ichor from its temples; huge boulders tinged with gold and silver tumbled down due to Hanūmān’s force. Preparing to leap, Hanūmān let out a mighty roar and had goosebumps all over his body.