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Among our youth and children, more than the study and research of ‘literature,’ it is the learning of music and dance that is considered as a symbol of culture. Literature is seen by many as a heap of information or a tool for enjoyment. It is not without reason that music, dance, painting and sculpture are categorized as ‘fine arts’ among the arts. In these forms of art, the aspect of ‘information’ is secondary and it is only the play of vibhāvas (causes) and anubhāvas (effects) of rasa and the subsequent aesthetic experience that takes predominance.

The Muzrai Amendment

सम्प्रति भाविकाभिधानं किञ्चन साहित्यतत्त्वमवगाहामहे।

भाविकमिति सम्भाविततत्त्वं दण्ड्यादिभिस्तु मौलिकमेवम्।
इतिवृत्तश्रीकारणमतिलोकमनोज्ञवर्णनेङ्गितयुक्तम्॥७॥

तत्त्वस्यास्य स्वरूपनिरूपणं भामहेन सम्यगकारि। यथा—

“भाविकत्वमिति प्राहुः प्रबन्धविषयं गुणम्।
प्रत्यक्षा इव दृश्यन्ते यत्रार्था भूतभाविनः”॥ (काव्यालङ्कारः, ३.५३)

Sometime around 1910, my article in English about Diwan Rangacharlu’s governance was published in Indian Review, a Madras-based monthly. With that, I not only received the remuneration that I was in need of, but also got introduced to a few great men. Two of the best outcomes of the article were: the letter of appreciation written by Sir Mokshagundam Visvesvaraya, who at that time was the Chief Engineer of Mysore and the head of a branch of the Economic Conference; the other was the words of admiration by Arcot Srinivasacharya (alternatively ‘Srinivasacharlu’).