अवारणीयं रिपुभिर्-वारणीयं करं नुमः |
हेरम्बस्य ससिन्दूरम्-असिन्दूरम्-अघच्छिदं ||
avāraṇīyaṃ ripubhir-vāraṇīyaṃ karaṃ numaḥ |
herambasya sasindūram-asindūram-aghacchidaṃ ||
Let us pray to the trunk of elephant-faced Gaṇeśa, which his enemies find unopposable!
It is red lustred due to the sindūra and destroys all pāpas.
While ‘kapālin’ is taken in literal sense before the word Pāṇigrahaṇa which literally just means holding hands is turned to the other meaning, taking one’s hand in marriage derived by lakṣaṇa is utilised while Satyasoma accuses Nāgasena in public when he first helps Devasomā to get up. There is also a suggestion that Satyasoma still couldn’t trust Devasomā completely since she has already betrayed Babhrukalpa before. Also notice that Nāgasena is being tested in the two things which are forbidden for him and he betrays his failure in both those things.
An apt epithet for Prof. Srikanta Sastri would be satyānveṣī – ‘the seeker of truth,’ for all through his life, he worked against all odds to get to the truth, to declare it without hesitation, and uphold it despite trials and tribulations.
Soṇḍekoppa Srikanta Sastri was born on November 5th, 1904 at Nanjangud and was named no doubt after the presiding deity – Śrīkaṇṭheśvara. Both his parents hailed from illustrious families of Sanskrit and Telugu scholars, poets, and pundits.
In these verses Vyāsa has succinctly described the central focus of his poem and the nature of its characters. This is the way of great poets: they present the essence of the story upfront and then go on to narrate how it evolves. Lesser poets present the story in bits and pieces, intending to keep the readers hooked till the end. They sometimes stretch this technique to extreme limits, thus stripping the story of suggestive value and rendering it less enjoyable. A work bereft of poetic suggestion does not invite readers to revisit it.
As Nala was wandering through the forest wearing the cloth torn in half, he saw a forest fire. He heard a voice calling out for help from within it – “O Noble soul! The forest fire is consuming me – I might die in the fire! Please rescue me from here!” When he looked in the direction of the cry, he saw a snake curled around, fallen there. He picked it up and carried it on his shoulder. As he was walking, the snake said – “count ten footsteps from here and drop me at a spot”. Nala started counting – “ekaṃ dve trīṇi catvāri …..
If we consider the verses between the ninth verse – “yajñārthāt...” and the sixteenth verse – “moghaṃ pārtha sa jīvati” as one single meaningful portion, the meaning might be clearer. The style of the text here is a little complex. Two or three metaphors are combined thus: Kāmadhenu (the milch-cow of desire), jīva-cakra (the cycle of jīvas), brahma-cakra (the cycle of brahma). The topics too are knotty. Food, rain, crops, yajñā, distribution of the fruit of labour — thus many ideas are intertwined here.
Rāma savoured the recital amid a large group of literary aficionados: sa cāpi rāmaḥ pariṣadgataḥ (1.4.36). This is arguably the best way to appreciate art because people with a refined aesthetic sense assist one another in discovering newer and newer subtleties, thus raising the level of overall enjoyment.
