jñānārhaté saṃnyāsādé
saṃnyasipudu karmaphalavano karmavano|
enaṃ karmadoḷillaṃ
tānénuvudu seré karmadóḷagadu kaluṣaṃ||
Saṃnyāsa makes one fit for knowledge
What should we give up, karma or its fruit?
Karma itself is pure, faultless.
It only becomes impure by the feeling of ‘I’.
svāntada śodhanéyappudu
santatakarmātta lokasaṃparkagaḷim|
antantaśśodhitadai-
kāntada dṛṣṭiyiné pūrṇatattvaṃ doréguṃ||
ಉಜ್ಜಯಿನಿಯಲ್ಲಿ ಪಾಲಕ, ಅವನ ವೇಶ್ಯೆ ಕಾಮಲತೆ ಮತ್ತು ಆಕೆಯ ಅಣ್ಣ ಸಂಸ್ಥಾನಕ (ಶಕಾರ) - ಇವರಿಂದಾಗಿ ಪ್ರಜೆಗಳ, ಸಾರ್ಥವಾಹರ ಮತ್ತು ಗಣಿಕೆಯರ ನೆಮ್ಮದಿ ಕೆಡತೊಡಗಿದಾಗ ವಸಂತಸೇನೆಯ ತಾಯಿ ತನ್ನ ಮಗಳನ್ನು ವೈಶಾಲಿಯ ನಗರವಧು ಆಮ್ರಪಾಲಿಯ ಬಳಿಗೆ ಕಳುಹಿಸುತ್ತಾಳೆ. ಈಕೆ ವಸಂತಸೇನೆಯ ತಾಯಿಯ ಶಿಷ್ಯೆ. ಈ ಪ್ರಸಂಗದ ಮೂಲಕ ವೈಶಾಲಿಯ ರಾಜಕೀಯ, ಸಾಮಾಜಿಕ, ಸಾಂಸ್ಕೃತಿಕ ಚಿತ್ರಣಗಳು ನಮ್ಮೆದುರು ತೆರೆದುಕೊಳ್ಳುತ್ತವೆ. ಇಲ್ಲಿ ಆಮ್ರಪಾಲಿಯು ಗಣಭೋಗ್ಯೆಯಾಗಿ ಬಾಳಬೇಕಾದ ಪರಿಸ್ಥಿತಿಯನ್ನು ಲೇಖಕರು ಅವಳ ಮೂಲಕವೇ ಹೇಳಿಸಿದ್ದಾರೆ. ಹೀಗಾಗಿ ಇಲ್ಲಿಯ ವಿವರಗಳಿಗೆ ಅಧಿಕೃತತೆ ಬಂದಿದೆ.
To summarize, it would not be wrong to say that Yakṣagāna has its own costume that is self-complete and beautiful. The puṇḍu-veṣa (kedagè-mundalè) of Baḍagutiṭṭu has almost reached perfection. However, the kaṭṭu-mīsè (tied moustache) and muṇḍāsu (big turban) that is larger than necessary will have a negative impact primarily on sāttvikābhinaya. They are also detrimental to vācikābhinaya and āṅgikābhinaya, in the decreasing order.
The king followed the boar inside and discovered a divine city; he, however, could not spot the boar. As he sat by a pond, he spotted a maiden, as beautiful as Ratī. She came there with her friends. She fell in love with him even upon the first sight. Overcome with empathy and with tears in her eyes, she said – “Alas! Why did you come here? The boar you laid your eyes on is the daitya Aṅgāraka; he is endowed with a diamond-body and is extremely strong; he has discarded his boar form and is sleeping inside his house.
For the sustenance and growth of any form of art, novelty and constant practice are essential. They are required both at the level of the individual and the society. Though most people intuitively agree with this, there have been several discussions and debates regarding the nature of the novelty that is introduced in an art and the value that innovation adds to aesthetics.
I cannot say that Mirza Ismail was a gifted public speaker. He used to write down what he intended to convey at a gathering and read it out.
However, the style of his written English was beautiful; the kind that was in harmony with the conventions of the English language. Sentences used to be short and lucid. He chose words that were delicate and aesthetic. The letters he wrote to his friends would have light humour in them.
He used to correct drafts prepared by others in English and beautify them.
ಯೌಗಂಧರಾಯಣ ತನ್ನ ಮಹತ್ತಾದ ಕನಸನ್ನು ರೇಭಿಲನೊಡನೆ ಹಂಚಿಕೊಳ್ಳುತ್ತಾನೆ:
पातु वस्ताण्डवोड्डीनगण्डसिन्दूरमण्डनः ।
वान्ताभिपीतप्रत्यूहप्रताप इव विघ्नजित् ॥May Gaṇeśa, the destroyer of obstacles, protect you, the effusing vermillion on his temples during his tāṇḍava, looks like the fiery prowess of all impediments he has swallowed.
