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ಸೀಸಪದ್ಯ ಮತ್ತು ಸಾನೆಟ್: ಪದ್ಯಶಿಲ್ಪವಿವೇಚನೆ - 4

ಕನ್ನಡದಲ್ಲಿ ಸೀಸಪದ್ಯದ ಬೆಳೆವಣಿಗೆ

ಕನ್ನಡದಲ್ಲಿ ಸಾನೆಟ್ಟಿಗೆ ಸಂವಾದಿಯಾಗಿ ಸೀಸಪದ್ಯವನ್ನು ಬಳಸಿದ ನವೋದಯದ ಕೆಲವೊಂದು ಮಾದರಿಗಳನ್ನು ಪರಿಶೀಲಿಸಬಹುದು. ಈ ಪದ್ಯಗಳು ನಿರಪವಾದವಾಗಿ ಮಾತ್ರಾಜಾತಿಯ ವರ್ಗದವು. ಇಲ್ಲಿಯ ಎತ್ತುಗೀತಿಗಳು ಆಟವೆಲದಿ ಮತ್ತು ತೇಟಗೀತಿ ಎಂಬ ಬಂಧಗಳಿಗೆ ಸಂವಾದಿಯಾಗದೆ ಪಂಚಮಾತ್ರಾಚೌಪದಿಗಳೇ ಆಗಿರುವುದು ಗಮನಾರ್ಹ.

ತಾಮಸಾವೃತರಾಗಿ ನಿಜಜನರ್ ನಿದ್ರಿಸಿರ-

ಲವರನೆಳ್ಚರಿಸಿದಾ ಧೀರನಾರು?

ದೇಶೀಯರಾತ್ಮಗೌರವವ ಮರೆತಿರಲಂದು

Kathāmṛta - 125 - The Story of the Daśa-kumāra-carita

Apahāravarmā declared that the bag would fulfil people’s wishes only when everything that has been snatched away was returned to its owners.  He made sure that Kāmamañjarī gave back her belongings to her patrons. Dhanamitra complained to the king that his enchanted bag was stolen by someone and was given to Kāmamañjarī. She, in turn, transferred the blame to Arthapati and the king banished him from the kingdom.

Sandarbhasūkti - part 4

17. Asañjātavirodha-nyāya

Interpretation should happen in such a way that there is no room for inconsistencies. Even in treatises which are honest there might be statements which contradict each other. If that happens one of them should be slightly modified to remove such inconsistency. The important premise should drive the secondary premise in this case.

Ch. 9 Yoga of the Relationship between Brahman and the World (Part 1)

Note

sarvagatamirdum ātmaṃ
nirvikṛtaṃ sarvaśaktam adu niṣkarmam ।
nirvairaṃ sarvasamaṃ
nirvṛtidaṃ patrasumajalārpakariṃgam ॥

The ātmā, though all-pervading,
is immutable, and though omnipotent, is actionless.
It is without a rival, and is the same everywhere.
It yields supreme bliss to even those offering a leaf, a flower or water.

ಸೀಸಪದ್ಯ ಮತ್ತು ಸಾನೆಟ್: ಪದ್ಯಶಿಲ್ಪವಿವೇಚನೆ - 3

ರಾಕೇಂದುಬಿಂಬಮೈ ರವಿಬಿಂಬಮೈ ಯೊಪ್ಪ

ನೀರಜಾತೇಕ್ಷಣ ನೆಮ್ಮೊಗಂಬು

ಕಂದರ್ಪಕೇತುವೈ ಘನಧೂಮಕೇತುವೈ

ಯಲರು ಬೂಬೋಡಿಚೇಲಾಂಚಲಮ್ಮು |

ಭಾವಜು ಪರಿಧಿಯೈ ಪ್ರಳಯಾರ್ಕು ಪರಿಧಿಯೈ

ಮೆರಯುನಾಕೃಷ್ಟಮೈ ಮೊಲತ ಚಾಪ-

ಮಮೃತಪ್ರವಾಹಮೈ ಯನಲಸಂದೋಹಮೈ

Aesthetics and Interconnectedness of the Daśa-rūpakas, Upa-rūpakas, and Nṛtya Traditions - Part 1

Bharata, through the words of Brahmā, defines nāṭya thus – trailokyasyāsya sarvasya nāṭyaṃ bhāvānukīrtanam. Nāṭya or theatrical presentation is an artistic activity which captures the exalted imitation of the emotions of the three worlds[1]. Emotions are, after all, the very essence of life.