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Kālidāsa - 7

Über-human and sub-human characters do not produce rasa unless they are ‘humanized’ – this is a fundamental tenet of aesthetics. A great poet knows from experience that his work will gain depth only when the characters pass through various trials involving basic human feelings such as love, fury and hatred. Vālmīki and Vyāsa, Kālidāsa’s predecessors, have portrayed their protagonists as human beings through and through. They have succeeded not just in highlighting the mortal weaknesses of Rāma and Kṛṣṇa but in drawing attention to their inherent greatness.

Kathāmṛta - 87 - Śaśāṅkavatī-lambaka - The Story of Vicitrakatha, The Story of Yakṣa named Aṭṭahāsa and The story of Bhūnandana and Kumudinī

After he cured all of Guṇākara's wounds, Mṛgāṅkadatta continued on his voyage. One night, he was fast asleep under a tree in Vindhyāṭavi. When he was awakened from his sleep, he found that some stranger was asleep amidst them. When the blanket that covered him was removed and his face was revealed, it turned out to be his own minister Vicitrakatha! As soon as this was known, everyone became alert. He narrated his story in the following words:

Ekavyakti-Yakṣagāna: Structure and Content (Part 4)

It was a common scenario for conservative-minded audience of traditional Yakṣagāna to brush aside our presentations as falling into the Bharatanāṭya genre. They did so without even watching it. In fact, even some of those who witnessed our shows reacted the same way as well. People who made such comments probably did not even have an exposure to Sadir or Dāsiyāṭṭam and they had no knowledge of Tāphā. Yet, there does not seem to be an end to their comments. The two main reasons behind this are –

Ch. 4 Yoga of Unattached Karma (Part 4)

Arjuna is hasty. Initially, he was eager to fight. Then, he was eager to give up fighting. Vikarma is the result of this haste. Therefore, the following is said about those who deduce the nature of dharma -

yuktā āyuktāḥ
alūkṣā dharmakāmāḥ syuḥ
yathā te tatra varteran
tathā tatra vartethāḥ

Those who are skillful and experienced, not harsh, and practise dharma constantly, as they behave (during times of doubt), so too you shall.

Kālidāsa - 6

Let us proceed to the sixth act of Abhijñānaśākuntala. Duṣyanta has made a painting of Śakuntalā. The vidūṣaka takes one look at it and exclaims: “Madhurāvasthāna-darśanīyo bhāvānupraveśaḥ,” “You have sketched her posture so charmingly that real emotions seem to enter the painting!” (Loose translation.) These words are of supreme significance to aesthetics. Duṣyanta’s brimming love for Śakuntalā has been reflected in the painting and has made it attractive in every aspect.

Sir K Seshadri Iyer (Part 7)

 Virūpākṣa-śāstrī

Everyone agreed to that [conditions laid down by Seshadri Iyer’s wife]. Seshadri Iyer himself, very cheerfully, agreed to all of it. According to the agreement, to deliver discourses on the Purāṇas, they appointed Hānagal Virūpākṣa-śāstrī. He had been a student of the Saṃskṛta Pāṭhaśālā during his early days and with the passage of time, rose to prominence as ‘Vidyānidhi’ and ‘Mahāmahopādhyāya.’

Kathāmṛta - 86 - Śaśāṅkavatī-lambaka - The Story of Devabhūti

Dhairyapāramitā - The pinnacle of courage

Long ago lived a brāhmaṇa boy called Mālādhara. One day, he saw a siddha boy flying in the sky and developed an insatiable desire to fly. He fashioned wings out of foliage and tied them upon his person and tried to jump and leap about. Kumārasvāmin who was passing by in the sky noticed the boy’s futile attempts. Out of compassion, the lord took Mālādhara into his order. Thus it follows that true courage pleases even the deities.

Rājakārya-prasakta Dewan Bahadur Sir M N Krishna Rao - part 1

According to one set of friends, the letters “M N” in M N Krishna Rao’s name stand for Maḍi [orthodoxy, purity, conservatism, discipline, ritualism] and Niyama [rule, principle, order, justice]. It hints at Krishna Rao’s nature. In all dealings and in all aspects – rules, estimation, conviction, and principle – this was Krishna Rao’s specialty.