We used the traditional accompaniments of Yakṣagāna, namely caṇḍè and maddalè. To enhance the melody, however, we included flute and violin as accompaniments. From the early days, I felt the need to include a svara-vādya to add to the melody of the Yakṣagāna himmeḻa. I have even spoken about this on various platforms. Shivaram Karanth, Padmacharan, Mahabala Hegade, and others were of the same opinion. Shivaram Karanth has used violin and saxophone for accompaniments. It is worth mentioning here that when I shared my thoughts with Prof.

Seetharamiah’s Hospitality

In the next week or ten days, I reached Delhi. Seetharamiah was waiting at the train station by the time the train reached. I asked him, “How did you know of my arrival?”
He said, “I got it somehow. You have arrived now, have you not?”
“Why did you come?”
He answered, “To escort you.”
I said, “I was thinking of some other arrangement.”
“Let the other arrangement be kept aside. Please accept this arrangement now.”

Über-human and sub-human characters do not produce rasa unless they are ‘humanized’ – this is a fundamental tenet of aesthetics. A great poet knows from experience that his work will gain depth only when the characters pass through various trials involving basic human feelings such as love, fury and hatred. Vālmīki and Vyāsa, Kālidāsa’s predecessors, have portrayed their protagonists as human beings through and through. They have succeeded not just in highlighting the mortal weaknesses of Rāma and Kṛṣṇa but in drawing attention to their inherent greatness.

After he cured all of Guṇākara's wounds, Mṛgāṅkadatta continued on his voyage. One night, he was fast asleep under a tree in Vindhyāṭavi. When he was awakened from his sleep, he found that some stranger was asleep amidst them. When the blanket that covered him was removed and his face was revealed, it turned out to be his own minister Vicitrakatha! As soon as this was known, everyone became alert. He narrated his story in the following words: