The conception, origin, evolution, and development of temples as physical, architectural structures is perhaps as old as the dawn of human civilisation as we know it. Temples represent one of the finest, deepest, grandest, and most profound expressions of the Human Spirit of awe, wonderment, and a timeless yearning for spirituality, philosophy, art and creativity etched in stone, wood, and other mediums.
There lived a teacher by name Kṛpācārya[1] who taught archery to the kings of the Vṛṣṇi clan and other kṣatriya clans. The Kauravas and Pāṇḍavas were his disciples too. Bhīṣma was not content with this; he thought that his grandchildren should be trained under a person who was an expert in several śāstras and skilled in combat; he wanted the teacher to be a genius and nurture the grandchildren to turn them into extraordinary people. As he was looking for such a person, an interesting episode took place.
Sri Ananta Sastri had distinguished himself as one of the most prominent (Classical) musicians of Bangalore. He possessed an extremely manly voice in both singing and teaching music. I listened to his music for the first time in 1904. He was in his youth back then. That particular concert was attended by quite a large number of Vidwans belonging to the older generation.
Our ancients sculpted a language to give perfect expression to their exuberant emotions. It has a well-developed scheme of letters and an inbuilt etymological structure that has endowed it with variety and a rare word-generation power. Being an inflected language, it is not tied down by a linear pattern of word order. It is thus highly flexible[1].
Pushyamitra Shunga tried to liberate Bharata’s lands under Greek occupation. The Greek invasion that began with Alexander continued till the time of Menander. The same Menander came to be known as Milindara later. Buddhists texts mention his name. The dialogue between Nagasena and Menander is recorded in the Pali (Magadhi) text ‘Milinda Panho.’ For a prolonged period—nearly three hundred years—the Ionian incursions were a recurring feature.
As individuals, we can be utterly honest and upright. But that will not work at the societal realm. A public figure will have to resort to strategies. We see Krishna’s brilliance and foresight throughout. Long before he befriended the Pandavas, he was laying out a strategy for change.
Around 1925-26, I had been to Delhi to undertake a political study--to gain knowledge about the condition, status, and the future of India's Princely States. I met Captain Ajab Khan to gather information about the army and other personnel employed by the Princely States. Ajab Khan hailed from Punjab. He had served as a Commander of one of the units engaged in the First World War (1914-18). He had been nominated as a Member of the then Rajya Sabha.
Viśvanātha who wrote Sāhityadarpaṇa starts off by criticizing the attributes of poetry as described by Mammaṭa and others, and ridicules the suggestion that comes from the topic or the object of poetry. Such suggestion, in his opinion, cannot be poetry. From his perspective, sentences filled with emotion make up poetry and nothing else, for:
देवदत्तो ग्रामं याति इति वाक्ये तद्भृत्यस्य तदनुसरणरूपव्यङ्ग्यावगतेरपि काव्यं स्यात्!
(Sāhityadarpaṇa Vṛtti 1.2)
Moving on to one of the greatest masters of all schools of thought and a very creative and gifted genius Abhinavagupta, we see humour sparkling aptly in both his excellent and incomparable commentaries Abhinavabhāratī (on the Nāṭyaśāstra) and Locana (on the Dhvanyāloka). Both his works, along with excellent usage of Sanskrit, portray a beautiful style of writing interspersed with his natural penchant for humour and thus is a source of joy for rasikas.
