Bhāṣyam Devaḍi (Part 2)

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.’

I became acquainted with Bhashyam Ramacharya sometime during 1909-10. During those days, there was a printing press called the Irish Press in a two-storied building in one corner of a locality called ‘Kottige’ (the place where Chickpet and Akkipet met.) One of the owners of the press was a close friend of Bhashyam Ramacharya. The Irish Press was an object of great fascination for Bhashyam Ramacharya, for he had a taste for printing and publishing in his blood. During that period (in 1909-10), The Mysore Times, a bi-weekly, was being printed at the Irish Press. Since I was the assistant editor of the publication and spent time there, I got the opportunity to get acquainted with Ramacharya.

Right at the start, I was deeply influenced by the sort of respect that Ramacharya got from everyone. He had obtained an M. A. degree from the Allahabad University; he was a well-read scholar of Sanskrit; a sincere traditionalist; pure within and on the outside. On occasion, his words were caustic and astringent. The reason for this was the emotional disgust he experienced due to the immoral behaviour he saw in the world. But the sour taste of his words would immediately float away in his light-hearted humour.

Ramacharya had inherited the rights to a few books published by his ancestors. The primary ones among those books were ಸಂಕ್ಷೇಪ ರಾಮಾಯಣ[1] (Saṅkṣepa Rāmāyaṇa), ಶಿವಾನಂದಲಹರಿ[2] (Śivānandalahari), and ಶುಕಸಪ್ತತಿ ಕಥೆಗಳು[3] (Śukasaptati Kathegaḻu) – these I remember. He was making an attempt to edit those books and publish them in a convenient size.

Ramacharya was employed in the Government Secretariat. Outside his office hours, he spent his time in studying literature, or in performing his daily rituals, or in conversations with his friends.

Typically, every evening, a group of friends gathered at his house. Often I would be a part of it. The main members of the congregation were G. G. Narasimhacharya, his brother R. A. Krishnamacharya (both were abiding disciples of Swami Vivekananda), Pandit Asuri Anandalvar (who would later become the pīṭhādhipati—spiritual head—of the Yadugiri Yatirāja Maṭha), S. G. Narasimhacharya’s son Rangaswamy, Dharmapravartaka Navinam Ramanujacharya who was the dharmādhikāri of the Palace, Forest Conservator H. Srinivasa Rao, occasionally Advocate C. Sheshacharya, and some others. They discussed topics in philosophy and literature as well as world affairs. I will share with you what I know about some of them.

G. Narasimhacharya (GG)

I have mentioned about G. G. Narasimhacharya earlier. He had the good fortune of learning about the greatness of

Alasinga Perumal

Swami Vivekananda from direct experience. There was one Alasinga Perumal who had gained the affection and respect of Swami Vivekananda. He was a lecturer in Pachaiyappa's College in Madras. He was a scholar, patriot, and a gentle soul[4]. Supported by a few of his friends, inspired by Vivekananda, he ran a monthly magazine in English called Brahmavadin.[5] It was a scholarly magazine, with erudite savants contributing articles. Profound concepts in the Vedas and Upaniṣads were discussed and explained. Alasinga Perumal, who had successfully handled such a remarkable endeavour, was a relative and friend of GG. It was but natural that an interest in the Veda, Vedānta, and resplendent love for the country were patently visible in GG. I have heard that on one occasion, GG’s superior office, a deputy commissioner, spoke lightly of India and Hindus, causing him to flare up in anger; and as a heated discussion followed, GG rolled up his coat sleeves and displayed his readiness for a fist fight. I can believe it, for GG was such a person. Exceedingly gentle in friendship, but like Bhīmasena when he encountered malice and mischief. He wouldn’t speak much, but the proximity of his smiling and pleasant mien would fill us with enthusiasm and assurance.

R. A. Krishnamacharya (RAK)

That R. A. Krishnamacharya had, like his elder brother, passed the B. A. exam, is a small of matter of detail. Among the people I have seen, he is one who can be called a philosopher[6]. His scholarship was multi-faced. A forceful oratory style in English, familiarity with numerous treatises in philosophy and the sciences, a sharp and decisive style of arguing in logic, the sincerity to explain and elucidate matters in his expositions – these were the salient features of RAK’s scholarship.

Articles submitted to the Brahmavadin would be sent to him for editing and polishing. He would carry out the task without any desire for recognition. In a scholarly discussion, he would write, for example, “Vijñānabhikṣu has expounded this. As a reply, Vācaspati says thus. But it appears that Vācaspati has failed to notice one aspect of Vijñānabhikṣu’s argument. We can find a convincing explanation for that in Sureśvarācarya’s Tattva-vārtika, which is thus.” RAK’s strength was in analyzing the arguments and counter-arguments of various philosophers and unravelling the tangled complex. Especially when he stood up to make a speech, the force of his arguments and the heat in his oration would provoke and fire-up one and all.

In his conduct, RAK was childlike. Though endowed with a tall and handsome form, he would dress shabbily with old and faded clothes. He would wear them haphazardly on his body. A person seeing him from afar would think of him as an idler and a bum. He was similarly unconcerned about his food habits. He led a life of casualness and randomness.

He was extremely affectionate towards youngsters. During their examination season, he often cooked tasty dishes, pack them, and himself carry the food to the venue of the exam, feed them by his own hand, offer them coffee and water; and fill them with courage and confidence. This service was not restricted to students from his own household or those of his relatives. As long as the food lasted, it was served to any student who approached him.

I remember him ever so often. Such a brilliant man did not undertake any monumental work of lasting impact and fame – this paucity tinges my memory. But RAK was a vedāntin in the true sense of the word. He neither felt the urge that he had to do something nor had the obstinacy to definitely accomplish anything. Whenever whatever work comes my way, then and there if I execute it well, is that not sufficient? – such was his disposition[7]. It appears that his philosophy was: The flower that has bloomed today is to be used for today’s pūja[8], for today’s enjoyment. Why should I bother about tomorrow? This is an precept that we should learn from him. Have not many lost their name through greed for fame? Should one work only coveting fame?

Asuri Anandalvar

He was a great man. Asuri was his family name – “Āsūryanantāhvayaḥ.”[9] He was a scholar in the Archaeological department. He was a scholar of the highest order in Sanskrit literature, Alaṅkāraśāstra (Indian Aesthetics), Sanskrit Vyākaraṇa (Grammar), Tarkaśāstra (Indian Logic), and Vedānta. He achieved great success in those fields. He could compose ornate Sanskrit poetry of a high order. He was a witty speaker, rapier-sharp in his arguments, and steadfast in performing ceremonial rituals. He was a favourite of the Sringeri guru Sri Sivabhinava Narasimha Bharati Swamiji. The guru would frequently invite him, discuss with him, and would honour him with gifts.

Asuri Anandalvar was a disciple of Periyaswami Tirumalacharya of the Sadvidyā Pāṭhaśāla in Mysore. A few years after his retirement from the Archaeological department, he was anointed as the guru of the Yatirāja Maṭha of Melkote. Other than in serious debates, he came across as an absolutely benign bhāgavata[10] with an ever-smiling face, love for humour, full of compassion, and wholly independent of any influences.

Circa 1909-10, a statue of Adi Shankaracharya was installed at his birthplace Kalady by the Sringeri Swami and Anandalvar was invited to attend the event. Anandalvar composed a few poems in Sanskrit for the occasion, which was published as a book; he himself presented a copy of that book to me. Just by looking at the main topics in that book, one can clearly see the generosity in his outlook and his large-heartedness. The topics are as follows:

  1. Sarasvatī maṇihārayaṣṭiḥ (The jewelled necklace of Sarasvatī)
  2. Śrī Candramauḻīśvara stutiḥ (Praise of the moon-crested Śiva)
  3. Śrī ratnagarbha Gaṇapatiḥ (Gem-filled Gaṇapati)
  4. Śrī guruvara nutiḥ (Salutation to the great guru)
  5. Śrī Śaṅkarācārya mūrtipratiṣṭhābhinandanam (Salutation to the Statue of Shankaracharya)
  6. Śrī Śṛṅgagiri Śāradāstutiḥ (Praise of Sharada at Sringeri)
  7. Śrī Saccidānanda Śivābhinava Nṛsiṃha Bhāratī svāminaḥ
  8. Sphaṭika śilāmūrtiḥ (The crystal statue)
  9. Śrī Candraśekhara Bhāratī svāminaḥ

The person who wrote these Śaiva-Advaita encomiums was a staunch śrīvaiṣṇava – particularly one who would go on to head the Śrīmadrāmānujīya Maṭha at Melkote![11] Looking at the way he has—wholeheartedly and without reservation—praised Śiva and Śaivism, a deity and sect other than his own, it becomes clear to our minds that our people, once upon a time, exhibited catholicity and magnanimity even while being totally faithful to their own sect. Those who are disturbed by the present-day strife between the Śaivas and the Vaiṣṇavas and the furore caused by Dvaita-Advaita disputes, may find some solace if they call to memory the magnanimity displayed by Anandalvar. As man approaches the Supreme spirit, his small-mindedness and stubbornness break away naturally. In the world of mortals, which man has directly seen the Ultimate? And, is the Supreme not capable of manifesting Itself depending on how one’s eyes perceive It? The visible manifestation of Truth is aligned to the emotion of the seeker, the one intent on realization. The validity of Advaita, or Dvaita, or Viśiṣṭādvaita, is not outside of the worshipper, but inside him – in his way of life, in his experience. Therefore, intolerance towards other sects brings no prestige to Truth! Admitting the possibility that the other sect also has some truth is the veneration that one shows towards Truth. We can learn this from the gesture of Anandalvar, a follower of Rāmānuja, who showed courtesy and respect to the institution of Śaṅkara.

Image courtesy:- Google image search

Asuri Anandalvar was a true sport. I already mentioned that he was a favourite of the Sri Sacchidananda Sivabhinava Narasimha Bharati Swamiji, the ‘jagadguru[12] of the Sringeri Maṭha. I also mentioned that Jagadguru had called Vidvān Anandalvar to Kalady, the birthplace of Ādi Śaṅkara, on the occasion of the installation of the statue of the ācārya. During his visit to Kalady, Anandalvar had written a Sanskrit poem about the dressing style of the women in the Tiruvankur and Kochi regions. The poem has not been published, but was included in a letter he wrote to his friend. Most of that poem remains in my memory. It ran thus –

nirmoko yadi śāradendumahasāmāyasya saṅgṛhyate
divyaistena kuvinda-tantu kuśalairyajjālikā kalpyate।
āseko himavālukāmbupṛṣatastatrāsakṛttanyate
śakyaṃ kerala subhruvāṃ stanataṭaṃ kartuṃ nicolāñcitam

The import of this poem is: If the slough of the lustre of the moon in Autumn is separated with difficulty, and that is woven into a net by the skilled weavers in heaven, and if that net is dipped in the fragrant waters in which edible camphor is dissolved, and then made into a cloth, then it may be possible to make the beautiful women of Kerala wear blouses – implying that otherwise they don’t wear blouses.

When he showed this poem to me, I dared to suggest an amendment. In the fourth line of the poem, why not replace the two words ‘nicola’ + ‘añcitam’ = “nicolāñcitam” (nicola means ‘blouse’) in the end by three words ‘na + cela + añcitam’ = “na celāñcitam” (cela means ‘cloth’). When thus modified, I explained, will it not mean that even if given such clothes, you cannot persuade the beautiful women of Kerala to wear blouses or drape a cloth on their chest? The elderly connoisseur then teased me softly saying, “Attaboy! You sure indicate your preference!”

An incident that was narrated to me by a friend now comes to mind. That friend—Lingana Somayaji—hails from Andhra and is a lawyer by profession; he is a good Sanskrit scholar too. He is an expert in Advaita Vedānta literature; he has written highly respected Sanskrit commentaries on a number of famous books and has also composed many easy-to-read glosses in Telugu on the Upaniṣads. Though he owed allegiance to the creed of Śaṅkara, he had immense reverence towards Anandalvar Swami (we habitually addressed Anandalvar as ‘Anandalvar Swami,’ even before he took up saṃnyāsa.)

Anandalvar Swami had always been exceedingly interested in literature and poetry. He had perused and polished many texts of Indian Aesthetics. Even after he embraced saṃnyāsa, in the Yatirāja Maṭha, he had edited and published a few poetical works and treatises on poetics.

The aforementioned Lingana Somayaji was once with Anandalvar Swami and the conversation turned to the topic of Swami’s publication of books on poetry. My friend asked the Swami in Sanskrit, “Is it right for a renunciate to have interest in poetry? Is it not ordained— kāvyālāpāṃśca varjayet— that one should eschew such interests? How can an ascetic have a desire for rasa (enjoyment)?”

In reponse, the Swami did not say anything of his own, but quoted a sentence from the Upaniṣad

raso vai saḥ। rasagṃ hyevāyaṃ
labdhvā ānandī bhavati

(The form of īśvara is rasa. Hence, Bliss is only through experiencing rasa.)

Somayaji was satisfied. He got up and offered his respect by doing three pradakṣiṇas[13] and falling at his feet, begging for pardon. The Swami honoured him with a smile.

Such was the illustrious Anandalvar. Exceedingly simple while dealing with fellow beings; in life, a great connoisseur filled with empathy; prescient in his vision of the Truth; and spotlessly pure in conduct.

A mischievous joke

Among the scholars who would haunt the Bhāṣyam Devaḍi was Navinam Ramanujacharya. He was a great scholar. He had toured North India – the Baroda and Jaipur regions – many a time. He was intimately familiar with North Indian languages like Hindi, Marathi, Bengali, and Gujarati. On one occasion, he quoted this poem:

anuditayavaṣasakārairyeṣāṃ bhāṣā samullasati।
gudavadana vivara bhedaḥ kevalamanumīyate dantaiḥ

“When one hears words from people whose sentence does not have the letters ya, va, ṣa, and sa (i.e. ya-kāra, va-kāra, ṣa-kāra, and sa-kāra), one can only guess from which orifice of the body the sound originated only by looking at their teeth!”


It was the house of Bhashyam Ramacharya where such stalwarts would come together. No divine or earthly topic exists that didn’t come up for discussion there. Stimulating knowledge, enquiring nature, and independent thinking were amply evident in all matters of discussion.

Even though Ramacharya was a Sanskrit scholar and tradition-bound, he was not unfamiliar with western education and the sciences. I once resolved to write an article in Kannada summarizing the work On Liberty by the famous philosopher John Stuart Mill and told Ramacharya about it. He then handed me from his stack of old papers the notes that he had prepared. There were, in those notes, summarized reviews about Mill and another philosopher called Herbert Spencer. Having seen that, I got an idea of the width of his knowledge.

Since then, I have seen, and continue to see, many great personalities, but I wonder why such quest for knowledge and such zeal for inquiry are seldom seen. Or maybe such people do exist, but the fortune of meeting them has not come my way!


This is the second part of an English translation of the twelfth chapter of D V Gundappa’s Jnapakachitrashaale – Vol. 1 – Sahiti Sajjana Sarvajanikaru. DVG wrote this series in the early 1950s. Edited by Hari Ravikumar.


[1] An abridged Rāmāyaṇa.

[2] A composition of Adi Shankara.

[3] Seventy tales narrated by a parrot.

[4] The original has ‘ಸಾತ್ತ್ವಿಕ’ (sāttvika), which is the nature of sattva (benign goodness).

[5] This later became Vedanta Kesari.

[6] DVG uses the word ತತ್ತ್ವಜೀವಿ (tattvajīvi) suggesting that RAK’s philosophy and his life were closely aligned; he lived his philosophy.

[7] The original has ಮನೋಧರ್ಮ (manodharma), which means ‘state of mind,’ ‘temperament,’ etc.

[8] Worship; typically fresh flowers are used for daily worship.

[9] This Sanskrit phrase translates to ‘Āsūrī Ananta,’ the family name.

[10] In this context, the word refers to a respected scholar and elder; in specific, the word is used to signify a scholar-orator-singer who gave lectures on topics related to the Itihāsa-Purāṇa literature peppered with songs, typically bhajans.

[11] He ascended the pīṭham of the Yadugiri Yatirāja Maṭha in 1921.

[12] Literally, ‘guru of the world.’

[13] Going around (someone or something) in a clockwise manner); circumambulating.



Devanahalli Venkataramanayya Gundappa (1887-1975) was a great visionary and polymath. He was a journalist, poet, art connoisseur, philosopher, political analyst, institution builder, social commentator, social worker, and activist.



Sudheer Krishnaswamy Kesari is a Civil Engineer from IIT Madras who had a career in Computer Software at Infosys Technologies before retiring. He is addicted to golf, enjoys solving cryptic crosswords, and absolutely loves Sanskrit literature, listening to music, and watching movies.

Prekshaa Publications

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived in...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்....

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...


इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...


इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।


इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।


इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।


अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...


ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...


“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...