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The Pāṇḍavas longed for the company of Arjuna and were getting bored without him[1]; they set out on a tīrthayātra (pilgrimage) with the intention of acquiring puṇya and also to get rid of the boredom.[2] They reached Naimiṣāraṇya, took a dip in the river Gomatī, and travelled around several famous and sacred spots. They finally reached the āśrama of Agastya. There Lomaṣā narrated the story and greatness of Agastya to them.

It is interesting to note that the Indian writers on the Kāma-śāstra classified the heroines as Padminī, Cittinī, Hastinī and Śaṅkinī, primarily based on their physical and sociological attributes. They were also categorised into svīyā, parakīyā and sādhāraṇā based on the same parameters. On the other hand, aestheticians who are well versed with the Nāṭya tradition of India classify the heroines based on their emotional states, which is subtler and more meaningful than the former. An actor, who is going to put on the role of a śṛṅgāra-nāyikā should keep these categories in mind.

After the demise of Prataparudra, it was the Reddy Kings who faced Muslim invasions in Andhra. Prominent among are Vema Reddy and his younger brother, Malla Reddy. Their role in protecting the Andhra country from Islamic onslaught in the 14^th century is truly laudable.

I’ve mentioned elsewhere about a couple of other incidents under the tenure of V P Madhava Rao[1] that stirred up people’s minds. The government bringing down the compound wall of Bangalore’s Janopakari Doddanna Shettaru convention hall was one such similar incident. There arose a lot of opposition to this event too.  People felt that the government had targeted Doddanna Shetty charitable trust because D Venkataramayya was its trustee and a patron. Overall, V P Madhava Rao’s tenure was unnecessarily an era of commotion.