Vararuci's narration continues...
I have passed two examinations in my life. One is the Lower Secondary in Kannada. That was probably in 1898–99. At that time, there was no English [medium] school in our town. The second examination I cleared was the Lower Secondary in English, which was was probably in 1900. That is altogether a different story.
Manmatha continues to boast of his own skills in the pretext of praising his master:
तव प्रसादात्कुसुमायुधोऽपि सहायमेकं मधुमेव लब्ध्वा।
कुर्यां हरस्यापि पिनाकपाणेर्धैर्यच्युतिं के मम धन्विनोऽन्ये ॥ 3.10
Both of us were walking on the 3rd cross road of Basavanagudi. We heard someone singing when we came near a house. We stood there for a second and listened to the song. We do not know whose house it was. As I was looking around to ask someone, Murthy knocked on the door. Someone opened the door and asked
“Aren’t you Srirangapatna Subbarao’s son?”
When I was young, I aspired to become a paṭela (village headman, chief of a town). Not because the position would provide a lot of money. But because a paṭela is a free man; he need not wait for someone else’s orders. The respect of people for a village headman is immense; all the villagers obey his command.
In addition to these two attractions, there was another. A headman did not have the burden of schooling; no plight of exams and results.
There is a sacred tīrtha called Kanakhala near Gaṅgādvāra. In the past, a divine elephant called Kāñcanapāta broke open a mountain and let the Gaṅgā flow into the plains from there. In the region to the south of this town, a brāhmaṇa lived with his wife and performed tapas. He had three sons. After his death, his sons went to a place called Rājagṛha and acquired a lot of knowledge there. Though they became well educated, they were in immense pain, considering themselves as orphans. They headed towards Dakṣiṇāpatha seeking the darśana of Kumāra-svāmī.
This has three stages too.
1. Manaḥ-prasāda – The nāndī-padyas in a kāvya, the description of city, country, mountains, forests, rivers, forts, palaces – these establish a context for the story; these are the embellishments and charming aspects.
2. Bhāvāveśa – The core flavour lies in the scenes of the story and in the human characters. Tyagaraja in one of his lyrical melodies narrates this story: