We will need to take stock of the experiments that have taken place with costumes of Yakṣagāna, especially in introducing new characters. Noteworthy attempts have been made by Karanth in developing animal characters such as Jaṭāyu and Māyāmṛga and by Raghava Nambiar in serpent-characters such as Takṣaka. While Karanth used masks, Raghava Nambiar has managed to bring out nuances merely with facial make-up.
Mirza never raised his voice in an argument. He did not use big words. He used to indicate his opinion in a single sentence. If the opponent did not accept his views, he would stop the debate, for he felt that it was pointless to continue.
ಕಾದಂಬರಿಯ ಮೊದಲ ಅಧ್ಯಾಯದಲ್ಲಿ ಉದಯನ ಮತ್ತು ಚಾರುದತ್ತರ ಭೇಟಿಗಿಂತ ಚಾರುದತ್ತ ಹಾಗೂ ಯೌಗಂಧರಾಯಣರ ಭೇಟಿ ಹೆಚ್ಚು ವ್ಯಾಪಕವೂ ಪರಿಣಾಮಕಾರಿಯೂ ಆಗಿದೆ. ಇದು ಅಂದಿನ ಆರ್ಯಾವರ್ತದ ಮತ್ತು ಹಲವು ರಾಜ್ಯಗಳ ರಾಜಕೀಯ ಪರಿಸ್ಥಿತಿಯ ಸ್ಪಷ್ಟ ಚಿತ್ರಣವನ್ನು ನೀಡುತ್ತದೆ. ಇದು ಸುಮಾರು ಹದಿನಾರು, ಹದಿನೇಳು ಪುಟಗಳಲ್ಲಿ ವಿಸ್ತರಿಸಿಕೊಂಡಿದೆ.
Mirza became the Dewan in 1926. Many people had anticipated that appointment. Although I had not anticipated it, it came as no surprise to me. I wrote him a congratulatory letter. At the start of the letter I wrote, “Dear and Respected Sir.” Since he was now in a higher position, I had my reservations and doubts about maintaining the same leniencies as before.
In answer, a resounding voice boomed in the sky: ‘O king! Your daughter was this fisherman’s wife in her previous birth. Long ago, in a village called Nāgasthala, there lived a virtuous brāhmaṇa called Baladhara. When his father passed away, his relatives robbed him of his entire inheritance. Baladhara became disillusioned and decided to give up his life, accompanied by his wife, on the banks of Gaṅgā. As he sat on the shore, he saw a few fishermen devouring fish.
jñānārhaté saṃnyāsādé
saṃnyasipudu karmaphalavano karmavano|
enaṃ karmadoḷillaṃ
tānénuvudu seré karmadóḷagadu kaluṣaṃ||
Saṃnyāsa makes one fit for knowledge
What should we give up, karma or its fruit?
Karma itself is pure, faultless.
It only becomes impure by the feeling of ‘I’.
svāntada śodhanéyappudu
santatakarmātta lokasaṃparkagaḷim|
antantaśśodhitadai-
kāntada dṛṣṭiyiné pūrṇatattvaṃ doréguṃ||
ಉಜ್ಜಯಿನಿಯಲ್ಲಿ ಪಾಲಕ, ಅವನ ವೇಶ್ಯೆ ಕಾಮಲತೆ ಮತ್ತು ಆಕೆಯ ಅಣ್ಣ ಸಂಸ್ಥಾನಕ (ಶಕಾರ) - ಇವರಿಂದಾಗಿ ಪ್ರಜೆಗಳ, ಸಾರ್ಥವಾಹರ ಮತ್ತು ಗಣಿಕೆಯರ ನೆಮ್ಮದಿ ಕೆಡತೊಡಗಿದಾಗ ವಸಂತಸೇನೆಯ ತಾಯಿ ತನ್ನ ಮಗಳನ್ನು ವೈಶಾಲಿಯ ನಗರವಧು ಆಮ್ರಪಾಲಿಯ ಬಳಿಗೆ ಕಳುಹಿಸುತ್ತಾಳೆ. ಈಕೆ ವಸಂತಸೇನೆಯ ತಾಯಿಯ ಶಿಷ್ಯೆ. ಈ ಪ್ರಸಂಗದ ಮೂಲಕ ವೈಶಾಲಿಯ ರಾಜಕೀಯ, ಸಾಮಾಜಿಕ, ಸಾಂಸ್ಕೃತಿಕ ಚಿತ್ರಣಗಳು ನಮ್ಮೆದುರು ತೆರೆದುಕೊಳ್ಳುತ್ತವೆ. ಇಲ್ಲಿ ಆಮ್ರಪಾಲಿಯು ಗಣಭೋಗ್ಯೆಯಾಗಿ ಬಾಳಬೇಕಾದ ಪರಿಸ್ಥಿತಿಯನ್ನು ಲೇಖಕರು ಅವಳ ಮೂಲಕವೇ ಹೇಳಿಸಿದ್ದಾರೆ. ಹೀಗಾಗಿ ಇಲ್ಲಿಯ ವಿವರಗಳಿಗೆ ಅಧಿಕೃತತೆ ಬಂದಿದೆ.
To summarize, it would not be wrong to say that Yakṣagāna has its own costume that is self-complete and beautiful. The puṇḍu-veṣa (kedagè-mundalè) of Baḍagutiṭṭu has almost reached perfection. However, the kaṭṭu-mīsè (tied moustache) and muṇḍāsu (big turban) that is larger than necessary will have a negative impact primarily on sāttvikābhinaya. They are also detrimental to vācikābhinaya and āṅgikābhinaya, in the decreasing order.
The king followed the boar inside and discovered a divine city; he, however, could not spot the boar. As he sat by a pond, he spotted a maiden, as beautiful as Ratī. She came there with her friends. She fell in love with him even upon the first sight. Overcome with empathy and with tears in her eyes, she said – “Alas! Why did you come here? The boar you laid your eyes on is the daitya Aṅgāraka; he is endowed with a diamond-body and is extremely strong; he has discarded his boar form and is sleeping inside his house.