Brahmavadeṃ jīvavadeṃ ।
Karmavadeṃ bhautadaivayajñaṃgaḻadeṃ ॥
Gamyavadeṃ dhyeyamadeṃ ।
Samyagbodhanéyanintu pārthaṃ beḍal ॥
What is Brahma? What is the jīva?
What is karma? What are the bhauta, daiva and yajñas?
What should the destination be? What should the goal be?
Asked thus Pārtha, for guidance full.
ಕನ್ನಡದಲ್ಲಿ ಸೀಸಪದ್ಯ ಎಂಬ ಛಂದಃಪ್ರಕಾರ ಬೆಳೆದುಬಂದ ಬಗೆಯನ್ನು ಈಗಾಗಲೇ ವಿದ್ವಾಂಸರು ವ್ಯಾಪಕವಾಗಿ ಚರ್ಚಿಸಿದ್ದಾರೆ.[1] ಇದೇ ರೀತಿ ಕನ್ನಡಕ್ಕೆ ಸಾನೆಟ್ ಬಂದ ಬಗೆಯನ್ನೂ ವಿಪುಲವಾಗಿ ವಿಶ್ಲೇಷಿಸಿದ್ದಾರೆ.[2] ಇವುಗಳ ಪುನರಾಲೋಕನ ಅನವಶ್ಯ ಮಾತ್ರವಲ್ಲ, ಸದ್ಯದ ವಿವೇಚನೆಗೆ ಬಹಿರ್ಭೂತವೂ ಹೌದು. ಹೀಗಾಗಿ ಈ ಎರಡು ಛಂದೋಬಂಧಗಳ ಪದ್ಯಶಿಲ್ಪದ ಸಂತುಲನ ಮಾತ್ರವೇ ಸದ್ಯದ ಬರೆಹದ ಉದ್ದೇಶ. ಈ ಕಾರಣದಿಂದಲೇ ಇಲ್ಲಿ ಛಂದಸ್ಸೌಂದರ್ಯದ ಮೀಮಾಂಸೆ ಮುನ್ನೆಲೆಗೆ ಬಂದಿದೆ.
When my wife was fast asleep, I slowly transferred my ring onto her finger. Then, telling myself ‘Let me see how clever and refined she turns out to be,’ I left for Ujjayinī the same night, without even informing her. When she woke up the next morning, she realised that I was not there. Then she saw my ring on her finger and thought, ‘He has left me just like he had sworn he would. Now I must fulfil my oath. I see the name ‘Mūladeva’ engraved on this ring. Surely then, my husband is none other than that infamous tramp who goes by the very name. People say that he lives in Ujjayinī.
Yakṣagāna artistes should bring in newer maṭṭus and saṅgatis that can cater to all different emotions[1]; to do so, they must take refuge in the classical rāgas. The maṭṭus of Yakṣagāna are usually designed to begin from the pañcama and go higher. Their movement is largely in the higher octaves. This was necessary in the past because music had to be heard by a large number of people in the audience in the absence of microphones.
Why does this discernment of thought not exist normally in people? Bhagavān answers:
māyāyā’pahṛtajñānāḥ
Māyā has taken away the discerning ability of people.
ನಾವು ಈಗಾಗಲೇ ಅನುಪ್ರಾಸದ ಹಲವಾರು ಉದಾಹರಣೆಗಳನ್ನು ಕಂಡಿರುವ ಕಾರಣ ಈಗ ಮತ್ತೂ ಕೆಲವೊಂದು ಮಾದರಿಗಳ ಮೂಲಕ ಇದರ ಸೊಗಸನ್ನು ಮನದಟ್ಟು ಮಾಡಿಕೊಳ್ಳುವುದಷ್ಟೇ ಉಳಿಯುತ್ತದೆ.
ಲಯರಹಿತವಾದ ವರ್ಣವೃತ್ತಗಳಲ್ಲಿ ಅನುಪ್ರಾಸವು ತಾಳಾನುಸಾರವಾಗಿ ಬರಲು ಸಾಧ್ಯವೇ ಇಲ್ಲ. ಆದರೂ ಪದ್ಯದ ಆದ್ಯಂತ ಕಾಣಸಿಗುವಾಗ, ಪದಗಳು ಮುಗಿದಂತೆಲ್ಲ ಬರುವಾಗ, ಯತಿಸ್ಥಾನದಲ್ಲಿ ತಲೆದೋರುವಾಗ ಹೆಚ್ಚಿನ ಆಕರ್ಷಣೆ ಉಂಟಾಗುತ್ತದೆ. ಉದಾಹರಣೆಗೆ ಕೆಲವೊಂದು ಪದ್ಯಗಳನ್ನು ಗಮನಿಸಬಹುದು. ವಿಶೇಷತಃ ಈ ಬಗೆಯ ಅನುಪ್ರಾಸಗಳು ಹಲವೊಮ್ಮೆ ಛೇಕಾನುಪ್ರಾಸ ಮತ್ತು ಯಮಕಗಳತ್ತ ಕೂಡ ವಾಲುವ ಪರಿ ಗಮನಾರ್ಹ. ಪ್ರಸ್ತುತ ಉದಾಹರಣೆಗಳಲ್ಲಿಯೂ ಅಂಥವಿರುವುದು ದೃಷ್ಟಚರ.
ಪದ್ಯದ ಆದ್ಯಂತ, ಹೆಚ್ಚಿನ ಪದಗಳ ಮುಗಿತಾಯದಲ್ಲಿ ಕಾಣಸಿಗುವ ಅನುಪ್ರಾಸ:
The music scene in India has undergone quite some changes since the introduction of microphones and loudspeakers. In the pre-technological era, it was natural for the singer to train himself for singing in different octaves, especially to be audible to everyone. Nevertheless, the kind of emotive content that a singer can deliver when he sings in his natural voice and at an octave that suits him best, cannot be brought about otherwise. Gentle oscillations of the notes, gradual transitions, and subtle embellishments are extremely important for classical music.
Once a brāhmaṇa came to him. His hair stood on their ends. The king asked him, ‘Why such hair?’ The brāhmaṇa then started narrating his story–
He had a reasonable awareness of astrology; he had belief too in it; so he examined his horoscope and used to say that the time was a cruel phase for him. But nobody believed it was this cruel.