Author:Shatavadhani Dr. R. Ganesh

The Guptas hailed from the vaiśya community. It has been mentioned earlier that there is no great significance attached to being a kṣatriya by birth. By purposely concealing this fact, our so-called secularists claim that brāhmaṇas and kṣatriyas conspired together to discriminate against and oppress the people of other varṇas. This is far from the truth and there is little merit in this allegation.

At the fag-end of the tournament, when they heard the tumultuous sound at the gates, filled with wonder the spectators asked, “Have the mountains crumbled?” “Has the earth been torn apart?” as they looked in that direction. With naturally endowed armour (kavaca) and earrings (kuṇḍala), Karṇa walked to the center of the arena like a walking mountain.

India’s greatest gift to the world is perhaps Vedānta, the science of reality, which can be hailed as the crown-jewel among the various treasures that our unbroken tradition of over five thousand years has offered.



uktirarthāntaranyāsasyātsāmānyaviśeṣayoḥ | (C.L. – 119)

In Arthāntaranyāsa, a general statement is used to provide a rationale for a specific case or a specific case is used to justify a general statement.

Iliad - Book 1, lines 217-220

(Achilles says the following to the goddess Athene, who has been sent by the goddess Hera, has come down from the heaven to put a stop to his anger.)

The primary purpose of any work of art is to evoke ‘rasa’, i.e. aesthetic experience in the connoisseur. The experience of rasa is universal and holds true for all times. This is achieved in poetry through verbal expression, by portraying the emotions of characters under various circumstances and also by employing a variety of imagery. Creative expression is what distinguishes poetry from a non-poetic text. (Here, the word ‘poetry’ is used to include aesthetic expression through prose and lyrical poems).

It was this enduring, prosperous and robust temple ecosystem that the first wave of alien Muslim armies encountered when they knocked on the doors of Bharatavarsha. The incisive historian and scholar, Sita Ram Goel describes[i] this encounter vividly:

Public life is replete with seeming paradoxes. A person closely involved in the public space cannot be hassled by what other people think about him but if someone accuses him of a wrongdoing, he must be capable of clearing his name. After all, his reputation is one of his greatest assets. A classic example in the case of Krishna is the episode of the śyamantakamaṇi. Satrajit’s brother who had been wearing it was found dead. Krishna was accused of theft and murder by Satrajit. He declared that if he did not find the jewel within twenty-one days, he would not return to Dvaraka.

Hindola is one of my favourite rāgas. The equivalent of Hindola in the Hindustani system is a rāga called Malkauns. Many feel that the manner in which it is rendered in South Indian classical music is different. In my opinion, however, Hindustani musicians have used Malkauns in a more aesthetic, mature, and creative manner as compared to the Carnatic musicians, barring a fewlike Dr. M Balamuralikrishna and Dr. Nagavalli Nagaraj.

For a cricket-crazed nation like India, we do not have to wait long before a cricket series starts, grooves us in to a sway of emotions, and causes a deluge of frenzied reactions to the victories or the defeats. Even as the cricket World Cup follows each other, every two years in the shortened 20-20 format and every four years in the longer version, the cricketing nations, a good number of them, are treated to a veritable swing of emotions from euphoria to depression following their team’s wins or losses.