Author:Sudheer Krishnaswamy Kesari

Chip off the old block – Bhashyam Ramacharya

Bhashyam Venkatachaarya was the elder of the two grandsons of Bhashyam Tirumalachaarya. He worked as a sub-registrar. Bhashyam Ramacharya was the younger one. He was the person in charge of my peculiar ‘university.’

Among what I consider my universities, one of the places was a south-facing corner-house ahead of the Sri Narasimhaswamy Temple in Balepet.[1] It may be called the birthplace of the Kannada newspaper. If Mysore were to be the United States, some wealthy person would have purchased the house, created a library or museum with an art collection, and, with the permission of the government, opened it for public use, thereby preserving for posterity the name of the great Bhashyam Tirumalacharya. This was the house of that servant of Kannada.

After their escape from Vāraṇāvata, the Pāṇḍavas went southward, moving quickly in the light of the stars, and reached a dense forest. By this time, all of them were exhausted, tormented by thirst and overcome by sleep; at that point, Dharmarāja told Bhīma, "Trapped in this dense forest, we are groping in the dark; we are unable to tell the directions; we are unable to walk any further; is there a greater difficulty than this? We don't know whether that wretched Purocana succumbed in the fire or not; how do we escape from our fear of him? We shouldn't be seen by anyone.

Once, a Department of Health employee visited Dr. Gundanna’s clinic and explained his brother’s illness. Gundanna patiently heard his description and then turned towards the elder brother; staring at him through his spectacles he asked: “What’s wrong with you?”

He said, “I never get hungry!”

“What’s your diet?”


Dr. Gundanna said, “Isn’t it good if you can sustain this way, with no food? You can then steer all your salary to your bank account. ”

It’s impossible that anyone who has seen Dr. Gundanna will ever forget him. So magnificent was the mark left on the mind by his personality. For a period of twenty-five to thirty years, his name was uttered with fondness and reverence in customary conversations in hundreds of households every day. Remembering him wasn’t limited to occasions when people grew sick, but during all instances of human interest when one usually thinks of a close friend.

The multi-volume History and Culture of the Indian People, a definitive work authored by numerous scholars, contains the most accurate and clear history of the Guptas. R.C. Majumdar, the General Editor of the volume titled The Classical Age, and K.M. Munshi, who has written a foreword to the volume have held that the glory of the Gupta Era was extraordinary. Indeed, Munshi has written that this extraordinary glory was possible because of Dharma.

(“ಮಹಾಭಾರತ”ದ ಹಿನ್ನೆಲೆಯಲ್ಲಿ “ಕರ್ಣಾಟಭಾರತಕಥಾಮಂಜರಿ”, “ಕೃಷ್ಣಾವತಾರ” ಮತ್ತು “ಪರ್ವ”ಗಳ ತೌಲನಿಕಚಿಂತನೆ)


(“ಮಹಾಭಾರತ”ದ ಹಿನ್ನೆಲೆಯಲ್ಲಿ “ಕರ್ಣಾಟಭಾರತಕಥಾಮಂಜರಿ”, “ಕೃಷ್ಣಾವತಾರ” ಮತ್ತು “ಪರ್ವ”ಗಳ ತೌಲನಿಕಚಿಂತನೆ)


ಅರ್ಷಕಾವ್ಯಗಳೆಂದೂ ಇತಿಹಾಸಗಳೆಂದೂ ಹೆಸರಾದ ರಾಮಾಯಣ-ಮಹಾಭಾರತಗಳು ನಮ್ಮ ದೇಶದ ಸಾರಸ್ವತಲೋಕವನ್ನು ಪ್ರಭಾವಿಸಿದಂತೆ ಜಗತ್ತಿನ ಮತ್ತಿನ್ನಾವ ಪ್ರಾಚೀನಕಾವ್ಯಗಳೂ ಆಯಾ ಪ್ರಾಂತಗಳ ಸಾಹಿತ್ಯವನ್ನು ಪ್ರೇರಿಸಿಲ್ಲ. ಈ ಮಾತು ರಾಮಾಯಣ-ಮಹಾಭಾರತಗಳಿಂದ ಪ್ರಭಾವಿತವಾದ ಗೀತ-ನೃತ್ಯ-ನಾಟ್ಯ-ಚಿತ್ರ-ಶಿಲ್ಪಾದಿಗಳಿಗೂ ಸಮಾನವಾಗಿ ಅನ್ವಯಿಸುತ್ತದೆ. ಹೆಚ್ಚೇನು, ನಮ್ಮ ದೇಶದ ಸಮಗ್ರಸಂಸ್ಕೃತಿಯೇ ಇವುಗಳಿಂದ ಉಜ್ಜೀವಿತವಾಗಿದೆ.

Grahabedha is an interesting as well as a mesmerising facet of music. The science behind Grahabedha is very simple. The terminology becomes clear if it is called graha-svara-bedha instead [It may be noted that we discussed Graha in part-1. Graha means the ‘reference note’]. When Graha (i.e., the reference note, ‘Sa’) of a rāga is shifted sequentially to the notes that follow, i.e. if we start considering Ri, Ga, Ma.. of a rāga as reference notes, and sing rest of the notes relative to this new reference, the original rāga sounds a different rāga with each shift.