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Mahābhārata – Episode 40 – Rāmopākhyāna (Part 3)

Just as Śani approaches Rohiṇī for pleasure, Rāvaṇa decked himself up in expensive clothes and ornaments and went to Sītā. He described his achievements and wealth to her and persuaded her to be his wife. She, however, held a blade of grass before her and spoke to it with tears in her eyes, “I’ve heard these words several times from you already. I’m the wife of another and I’m committed to my husband alone. I’m a pativratā. Give up your thoughts about me! What do you get out of tormenting a helpless lady, O wicked king?

ಡಿ.ವಿ.ಜಿ. ಅವರ ಭಾಷಾಶಿಲ್ಪ—ಪದ್ಯಶೈಲಿಗೆ ಉದಾಹರಣೆಗಳು

ಪ್ರೀತಿ-ರಸಿಕತೆ-ಕಾವ್ಯ:

ಪ್ರಣಯವು ಪ್ರಾರಂಭದಲ್ಲಿ ದ್ವೈತ, ಸರಸಸಲ್ಲಾಪಗಳಲ್ಲಿ ವಿಶಿಷ್ಟಾದ್ವೈತ; ಪ್ರಣಯಶಿಖರದಲ್ಲಿ ದ್ವೈತತಾವಿಸ್ಮೃತಿ, ಅಭೇದವೃತ್ತಿ, ಅದ್ವೈತ.

(ಜೀವನಧರ್ಮಯೋಗ)

ಪ್ರೇಮ-ವಾತ್ಸಲ್ಯರಸಗಳು ಧರ್ಮಪ್ರಣಾಲಿಯಲ್ಲಿ ಹರಿದಾಗ ವ್ಯಾಮೋಹಪಂಕಗಳಾಗದೆ ಪಾವನತೀರ್ಥಗಳಾದಾವು.

(ಗೀತಶಾಕುಂತಲ)

ಶ್ರೀರಾಮನಿಗೆ ಶೃಂಗಾರಪರೀಕ್ಷೆಯು ವಿಯೋಗರೂಪದಲ್ಲಿ ಬಂದರೆ ಶ್ರೀಕೃಷ್ಣನಿಗದು ಅತಿಯೋಗರೂಪದಲ್ಲಿ ಬಂದಿತು.

(ಶ್ರೀಕೃಷ್ಣಪರೀಕ್ಷಣಂ)

Upanayana in the Vedas

Upanayana in the Saṃhitās

Yakṣagāna – A Deśī Theatre Art - Part 4

Several people have the tendency to find parallels between Bhūtārādhana and Yakṣagāna. They classify Bhūtārādhana as ‘folk’ (Jānapadīya) and as a corollary, conclude that Yakṣagāna is ‘folk’ as well. However, Yakṣagāna’s allied forms of art such as Terukkūttu, Kūcupuḍi, Bhāgavatameḻa, Dūḍālapāya, Doḍḍāṭa and Keḻike are not influenced by Bhūtārādhana at all. Among these, one can say that only Kathakali has faint reflections of Bhūtakola in it. When this is the case, how can the argument that Yakṣagāna is also ‘folk’ be substantiated?

Mahadeva Sastri and Ramasesha Sastri

Sri Mahadeva Sastri was the elder brother of Motaganahalli Sri Sankara Sastri. Even he was highly accomplished in music and literature. Every Ekadashi a Bhajan programme would be organized in his home. In this case, the word “bhajan” must be understood as music.

Mahābhārata – Episode 39 – Rāmopākhyāna (Part 2)

Worried that the citizens of Ayodhya may yet again come to the forest, Rāma left the great forest, went to the banks of the beautiful Godāvarī river, and began residing near the āśrama of Sage Śarabhaṅga. Owing to Śūrpaṇakha, Rāma makes an enemy out of Khara, who was residing at Janasthāna. Rāma killed Khara, Dūṣaṇa, and thousands of other rākṣasas, thus making that dhārmic forest safe for everyone. Śūrpaṇakha, with her lips and nose chopped off, went to Laṅkā, fell at the feet of her brother Rāvaṇa, and narrated her tale of woe.

ಡಿ.ವಿ.ಜಿ. ಅವರ ಭಾಷಾಶಿಲ್ಪ—ಉದ್ಬೋಧಕವ್ಯಾಖ್ಯೆಗಳು

ಕೋಲಾರಮಂಡಲದಲ್ಲಿ ಹೆಚ್ಚು ಪ್ರಚಲಿತವಿರುವ ವಾಗ್ರೂಢಿಗಳ ಬಳಕೆ:

ವೆಗಟು / ಎಗಟು (ಹೆಚ್ಚು ಸೇವನೆಯಿಂದ ರುಚಿಗೆಡುವುದು), ಅಂದಿಸು (ಎಟಕುವಂತಾಗಿಸು), ನಸನಸೆ (ರಂಪ; ಸಣ್ಣ ವಿಷಯಗಳನ್ನು ದೊಡ್ಡದು ಮಾಡುವುದು), ಸೊಟ್ಟಾಪಟ್ಟೆ (ಓರೆಯಾದ, ಡೊಂಕಾದ), ಪೋದಿ (ಆರೈಕೆ), ಮೊಡಕು (ಮೂಲೆ), ಐಲುಪೈಲು (ಹುಚ್ಚು), ಯರ್ರಿಬಿರ್ರಿ (ಶಿಸ್ತು ಇಲ್ಲದಿರುವುದು), ಪೀಕಲಾಟ (ತೊಂದರೆ; ಜಗಳ), ತಕರಾರು (ಆಕ್ಷೇಪಣೆ; ವಿರೋಧ; ಜಗಳ), ಏಮಾರು / ಯಾಮಾರು (ಮೊಸಹೋಗು; ಉಪೇಕ್ಷಿಸು), ಚಿತಾವಣೆಗಾರಿಕೆ (ಪ್ರಚೋದನೆ), ಪೊಗದಸ್ತು (ಸಮೃದ್ಧ), ಅಳ್ಳಕ (ಸಡಿಲ; ದ್ರವೀಯ).

ನಾಮಪದಗಳಂತೆ “ಓಣ”-ಅಂತಶಬ್ದಗಳ ಬಳಕೆ ಮತ್ತು ವಿಧಾಯಕಾರ್ಥವುಳ್ಳ -“ತಕ್ಕದ್ದು” ಬಳಕೆ:

Upanayana – Historical Development

Before we embark on a study of our traditional literature—what we call śruti and smṛti—with our modern conception of history, seeking the absolute chronology of a certain treatise and the relative chronologies of a set of treatises, we must acquaint ourselves with both the Indian conception of history as well as the traditional accounts of our history.

ಡಿ.ವಿ.ಜಿ. ಅವರ ಭಾಷಾಶಿಲ್ಪ—ಸಿಂಹಾವಲೋಕನ

ಡಿ.ವಿ.ಜಿ. ಭಾಷೆಯ ಸಿಂಹಾವಲೋಕನ

ಈ ಲೇಖನದ ಮುಂದಿನ ಭಾಗದಲ್ಲಿ ಗುಂಡಪ್ಪನವರ ಗದ್ಯದ ಬರೆಹಗಳಲ್ಲಿ ಅವರ ಹಸ್ತಾಕ್ಷರದಂತೆ ವಿಶಿಷ್ಟವಾಗಿ ತೋರುವ ಕೆಲವು ವಾಕ್ಯವಿಧಾನಗಳನ್ನು ಸೂಕ್ತ ಉದಾಹರಣೆಗಳೊಂದಿಗೆ ಸಂಗ್ರಹಿಸಿದ್ದೇನೆ. ಉದಾಹರಣೆಗಳು ಹೆಚ್ಚಿನ ವಿವರಣೆಯನ್ನು ಅಪೇಕ್ಷಿಸದ ಕಾರಣ ಅವುಗಳ ಪರಿಯನ್ನು ನಿರೂಪಿಸುವ ಒಂದೆರಡು ಮಾತುಗಳನ್ನಷ್ಟೇ ಬರೆಯಲಾಗಿದೆ. ಗುಂಡಪ್ಪನವರ ಸಾಹಿತ್ಯ ಬಹಳ ವಿಸ್ತೃತವೂ ಗಹನವೂ ಆದದ್ದು. ಅದರ ಎಲ್ಲ ಬಗೆಯ ಸ್ವಾರಸ್ಯವನ್ನೂ ಹಿಡಿದಿಡಲು ಯತ್ನಿಸುವುದು ಸಾಹಸವೇ ಸರಿ. ಹೀಗಾಗಿ ಪ್ರಸ್ತುತಲೇಖನದ ಮಿತಿಯ ಒಳಗೆ ದಿಕ್ಸೂಚಕವಾಗಿ ಕೆಲವೇ ಮಾದರಿಗಳನ್ನು ನೀಡಿದ್ದೇನೆ.

The Tradition of Kshaatra in India: The Attack of Islam on South India

Malik Kafur came to Devagiri, which was at the forefront of South India. Ramachandra was the king of that region. Initially, all of Malik Kafur's ruthless attacks bore no fruit. However, in his second battle with Ramachandra, Malik Kafur defeated him using deceit and foul-play. Soon after, he came to Kapilaraya's Anegondi. Even there, there was widespread bloodshed. Then he attacked Ballala III, a weak Hoysala king who was ruling over Dvarasamudra (Halebidu). When Malik Kafur attacked Dvarasamudra, Ballala III was away at Thiruchanapalli. The whole of Dvarasamudra was razed to the ground.