Literature

The Story of Dharmavyādha

In the past, when a certain sage who was wandering through a forest and sat down below a tree, a balāka bird’s droppings happened to fall upon him. He was enraged and stared at the bird angrily. As soon as his eyes fell on the bird, it got reduced to ashes. He felt proud of the strength of his tapas.

One day, he sought alms at the house of a brāhmaṇa in the city. The lady of the house said – “Please wait for a while; I will finish serving my husband and attend to you!”

Maharṣi Vālmīki

When Devasomā interrupts to say this isn’t the way of buddhists or jains (अर्हन्त can apply to both), Satyasoma scolds them saying that they are fools who contradict their own stand by saying pain leads to pleasure while thinking that the nature of the effect is the same as that of the cause. During this and even later, it is evident that Satyasoma even though drunk and unsteady still has a sharp intellect which hasn’t been affected by the drinking, even while drunk his logic is incisive.

Candrasvāmin met Siṃhadaṃṣṭra, a śabara chief and asked him for a water source nearby, he called his men and said, ‘Show him water!’ They took him to their village and tied him up. He understood he had been deceived. Thinking about his children’s future if he is killed and offered as a bali he started worshipping Sūrya. A voice from the sky told him, ‘Candrasvāmin, you won’t be killed; you’ll reunite with your children!’ The children meanwhile waiting for their father, afraid, started crying.

Languages and meters

While nothing of value is added by mentioning what has been discussed by both Dr N P Unni and Dr S Ramaratnam, just for the sake of completion, here is the list of meters and languages used. Even in a small work the author has shown versatility in usage of languages and meters which can be gathered by a cursory glance of the lists below.

Metres: Anuṣṭup, Āryā, Indravajra, Rucirā, Mālinī, Vaṃśasthā, Vasantatilakā, Śārdūlavikrīḍitā, Sragdharā.

Art appreciation begins with learned connoisseurs. Gaining breadth and vision with time, it develops into a well-structured system of aesthetics. Poets and artists often find it hard to explain the aspects of appeal inherent in the form and substance of their compositions. They have neither the bent of mind nor the competence to subject their work’s appeal to a logical analysis. Only a handful of artists can tell us what goes into the making of a charming composition and unravel the secret of its attraction.

Ciradātṛ-rāja

There lived a king named Ciradātā in a city called Cirapura. Though the king was a nice person by his nature, he was surrounded by evil men. Prasaṅga and his friends who had come to the service of the king from a distant land did not get any remuneration, though they served him for five long years. Even if they wanted to see the king, they never got a chance to do so.

ಕನ್ನಡರಾಜ್ಯೋತ್ಸವ ಬಂದೊಡನೆಯೇ ಕನ್ನಡವನ್ನು ಕುರಿತ ಚಿಂತನೆ ನಮ್ಮೆಲ್ಲರ ಮನಸ್ಸಿನ ಮೇಲ್ಪದರಕ್ಕೆ ಬರುವುದು ಅಚ್ಚರಿಯೇನಲ್ಲ. ಈ ಮೂಲಕ ಮೈದೋರುವ ವಿಚಾರ ಸಾರ್ವಕಾಲಿಕವಾದರೆ ಅದಕ್ಕಿಂತ ಒಳ್ಳೆಯ ಸಂಗತಿ ಮತ್ತಾವುದು? ಸದ್ಯದ ಈ ಬರೆಹ ಇಂಥ ಒಂದು ಮೂಲಭೂತಚಿಂತನೆಯನ್ನು ಆಸಕ್ತರೊಡನೆ ಹಂಚಿಕೊಳ್ಳುವ ಹವಣು.

The author

Another day, when Naravāhanadatta was in the court, a prince by name Samaratuṅga came to him and said, ‘O lord! My cousin Saṅgrāmavarṣa and his four sons are jointly destroying the country. I will go and arrest them!’ Knowing well that Samaratuṅga had but a small army, Naravāhanadatta offered to send his army along. However, without seeking the support of the king's army he waged a war and arrested all five of them.