“ಪ್ರಜ್ಞಾಭಾರತಿ” ಶ್ರೀಧರ ಭಾಸ್ಕರ ವರ್ಣೇಕರ್ (೩೧.೦೭.೧೯೧೮—೧೦.೪.೨೦೦೦) ಅವರು ಆಧುನಿಕ ಸಂಸ್ಕೃತಸಾಹಿತ್ಯದ ಧ್ರುವತಾರೆ ಎಂದೇ ಕೀರ್ತಿತರು. ಅವರ ಕೃತಿಗಳು ರಾಷ್ಟ್ರಭಕ್ತಿ ಮತ್ತು ಉದಾತ್ತ ಕಲ್ಪಕತೆಗಳ ಬಿರುಕಿಲ್ಲದ ಬೆಸುಗೆಯ ಅಪೂರ್ವ ನಿದರ್ಶನಗಳು. ಅವರು ತಮ್ಮ ಸೃಷ್ಟಿಶೀಲ ರಚನೆಗಳಿಂದ ಸಂಸ್ಕೃತ ಮತ್ತು ಮರಾಠಿ ಭಾಷೆಗಳನ್ನು ಶ್ರೀಮಂತಗೊಳಿಸಿದ್ದಷ್ಟೇ ಅಲ್ಲದೆ ಆ ನುಡಿಗಳ ಪ್ರಕರ್ಷ-ಪ್ರಸಾರಗಳಿಗೆ ಕೂಡ ಅವಿಶ್ರಾಂತವಾಗಿ ದುಡಿದರು. ಕಾವ್ಯರಚನೆ, ಪತ್ರಿಕೋದ್ಯಮ, ವಿಶ್ವಕೋಶನಿರ್ಮಾಣ, ಸಂಸ್ಕೃತಿಪ್ರಚಾರ, ಸಾಂಸ್ಥಿಕ ಕಾರ್ಯನಿರ್ವಾಹ, ಸಮಾಜೋನ್ಮುಖ ಕಲಾಪಗಳೇ ಮೊದಲಾದ ಮಜಲುಗಳಲ್ಲಿ ಅವರ ಕರ್ಮಯೋಗ ವ್ಯಾಪಿಸಿದೆ.
Now, we have to escape from here with great speed; else, fearing that his secret will be revealed, he will kill me. Since this room has been locked from outside, we can't depart through the door. Therefore, tie the thread around your neck, transform into a peacock, fly out of the window; I will extend my hand and untie the thread around your neck. I will tie that around my neck, become a peacock, and then fly out of the window.
“इदमन्धन्तमः कृत्स्नं जायेत भुवनत्रयं यदि शब्दाह्वयं ज्योतिरा संसारान्न दीप्यते” इत्येतद्दण्डिवचनं श्रद्दधानैः किल भारतीयैः भुवनभासिका भारती पुष्कलं समुपासिता समर्धिता च। अस्मत्प्राचीनैः साक्षात्कृतधर्मभिः दैवी वागन्वभावि; लौकिकी च वाक् समस्कारि। यथा हि शाब्दिकाः कृतकेतरां वाचं यथावदन्वाख्याय मानुषीं भाषां बहुधा व्याचक्रुः, तथैव छन्दःशास्त्रज्ञाः श्रुतिं छन्दःसञ्ज्ञां यथावत् समाम्नाय लौकिकानि बहूनि छन्दांसि प्रतिपादयामासुः। वेदपुरुषस्य चरणत्वेन छन्दः स्वीकृत्य तद्वर्णनव्याजेन विश्वविसृत्वरं पदविलासं ते वर्णयामासुः। छन्दःशास्त्रं वेदाङ्गमपि काव्याङ्गमपि। वेदवारि
The prince rode with his army to the borders of Vidiśānagara and sent word through an emissary to king Meghamālin seeking the hand of princess Haṃsāvalī. An elated Meghamālin himself came to meet Kamalākara and said “O prince! You need not have ridden so far for this. You had to but only send a missive expressing this noble wish of yours. I am indeed in favour of this alliance. Let me tell you why. When Haṃsāvalī was only a little girl, I was worried as to who might someday marry her. So much, in fact, that I became bedridden with fever.
Kauśikī’s words of praise upon seeing Mālavikā perform are noteworthy. Her response is in the form of a verse, whose second half provides incredible insights into all major forms of art including poetry. She says: bhāvo bhāvaṃ nudati viṣayād rāgabandhaḥ sa eva (2.8). It roughly means: “One emotion inspires the next, covering the whole range of feelings. This is how a passionate recital looks like!” We can broadly relate this to literary aesthetics in the following manner. Bodily movements in dance can be likened to words that constitute the form of poetry.
Now, I will explain the meaning of the phenomenon you saw in the lake. The incidents there indicate what will befall Mṛgāṅkadatta in the future. He is the lion cub; his ministers are his ten arms. His father, who is like the hunter shooed him away from his kingdom, i.e., the forest, out of anger. He heard of the fame of Śaśāṅkavātī, who is born in avanti; as he rushed towards her, he got stuck in a whirlwind, symbolized by the net and lost his arms which were the ministers. Following this, Vināyaka put them all back in place and he regained his original state.
Veturi Prabhakara Sastri mentions that the bharatavākya is found only in one of the manuscripts All other editions say that there is no bharatavākya. The bharatavākya itself is quite ordinary when compared to the one in Matta-vilāsa and as well be a later addition.