Sastri was an advocate of patience and humility. He was, at times, ridiculed by his own friends because of the great emphasis he laid on these traits. In one of his public lectures in Madras, he stressed on the point that anger should be avoided at all costs and one shouldn’t get enraged even under adverse circumstances. The newspapers carried a report on the lecture, the following day. His friends who happened to read the report had the following kind of conversations :
Bhīṣma began his instruction to Yudhiṣṭhira on rāja-dharma (the art and science of governance).
He used to give real-life examples to drive home the import of a scriptural tenet. This made his lessons entertaining—a feature common to lessons given by Śrī Hānagal Virūpākṣa Śāstri.
He recalled the following incident while explaining Syādvāda[1]:
I have heard that Chinnaswamy Shetty is the son-in-law of a wealthy landlord of Polepalli[1]. I may have gotten to know him around 1910-11. I was in need of some loan. I brought it up with my close friend, Dr K. Shesha Iyer.
What I’m writing about now dates back to the situation in Bangalore c. 1905–10. At that time, there were also a few music institutes in existence. The Doddanna Sabha Mandira had not yet been established at that time. Just as the London Mission High School was the focal point for all literature and science, Sahuji’s rooftop in Chickpet was the centre for music. The music concerts of Bangalore Nagarathnamma, Veena Sheshanna, Bidaram Krishnappa, and [Mysore] K Vasudevacharya were conducted in the first floor of Sahuji’s house.
The Mysore People’s Convention that convened in Bangalore in December 1919 under the aegis of the Mysore Representative Assembly was largely the result of DVG’s enthusiasm. More than three hundred eminent people hailing from various parts of Karnataka attended the Convention. Some names include M. Venkatakrishnayya, C. Narasimhayya and B. Narasinga Rao, from Mysore, C. Srinivasa Rao and Vasudeva Rao from Chickmagalur, S.R. Balakrishna Rao, K. Shankaranarayana Rao, and C. Subba Rao from Shimoga, S. Venkateshayya and Nanjundayya from Hassan, C.B. Gopala Rao, T. Srinivasachar, and M.S.
ಇಷ್ಟೆಲ್ಲ ಹಿನ್ನೆಲೆ ನಮಗೆ ಲಭ್ಯವಿದ್ದರೂ, ಒಂದು ವಿಶಿಷ್ಟ ಸನ್ನಿವೇಶದಲ್ಲಿ ಯಾವುದು ಧರ್ಮ ಯಾವುದು ಅಧರ್ಮ ಎಂಬ ನಿರ್ಣಯ ಸರಳವಲ್ಲ. ದ್ರೌಪದೀ ಶೀಲಹರಣದ ಸಂದರ್ಭದಲ್ಲಿ ದ್ರೌಪದಿಯು ಆಚಾರ್ಯ ಭೀಷ್ಮರನ್ನು ಮೊನಚಾಗಿ ಪ್ರಶ್ನಿಸಿದಾಗ ಭೀಷ್ಮರೇ ಅದನ್ನು ತಾವು ತೀರ್ಮಾನಿಸಲು ಅಶಕ್ತರಾಗಿದ್ದೇವೆ (‘ನ ಶಕ್ನೋಮಿ ತೇ ಪ್ರಶ್ನಂ ಇಮಾಂ ಯಥಾವತ್’ – 2.60.40) ಎಂದು ಬಹಿರಂಗವಾಗಿ ಹೇಳಬೇಕಾಯಿತು.
ಪುರುಷಾರ್ಥಗಳ ಶ್ರೇಣೀಕರಣ ಮೊದಲಾದ ವಿಸ್ತೃತ ಹಿನ್ನೆಲೆಯಲ್ಲಿ, ಎಂದರೆ ಆ ವಿಶಿಷ್ಟ ಸಂದರ್ಭದಿಂದ ಅತೀತವಾದ ನೆಲೆಯಲ್ಲಿ ಮಾತ್ರ ಶಂಕೆಯು ಪರಿಹಾರವಾಗಬಲ್ಲದು.
ಇದು ಸ್ವಲ್ಪ ವಿವರಣೆಯನ್ನು ಅಪೇಕ್ಷಿಸುತ್ತದೆ.
কৃষ্ণ যখন অনাসক্তি এবং তৃপ্তি নামক বৈশিষ্ট্যগুলির প্রশস্তি করেন, তখন তিনি কঠোর পরিশ্রমের উপরেও গুরুত্ব আরোপ করেন। স্ববিরোধী যৌক্তিকতার ঝুঁকি নিয়েও কৃষ্ণ গীতায় বলেন, আমি সমস্ত কিছুই লাভ করেছি, তথাপি আমি কর্মে রত (ভ. গী. ৩.২২)। আমি যদি অক্লান্ত কর্মে অসমর্থ হই, তাহলে এই উদাহরণ অনুসরণ করে মনুষ্যজাতি অচলাবস্থায় স্থিত হবে (ভ. গী. ৩.২৩)। যদি আমি কর্ম না করি, তাহলে এই পৃথিবী ধ্বংস হবে, এবং এই অনাসৃষ্টির জন্য দায়ী থাকব আমি (ভ. গী. ৩.২৪)।
On a chosen day, Dharmarāja sat on a new chariot drawn by sixteen white steeds. Bhīma was the charioteer; Arjuna held a white umbrella; Nakula and Sahadeva fanned him with cāmaras (feathered fans). Yuyutsu, Sātyaki, and Kṛṣṇa were seated in different chariots that went behind Yudhiṣṭhira. Kuntī, Draupadī, Subhadrā, and other women received gifts from Vidura and set out on their own chariots. Dhṛtarāṣṭra and Gāndhārī went in front of everyone else, sitting on a palanquin. Behind them came decorated elephants, horses, foot soldiers, and bards, all of whom entered the city.
