Value of OVK's contributions

[seeksha]

#199 - Vidyasankar
Not to interrupt your nice flow of thought and comparison, but let me insert
a small aside in this context:

Please do not hesitate to share your thoughts or point out corrections. It will help us all learn.

The bhAgavata verse closely follows the chAndogya upanishat where only tejas,
ap (vAri) and anna/pRthivI (mRt) are mentioned, without explicitly noting AkAsha
and vAyu.

This is a very valuable observation. I was going to point to trivritkaraNa and pa~nchIkaraNa here. I also think Venkata kavi mentioning the pancha tanmatra-s explicitly is intentional and serves as a link between the two.

#200 - chitravina ravikiran
“
Actually he has mentioned sparsha - I have quoted the first 2 lines of the charanam.

Sorry I missed it while rephrasing. Thanks for pointing that out.

-------------------------------------------------------------------------------------------------------------

satyam paraM dhimahi - I meditate upon that ultimate truth.

The word “dhimahi” means “upAsmahe – I worship” . A more involved meaning is ‘abhedhena dhyAyAmahe – I identify myself with that and meditate”. It will make more sense when we go over the entire shloka/krithi as to how it fits the context. This dhimahi is the same as in the vedic sAvitri mantra.

The word “parm” means ultimate. Here it refers to parameshwara, the creator “prapa~ncha kAraNam”.

svarUpa lakshna and taTasta lakshNa are two popular methods adopted to define him. This opening verse gives both definitions. Incidentally, a vyAvartaka definition does not fit him.

[There are three main ways to define a thing:
vyAvartaKa - By distinguishing it from another.
taTasta - By pointing out its apparent attributes. (Like pointing to the river bed to locate a river).
svarUpa - By describing its essential nature]

The word “satyam” refers to the “svarUpa lakshna” or the intrinsic attribute of “paraM”. This directly refers to the taitriya shruti verse “satyam GYAnam anantam brahma”. The “satyam” here is not the opposite of “asatyam”. It refers to existence or pure being like the ‘sat’ in ‘sat chid Ananda’.

Srimad Bhagavatm starts and ends with the same refrain “satyam param dhimahi”, might be why Venkata Kavi chose to open the krithi with these lines.


“tat shuddhaM vimalaM vishokamamR^itaM satyaM paraMḿ dhImahi “ 12-13-19 Srimad Bhagavatam.


Cont..

[seeksha]

The topic is still “brahma lakshnam”

We saw the classical “svarUpa lakshna “ definition earlier and the injunction to meditate on it.

So how do I cognize that “param satyam “ ? To answer this this another lakshNa is used, “taTasta lakshaNa” – the incidental attribute of this “param satyam “.

Both Srimad Bhagavatam and the Brahma sutra starts with the same phrase,

janmAdy-asya yataH - janmadAdi loka kAraNam - He in whom the creation, sustenance and dissolution of this world is . Indirectly cognized as the material and efficient cause of it .

yataH – (yasmaat kaaraNaat) - by which cause , janma – creation Adi- beginning with. asya- this (prapa~ncha- world) - The cause of the origin etc. of this visible universe.

Adi here indicates two more phenomena janma, stiti and laya - creation, sustenance and dissolution.

The Vedic mantra referred here is – “yatho vA imAni bhUtAni jAyante, ena jAtAni jIvanti, yat prayantyabhisam vishanti . (Taitriya).

VenkaTakavi rephrases it as “janmAdi loka kAraNa mUlam” .

Notice the word mUla kAraNa here. It refers to the abhina nimita upAdhAna kAraNam of jagat. Brahmam is both the material and the intelligent cause of this universe.

[Generally there are two main causes associated with an object. An intelligent cause and a material cause.
kulAlaH ghaTasya nimitta kAraNam – The potter is the intelligent cause of this pot.
mR^it ghaTasya upAdhAna kAraNam – Mud is the material cause of this pot.]

janmAdiloka kAraNa mUlam satyam param dhimahi - I meditate upon the “pure existence”, that from which the universe originates.

[satyam param yasya svarUpam, yasmAt abhinnanimitopAdAana kAraNAt asya pratyaksha prapa~nchasya sR^iShTi sthiti layam sambavanti, tat abhinna nimitopAdAana kAraNaM brahmaivAhamiti abhedhena dhyAyAmahe ]

[Though these Sanskrit passages might make it look complex, the fact that ‘God as the creator’ is universally accepted by all religions. Where it gets complex is when Acharyas differ in their opinion as to whether ‘satyam’ etc is the svarUpa or viseShaNa of brahman. ]

Cont…

[seeksha]

We looked at brahman as the “jagat kAraNam” as the cause of the world. To know an object two things are needed, knowledge of the object and the means to know it. ( to read this post you will need to know the English language and a computer with internet connection )

lakShaNa pramANAbhyAm vastu siddhiH – objects are established through lakshna and pramANa (means of knowledge).

We now know both taTasta and svarUpa lakshNam of brahman. The ‘jagat’ – world is available for everyone’s perception, hence can it serve as a means of knowledge (pramANa) for brahman ?

The answer is NO. The world does not serve as a pramANa for brahman even though we see a cause-effect relationship here (kArya-kAraNa sambandha).

Inference is not a valid means of knowledge to know brahman. (na kAryalin~ngakAnumAnena/ na anumAnapramANena vedyam).

The “Vedas” alone are the means of knowledge (pramaNam) for brahman, inference(anumAna) is not. (naiShA tarkeNa matir ApaneyA) .

This idea is conveyed in the third sutra of brahma sutra- ‘shAstrayonitvAt’.

This sutra has two meanings,

shAstrasya yoniH - shAstra kartA – the author of the vedas . Vedas are supposed to be the house of all knowledge, both scared and secular. By making the creator (Ishvara) as the author of the Vedas, we imply that he is sarvag~na -“ all knower”.

shAstram yoniH - shAstra pramANakam, viShayam – Known by the Vedas, the content matter of the Vedas.

Both these ideas are conveyed in the phrase “tene brahma hRidAya Adi-kavaye muhyanti yat sUrayaH .” of Srimad Bhagavatam.

Venkatakavi incorporates these ideas in separate phrases.

nigama para mukhyam – For whom the vedas are the mouth. – ( veda kartA)
sarva nigama sAra bhUtam – The essence of all the Vedas. (shAstra pramANakam)
akhaNDa tattva rahasya – Secret/sacred knowledge
brahmmAdi pramukha sadAnuta shIlam – Saluted by Brahma and other celestials. (muhyanti yat sUrayaH )

Bhagavan is supposed to have imparted this sacred knowledge to Brahma-ji first, making him the ‘adi kavi’. (tene brahma hRidAya Adi-kavaye). This idea is again mentioned in the Chatushloki Bhagavatam portion in Srimad Bhagavatam.

“j~nyAnam parama-guhyam me yad vij~nAna-samanvitam”
….
“yAvAnaham yatha-bhavo yad-rupa-guna-karmakaH
tathaiva tattva-vij~nAnam astu te mad-anugrahAt”

Notice the “akhaNDa tattva rahasya “ and “nigama para mukhyam” usages conveying the same idea as above.

Cont…

[chitravina ravikiran]

Excellent and enlightening, Seeksha ji. I look forward to the next parts...

Looking at the big picture, would a thorough knowledge of the Bhagavatam alone give all these insights or would you opine that Venkata Kavi would have actually studied the Brahma sutras?

[rshankar]

Seeksha - excellent commentary!
Sri Ravikiran, and Seeksha - in the present day, it looks like one needs (at the very least), a PhD in sanskRt or (hindu) religious studies to understand these nuances and meanings in each word used by Sri OVK in some of these compositions...I wonder how many actually will be able to understand them without such aids....

[chitravina ravikiran]

Shankar,

Perfectly correct. This facet of scholarliness of OVK is what I have been endeavouring to share with the music world over the last few years. There are numerous compositions of his like this which stimulate our own imagination and scholarship.

His imaginative, and elegant poetic style and personalised approach can camouflage his erudition. I am glad that some of you are now able to throw much more light on his multi-dimensional creations...

[seeksha]

Looking at the big picture, would a thorough knowledge of the Bhagavatam alone give all these insights or would you opine that Venkata Kavi would have actually studied the Brahma sutras?

My humble opinion is a categorical yes, Bhagavatam is capable of giving all these insights. But let me qualify my assertion here. By no means Bhagavatam is a Purana like another. As we saw earlier, one of the glories of Bhagavatam is that it acts as a commentary to the Brahma sutras.

“arthoyam brahmasUtrAnAm bhArathArtha vinirNayaH”

Portions like Sruti Gita in Bhagavatam are impossible to comprehend without a good understanding of the Brahma sutras.

There have been a tradition of Advaita Acharyas like Sridhara Swamy, Madhusudana Saraswati, Narayana Teertha, Bhagavan nama bodhendra etc. who were astonishing Vedantins as well as Bhagavatam exponents. By Venkata Kavi’s time this tradition was very well established. Venkata Kavi must have had a Guru who resorted to this tradition. He himself is in no means a casual reader of Bhagavatam, we see the impact of Bhagavatam on almost all his compositions.

Do we see sutra bashya impact on Venkata Kavi’s creation ? I have not read the sutra bashyam, so I don’t know the answer for this. I think even if he did the subject matter of his creation does not warrant a display of that expertise. (except for a very few krithis like “satyam param dhimahi”).

To give some perspective towards the study of Brahma sutras, there are just 500 + sutras total. One could go over these in less than a day. But these sutras won’t make much sense until we resort to one of the commentaries.

The intent to Brahma sutra study is to solidify Vedantic knowledge and understanding. This is achieved by eliminating the misunderstanding caused by other astika/nastika schools like sankhya, nyaya, yoga etc. Sankhya is the primary pUrvapakShi for most of the sutras.

Shankara Bhagavatpada’s commentary is the primary source for understanding the Brahma sutras. Other Acharyas like Ramanuja, Madhva, vallabha etc. have differed in some of the key tents with in the Vedantic tradition, but their primary source to agree or disagree has invariably been Shankara’s interpretations.

I have not studied Shankar Bhagavatpada’s commentary in itself. My source of knowledge on this topic is ‘vaiyAsika nyAya mAlA” and Swamy Paramarthananda’s classes. ‘vaiyAsika nyAya mAlA’ is an independent work in a verse form that deals with the arguments in the Brahma sutras in line with Shankara Bhagavatpad’s commentary and gives a topic wise summary. There are other works like Bashyartha nyaya mAlA that are similar and written with the same intent.

http://www.archive.org/details/VaiyasikaNyayaMala

[seeksha]

In the earlier posts we had established Brahmam as the creator of this universe and the Vedas as the means of that knowledge.

From that one Brahman how does the universe full of innumerable names and forms manifest ?
The answer to this question would obviously have to be a detailed chronology of creation.

The process of creation is a gradual immergence in stages, like a sprout from a seed manifesting as a tree with numerous branches, leafs, flowers, fruits etc. To be able to comprehend this chronology easier the Vedas point to major milestones in the process of creation and explain as to how things progress from one significant point to another.

At a very high level creation has three stages, the un-manifest stage, the rudimentary stage and the manifest stage.

Let us take for example the creation of this post . First the knowledge/ideas exist in me in some neurons (kAraNa), I think it over and brings it in my mind as to what sequence I want to lay it down (sUkshma) and then type and publish it for everyone to see (sthUla).

kAraNa --> sUkshma --> stUla

“Brahman” that has always been the subject imposes on itself the ability to objectify and becomes the mUla kAraNam. This is the first thing that happens in creation.

sattvaM rajas tama iti nirguNasya guṇAstrayaH |
sthiti sarga nirodheShu gR^ihItA mAyayA vibhoH || Bhagavatam 2.5.20

Brahmam that does not have any intrinsic attributes(nirguNa), for the sake of the creation, maintenance and destruction of the material world envelops mAyA comprising of satvaM, rajas and tamas.

tribhirguṇamayairbhāvairebhiḥ sarvamidaṁ jagat |
mohitaṁ nābhijānāti māmebhyaḥ paramavyayam || Geetha 7.13

The world deluded by these Three Gunas does not know Me who is beyond these Gunas and imperishable. (7.13)

In other words, brahmam + mAyA = mUla kAraNam = Ishvara. This mAyA and brahman combo is referred to as parA prakR^iti and aparA prakR^iti or as puruSha and prakR^iti depending on the context.

The triguNAtmikA nature (satva rajas tama) of mAyA is not the popular satva-rajas-tamas guNa that we generally attribute as tendency, nature or behavior. The guNas referred here are aspects or capability that is at the source of creation in an indivisible form.

These three guNas give raise to three fundamental capabilities of creation. j~nAna – knowledge, kriyA – skill and dravya - material. satva generates j~nAna, rajas – kriya and tamas – dravya.

kAryakAraNakartṛtve dravya-j~nAna-kriyAshrayAH .
badhnanti nityadA muktaM mAyinaM purushaM guNAH.. Bhagavatam 2.5.21

These three guNas, being further manifested as matter (guNa), knowledge (J~Nana) and activities(kriyA), generate the cause effect relationship and binds him as the doer.

This is what Venkata kavi refers to as “satva guNa bharita nivAsam” in the krithi.

Creation continues with these guNas further going through a fusion process. We have two more stages to cover in creation, sUkshma and stUla. Brahman gets a different name at every stage .

kAraNa --> sUkshma --> stUla
Ishvara --> hiraNyagarbha --> virAt

Cont…

[uday_shankar]

To be able to comprehend this chronology

Again, not to spoil the smooth flow of your brilliant and scholarly exposition, especially by an upstart like me who couldn't quote anything from the bhagavatham to save himself, I'm somewhat uncomfortable with the use of the word "chronology" as pertains to creation. For after all, if "time" as we know it "was" also created, then there's a sequence perhaps but no "chronology". A chronological theory of creation is what's popularly held everywhere in the world including the bible (and perhaps everday Hinduism and puranas, etc) and all western sciences, which is shrishti-drishti vAda, i.e., the idea of duality of God and the "universe (including all of "us")" is firmly established first without much debate and then everything comes into being gradually ! However, this is far from satisfactory to anybody who's undergone the shravana and manana of "brahmasatya jaganmitya". The latter refrain dins into the chitta that even kAla is mitya! So does one mitya show up first and then pull the others up ?! I agree all this is an adhyarOpakAla for the student and falls by the wayside with apavAda or the denial of all this... Still, if you substitute the word "chronology" with "sequence", our terminology will be consistent. For those curious about other - and in my opinion more satisfactory - theories of creation, there's the drishti-shrishti vAda, which is the concurrent creation of the universe everytime there's an awareness of wakefulness or jAgrati (somewhat more satisfactory than the theory of gradual creation in tIme) and finally the profound satya - the ajAta-vAda or the theory of non-creation. Nothing (of significance) has really been created !
Since our terminology affects our thinking, the correct question to ask about the universe, creation, God, etc...is not "what was there before all this" but rather "what is there behind all this"...Then the false nature of kAla is immediately revealed.

Sorry for the disturbance...please proceed!

[seeksha]

Code: Select all

I'm somewhat uncomfortable with the use of the word "chronology" as pertains to creation. For after all, if "time" as we know it "was" also created, then there's a sequence perhaps but no "chronology". 

You are right, sequence is a better word than chronology. The Sanskrit term that we are referring to here is – shrShTi krama.

Another reason being chronology refers to events in time. We are talking about what was there before time and space were born. Big bang hadn’t happened yet.

Just my 2c. on the other remarks about creation,

I don’t think one theory is better than the other. ajAta vAda is for the advanced seekers etc. is a neo-vedanta view. Traditional Acharyas have not looked at it that way.

ajata vAda, srShTi- drShTi, drShTi- srShTi-, is all true from its own locus.

From Brahman’s point of view there is no creation - ajAta vAda.
From Ishvara’s point of view there is perception and hence creation –drShTi srShTi
From jIva point of view there is creation and hence he perceives it. - srShTi drShTi

As someone said, the crow and the fox story would be a Drama from crow’s perspective, a thriller from the fox’s and a tragedy from the vadai/cheese perspective. :tmi:

Actually creation is mentioned in the Vedas in multiple ways. The intent of teaching creation is to point to the adhiShThna kAraNam, brahman.

[uday_shankar]

The Sanskrit term that we are referring to here is – shrShTi krama.

Ahh..."Manifestation sequence" or "projection sequence" maybe ? One more thing...since we believe that the upAdAna kAraNa and nimitta kAraNa are one and the same (and therefore nothing new is "created"), then isn't it better to substitute the use of "creation" everywhere with "manifestation/projection" ? Maybe it's just my entirely english-educated head, in which "creation" only signifies all the western/Semitic notions (i.e., a permanently separate God somewhere in heaven created the universe in seven days with separate material from somewhere) associated with it, that are not applicable here.
(OK, enough said, I promise no more interruptions...!)
-------------------------------------------
PS: I've subsequently learned that the Sanskrit term for the "instantaneous" projection of the universe I was referring to is yugapat shrShti (as different from krama shrShTi).

[Suryasriram]

While on the subject of Bhagavatam, it is interesting to note that Venkatakavi's 2nd Ratna in Gaula, Aganita Mahima, is based on the Second Canto of Bhagavatam.

I got this idea from the last swara-sahityam 'Chandrajatadhara Bhagavannatha' which is almost exactly quoted from the Bhagavatam Sloka 2.7.43-45:

O Nārada, although the potencies of the Lord are unknowable and immeasurable, still, because we are all surrendered souls, we know how He acts through yoga-māyā potencies. And, similarly, the potencies of the Lord are also known to the all-powerful Śiva, the great king of the atheist family, namely Prahlāda Mahārāja, Svāyambhuva Manu, his wife Śatarūpā, his sons and daughters like Priyavrata, Uttānapāda, Ākūti, Devahūti and Prasūti, Prācīnabarhi, Ṛbhu, Aṅga the father of Vena, Mahārāja Dhruva, Ikṣvāku, Aila, Mucukunda, Mahārāja Janaka, Gādhi, Raghu, Ambarīṣa, Sagara, Gaya, Nāhuṣa, Māndhātā, Alarka, Śatadhanve, Anu, Rantideva, Bhīṣma, Bali, Amūrttaraya, Dilīpa, Saubhari, Utaṅka, Śibi, Devala, Pippalāda, Sārasvata, Uddhava, Parāśara, Bhūriṣeṇa, Vibhīṣaṇa, Hanumān, Śukadeva Gosvāmī, Arjuna, Ārṣṭiṣeṇa, Vidura, Śrutadeva, etc. (Srila Prabhupada translation.)

The composer has no doubt condensed the number of personalities, but his purport remains the same, right to the word, 'Atha' taken from the sloka.

Plus, the other sahityams talk about the various potencies of the Lord, which are variously described throughout the Second Canto.

Any experts can comment on this?

[ajaysimha]

I have posted the Anjaneya krti that appears as a part of OVK's Mahabharata (I have only seen a few songs from this opera so far). Here, Bheema talks about Anjaneya's greatness to the 'old monkey' which has blocked his way, not realising its identity...

Madhyamavati Adi

P: sholla vallEnO - maRaiyOdi paravu malar pAdan
seeta nAthan shree rAma dootan perumai (sholla vallEnO)

A: vallavaraippOlum vazhi maRutta Or vAnaramE idu kELum
nalla uRai shonnEn aNNanadu perumai - gnyAnam vandavuDan vazhiviTTu meeLum (sholla vallEnO)

C 1: teLLiya pavana dEvanukkum anjanA dEvi tanakkum mahanAha udittAn
tihamoLi kadiravan kaLiru tilakamODu kaniyena manamODu piDittAn
Arum aRivadAna paDi kadiril mEvi Ayirattil onbadu paDittAn
Ahiri tannil munamE giri uruhavumAkki nAradanin mamadaiyai piDittAn (sholla vallEnO)

C2: tEDi vanam vanda shree rAmachandran enum daivam puhazhinukkAnavai yuTrAan
tirumahaLazhiyinai kaNDu annai tarum chiranjeevi enum Ashiyum peTrAn
nADi purudumoru vELai teeyaiyiDa rAvaNan nagar tanai teeyiDa uTrAan
rAma rAma jayarAma rAma jayarAma ena nAmamum kaTrAn (sholla vallEnO)

C 3: iyann mahizha ivayyam mahizha perum aDarum sanjeevi malaiyODum vandAn
anaivarum uyir pera Anandam tanaiyura attaruNam iyyanadu pAdam paNindAn
uiya vahai aRiya ninRu ninRulava uLLoLi tannoDum engum uvandAn
uRangi iDaRiDu munnaiyum valiyuRa OraruL endanukku uDanukkuDan eendan (sholla vallEnO)
--------------------------------------------------------
1. I could not grasp the full significance of line 2 in Charanam 1. OVK also mentions this in the Anjaneya saptaratna krti in Suruti.

2. In line 4, he mentions the raga Ahiri - so I wonder if the song was in Ahiri. I have not located the audio so far.

To clarify about the ahiri raagm,
there is a story of hanuman doing upadesham of Ahiri ragam on veena to narada muni.
which also is refered in another song - kanaka giri pOlE

Youtube Link
https://youtu.be/zH8uTc5DgDA

kanaka giri pole - athana - adi | hanuman krithi | oothukadu venkata kavi

P
kanaka giri pOlE kATchi tarum ghanavAnE shrIman hanumAnE
MK
gatiyena vanda dayAnidhiyE karuNai uvanda tapOnidhiyE
tudi paraviDum ina kula rAmacandra dUtanAna svAmi nI karuNai puri

AP
anagha tiru tavamAgina kulapati anjana dEvi maindanE[1]
Agamam enum nava vyAkaraNam tanai Adavanenum sUriyaniDam bOdhakam kUrum[2]

C
gANamuni nAradanukkAga oru Ahiriyai vINaiyilE upadEsittAi [3]
kAkuttan kulam vAzha nEratra malaiyinai karattinilE asaivittAi [4]
jnana muni andanunukkAga vaikuNThattinai nAnilattilE varavazhittAi [5]
nangai jAnaki tanakku ingitam miga sangItam isaittAi [6]
MK
gatiyena vanda dayAnidhiyE karuNai uvanda tapOnidhiyE
tudi paraviDum ina kula rAmacandra dUtanAna svAmi nI karuNai puri

story [1] hanuman is born as a result of anjana devi's penance
story [2] hanuman learns nava-vyakaranas from surya deva
story [3] hanuman does upadesham of Ahiri ragam on veena to narada
story [4] hanuman saves lakshmana by bringing sanjeevini parvatam
story [5] hanuman brings Rama, Lakshmana and Sita from Vaikuntam for samartha ramdasar on request
story [6] hanuman sings praise of Lord Rama to sita, sitting at Ashoka vanam (Lanka)

[ajaysimha]

Humor in Oothukadu Venkata Kavi Sahityams

Venkata Kavi has brought out yet another aspect rather rare in Carnatic music – humor.
Here is an humble attempt to recapitulate those krithis to dwell deep in rasanubhavam.
Rasikas, please do share your thoughts on the subject, if you have come across.

#1 viṣhamakkāra kaṇṇan (https://youtu.be/NWqAFJfGc98)

pakkattu veeṭṭuppeṇṇai azhaippān mukhāri rāgam
pāḍaccholli vambukkizhuppān
enakkadu teriyādenṛāl nekkuruha kiḷḷi viṭṭu (avaḷ)
vikki vikki azhum pōdu idāṇḍi mukhāri enbān

He will call out (azhaippAn) to the girl (peNNai) next (pakattu) door (vITTu), and incite (izhuppAn) a quarrel/dalliance (vambuku) by asking (Solli) her to sing (pADa) mukhAri rAgam. When she says (enrAl) 'I (enakku) do not know (teriyAdu) that (adu)', he will pinch (kiLLiviTTu) her really hard (nekkuruga), and when she (avaL) starts to cry (azhumpOdu), with gasping breaths/whimpers (vikki vikki), (this precious young man who is unpredictably mischievous and evil) will tell her that (enbAn) 'this (idu) is indeed (tAnDi) mukhAri'!

#2 konjum mazhalai (https://youtu.be/TTDMwU4xKzI)

ondṛirendu eṇṇuvēn eṭṭinukkuḷḷē
ōḍōḍivandāl unnai ondṛum sheivadillai
paṇdṛi enṛum āmaiyenṛum pādi miruham enṛum
parpalavāha vaiyya enṛāl pāzhum manam vallaiyē

I shall count till eight. If you come before that, I will spare you (of any punishment). I don’t have the heart to call you names like a pig, tortoise or a half-animal.

#3 vandu kēṭpār illaiyō (https://youtu.be/5H75CwRdcAE)

vandu piṛakkummunnē māman kāttirundān
manamārappeṭṛavanō dattu tandirundān
vanda iḍattil annai kaṭṭippōṭṭirundāḷ adai
vaṭṭiyum mudalumāi pazhi vānga vandān

Even before he was born his uncle (Kamsan) was waiting for him (to get rid of him). His father willingly gave him for adoption (to YasOdA). In his adopted home his (foster) mother bound him up (to a thresher). And he is taking revenge for all that upon us now.

Regards,
Ajay Simha

[thanjavooran]

Please find below an article on Today's Indian Express

https://indianexpress.com/article/citie ... i-7412125/