Along with Mandi Hariyanna’s name, it is Dharmaprakāśa S Sajjan Rao’s name that comes to mind.[1] The two were always together, like the Aśvini-devatas. Every morning, both of them would go for a walk, to get some air. It was the same routine every evening too. Their friendship gave the impression that a single soul existed in two bodies. If any friend encountered only one of them, it was normal to enquire, “How is it that you’re alone? Where is he?”
Author:hari
Kālidāsa designs his epic poem as though to bring out the philosophical journey first from the wholly material to the absolutely spiritual. The poem then tapers back to the material, but now bolstered by the spiritual. In other words, the poem begins with the most expansive elements of animated āhārya, moves on to the finer and personal elements of āhārya, proceeds into highs and lows of āṅgika and vācika and culminates in sāttvika.
It is rather unlikely that experts in music and dance will find immense value in the episodes narrated here[1]. These have been written by an ordinary man who has no knowledge of the śāstras[2] [related to art] nor the strength of rigorous practice but is merely a connoisseur of good music and dance. In this book, he has captured the outlines of his experiences for the benefit of other commoners like him who enjoy listening to music and watching dance.
The place of Kathā-sarit-sāgara in literature
Revealing Character
What is necessary for a biography is a series of character-revealing incidents.
The current series of articles attempts to examine the merits and difficulties in bringing Caturvidhābhinaya in classical literature. The epic poems, i.e., the mahākāvyas of Kālidāsa have stood the test of time and are known for their rich content, magnificent plots, impactful modes of expression and profound spirit. The Kumārasambhava, though smaller among the two mahākāvyas of Kālidāsa, gives aesthetic delight in a concentrated form in a shorter span.
