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When Devasomā interrupts to say this isn’t the way of buddhists or jains (अर्हन्त can apply to both), Satyasoma scolds them saying that they are fools who contradict their own stand by saying pain leads to pleasure while thinking that the nature of the effect is the same as that of the cause. During this and even later, it is evident that Satyasoma even though drunk and unsteady still has a sharp intellect which hasn’t been affected by the drinking, even while drunk his logic is incisive.

Languages and meters

While nothing of value is added by mentioning what has been discussed by both Dr N P Unni and Dr S Ramaratnam, just for the sake of completion, here is the list of meters and languages used. Even in a small work the author has shown versatility in usage of languages and meters which can be gathered by a cursory glance of the lists below.

Metres: Anuṣṭup, Āryā, Indravajra, Rucirā, Mālinī, Vaṃśasthā, Vasantatilakā, Śārdūlavikrīḍitā, Sragdharā.

Art appreciation begins with learned connoisseurs. Gaining breadth and vision with time, it develops into a well-structured system of aesthetics. Poets and artists often find it hard to explain the aspects of appeal inherent in the form and substance of their compositions. They have neither the bent of mind nor the competence to subject their work’s appeal to a logical analysis. Only a handful of artists can tell us what goes into the making of a charming composition and unravel the secret of its attraction.

Powerhouse of Genius

Sarma received awards for many of his Sanskrit and Telugu works. Śrī Mahīśūra-rājyābhyudayādarśaḥ, his classical poetry composition about the progress of Mysore, was awarded the first prize. Those verses are delightful to hear. In his eyes, Karnataka was a land of enjoyment in all seasons^[1] and this kingdom of Mysore could only be enjoyed by fortunate people.^[2]