Anger Management

Madurai city in south Tamilnadu is a popular tourist center. It's recorded period dates back to at least 300 BC. Megasthenese, Greek ambassador to India, is said to have mentioned about this city. Madurai is a historical, social, cultural and business center. Thousands of tourists throng the city every day for visiting the Meenakshi-Sundareswara temple and other temples around the city. The size of these temples is often huge and a proper visit to them would take half a day for a meaningful round up. A visit to Meenakshi-Sundareswara temple in the morning is very rewarding; it meets the objective of morning walk and exercise as well. Tirumala Naiker's palace is another important tourist attraction. Madurai is also the gateway to the island of Rameswaram that houses the historical temple by the same name. It is an important commercial centre and the city with nearly two million population never sleeps. Different shades of cultures can be seen thriving harmoniously in this city. The city is situate on the banks of river Vaigai, though water flow in the river is very rare. Madurai has a bench of the Madras High Court and has a Divisional Office of Indian Railways as well. The city is vital and important politically and the belief is that the political party that wins in Madurai and surrounding areas does rule the state of Tamilnadu. Past electoral history is a witness to this claim.

Madurai is well connected by National Highways, Railway network and Airport. There is a regular and heavy traffic between Chennai and Madurai. Many long distance trains from Chennai to various destinations in south India pass through Madurai. The most popular among them is Pandiyan Express, plying between Chennai and Madurai, due to its convenient timings on either side of the journey. One can take the train after supper and arrive at the destination well before sunrise on the next day. I was required to travel frequently between these two cities as a part of my work for a few years. The train had AC coaches as well but the journey by First Class coaches (which have been now phased out by Indian Railways) were very pleasant due to the extra space available in them. The journey by Pandiyan Express was always enjoyable and lasting in memory. 

There was a slight drizzle on that night at Chennai Egmore station, some fifteen years ago. The wet platforms were full with south bound passengers looking for their trains. Pandiyan Express had not yet arrived at the platform from the yard. There was no place to sit on the platforms as all seats were either occupied or wet due to the drizzle. There was only one bench on which one person was sitting with her bags besides her. As the wait was going to be longer, I went to her and asked her if I could sit beside her if she moved the bags. She readily agreed and made way by moving the bags. What followed was a very interesting episode.

Many persons passing by our bench would stop and greet the lady. She was nearly seventy years old and the smile on her face was evident even in the dimly lit platform. Initially it appeared that only railway employees were greeting her. All guards, drivers, porters and other railway employees stopped for a minute and talked to her with reverence. Many of them asked her whether they could get dinner for her. She smilingly replied such queries that she had ordered dinner to be served on the coach. As the minutes passed by, it was observed that even some non-railway employees were greeting her and exchanging pleasantries. She was referred as "Madam". Only elderly ones addressed her as "Satya Madam". Her name was probably Satyavati. I was tempted to ask her how she knew so many people from the railways and others traveling to Madurai. But I did not.

When the train arrived on the platform half an hour later, there were half a dozen railway employees competing to take her bags to her coach. As I entered my compartment, she was seated opposite to my berth. An elderly couple were the other two passengers in the four berthed compartment. They had their packed dinner ready with them. Railway employees delivered dinner packets to us. The time during the dinner opened a chance to ask her the reasons for her being so popular with the railway employees and other travelers. 

She told me that she was working as a teacher in the Railway school in Madurai for some three decades. Some of the persons who greeted her were her former students who have now become railway employees. There were others who were parents of children who studied in that school. She said that it was no surprise that that many people greeted and spoke to her. "I should have been an awfully bad teacher if at least this many did not recognize me!", she exclaimed. She was humble and polite. She must have been much better than an average teacher. She ought to have been a wonderful teacher and guide to her wards. Not all teachers are recognized and respected like her, I thought.

Our brief discussion during dinner was disturbed due to a heated argument between a passenger and the TTE. As the argument subsided, she smiled and said "I do not know why people become angry". "There could be many reasons for that", I said. She laughed and what she said later is fresh in my memory. 

"In any situation involving me, I am either right or wrong. If I am wrong, I have no right to be angry. If I am right, I need not be angry. Remembering these two rules are the best medicine for treating anger", she said as we finished dinner.

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Satya madam had a wonderful lesson in "Anger Management". She put it very easily in simple words but with lasting effect. It is a lesson difficult to follow always, but gives rich dividends whenever followed.  Yes, it is either we have no right to be angry or we need not be angry!

Colour of Saraswati

The last post was about "Shree Pruthvivallabha", (click here to read it) referring to the war between Pulikeshi II and Harshavardhana in the Narmada river valley in 618-619 AD. This period of 7th century AD was a very fertile ground for growth of fine arts and literature. Temples and monuments constructed at that time as well as works of literature that are available even today bear testimony to this. There were many talented artistes and poets in the court of Pulikeshi II and other noted Kings of the period like The Gangas of Talakad and Pallavas of Kancheepuram, besides the Banavasi Kings. 

Chandraditya was the eldest son of Pulikeshi II. Chandraditya's queen Vijayambike was herself a noted poet of that time. Vijayambike was known by different names such as Vijjika, Vijayakka (meaning elder sister Vijaya) and Vijaya Bhattarika. She is referred to as "Karnati" (Lady of Karnataka) and "Karnata Rajapriya" (Darling of the King of Karnataka). She is said to have been born in a courtesan family and well versed in music, dance and literature. In fact, there are claims that she was the foremost poet in Vaidharbhi style, next only to Mahakavi Kalidasa. She has written a five act drama by name "Kaumudi Mahotsavam".  She had earned the title "Karnata Saraswati". 

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Dandi or Dandin is considered as one of the foremost poet of that period. Researchers have established that he was in the court of Pallavas King Simhavishnu and later in the court of famous King Durvinita of the Ganga dynasty who ruled from Talakad near Mysore. His celebrated work "Kavyadarsha" is a highly respected source book in Poetics. He is also credited with two more prose works, "Dasha Kumara Charita" and "Avanti Sundari Katha". He is praised as a foremost exponent of "Padalalitya" or playing with words, in his works. He lived around the same period as Vijayambike. There was a running feud between Chalukyas and Pallavas with victory favoring one or the other in a long period of 6th and 7th centuries.

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We see many photos of various deities, gods and goddesses that are sold in shops, displayed in temples and shown in calendars, books etc. These are based on the descriptions of the deities in Vedic hymns and artiste's impressions developed over a period of time. For example, the pictures of Goddess Lakshmi with two elephants on either side is a depiction based on her description from "Shree Suktam". All hymns describing Goddess Saraswati mention that she is all white; dressed in white, sitting on a white lotus, white swan as her chariot and she herself is white in colour. The picture of Saraswati given above is from such description in different sources.

Dandi has described that Saraswati is all white (नित्यशुक्ला सरस्वती) in the beginning of his "Kavyadarsha". Vijjika or Vijayambike, daughter in-law of Pulikeshi II and queen of his son Chandraditya came to know of this as she was a contemporary of Dandi. Vijjika herself was of dark complexion. She did not accept this description of Saraswati. She retorted thus:

नीलोत्पलद्लष्यमां विज्जिकां मामजानता |

वृथैव दण्डिना प्रोक्तं सर्वशुक्ला सरस्वती ||

Neelotpaladalashyamaam Vijjikaam maamajanataa

Vruthaiva Dandina proktam Sarvashukla Saraswati!

Dandi has not seen me, Vijjika, who is like a Blue Lotus. That is why he has mentioned that Saraswati is all white! (Had he seen me, he would have known that Saraswati is not white in colour. He would have mentioned that she is of dark complexion).

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Vijjika represented a generation of women poets who were confident about themselves and stood on same footing as men as far back as over a thousand and three hundred years. She had the confidence to say that she was Saraswati personified!

Shree Pruthvivallabha

An interesting news report in "The Hindu" last week (25th April, 2016) has thrown additional light on an important part of History. Studies at the Bhandarkar Oriental Research Institute, Pune has accurately fixed the year of the historic war between Pulikeshin II of Badami and Harshavardhana of Kannauj. 

The Bhandarkar Oriental Research Institute, Pune, Maharashtra is an institution founded in honor of Ramakrishna Gopal Bhandarkar who is regarded as the foremost pioneer of scientific Orientology in India. The institute is said to have the largest collection of manuscripts and rare scripts of yesteryears. The institute, founded in 1917, will be celebrating its centenary year shortly. The institute received a collection of copper plates from Shri Raghuvir Pai, a noted coin collector of Mumbai. Research at the institute based on the bunch of copper plates (photo given above) have confirmed the dates of historical events of the seventh century AD. The institute has informed that the coronation of Pulikeshin II as the King was in 610 AD, when he ascended the throne by defeating his uncle Mangalesha, who had planned to deny the throne to him. The research has also fixed the year of the deciding fight on the banks of the river Narmada, between Pulikeshin II and Harshavardhana as the winter of 618-619 AD as against the earlier vague dates of 612 to 634 AD. It further informs that there is a reference to grant of 50 Nivarthanas (units of land) in village Vataviya, in the present Paithan taluka of Aurangabad in Maharashtra to a Vedic scholar Nagasharma. This grant of land was presumably made when Pulikeshi returned from the war on the banks of Narmada river.

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Pulikeshin II belonged to the Chalukya dynasty that ruled large part of South  and Central India intermittently for six centuries, from 6th 12th century AD.  This dynasty ruled in three different and related branches. The first branch of Badami Chalukya took over from the Kadambas of Banavasi and had their reign from mid 6th century to 8th century (543 AD to 756 AD). The rise of Rashtrakutas eclipsed Badami Chalukyas and thereafter they ruled from Vengimandala, the area between Krishna and Godavari rivers in present Andhra Pradesh, until 11th century. King Tailapa was responsible for coming out of the subordination of Chalukyas to Rashtrakutas and started the third branch of Chalukyas ruling from Kalyana, the present day Basava Kalyana in Karnataka. The reign of Kalyana Chalukyas extended till 12th century AD.

Pulikeshin II was the foremost and most famous King from the Badami Chalukya dynasty and ruled for three decades (610-642 AD). His empire covered the large area of parts of Gujarat and Madhya Pradesh, entire Maharashtra and Karnataka and parts of Andhra Pradesh. More than a hundred temples and monuments are available even today bearing the stamp of Chalukya architecture in and around North Karnataka. Badami, Aihole and Pattadakal temples are visited by tourists regularly.

Harshavardhana was a popular ruler of North India in the 6th century (590-647 AD) and his reign coincided with that of Pulikeshin II (610-642AD). Harsha's empire extended from Punjab and Rajasthan to Gujarat and parts of Bengal and Odisha. Pulikeshin had become a powerful adversary and taken the title of "Pruthvivallabha" (Lord Paramount). Rise of another powerful King in South India was naturally not to Harshavardhana's liking. He marched from Kannauj with a large army to subdue Pulikeshin II. Harsha's army had a large contingent of elephants. The two armies met in the Narmada valley. Pulikeshin's battle plans and superior warcraft in guarding the river valley resulted in the loss of large part of Harshavardhana's army. Harshavardhana was forced to accept Narmada river banks as the boundary between his and Pulikeshin's kingdoms. The present research has now fixed the date of this decisive war having taken place in the winter of 618-619 AD.

A film by name Immadi Pulikeshi (1967) with popular actor Rajkumar playing the lead role is available for viewing on Youtube. The film was a huge success and is considered as a milestone in the actor's career.

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"Shree Pruthvivallabha" is a title meaning "Lord Paramount" and used by many Kings of that era. It can be compared to the popular cricket cup called "Ranji Trophy". The victor in a major war took the title and held it till the next decisive war. The title would pass on to the winner again. There could a defending champion or a new victor, depending on who won the next war.

The title was lost by Chalukyas of Badami after the Rashtrakutas became powerful and defeated them. King Tailapa II reestablished the supremacy of Chalukyas and made Kalyan (present Basava Kalyana) as his capital. He defeated Munj, a Parmar king and won back the title "Shree Pruthvivallabha". The reign of Tailapa II and later his son Satyashraya is considered as a "Golden Age" in the annals of South India.

C K Nagaraja Rao, well-known Kannada writer who has recorded the reign of Hoysala Kings in his historical novels titled "Pattamahadevi Shantaladevi", "Veeraganga Vishnuvardhana" and "Dayada Davanala?" has also a written another historical novel titled "Shree Pruthvivallabha". The struggle of Tailapa II in establishing the rule of Kalyana Chalukyas and disengaging from Rashtrakutas is well chronicled in his novel "Shri Pruthvivallabha". The book is based on the available historical material relating to that period and subsequent research on the subject. Interested readers can read the novel to get a picture of those times by going through the book. 

Elephant in the Mirror

Many methods and techniques are used by Teachers and Trainers all over the world to impart knowledge and skills to their pupils, especially when conveying complex and abstract concepts. The more popular as well as effective among such tools are the methods known as "Known to Unknown" and "Simple to Complex". In "known to unknown" method, the teacher or trainer starts with some concept or subject that is already known to the student or the trainee. He then develops on it and links the same to a new and more difficult concept to enable the wards to understand the unknown. In "simple to complex" method, the principle or application is started from a simpler idea and then slowly develop the wider and more complex principles or applications. Modren teaching and training methods place a lot of emphasis on using these techniques to ensure faster learning and lasting effects on the students. It is interesting to note that these methods are in use for several centuries and have wide usage and acceptance all over the world. These methods are also in use in explaining the abstract theorems, axioms and assumptions. We can find many such examples in spiritual as well as cultural writings and literature.

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One of the most important theorems of Vedic knowledge and understanding is the concept of "Parabrahma", the supreme Lord. His presence is learnt through his infinite qualities. One such quality is all-pervasiveness. The supreme Lord is believed to be present everywhere; he has occupied all the space that is known as well as beyond that. He can be present everywhere at the same time. He can be bigger than any big thing and smaller than the smallest thing that one can see, imagine or perceive. "Narayana Suktam" which is a part of Yajurveda and believed to be a appendix to "Purusha Suktam" explains this concept beautifully. Narayana Suktam is generally recited at the end of all religious procedures and offered to the supreme Lord as "Mantrapushpam", offering of flowers in the form of words. This concept of all-pervasive and omni-present Parabrahma and his infinite capacity to occupy the biggest as well as the smallest available space is one of the basic tenets of Vedic beliefs.

While it is easy to say that Parabrahma can be bigger than the biggest as well as smaller than the smallest, it is difficult to comprehend the same for many. This is explained by means of many examples. 

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Saint Purundara Dasa (1484-1564) who lived during the finest period of Vijayanagara empire in South India was a contemporary of Sage Vyasateertha and King Krishnadevaraya. He is hailed as the Pitamaha (Great-grandfather) of Karnaatic school of music. Legend has it that he has composed 4,75,000 poems (Devaranamas) in the praise of Lord, though only a few thousands are available now. His Devaranamas are in simple Kannada language and yet have succeeded in bringing the essence of Vedic and spiritual knowledge to the common man. Ugabhoga and Suladi are among many forms of compositions made by him and later followed by others in his path. 

In one of his Ugabhogas, he explains the concept of the Lord occupying the smallest place when he is bigger than the biggest known entity and extending beyond that. It is in Kannada and reads as under:

ಜಗವ ಸುತ್ತಿಹುದೆಲ್ಲ ನಿನ್ನ ಮಾಯವಯ್ಯ, 
ನಿನ್ನ ಸುತ್ತಿಹುದೆಲ್ಲ ಎನ್ನ ಮನವಯ್ಯ ।

ಜಗಕೆ ಬಲ್ಲಿದ ನೀನು, ನಿನಗೆ ಬಲ್ಲಿದ ನಾನು, 
ಮೂರು ಜಗವು ನಿನ್ನೊಳಗೆ, ನೀನು ಎನ್ನೊಳಗೆ ।

ಕರಿಯು ಕನ್ನಡಿಯಲ್ಲಿ ಅಡಗಿಪ್ಪ ತೆರನಂದಿ ಎನ್ನೊಳಗೆ ನೀನು ಅಡಗಿದೆಯೋ।
ಸಿರಿ ಪುರಂದರ ವಿಠಲ ।।

The summary of the above Ugabhoga is something like this - "The entire Universe is engulfed by your charm, but my mind is wrapped around your entire presence! You are a big presence for others due to your all pervasiveness; but I am bigger than you since I hold you in me! Just as an Elephant is captured in a small mirror held in its presence, you are present in me! (Elephant is very big but its image can be held even in a small mirror kept before it.) Purandara Vittala, The supreme Lord!

This is the submission of a pious devotee of The Lord. It is not an arrogant statement, but a humble submission. The devotee is bigger than the Lord only because he is holding the biggest possible entity (The Lord) inside him just like the image of a huge elephant in a small mirror.

This is a fine example of "Known to Unknown". In the following devaranama titled "Pillangoviaya chelva Krishnana elli noodidiri?" (Where did you see the flute playing Krishna?), Purandara Dasa expands this theorem by using the "Simple to Complex" method. The follower or devotee is thrilled by the understanding of one of the fundamental tents of the Vedic knowledge. Whether one believes in it or not, the principle and the method of its communication is indeed magnificent.   

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The Ugabhoga and Devaranama mentioned above are sung by many and recordings are available on "Youtube". The one sung by Sri Vidyabushana is very popular. You may click on the video below and listen to the same. 

Efficiency and Effectiveness

Karna had a single goal in life; defeating Arjuna in a final war. His entire life revolved on this one target. All other issues in life paled into insignificance before this one ambition. He even chose to join the camp of Duryodhana with the hope that it will pave the way for the final showdown with Arjuna. He went to Parushurama, satisfied the Guru with his sincerity and learnt all the inner secrets of Archery so that he could match Arjuna arrow for arrow and weapon for weapon. He prepared for years to come out successful on that one day which truly mattered. All other happening and innumerable insults that came his way were brushed aside so that the ultimate goal is not sacrificed. He did not budge from his target even when first Krishna and then his mother Kunti revealed his birth's secret to divert his attention. He readily decided to spare the other four brothers, but not Arjuna.

The day finally arrived in the blood-drenched Kurukshetra. Karna was now standing before his target. Unfortunately, he had amassed a wealth of curses from different sources. They all took effect at the most inappropriate time. His hymns to call the weapons and astras when most wanted faded from his memory. All misfortunes smiled on him together. The curses reduced his efficiency. Inability to recall his war winning skills made him a lame duck. Having lost the cutting edge of efficiency in the war, he lost his effectiveness in pursuing his only goal. Efficiency deserted and effectiveness extinguished, he became the greatest symbol of tragic heroism instead of becoming a great victor.

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Internet and Mobile banking have become major tools for a comfortable modren living. We have reached a stage where life can go on without breathing, but not so without net connectivity. We can live without food in the mouth or stomach, but not mobile in the hand. Fish out of water may as well be substituted with "Man or woman without mobile". If the websites of the banks fail when you need the most, it is the final trouble. Karna unwittingly amassed a combination of curses. We have ourselves voluntarily and painstakingly mobilized these gadgets and tools to make us highly efficient and effective. Collective maturing of the curses robbing him of efficiency and rendering him ineffective happened to Karna only once. Of course, there could not have been a second time for him. For the modren man, these happen more often. It is not one final blow, but repeating blows and often with repeating regularity. There could be more pain in future as more and more gadgets are being added with each day.

Decisions are postponed till the last day as they can be implemented whenever one desires. But when it is to be implemented, net connectivity fails. Most have already experienced this trouble and hence have a second arrow in their quiver. But the second source of connectivity also fails when needed most! If connectivity is restored, then the bank website becomes elusive. It is either unavailable or even if available, it is under routine or special updating or upgrading. The website dutifully informs that it is being upgraded only for your convenience! Some websites are considerate and advise the clients beforehand about the dates and time of outage. Some others are not able to advise because they themselves do not know about the date and time of outage. The client is not even in a position to go to the bank personally and get the job done because it is the second or fourth saturday. 

There are banks which send you a new credit card or debit card one month before the previous one expires. There are others who send you one a month after the previous one expires and you make a request followed by reminders. There are organizations that remind a payment due two or three days before the due date for payment, only if the payment is not made till the date of reminder. There are others (Bangalore Water Supply and Sewerage Board is a wonderful example) which remind you even if the payment is made on the date of the bill itself. They are of course very considerate. They give you the option of ignoring the reminder if payment is already made. That payment is already made is known to them does not really matter. They cannot help if their software is unable to make the distinction between those who paid up and those who have not yet paid.

Karna was lucky. Despite all his misfortunes, he indeed knew he was an unfortunate person. He knew the curses and he also knew that they would mature one day. Modren man is not so lucky.

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What is Efficiency? It is defined in many ways. It is defined as the ability to accomplish something with least waste of time and effort. It is also defined as competency in performance. It is also said as accomplishing a job with minimum expenditure of money and time. In case of machines or engines, it is the ratio of work done or energy developed by it to the energy supplied to it, usually as a percentage of the output to input. Some twenty years ago, a study in fertilizer industry showed that almost all fertilizer company plants had performed at more than 115 to 120% of their capacity! Everyone appreciated their efforts until someone pointed out that it was not possible at all. The truth was that the rated capacity of the plants were much below their actual capacities!

The best possible definition for "Efficiency and Effectiveness" is perhaps given by Peter F Drucker, the Management Guru. "Efficiency is doing things right. Effectiveness is doing the right things", he says. Merely being efficient is not enough. One has to be effective as well. Being efficient as well as effective is a true indication of quality in any walk of life.     

Six benefits from Literature

What is Literature? Why does anyone write something? Why do others read it? What is the definition of Literature? What are the uses of Literature? These are some of the questions that are relevant for all times. It is worthwhile to spend some time on discussing these issues.

The word "Literature" is understood by all, but to give a universally acceptable definition of the word is indeed difficult. Literature is defined in many different ways. Literature is a term used to describe written or spoken material. It describes anything from creative writing to more technical and scientific works as well. It is most commonly used to refer to works of creative imagination including works of poetry, drama, fiction and non-fiction. Literature represents language or people or culture and tradition. It is universal and often beautiful and provides the readers with wonderful experiences while reading and understanding it. In the Indian context, the word often used for Literature is "Kavya", which includes stage plays (Drushya kavya) also. It has evolved over the years, starting from rock cut paintings and palm leaf preservations to modren day printing and literature on the web. 

The following definition appears to be the closest to what many consider as a good definition of "Literature":

"Literature is a documentation of life seen, known and recorded in an artistic way. It opens new horizons of imagination that leads to an entirely new world. It is also a written evidence of human achievements and failures".

What are the benefits that can derived from literature? Answering this important question has been attempted for generations all over the world. Aristotle's "Poetics" is as old as 4th century BC. "Natya Shastra" of Bharatamuni is also of around the same time. Subsequent Indian scholars have dealt on the benefits of Literature or Poetry extensively. Unfortunately, many of them are lost and not available now. The discussions of the earlier scholars appears to have taken a solid form around 10th or 11th century AD. "Kavya Prakasha" of a scholar poet by name Mammata deals with many aspects of Poetics including the benefits from Literature. Mammata was the maternal uncle of SriHarsha, whose "Naishadeeya Charitam" is reckoned as one of the five great works in Sanskrit literature.

Mammata has enumerated six direct benefits from Literature. First of them is earning name and fame. Second is for earning money and material rewards. Third benefit is to understand the world and dealing with its ways (Vyavahara Jnana). Fourth benefit is to escape from evil effects of life, by application of knowledge gained from Literature. Fifth is to obtain immediate pleasure from reading or contemplating on it. Sixth is to receive suitable advice which is similar to the one given by a loving wife.

Are these the true benefits? They really are, but the benefits may accrue to the writer or reader or both. The first benefit of earning name and fame directly belongs to the writer. Many well known and respected names in the literary world today bear testimony to this. Generations after generations have read and enjoyed the epics in many languages and their times are entirely immaterial. Many readers have also become scholars and earned their names by following the earlier writers. Many poets lived a good life due to the support they received from Kings and landlords of their times confirming the second benefit of monetary earnings. Selling copyright of yet to be written novels in the present times also indicates this. The third benefit of using the knowledge from literature for managing one's affairs from time to time is experienced by all of us.  There are many examples of escaping from evil in our lives by bringing in earlier learning from reading literature, thus reinforcing the fourth benefit.  One of the most important benefit from reading literature is obtaining immediate enjoyment or pleasure of "Rasaanubhava", which is the fifth benefit.  

The sixth benefit relates to receiving advice from literature. Mammata has mentioned that the type of advice one perceives from literature is similar to the one received from a loving wife or spouse. There are three types of advices one can receive. They are defined as Prabhusammita, Mitrasammita and Kantaasammita. Prabhusammita is the type of advice that is received from someone in authority, like a King or higher authority in an establishment. This is an advice that must be followed and there is no escape from it. Failure to do follow it results in severe punishment. Mitrasammita is the type of advice received from a good friend. it is much more acceptable to one's mind but it is still received from an external source. Kantaasammita is the advice received from a loving wife and hence the receiver does not even feel he is receiving an advice!  It is close to receiving advice from oneself and thus becomes much more acceptable to follow. The biggest advantage of literature is in generating such type of advice from within oneself. 

Mammata's summary of the six benefits of literature enumerated in his "Kavya Prakasha" is as under:

काव्यं यशसे अर्थकृते व्यवहारविदे शिवेतर क्षतये |
सद्यः परनिवृतये कान्तासंमिततया उपदेशयुजे ||

Kavyam Yashase Arthakrute Vyavaharavide shivetara kshataye,
Sadyah paranivrutaye kantaasammitataya upadeshayuje. 

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Prof T N Srikantaiah (Ti Nam Sri) is a highly revered and big name in Kannada Literature circles. The South End Circle near Jayanagar, Bengaluru is named after him, though people still refer to it as South End Circle. The circle has also disappeared now as the metro line passes over the area. He was a scholar par excellence and did yeoman service to students of Literature. He is credited with suggesting the word "Rashtrapati" as equivalent of the "President of India" which was accepted unanimously and is used now. 

His celebrated work "Bharatiya Kavya Meemamse" is a trend setter in study of Poetics and Aesthetics in Literature. A study of this book brings out many valuable insights into Literature and its role in human life, including the above benefits from literature.   

Not this curse please, please

A new auditorium, named as "Kalamandira", was constructed in the city of Mysuru nearly four decades ago. A magnificent structure on a prominent location in the city was due for inauguration. A series of befitting functions were arranged to open the auditorium for public use and as a center for music concerts, dance performances, stage plays and important functions. The organizers deemed it fit to arrange a "Shehnai" concert by Ustad Bismillah Khan as one of the events. Shehnai has been associated as a "Mangala Vadya" since a long time and hence it was indeed appropriate. Mysuru and Ustad Bismillah Khan shared pleasant memories of the past as well. During the times of the Late Maharaja Jayachamaraja Wodeyar, the Ustad had given a concert in the royal palace which is still remembered for its divinity. The maharaja had presented a special "TopI" (cap) to the Ustad in appreciation of the divinity of the concert. The Ustad had kept this topi as a prized possession and used to wear it on important occasions. He was naturally delighted to be invited for the inaugural concert at Mysuru. 

Ustad Bismillah Khan came from a family of Shehnai masters from Bhojpur in north Bihar. He enhanced the popularity of the wind instrument even further and came to be identified with the instrument in total. He regularly played on the instrument at the Kashi Viswanath Temple. There was special place for his concerts in All India Radio and Doordarshan on Republic day and Independence day. A Kannada film by name "Sanadi Appanna" (1977) was released a few months before the inauguration of Kalamandira. Sanadi is the Kannada name for the Shehnai. The role of Appanna in the film was played by the popular Kannada film actor Dr Rajkumar. The film became a runaway hit due to the twin factors; Dr Rajkumar's acting and the shehnai score by Ustad Bismillah Khan. Dr Rajkumar is reported to have said that the true hero of the movie was Khan Sahib himself. The Ustad also is said to have often quoted of a lunch he had with Dr Rajkumar during the filming of the movie. The respect between the two was mutual and spontaneous.

The auditorium was filled to capacity on the day of the concert. People were sitting on every available space and even on the steps. As the Ustad began his concert and reached the crescendo of the first piece of the concert, some in the audience who had occupied the front seats started throwing coins on the stage and around the artistes. They did it to show their appreciation, but the damage was done. The Ustad was disturbed from his deep involvement and concentration level. He abruptly stopped playing the instrument and kept it aside. Everything came to a standstill and it took a few minutes for many in the audience to understand as to what had happened.

The Ustad spoke softly but firmly. He admonished those who threw the coins at him and other artistes on the stage. He said that artistes perform in a place like Mysuru not for money or material rewards. What the artistes look for is the affection and appreciation of their efforts by connoisseurs of arts and music. He chided the miscreants and advised them to leave him and the art lovers to enjoy the bliss of shehnai and music. The elderly among the audience had now taken charge and cleared the miscreants from the auditorium. They apologized to the Ustad who readily resumed his concert. The resumed concert went into extra time and those present at the event still remember the quality of that concert.

Ustad Bismillah Khan was a rare artiste who was awarded all the high civilian awards, the "Padmashri", "Padma Bushana" and "Padma Vibhushana", one after the other. He was also awarded the highest civilian award of "Bharata Ratna" in 2001. He lived a full life of 90 years and played the instrument till his last days in the year 2006.

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Situations like this crop up now and then in our lives. Performing before people who do not understand the subtlety and do not have the refined maturity level is one of the biggest pains for performers. Teachers are also confronted with such situations often in their classes; a few disinterested students disturb the decorum of the classes to the detriment of the interested majority students. Despite such disturbances one has to carry on with his sacred duties by dealing with the miscreants firmly.

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A subhashita from "Samayochita Padyamalika" aptly sums up such situations. A poet stands before Lord Brahma, who is credited with the writings on one's forehead about the punishments he has to face during his lifetime. The poet begs thus:

इतर पाप फलानि यथेच्छ्या शिरसि लिखे सहे चतुरानन |

अरसिकेषु कवित्व निवेदनम् शिरसि मा लिख मा लिख मा लिख ||

"My dear Lord Brahma, Please write all other punishments for any sins on my forehead to your full contentment. I have no objections or complaints about them. But please spare me from one greatest punishment - the one of reciting my poems before those who are incapable of understanding their content and finer points.  Do not punish me with this please, please, please!"