A lion would pause for a while when going around, observing what is happening on its rear and then proceed further. That is its nature. Perhaps there is some doubt that another lion might be waiting to take away its prey which it has already killed.
All the above are sāttvika qualities. “Abhijāta” means one who is born after performing puṇya. Such a person is blessed with daivī qualities. Whoever thinks he is born in a good family and acts accordingly — one who has earned the qualification to worship the Divine — he will be blessed with the wealth of these above qualities. It releases the jīva from bondage. All this is divine wealth.
The qualities opposite to the above are āsurī qualities.
Bharata, the mothers, and the army reached the vicinity of the Citrakūṭa mountain. Bharata observed, “The trees on the mountains scatter their flowers on the mountain slopes just as the dark water-laden clouds send down showers when the heat of the summer is over. Look at the startled deer, Śatrughna! As they quickly dart off, scared of our huge army, they look like banks of clouds in the sky flying before the wind in the autumn. These trees wear bunches of flowers on their heads supported by cloud-blue boughs just as the dākṣiṇātyas wear a garland of flowers on their heads.
ಈವರೆಗೆ ವಿವೇಚಿತವಾದ ಮೂರೂ ವೃತ್ತಗಳು ಕನ್ನಡಕ್ಕೇಕೆ ಹೆಚ್ಚಾಗಿ ಒದಗಲಿಲ್ಲ ಎಂಬ ಪ್ರಶ್ನೆ ಹುಟ್ಟಬಹುದು. ಕನ್ನಡಕ್ಕಿರುವ ಆದಿಪ್ರಾಸದ ನಿರ್ಬಂಧದ ಕಾರಣ ಉಪಜಾತಿ ಬರಲು ಸಾಧ್ಯವಿಲ್ಲ. ಏಕೆಂದರೆ ಗಜಪ್ರಾಸ ಮತ್ತು ಸಿಂಹಪ್ರಾಸಗಳ ಮಿಶ್ರಣಕ್ಕೆ ಕನ್ನಡದಲ್ಲಿ ಅವಕಾಶವಿಲ್ಲ. ಇನ್ನುಳಿದ ಎರಡು ವೃತ್ತಗಳಲ್ಲಿ ಇಂಥ ತೊಡಕಿಲ್ಲದಿದ್ದರೂ ಅವು ತಮ್ಮ ತಮ್ಮ ಪಾದಾಂತಗಳಲ್ಲಿ ಎರಡು ಗುರುಗಳನ್ನು ಹೊಂದಿದ ಕಾರಣ ಆದಿಪ್ರಾಸವನ್ನು ಹೊಂದಿಸುವಲ್ಲಿ ಸಾಕಷ್ಟು ಕಷ್ಟವೀಯುತ್ತವೆ. ಇದು ಖಂಡಪ್ರಾಸ ಮತ್ತು ಖಂಡೇತರ ಪ್ರಾಸಗಳೆರಡಕ್ಕೂ ಸಮಾನವಾಗಿ ಕ್ಲೇಶಕರ. ಎರಡು ಗುರುಗಳು ಪಾದದ ಕಡೆಗೆ ಬರುವ ಯಾವುದೇ ವರ್ಣವೃತ್ತದ ವಿಷಯದಲ್ಲಿಯೂ ಕನ್ನಡದ ಮಟ್ಟಿಗೆ ಇದು ಸತ್ಯ.
manujaṃ daivāsurala-
kṣaṇamiśritanavana jagakè kaṭṭuva saṃpad-
guṇamāsuram adariṃ mo-
canèyāgipa saṃyamādigaḻè daivya-dhanaṃ ॥
Man is an admixture
Of qualities daivī and āsurī
Fetter him to the universe, the latter
Divine qualities like restraint release him from them.
Gaganadi teluva paṃjara
Jagamidu nija-karma-phalavan-adaroḻag-uṇuvā
Khaga jīvaṃ gūḍoḍèdadu
nègèderal dorègum adakanaṃtada saukhyaṃ ॥
ಗಾನಕ್ರಮದ ಕರ್ಷಣದ ಮೂಲಕ ಇಂದ್ರವಜ್ರಾವೃತ್ತದ ಪಾದಗಳಿಗೆ ಒದಗಿದ ಪಂಚಕಲಗತಿ ಮತ್ತಷ್ಟು ದೃಢವಾಗಿ ಗುರು-ಲಘುವಿನ್ಯಾಸದಲ್ಲಿಯೇ ನಿಕ್ಷಿಪ್ತವಾದ ಬೆಳೆವಣಿಗೆಯನ್ನು ‘ಶ್ಯೇನಿ’ ಅಥವಾ ‘ಲಯಗ್ರಾಹಿ’ ಎಂಬ ಬಂಧದಲ್ಲಿ ನೋಡುತ್ತೇವೆ. ಇದು ಪ್ರತಿಪಾದಕ್ಕೆ ಮೂರು ತ-ಗಣ ಮತ್ತೆರಡು ಗುರುಗಳನ್ನು ಒಳಗೊಂಡ ಸಮವೃತ್ತ. ಅದರ ವಿನ್ಯಾಸ ಹೀಗೆ:
– – u – – u – – u – –
ಇದು ಐದೈದು ಮಾತ್ರೆಗಳ ಮೂರು ಗಣ ಮತ್ತು ನಾಲ್ಕು ಮಾತ್ರೆಗಳ ಒಂದು ಗಣವನ್ನು ಒಳಗೊಂಡ ಖಂಡಗತಿಯಲ್ಲಿ ಸಾಗುವ ಲಯಾನ್ವಿತ ವೃತ್ತ. ಕೊನೆಯ ಗಣವು ಒಂದು ಮಾತ್ರಾಕಾಲದ ಕರ್ಷಣಕ್ಕೆ ತುತ್ತಾಗಿ ಸಹಜವಾಗಿಯೇ ಲಯಸಮತೆಯನ್ನು ಪಡೆಯುವುದು ಸುವೇದ್ಯ.
Phonetic languages have two major purposes – one is related to the realm of emotion (bhāvopayoga[1]) and the other to the material world (bhavopayoga). We do not consider classical arts such as dance and music as media for communicating information. Spoken language, which is the medium of our everyday communication, is mostly expected to provide us with information, while the same phonetic language, taking the form of poetry and story becomes non-utilitarian.
When Bharata did not find his father, he went to his mother Kaikeyī’s home. When he asked about his father, Kaikeyī merely replied, “Your father has taken the path that all living beings must follow.” Shocked and shattered by grief, Bharata fell on the ground and wept uncontrollably. He said, “I came here in delight, thinking that the king had called me to witness the coronation of Rāma or to participate in a yajña. But how differently it has turned out! I am heart-broken! Mother, to what illness did the king succumb?
