AKHANDA 2: TANDEM OF FAITH AND FURY ...... Where Mythic Power Meets Modern Peril : Review By Vanam Jwala Narasimha Rao

 AKHANDA 2: TANDEM OF FAITH AND FURY

Where Mythic Power Meets Modern Peril

Review By Vanam Jwala Narasimha Rao

(December 12, 2025)

Cinema often strives to balance spectacle and substance, but there are times when a film transcends both and becomes an experience that invites reflection. I, my wife, encouraged firmly by my film-critic daughter Prema, who reviews cinema with much acclaim on digital media, watched Akhanda 2 (Tandavam) today (December 12, 2025), on the very first day of its release, despite neither of us having watched Akhanda Part One. What unfolded on screen was not merely a sequel but a world unto itself, an embroidery of myth, politics, mysticism, and national anxiety woven together with startling confidence.

The movie reminds us that cinema is not just entertainment but a vessel through which culture, memory, and philosophy travel across generations, offering meaning to those who seek it and excitement to those who simply watch. The film opens with a bold proclamation of intent, presenting itself as an amalgamation of political, social, puranic, folk, artificial-intelligence-driven, theistic, and atheist themes, all woven together with impressive coherence.

The continuity holds strong throughout except for a few moments where the intensity of ideas momentarily outpaces the script. Yet, these brief interruptions do not diminish the film’s larger vision, which is both expansive and daring. What stands out is how the narrative mirrors the fragmented world we inhabit, that is, one where belief systems clash, ideologies collide, and technology increasingly shapes warfare and human destiny.

Written and directed by Boyapati Sreenu, known for his flair for crafting distinctive cinematic worlds, the film remains a testament to his ability to blend mass appeal with myth-infused storytelling. His direction carries the unmistakable signature of grandeur, action, and emotional surge. The production by Ram Achanta, Gopi Achanta, and Ishan Saksena ensures the film remains visually and technically elevated, creating a universe that feels both ancient and startlingly current. In many ways, Boyapati attempts to remind viewers that Indian storytelling, with its deep mythic roots, can still converse fluently with global cinematic vocabulary.

At the heart of the narrative lies Nandamuri Balakrishna, portraying dual roles, one as Akhanda Rudra Aghora and the other as Murali Krishna, the brothers separated by divine intervention, as their mother believes, with the elder child taken away by Lord Shiva himself. The duality is not merely dramatic but symbolic: one brother embodying the grounded human response to conflict, the other representing transcendental strength beyond mortal limits. Such dual portrayals speak to the timeless Indian idea that human beings contain both the worldly and the divine, the pragmatic and the spiritual, coexisting in delicate balance.

Among the cast, Samyukta Menon, though appearing briefly, delivers a performance that resonates deeply. She embodies her role with grace and conviction, whether in scenes where she honestly credits her subordinate Harshaali Malhotra (as Janani) with great research contributions, or when she offers Murali Krishna a military alcoholic drink with polite assertiveness during a birthday visit. Her bravery in the battlefield sequence, even while fatally wounded, where she orchestrates Janani's escape with the life-saving vaccine, stands out as one of the film’s emotionally charged moments. Her character becomes a reminder that courage often reveals itself most clearly in fleeting but decisive instants.

Harshaali Malhotra, portraying the 17-year-old prodigy Janani, adds remarkable depth to the story. Her references to Valmiki Ramayana and the sacred hymns ‘Bala and Atibala’ during her scientific research form a bridge between ancient wisdom and modern innovation. According to the epic, Sage Vishvamitra taught Rama these hymns to grant him unmatched knowledge and resilience. In today’s world, that is overwhelmed by burnout and rapid technological change, the symbolic relevance of ‘Bala and Atibala’ becomes even more essential, reminding us that true strength lies in balanced growth of intellect, spirit, and emotional endurance. Boyapati's decision to include such a reference is indeed noteworthy.

The film begins with a chilling sequence featuring a Military General-implied to be Chinese-relentlessly killing Buddhist monks, likely Tibetans, even taunting their Guru to invoke divine intervention. This unsettling brutality sets the stage for a global conflict of ideologies. His subsequent meeting with another General, who recites the Bhagavad Gita not out of devotion but as a tactical study to defeat Indian forces, introduces a thought-provoking irony. The film quietly suggests that sacred texts, when stripped of ethics, can be misused, echoing a pattern seen throughout history.

The plot thickens when these two generals ally with an ambitious political figure, Thakur, the ‘Prime Minister in Waiting’ desperately, whose family has long thirsted for power. His wealth and influence appear limitless, hinting at the murky entanglements of politics and global conspiracies. Through Thakur, the film comments on the modern prototype of the power-hungry leader who cloaks personal ambition under the guise of national interest.

The narrative shifts gear when a district collector visits the Prime Minister's Office to oppose the selection of a certain village in Kadapa district for a Government of India Rural Development Scheme. His objection stems from its long-standing status as a mafia-controlled drug cultivation den. PMO Principal Secretary Padmavathi (Poorna) contacts Murali Krishna (Nandamuri one Role) to tackle the issue. What the entire district administration failed to handle, he accomplishes single-handedly. Though dramatized, the sequence is exceptionally executed, reflecting cinematic valor. It subtly conveys that individual responsibility, when embraced with integrity, can often shake the foundations of systemic negligence.

During a public event, subsequently, the Prime Minister learns of unrest in Manipur, leading to a tense confrontation with Opposition Leader Thakur. The scene where with a misbehavior, Thakur sits in front of PM, mirrors the character building of contemporary political heavyweights who often wield influence with intimidating assertiveness. The subtext seems to caution against the dangers of unchecked political ambition, particularly in a nation as diverse and sensitive as India.

The narrative then enters its core arc: powerful forces, spiritual, political, and technological, all conspire to destabilize India through biological warfare. A deadly bioweapon attack on the Maha Kumbh Mela triggers national panic. Scientists race against time to develop an antidote, with Janani leading the groundbreaking research and successfully producing a vaccine. Her triumph, however, attracts dangerous attention from malicious groups seeking to exploit her discovery.

As Janani’s life comes under threat, Akhanda Rudra Sikandar Aghora reappears, embodying divine fury and sacred purpose. His presence shifts the film’s tone from political thriller to metaphysical action. Meanwhile, Murali Krishna becomes entangled in the escalating chaos, and the brothers’ paths converge as they confront adversaries who blend occult power with scientific terror. Their combined journey embodies the Indian philosophical idea that dharma must sometimes express itself both through earthly action and spiritual force.

The unfolding sequences move across borders, battlefields, ritual arenas, and clandestine laboratories. Akhanda’s combat, steeped in ritualistic choreography, becomes a visual blend of ancient symbolism and contemporary urgency. At a time when nations grapple with rapid militarization and the ethical dilemmas of biotechnology, these scenes feel uncannily relevant, reflecting global fears hidden beneath the surface of everyday life.

In the climactic confrontation, Akhanda faces the masterminds engineering the nation's chaos. He safeguards Janani and her vaccine, restoring a fragile yet vital calm. His victory symbolizes spiritual resilience triumphing over technological malevolence, reaffirming the inseparable bond between physical survival and metaphysical faith. Jagapathi Babu as Aghora Baba delivers a compelling supporting performance, enhancing the mystical dimension of the narrative.

Yet, certain scenes provoke contemplation. Some elements appear logical, others illogical, or deliberately Ill-Logical, especially the interweaving of theistic power, tantric concepts, atheist perspectives, and even robotics entering the battlefield. These creative liberties reflect the film’s attempt to merge many worlds into one. While Janani’s journey might have benefited from showing her final arrival with the vaccine, the narrative remains engaging.

The soundtrack, featuring Akhanda Thandavam, Gangadhara Shankara, Shiva-Shiva, Shambho, Akhanda Haindhavam’ etc. though dominated by instrumental grandeur, enhances the film’s devotional intensity. Balakrishna’s dialogues on Sanatana Haindava Dharma are powerful, well-scripted, and likely to resonate deeply with the audience. Ultimately, the film asserts a clear message: that spiritual strength, particularly rooted in Vedic Hindu tradition, can transcend worldly power struggles.

Sanatana Dharma, a living, breathing continuum where morality, duty, and cosmic purpose interact with extraordinary subtlety is implicit in the film. What the Maharshis and Brahmarshis, revealed its essence across the Vedas, Upanishads, Itihasas, Puranas, the Mahabharata, the Bhagavata, and the Ramayana that emphasized again and again about Dharma, is also implicit in the film. As the Yugas shift, so too must the moral calibrations appropriate to them. It is in this context that, the film has a lasting value.

In a society often divided between belief and skepticism, the film suggests that faith, when aligned with righteousness, remains an unparalleled force. Akhanda 2 ultimately stands as a film that must be experienced for its multifarious approaches, such as, its sweeping mythological overtones, its sharp political observations, its spiritual depth, and its contemporary relevance spanning biotechnology, warfare, and national integrity. The outdoor settings are strikingly composed

A scene in the movie that deserves special mention is the portrayal of the mother of Balakrishna’s dual roles. Her final wish that, only her long-lost son Akhanda should perform her last rites so she may attain heaven, carries profound emotional and spiritual weight. When Janani conveys the news of her death, Akhanda, deep in penance, shows no external reaction, absorbed in his austere spiritual state. Lord Shiva Himself, assuming Akhanda’s form, performs the rites, while the real Akhanda continues his meditation. The dialogues in this sequence are deeply moving, affirming the bond between divine grace and filial duty.

Later, Akhanda completes his share of the obsequies along the riverbank with Janani by his side. This episode evokes, though not identically, the moment in Adi Shankaracharya’s life when he performed the last rites of his mother Aryamba, despite strict Nambudiri customs forbidding a sannyasi from doing so. Shankara carried her body, arranged a pyre of plantain stalks in their backyard, and lit it through yogic force, an act of supreme compassion and dharma that transcended rigid social codes.

Above all, Nandamuri Balakrishna’s performance, histrionic in the most positive and powerful sense of the word, carries the film with extraordinary intensity, dignity, and command. His dual portrayal becomes not just an artistic achievement but the very anchor of the film’s thematic universe. In harmonizing devotion with drama and philosophy with force, the movie succeeds magnificently in giving audiences both a thrilling spectacle and a resonant reminder of India’s enduring spiritual ethos.

 

WHERE DHARMA BREATHES BETWEEN SHADOWS AND LIGHT : By Vanam Jwala Narasimha Rao

 WHERE DHARMA BREATHES 

BETWEEN SHADOWS AND LIGHT

By Vanam Jwala Narasimha Rao

(December 12, 2025)

Sanatana Dharma has never been a fixed or static code, but a dynamic, vast, breathing universe, where morality, duty, and cosmic purpose intertwine with extraordinary subtlety. Maharshis and Brahmarshis, highlighted Sanatana Dharma in Vedas, Upanishads, Itihasas, Puranas, Mahabharata, Bhagavata, and Ramayana. They consistently reveal that, Dharma as subtle (Suksma), situational, contextual, Kala-Time, Desa-Place, and Patra-Nature, and eternally responsive. Time flows through Yugas, each demanding its own moral calibrations. In an age where ethical debates often reduce right and wrong to rigid binaries, revisiting these ancient textures helps readers, especially those disconnected from Indian languages, recover the depth of a culture that embraced natural law.

The call to question and reflect is constant across scriptures, from the Mahabharata to Bhagavata, where sages urge humanity not merely to worship but to question, analyze, and contemplate. What appears flawed in divine or heroic actions often conceals cosmic intent. Sanatana Dharma welcomes inquiry, even disagreement, because truth emerges only through reflection. It precisely encouraged, encouraging and will encourage, the cause of reflecting, debating, contextualizing, and ultimately finding the deeper harmony beneath apparent contradiction. This openness makes the epics feel surprisingly modern. They resonate with societies today that struggle to navigate conflicting moral pressures. Puranic characters are not moral absolutes but mirrors reflecting human complexity.

The story of Yudhishtara and the subtle threads of duty shows how his fateful decision to gamble, though appearing reckless, was driven by Dharma bound by time, place, and duty. Royal etiquette, kshatriya codes, and the cosmic necessity of the Future Kurukshetra War converged in that moment. When he uttered the half-truth about Ashwatthama, it was not deceit but a painful instrument to stop Drona’s devastation. Such dilemmas reveal that leadership often demands imperfect choices for a larger good, something modern governance still wrestles with.

The perception of Krishna’s alleged partiality and the reality of Dharma arises because to the untrained eye, he seemed to favor the Pandavas. Yet Krishna never supported lineage, wealth, or personal bonds, despite both Arjuna and Duryodhana were close relatives to him. He upheld righteousness alone. He gave equal grace to Sudama, Vidura, Draupadi, and all who approached him with humility. In an era filled with polarizing loyalties, Krishna’s stand teaches that true guidance aligns not with sides but with principles. His so-called favoritism was merely the radiance of Truth asserting itself.

The dilemma of Bhishma, Abhimanyu, and the cruel mathematics of war illustrates how Bhishma’s silence during the dice game, though haunting, arose from vows binding him to the throne. Any action would break one Dharma to uphold another. Abhimanyu’s martyrdom, similarly, was not an isolated instance of unrighteousness, but exposed the inevitable brutality of war once Dharma was abandoned by Kauravas’s side. These episodes remind critics that epics do not glorify war. They only expose its tragic and irreversible costs.

The actions of Rama’s dilemmas and protection beyond convention demonstrate that even Maryada Purushottam was compelled to transcend ordinary norms when confronting Tataka and Vali. Killing a woman who endangered sages preserved societal safety, and striking Vali from concealment corrected deep ethical distortions. Today’s ethical frameworks often clash between law and empathy. Rama’s actions highlight that Dharma may sometimes transcend surface morality to preserve deeper balance.

The portrayal of imperfect gods and the eternal quest for wisdom continues with Indra, whose flaws, the jealousy, fear, and impulsiveness, symbolize aspiration rather than perfection. Gautama’s curse upon Ahalya, whether she erred or was deceived, illustrates the power of purity and the cost of misunderstanding. These stories teach modern readers that status, whether earthly or divine, never exempts one from moral responsibility.

The tension between Drona, Ekalavya, and the burden of Dharma is one of the most debated dilemmas in the Mahabharata. Ekalavya’s brilliance was unquestionable, yet learning secretly under a guru’s name breached tradition and threatened state stability. Drona, bound by his duties, responded in heartbreaking but principled adherence to the rules he upheld. In contemporary terms, it echoes debates about merit, unauthorized learning, and institutional boundaries. It also symbolizes sacrifice in pursuit of mastery.

The story of Kunti, Karna, and the weight of human helplessness shows how a young girl’s fearful invocation of a boon led to consequences she could not foresee, including the abandonment of infant Karna. Her act was rooted not in cruelty but in helplessness within a rigid society. Karna’s rise proves that destiny is shaped not by birth but by perseverance. Kamsa’s atrocities and Slaughter of his Sister’s Children represents adharma born of fear, set the stage for Krishna’s advent. These stories remind us that even flawed choices can serve higher cosmic purposes.

The idea that the epics as cosmic conversations speaks to how the universe itself expresses wisdom through the joys and sorrows of those who walk the earth. The Ramayana, Mahabharata, and Bhagavata form not separate narratives but cosmic dialogues whose characters shine like constellations across time, and reflect the sunrise of Sanatana Dharma in different hues. For readers distanced from Indian languages, these narratives offer a way to reconnect with a moral imagination that sees the sacred in the struggles of ordinary life.

The theme of the radiant lineage of duty and devotion emerges through Rama’s serene flame and Lakshmana’s unwavering shadow, mirroring Krishna and Arjuna’s union of love, duty, and surrender. Bharata’s renunciation resonates with Uddhava’s devotion in Krishna’s final teachings. The obedience and love melt into one another so completely that their self becomes secondary, and Dharma becomes the very breath they inhaled. Such relationships remind that the highest form of loyalty is not blind obedience but alignment with truth.

The contrast of Ravana and Vibhishana is very interesting. Pride and purity shows how Ravana’s extraordinary brilliance could have made him a legend of virtue, yet arrogance pulled him into darkness. From the same lineage rose Vibhishana, the lotus in stormy waters. Ravana’s fall foreshadows Duryodhana’s, while Vibhishana mirrors Vidura, voices of Dharma emerging from troubled homes. Their stories echo today whenever individuals choose integrity over inherited loyalties.

The fusion of Sita and spiritual sister Draupadi, and the voices of eternal womanhood reveals Sita as the embodiment of silent endurance and Draupadi as fiery courage. They represent different yet equally powerful expressions of strength. Their voices warn society that Dharma falters whenever a woman’s dignity is violated, a message tragically relevant even today. The journey of Hanuman, Arjuna, and the courage to seek shows Hanuman’s devotion as a bridge between service and strength, while Arjuna embodies human doubt before divine reassurance. Sugriva’s fear and Vaali’s tragic fate parallel Dharmaraja and Karna in their dilemmas. These parallels show that Dharma is not about perfection but continuous striving.

The spectrum offered by Bali, Shakuni, Jatayu, and the spectrum of choice highlights Bali’s boundless generosity contrasted with Duryodhana’s stubborn refusal. Shakuni’s cunning corrodes generations, while Jatayu’s sacrifice shines with purity. The vulture who fought for Sita proves that Dharma belongs not to birth or status but to the courage to defend truth. In a time when moral action often bends to convenience, Jatayu’s story is a call to principled resistance.

Dharma as a living symphony reveals that from Rama to Krishna, from Sita to Draupadi, from Bharata to Uddhava, from Vibhishana to Vidura, and from Jatayu to Abhimanyu, the epics proclaim Dharma as a living pulse, ever evolving, ever compassionate. It is not a rigid law but a cosmic symphony in which each soul, whether hero or flawed participant, plays a vital note. For modern readers and critics alike, these intertwined destinies illuminate an eternal truth, that, righteousness is not the triumph of perfection but the sincere striving toward harmony in a world of moral complexity. The universe itself is an embroidery of countless threads, and each life contributes to the timeless fabric of Dharma.

When a Film Becomes Family ..... A Warm Get-Together After ‘Raju Weds Rambai’ Film : Vanam Jwala Narasimha Rao

 When a Film Becomes Family

A Warm Get-Together After 

‘Raju Weds Rambai’ Film

Vanam Jwala Narasimha Rao

(December 9, 2025)

Remarkable conversations in life often happen within the quiet, lived warmth of a home. ‘Raju Weds Rambai,’ a film that stirred memories of forgotten tenderness and everyday heroism, brought in contact, facilitated by my daughter Prema, a team that made the film with abundant meaning. On the evening of December 8, 2025, for a little over three hours, my residence turned into a small but vibrant space of reflection, camaraderie, and rediscovery. It was fascinating how a film that begins as a story on screen can travel into the hearts of those who watch it, and how that shared emotional terrain can create new relationships that feel as natural as roots intertwining beneath the same soil.

This gathering was one such moment, where art stepped beyond cinema and entered life. My review, ‘Where My Roots Whisper the Story of Raju and Rambai’ now makes me believe that, it served as a bridge, connecting the team of film, and the viewer, as well as, connecting their shared cultural memories. An affectionate bond that seemed less like new acquaintances and more like a reunion with people who had always belonged to the same emotional world.

Those who walked into my home that evening were ‘Raju Weds Rambai’ film Producer Venu Udugula, Director Sailu Kampati, Actor Chaitanya Jonnalagadda, Lyric Writer Mittapalli Surender, Music Composer Suresh Bobbili, and Venu’s friends Kalyan and Nageshwar Rao. Their arrival was not that of guests, but of companions, each carrying the fragrance of the film’s world. Confident in manner and instantly warm in presence, Chaitanya, who, along with Sailu, arrived first, mingled with me, my wife, and daughter with a natural ease like a long-lost family member.

It was young Sailu, the Director, who first engaged us in deep conversation. With an innocent, yet intellectually rich face, he sat immersed while explaining the idea behind the story, one that was not simply a love narrative, but a breathing remembrance of the native place where he was born and raised. It became clear that, the strength of the film lay not in technical embellishments but in its emotional truth, a truth that only someone deeply rooted in his soil could articulate. His shy smile and subtle response, when asked about his future projects, was neither revealing nor concealing.

That youthful hesitation, combined with the depth in his observations, reminded us that a modern director’s strength rests in quiet, attentive presence. Throughout the discussion, Sailu’s silence carried as much meaning as his words. His timely, precise interventions displayed the hallmark of a thoughtful filmmaker, one who observes keenly, participates meaningfully, and expresses with restraint and appropriateness. At a time when creative expression is often mistaken for verbosity, Sailu’s measured clarity felt refreshingly profound.

When I probed Chaitanya Jonnalagadda, who gave a remarkable performance as Venkanna, father of Rambai, about the secret behind his extraordinary portrayal, his narration unfolded like a parallel film. Born and brought up in Hyderabad, later moving to the United States for professional advancement after engineering studies, Chaitanya had almost settled there. Accepting this role, by his own admission, was a crucial turning point. His journey reminds us that sometimes the most unexpected detours become the moments that define our artistic identity.

His discussion of certain scenes, especially those where his acting transcended expectations, revealed a deep commitment to his craft. The scene in which Venkanna administers the HIV injection to his innocent daughter was one he explained with special sensitivity. In that brief moment, he had to transition between two conflicting emotions, gratitude from the daughter and guilt swelling in the father’s heart. It is in such fleeting expressions that cinema finds its power, conveying in seconds what words struggle to articulate.

Despite preparing to fly back to the US within hours, Chaitanya stayed through the entire evening, even breaking a long-held personal discipline to participate wholeheartedly in the social warmth of the gathering, in company with the rest, something he had not allowed himself in years. His dedication extended beyond acting. As he had to portray a handicapped character for long shooting schedules, he even consulted an orthopedist to prevent possible discomfort. Such commitment from a young actor as a quiet personal sacrifice, remain unseen by the audience.

A little later, Producer Venu Udugula, Lyric Writer Mittapalli Surender, Music Composer Suresh Bobbili, with friends Kalyan and Nageshwar Rao joined. As I opened the door, the very first name they uttered, almost in unison, was that of the great journalist Yadagiri Pasam. They mentioned that Yadagiri referred to me during their meeting. I replied, truthfully, that, Yadagiri is a ‘Walking Encyclopedia’ and that I am fortunate to call him a friend.

Producer Venu Udugula, the visionary behind Raju Weds Rambai, came dressed simply and comfortably, perfectly suited for an intimate gathering of like-minded individuals, which I too love to do. His unpretentious presence reinforced the idea that genuine creativity rarely announces itself with fanfare, and instead, it quietly radiates authenticity. The conversation soon revolved around how the film consciously avoided manipulating emotions and instead confronted them honestly. Venu and Sailu led a thoughtful discussion about preserving memories of one’s native place, or any place that shaped our values. Their words felt like a gentle warning that cultural memory, once defined communities, if not cared for, will dissolve silently.

Mittapalli Surender, a lyricist unparalleled in contemporary Telangana, added music to the evening, not through instruments, but through his voice. He enthralled us with songs both familiar and new, including those sung before KCR. Listening to Surender in such an informal setting was a reminder that art becomes even more truthful, almost sacred, only in such style. Music Composer Suresh Bobbili, calm and composed, offered thoughtful remarks throughout the discussions, and at one beautiful moment, he sang the title song of ‘Raju Weds Rambai’ in a soft, melodious tone that filled the room with a gentle emotional glow. His gentle presence and reflective insights added the final touch to what became a memorable learning experience.

My wife Vijayalakshmi, who sat with all of us from the beginning, assisted by our chef Anitha and coordinated by my daughter Prema, ensured the evening flowed with the warmth of a traditional home. A range of homemade snacks, crispy green gram vadas, and a simple, comforting dinner of Roti, Aloo Curry, Popu Rice, Assorted Pickles, Curd, and a sweet. Thus, that evening our dining table became an extension of the film’s own emotional terrain.

Earlier, reflecting on my review, Venu sent a deeply touching message: ‘Thank you so much, uncle, for this deeply rooted and heartfelt reflection. Your words carry the same soil, breath, and warmth that shaped our film. As filmmakers, we only try to be honest to the world we know, but you showed us that the story truly belongs to the people who lived it. Grateful for your time, your sensitivity, and for seeing the spirit behind Raju Weds Rambai. Your connection made our journey feel complete. His words were not merely a compliment but an affirmation of the shared emotional world between filmmakers and viewers. In moments like these, we realize that cinema is not a one-way communication; it is a dialogue, a shared breathing space between creation and interpretation.

The get-together was a reaffirmation of how films like Raju Weds Rambai can transcend the screen and enter personal spaces, strengthening human connections and reminding values we risk forgetting. Cinema at its best becomes not entertainment but enrichment, binding people through memories, conversations, and the recognition of a shared humanity. On that December evening, within the quiet comfort of my home, a film became family, and an ordinary gathering turned into a cherished journey through shared roots, stories, and hearts.

(Meanwhile, my granddaughter Mihira when called her mother from Amsterdam, as an unexpected surprise, she was informed about the visit of ‘Raju Weds Rambai Team’ to my house. She felt that it was a chance to speak with them and did it. She told Suresh Bobbili that, she thoroughly enjoys the soul in his music, told Venu Udugula about her true admiration of his film Virata Parvam and especially the protagonists’ characterization, and finally shared her appreciation with Mittapalli Surendar of songs he had written. Mihira felt sorry for her missing to see the movie ‘Raju Weds Rambai Team’ for the reason that, Telugu movies are seldom release in Netherlands).

 

కంసుడిని వధించి దేవకీవసుదేవులను చెరనుండి విడిపించిన శ్రీకృష్ణుడు ..... శ్రీ మహాభాగవత కథ-64 : వనం జ్వాలా నరసింహారావు

 కంసుడిని వధించి దేవకీవసుదేవులను చెరనుండి విడిపించిన శ్రీకృష్ణుడు

 శ్రీ మహాభాగవత కథ-64

వనం జ్వాలా నరసింహారావు

సూర్యదినపత్రిక (09-12-2025)

కంII             చదివెడిది భాగవతమిది,

చదివించును కృష్ణు, డమృతఝరి పోతనయున్

                             చదివినను ముక్తి కలుగును,

చదివెద నిర్విఘ్నరీతి ‘జ్వాలా’ మతినై

తనతో మథురా పట్టణానికి చేరుకున్న శ్రీకృష్ణుడిని తన ఇంటికి రమ్మని, వచ్చి ఆయన పాద ధూళితో తన ఇంటిని పావనం చెయ్యమని అక్రూరుడు వేడుకున్నాడు. ఇద్దరూ కలిసి ఎక్కి వచ్చిన రథాన్ని తీసుకుని పట్టణానికి వెళ్లమని అక్రూరుడికి చెప్పిన కృష్ణుడు, యాదవ వంశానికి శత్రువైన కంసుడిని వధించిన తరువాత ఆయన కోరినట్లు ఇంటికి వస్తానని అన్నాడు. అక్రూరుడు పట్టణానికి వెళ్లి కంసుడిని కలిసి, బలరామకృష్ణులు వచ్చారని చెప్పి మథురా పట్టణంలో ప్రవేశించాడు. ఆయన పుర ప్రవేశం చేస్తుంటే శ్రీకృష్ణుడిని సందర్శించేందుకు పురస్త్రీలంతా ఎక్కడి పని అక్కడే వదిలి బయల్దేరారు. శ్రీకృష్ణుడిని మక్కువతో చూశారు. ఆయన పసివాడుగా చేసిన లీలలను మననం చేసుకున్నారు. కృష్ణుడి రూపాన్ని కన్నులారా చూస్తూ, హృదయ కమలాలలో నిలుపుకుని పూలజల్లులు చల్లారు.

పట్టణంలోని బ్రాహ్మణులు పచ్చటి శుభాక్షతలు కానుకలుగా ఇచ్చి రామకృష్ణులను పూజించారు. పట్టణ ద్వారం నుండి తనకు ఎదురుగా వస్తున్న ఒక ధూర్తుడైన రజకుడిని చూసి శ్రీకృష్ణుడు, తాము రాజు అతిథులమని, తమకు ఆయన మూటలో వున్న చలువ వస్త్రాలను ఇవ్వమని అడిగాడు. ఆ వస్త్రాలు కట్టుకోవడానికి గోపాలురు తగరని, కంసుడి ఇంట్లో కృష్ణుడు రాజసం చూపడం ఏమిటని, హేళనగా జవాబిచ్చాడు రజకుడు. దీనికి కోపం తెచ్చుకున్న కృష్ణుడు వాడిని వధించాడు. వస్త్రాలను తీసుకుని అంతా కట్టుకుని బయ్లదేరారు. కాసేపటికి ఒక సాలెవాడు ఎదురుగా వచ్చి రామకృష్ణులను చూసి, కంటికి ఇంపుగా వున్న వస్త్రాభరణాలను సంతోషంగా ఇచ్చాడు. ప్రతిగా మాధవుడు, తన సారూప్యాన్ని, సంపదని, ఐశ్వర్యాన్ని అనుగ్రహించాడు. ఆ తరువాత రామకృష్ణులు సుదాముడు అనే మాలాకారుడిఇంటికి వెళ్లారు. వచ్చిన వారిద్దరికీ సుదాముడు అర్ఘ్యపాద్యాదులు, పరిమళమైన పూల దండలు ఇచ్చాడు భక్తితో. కృష్ణుడు అతడికి బలం, ఆయువు, కీర్తి-సంపదలు సమృద్ధిగా కలిగేట్లు వరం ఇచ్చాడు.

అక్కడి నుండి కృష్ణుడు, బలరాముడు బయల్దేరి రాజవీథిలో సాగిపోయారు. తనకు ఎదురుగా వస్తున్న ఒక కుబ్జను చూశాడు. ఆమెది వంకర కలిగిన మరుగుజ్జు ఆకారం. ఆమె ఎవరిని అడిగాడు కృష్ణుడు. తాను కంసుడి పరిచారికనని, పేరు త్రివిక్ర అని, పరిశుద్ధమైన లేపనాలను కూర్చే విద్య తనకు వచ్చని, తనని మహారాజు చాలా మెచ్చుకుంటూడని, కావాలంటే వారు కూడా లేపనాలను పూసుకోవచ్చని జవాబిచ్చింది. ఇలా అని వాటిని ఇచ్చింది. అవి పూసుకుని ఆమెను కరుణించాడు తన స్పర్శతో. అప్పుడామె కుబ్జ రూపాన్ని వదిలి కోమలమైన దేహంతో చక్కటి రూపాన్ని దాల్చింది. తన ఇంటికి రమ్మని కృష్ణుడి ఉత్తరీయాన్ని పట్టి లాగింది. తను అనుకున్న పని పూర్తైన తరువాత వస్తానని మాటిచ్చాడు. అక్కడి నుండి కృష్ణుడు ధనుశ్శాలకు వెళ్లాడు బలరాముడితో. అక్కడ అసాధ్యమైన వింటిని చూసి, దానిని తాకవద్దని కావలివారు వారిస్తున్నప్పటికీ, కృష్ణుడు దాన్ని అవలీలగా ఎత్తి, అల్లెతాడు ఎక్కించి, అలక్ష్యంగా విరిచేశాడు. ఇలా మథురా పట్టణంలో విహరించి తమ విడిదికి పోయారంతా.

ఆ రాత్రి బలరామకృష్ణులు గొల్లవారితో కలిసి భోజనం చేసి, కంసుడి సంగతి తెలిసినవారు కాబట్టి అప్రమత్తంగా గడిపారు. వీరి విషయమంతా కంసుడు ఎప్పటికప్పుడు తెలుసుకుంటూనే వున్నాడు. కంటికి కునుకు లేక కలవరపాటుతో వున్నాడు. దుశ్శకునాలు కనపడసాగాయి. విషం తిన్నట్లుగా, శవాన్ని కౌగలించుకున్నట్లుగా, దిగంబరుడైనట్లుగా, గాడిద మీద ఎక్కినట్లుగా కలగన్నాడు. నిద్ర సరిగ్గా పట్టక ఎప్పుడు తెల్లవారుతుందా అని గడియలు లెక్కపెట్టాడు.

ఇంతలో సూర్యోదయం అయ్యేసరికి చల్లటి గాలి వీచింది. మల్లయుద్ధానికి కంసుడు చెప్పిన విధంగా రంగం సిద్ధమైంది. దాని సమీపంలో ఉన్నతాసనం మీద కంసుడు కూర్చుని, శ్రీకృష్ణుడు ఎప్పుడు వస్తాడోనని, ఎప్పుడు చంపుతాడోనని భయంతో తపించిపోయాడు. అప్పుడు అక్కడికి వచ్చిన నందుడు మొదలైన గొల్లలు తాము తెచ్చిన కానుకలను రాజైన కంసుడి దగ్గరికి తీసుకునిపోయి, ఇచ్చి, తమకు కేటాయించిన ఆసనాలమీద కూచున్నారు. కాసేపటికి బలరామకృష్ణులు మల్లరంగ స్థల ద్వారం దగ్గరికి ప్రవేశించారు. అక్కడే కువలయాపీడము అనే ఏనుగును చూశారు. దాన్ని వెనక్కు తిప్పి తీసుకుపొమ్మని, లేకపోతే దాన్ని వదిస్తానని మావటి వాడికి చెప్పాడు. వాడు వినకుండా కృష్ణుడి మీదికి పురికొల్పాడు. దాని మీదికి లంఘించిన కృష్ణుడు కాసేపట్లోనే దాని మదాన్ని అణిచాడు. అది అలిసిపోయేట్లు బాధించాడు. అది స్మృతి తప్పి కదలలేక మెదలలేక పడిపోయింది. చివరకు కృష్ణుడు దాని ప్రాణాలను తీసేశాడు.

కువలయాపీడాన్ని కృష్ణుడు చంపడంతో కంసుడు చాలా భయపడ్డాడు. పురజనులంతా బలరామకృష్ణులను పొగడసాగారు. అప్పుడు చాణూరుడు కాసేపు మల్ల యుద్ధం చేద్దామా? అని అడిగాడు కృష్ణుడిని. తాను అతడితో పోరాడుతానని, తన అన్న బలరాముడు ముష్టికుడితో పోరాడుతాడని చెప్పాడు. చాణూరుడు, కృష్ణుడు మధ్య మల్ల యుద్ధం మొదలైంది. మరోవైపు బలరాముడు, ముష్టికుడు మధ్య యుద్ధం మొదలైంది. ఏనుగు ఏనుగును, సింహం సింహాన్ని తలపడ్డట్లు పోరాడారు. చాణూరుడు చివరకు శ్రీకృష్ణుడికి లోబడ్డాడు. నేలమీద పడి ప్రాణాలు విడిచాడు. కంసుడి మనస్సు మరింత కలత చెందింది. అటు బలరాముడు ముష్టికుడిని వధించాడు. చాణూర, ముష్టికుల బంధువులందరినీ సంహరించారు ఇద్దరు.

ఇదంతా గమనిస్తున్న కంసుడు పిచ్చెత్తిన వాడిలాగా అరుస్తూ, గోపబాలురను నగరం నుండి వెళ్లగొట్టమని, వసుదేవుడిని చంపమని, అరవసాగాడు. కంసుడిని చంపాలనుకున్న కృష్ణుడు అతడున్న మంచె మీదికి ఎగిరాడు. అది చూసి కంసుడు ఖడ్గాన్ని చేతపట్టాడు. శ్రీకృష్ణుడు కంసుడి జుట్టు పట్టుకుని కింద పడదోశాడు. అతడు ఎలాంటి ప్రతిఘటన లేకుండా మరణించాడు. విరోధంతోనైనా ఎల్లప్పుడూ భగవన్నామ స్మరణ చేస్తుండే కంసుడు తేజోరూపంలో కృష్ణుడిలో ప్రవేశించాడు. ఆ తరువాత ఎదురు తిరిగిన కంసుడి సోదరులను సంహరించాదు కృష్ణుడు. ఏడుస్తున్న కంసుడి భార్యలను ఓదార్చి, చనిపోయినవారికి ఉత్తరక్రియలు చేయించాడు కృష్ణుడు. తల్లిదండ్రులైన దేవకీవసుదేవులను చెర నుండి విడిపించాడు. అన్నతో కలిసి వారికి నమస్కరించాడు.  

          (బమ్మెర పోతన శ్రీమహాభాగవతం, రామకృష్ణ మఠం ప్రచురణ ఆధారంగా)

Hyderabad, Secunderabad, Cyberabad, and now Futurabad : Vanam Jwala Narasimha Rao

 Hyderabad, Secunderabad, Cyberabad, 

and now Futurabad

Vanam Jwala Narasimha Rao

The Hans India (07-12-2025)

{While broad roads, familiar faces, and a leisurely pace defined life in the good old days, over time, Cyberabad rose with HITEC City and Gachibowli, turning the capital into a ‘tri-city’ of over 650 sq km under GHMC limits that boast of nearly one crore people. HMDA covers more than 7,000 sq km, encompasses the metropolitan region, including mandals, and villages surrounding the city}-Synoptic Note by Editor, The Hans India

Telangana Chief Minister Revanth Reddy laid the foundation for the ‘Bharat Future City’ on September 28, 2025, at Meerkhanpet in Kandukur Mandal, where ‘The Telangana Rising 2047- Global Summit’ is planned on December 8 and 9.

He conceptualized Future City as India's first net-zero urban space. Future City Development Authority has been formed. It would be a global hub for business and innovation, integrating economic growth with ecological preservation, where people can live, work, learn, and play. Industrial parks, residential areas, specialized clusters for AI, and life sciences form part of Future City. ‘Bharat Future City’ will be a value addition to Hyderabad.

Hyderabad is known for its rich cultural heritage, exceptionally wonderful climate, and safe seismologic zone. The city is the destination for international conferences, like The Telangana Rising 2047- Global Summit. Having lived in the 434-year-old Hyderabad City for over six decades, I am awe struck and amazed at the scale of its development overtime, which added to its elegance.   

The City has an award winning international standard airport. Large Number of Multinational IT companies are located in Hyderabad. It is globally known health hub and medical tourism center. Patients from Africa, Middle East and even USA come for treatment in Multi and Super Specialty Hospitals.

Nevertheless, high rise glass towers, traffic ridden flyovers crisscrossing city’s skyline, gigantic malls, multiplexes dazzling with global luster, huge structured hotels and hospitals, dazzling beauty parlors, bars etc. emanate invisible, constant, unsettling radiation everywhere.

Yet, ‘Hyderabad Special Evening Showers’ that brought relief and fragrance to the soil, the gentle breezes that caressed, the compulsion to protect against cold weather in nights with thick bedsheets is just the past. People now experience unexpected heavy rains creating untold misery and havoc with floodwaters sweeping away even large vehicles in many areas.

Painfully the inundated low-lying waterlogged areas, force commuters stranded in traffic jams for hours. Successive governments, jealously competed in announcing ambitious flood-control and urban-improvement measures that never quite reached the ground. Each Chief Minister, armed with plans as tall as Hyderabad’s skyscrapers, found a way to rediscover the city’s ‘Urgent Need’ for drainage reforms, only during the monsoon, and then return to routine once the skies are clear.

The chorus grew louder after Telangana formation. K Chandrashekhar Rao promised in every monsoon, a ‘Flood-free Hyderabad’ through the ‘Strategic Nala Development Program.’ Revanth Reddy echoed similar assurances, such as, permanently fixing the problem through ‘Study of Global Models,’ water harvesting wells, streamlining the storm and sewer system in flood-prone colonies etc.  Still, each cloudburst faithfully exposed the gap between promises and pavements, leaving Hyderabadis in perpetual astonishment. Nevertheless, International and Global Summits are held.

The other side of Hyderabad development has more testing aspects. Streets echo ugly consumerism instead of simplicity of life. An affordable provision stores, cart hotels, family run vegetable shops with seasonal produce, tailor or barber, shoe repairer, duplicate key maker etc. are ‘Gone with the Wind.’ Chain of huge retail outlets including fancy Rythu Bazaars are order of the day. An ordinary eatery was metamorphosed into luxury hotel.

This paradox dazzles, devastates, and forces to rethink on development. The shopping world revolves around Grandeur Malls, housing multiplexes in a single roof under which countless outlets of global and national brands operate. Rural based Touring talkies and single-screen theater, that united neighborhoods, are replaced by multiplex chains. An organized chain silences small livelihoods and commodifies human needs.

Growth of hospital chains converted care into commerce. Packages, corporate tie-ups, insurance-linked billing etc. have become normal. Clinics, dispensaries, and nursing homes are disappearing. Specialty, Super Specialty, and Multi-Super Specialty Medicare dominate the city with chain of branches including in other states and abroad. Pharmacist-run medical shop, once guiding the community for simple health needs is non-existent. Chains often run without qualified pharmacists and offer unscientific discounts, and absolutely no check.

Academic Coaching Centers for competitive examinations, especially post intermediate study inundated Hyderabad, stretching across other cities, towns, and states. Residential house building activity has morphed into a colossus, with builders and developers calculating common area almost equal to actual living spaces in a nonsensical way, with none to pre examine. Only later, on the pretext of violations, demolitions became part of governance in its own way under different governments. Corporate Entities with their high-rise towers has become part of the life.

Award winning vegetarian, non-vegetarian, and both the catering services, have become branded chains too. Many organizations expertized in event design, management, and wedding planning across cities, Hyderabad being one of its significant markets. Communication networks know no bounds. Banking too is led by chains of public and private banks with uniform practices. Fuel stations, CNG outlets, and of late Electric Cars Charging Centers, mark every stretch of highway and city corner. Liquor, once sold by a maximum of half-a-dozen small shops, now sees sprawling outlets.

The impulse to create businesses, the desire to multiply them, to ensure continuity of standards, and to meet a growing market across geographies transforms a lone establishment into Business Chains in Hyderabad that form part of a worldwide network. But their speedy evolution has been like Alwin Toffler’s ‘Future Shock,’ a condition where individuals struggle to adapt to the overwhelming pace of life. Managerial hierarchies, investor backing, and aggressive strategies transformed the chain as an impersonal, system-driven engine of growth.

Hyderabad, founded 434 years ago, on the banks of the Musi, began as a compact city of a few dozen square kilometers with its population limited to a few lakhs, bustling around Charminar, Chow Mahalla, and the bazaars of the walled town. When I first stepped in, sixty-three years ago, it had already grown into a modest capital where the old city was joined by Secunderabad, the cantonment, and new residential colonies, together forming the ‘Twin Cities’ spread over roughly 175 square kilometers with a population nearing a million.

While broad roads, familiar faces, and a leisurely pace still defined life. Over time, Cyberabad rose with HITEC City and Gachibowli, turning the capital into a ‘Tri-City’ of over 650 Square Kilometers under GHMC limits, hosting nearly one crore people. HMDA covering more than 7000 Square Kilometers, encompassing the metropolitan region, including mandals, and villages surrounding the city. Hyderabad, despite few drawbacks has its own past, present, and future glory. Latest idea is merger of 27 urban local bodies into GHMC for coordinated Metropolitan Development.

Now it will be the ‘Future City’ including HYDRA limits, and a specific development Project envisioned as ultramodern and sustainable one. This Visionary Project reflects Telangana’s commitment to ‘Development with Difference.’

Dr BR Ambedkar Telangana State Secretariat, 175 feet Ambedkar Statue, and Telangana Martyrs' Memorial etc. are major landmarks near Hussain Sagar, as Telangana First CM KCR’s contribution, signifying gigantic transformation, reflecting the mega-metropolis of industry, education, health, IT, and culture.

Hyderabad, once with small neighborhoods now fulfils global aspirations. This development is indispensable despite visible excesses of malls, multiplexes, and towers. Hyderabad, once known for evening showers and quiet bazaars, has left with no option except to emerge as reflective of India’s Foremost Global City, with the Tri-City, Quli Qutb Shah’s Hyderabad, Sikander Jah’s Secunderabad, Chandrababu Naidu’s Cyberabad, and aspiring to transform into Revanth Reddy’s Futurabad, the Bharat Future City.

Meanwhile Telangana State Government envisioned Hyderabad as future leader in ‘Quantum Economy’ on the back of its strong infrastructure and digital skills.

The emerging Global City is envisioned as resilient, expansive, and inclusive, strengthened by public trust in the government’s commitment to pursue industrial-land regularization and transformation through HILT. At the same time, there is a strong call for a balanced and cautious approach in deciding the future of long-idle urban spaces: one that aligns with transparent, future-ready development, carefully weighing the merits and drawbacks, especially in the context of ongoing opposition and criticism.

అక్రూరుడితో శ్రీకృష్ణుడు మథురకు ప్రయాణం ...... శ్రీ మహాభాగవత కథ-63 : వనం జ్వాలా నరసింహారావు

 అక్రూరుడితో శ్రీకృష్ణుడు మథురకు ప్రయాణం

 శ్రీ మహాభాగవత కథ-63

వనం జ్వాలా నరసింహారావు

సూర్యదినపత్రిక (02-12-2025)

కంII             చదివెడిది భాగవతమిది,

చదివించును కృష్ణు, డమృతఝరి పోతనయున్

                             చదివినను ముక్తి కలుగును,

చదివెద నిర్విఘ్నరీతి ‘జ్వాలా’ మతినై

కంసుడి ఆజ్ఞానుసారం అక్రూరుడు రథం ఎక్కి వ్రేపల్లెకు పయనమయ్యాడు. ఈ లోపున కేశి అనే రాక్షసుడు కూడా అశ్వరూపంలో, వాయువేగంతో వ్రేపల్లెకు బయల్దేరాడు. వాడు వ్రేపల్లెకు రాగానే అతడి భయంకరమైన సకిలింపుల వల్ల వెలువడిన ధ్వనికి గోవులు, ఆడవారు, మగవారు, పసిబిడ్డలు భయభ్రాంతులయ్యారు. ఆ మందలో కృష్ణుడు ఎక్కడున్నాడా అని వెతికాడు రాక్షసుడు. అతడిని చూసి గుర్తించిన కృష్ణుడు వాడిని యుద్ధానికి పిలిచాడు. ఇద్దరి మధ్య యుద్ధం జరిగింది. కృష్ణుడు తన చేతిని వాడి నోట్లోకి చొప్పించి, వాడి పండ్లన్నీ రాలిపోయేట్లు చేశాడు. చివరకు వాడు తన మాయారూపాన్ని వదిలి తన్నుకుంటూ, అరుస్తూ, నేలకూలాడు. వాడి దేహం రెండుగా చీలిపోయింది. అలా కృష్ణుడు కేశి అనే ఆ రాక్షసుడిని సంహరించాడు.

అప్పుడక్కడికి నారద మహర్షి వచ్చాడు. భూభారాన్ని తగ్గించడానికి అవతరించాడు కృష్ణుడని స్తుతించాడు. ఇంకా ఆయన చేతుల్లో చావడానికి చాణూరుడు, ముష్టికుడు, కువలయాపీడమనే ఏనుగు, కంసుడు, శంఖుడు, కాలయవనుడు, మురాసురుడు, నరకాసురుడు, పౌండ్రక వాసుదేవుడు, శిశుపాలుడు, దంతవక్త్రుడు, సాల్వుడు మొదలైన వారున్నారని అన్నాడు. ఇంకా ఆయన చేయాల్సిన పనులు అనేకం వున్నాయని, అవన్నీ లెక్కపెట్టడం ఎవరి తరం కాదని అన్నాడు నారదుడు. ఇలా చెప్పి నారదుడు కృష్ణుడిని స్తోత్రం చేసుకుంటూ వెళ్లిపోయాడు.

ఒకనాడు గోపబాలురు కృష్ణుడితో కలిసి అడవికి పోయి పశువులను మేపుతుంటే మయుడనే రాక్షసుడి కొడుకు వ్యోముడు ఒక గొల్ల పిల్లవాడిలాగా వచ్చి వారిలో కలిశాడు. పిల్లలు ఆడుకునే దొంగాటలో చేరి, నలుగురైదుగురిని తప్ప మిగతా పిల్లలను కొండగుహలోకి తీసుకుపోయాడు. వారందరినీ దాంట్లో వుంచి పెద్ద బండతో ద్వారాన్ని కప్పేసి ఏమీ తెలియనివాడిలాగా వెనక్కు వచ్చాడు. ఇది గ్రహించిన శ్రీకృష్ణుడు వాడిని ఒడిసి పట్టాడు. విడిపించుకోవడానికి వాడికి బలం సరిపోలేదు. కృష్ణుడు వ్యోమాసురుడిని చంపాడు. తరువాత పర్వత గుహ దగ్గరికి వెళ్లి బండను తొలగించి, గొల్ల పిల్లలను బయటకు తెచ్చి అంతా కలిసి వ్రేపల్లెకు వెళ్లారు.

ఇది జరిగిన నాటి మర్నాడు రథం ఎక్కి గోకులానికి పోతూ అక్రూరుడు, శ్రీకృష్ణ దర్శనానికి పోతున్న తన అదృష్టానికి ఆనందించాడు. అలా తాను పోవడానికి కారణమైన కంసుడు తనకు నిజమైన స్నేహితుడని భావించాడు. తనను చూసి కృష్ణుడు ఏవిధంగా తలుస్తాడోనని విచారించసాగాడు. వ్రేపల్లెకు చేరుకుంటూ, కృష్ణ బలరాములు సంతోషంగా సంచరించే బృందావనం చూశారు. చూసి అందులోకి ప్రవేశించాడు. అక్కడ గొల్లవారు గోవులను పిలిచే శబ్దాలను వినసాగాడు. పశువుల వెంట లేగదూడలను ఎత్తుకుని నడుస్తున్న గొల్లవారిని చూశాడు. మరింత ముందుకు పోయి కృష్ణ ధ్యానంలో వుండి అతడి కొరకు ఎదురుచూస్తున్న గోపికా స్త్రీలను చూశాడు. ఈ విధంగా బలరామకృష్ణుల రక్షణలో వున్న వ్రేపల్లెలోకి అక్రూరుడు ప్రవేశించాడు.

రథం దిగి కృష్ణుడిని చూడాలన్న తహతహతో వున్న అక్రూరుడు ఒకేసారి బలరామకృష్ణులను చూశాడు. కన్నుల నుండి ఆనంద భాష్పాలు రాలుతుంటే వారి పాదాలకు వినయంగా మొక్కాడు. భక్తులంటే ప్రేమ గల కృష్ణుడు హస్తం చాచి అక్రూరుడిని కౌగలించుకున్నాడు. ఆ తరువాత అక్రూరుడు బలరాముడికి నమస్కారం చేశాడు. ఆయన కూడా అక్రూరుడిని కౌగలించుకుని, చేయి పట్టుకుని, కృష్ణుడితో సహా ఇంటికి పోయారు. కుశల ప్రశ్నల అనంతరం నందుడు అక్రూరుడితో సంభాషించాడు. మామ కంసుడిని గురించి, తల్లితండ్రులు దేవకీ-వసుదేవుల గురించి అక్రూరుడిని అడిగాడు కృష్ణుడు. అక్రూరుడు వచ్చిన కారణం కూడా చెప్పమన్నాడు. నారదుడు కంసుడి దగ్గరికి వచ్చి బలరామకృష్ణుల సంగతి చెప్పడం దగ్గరనుండి, ధనుర్యాగం పేరు చెప్పి వారిద్దరిని తీసుకురమ్మని కంసుడు తనను పంపడం దాకా అన్ని విషయాలు చెప్పాడు అక్రూరుడు.

ఇదంతా విన్న కృష్ణుడు తన చుట్టూ వున్న నందుడు మొదలైన గోపకులను చూసి, కంసుడు యాగానికి పిలిచాడు కాబట్టి తప్పక వెళ్లాలి కదా! అన్నాడు. పాలు, పెరుగు, నెయ్యి, కట్నకానుకలు తీసుకుని వాహనాలలో బయల్దేరమని వారికి చెప్పాడు. అక్రూరుడు కృష్ణుడిని మధురకు తీసుకు పోతున్నాడని తెలిసి గోపికలు కలత చెందారు. ఆయన పోకుండా చేసే ఉపాయమేమైనా వున్నదా అని ఆలోచించారు. విరహతాపంతో భ్రాంతిని పొందారు. గోవిందా! దామోదరా! మాధవా! అంటూ స్వరబద్ధంగా పాటలు పాడారు. తన వెంట వస్తానన్న గోపికల ప్రయాణాన్ని నిలిపి వేశాడు కృష్ణుడు. నందుడు మొదలైన గోపాలురంతా తన వెంట రాగా అక్రూరుడు నడుపుతున్న రథాన్ని ఎక్కి మథురా పట్టణ మార్గాన బయల్దేరాడు కృష్ణుడు.

దారి మధ్యలో బలరామకృష్ణులు, అక్రూరుడు యమునానదిని చూశారు. కాలింది మడుగులో నీళ్లు తాగి బలరామకృష్ణులు చెట్టునీడన రథం మీద కూచోగా, అక్రూరుడు నదిలో దిగి వేదమంత్రాలను జపిస్తూ స్నానం చేశాడు. అక్రూరుడికి బలరామకృష్ణులు కాసేపు నీళ్లలో రథం మీద కూచున్నట్లు, కాసేపు చెట్టుకింద రథం మీద కూచున్నట్లు కనిపించారు. అక్రూరుడికి ఆశ్చర్యం వేసింది అలా చూడగానే. కాసేపైన తరువాత అక్రూరుడు నదీ జలాల్లో ఆదిశేషుడిని చూశాడు. స్తోత్రం చేశాడు ఆయన్ను చూసి. తనను పలుపలు విధాలుగా స్తోత్రం చేస్తున్న అక్రూరుడికి యమునా నదీ జలాల్లో చతుర్భుజ శంఖ చక్రాది చిహ్నాలతో తన స్వరూపాన్ని చూపించి అంతర్థానమయ్యాడు కృష్ణుడు. ఆ తరువాత అక్రూరుడు నీళ్లలో నుండి బయటకొచ్చాడు. ‘విచిత్రాలన్నీ నీలోనే వున్నాయి మహాత్మా!’ అని కృష్ణుడికి చెప్పి, సాయం సమయానికి మథురా పట్టణానికి చేరుకునేట్లుగా రథాన్ని తోలాడు. చేరి, రథాన్ని తీసుకు పొమ్మని అక్రూరుడికి చెప్పాడు కృష్ణుడు. (బమ్మెర పోతన శ్రీమహాభాగవతం, రామకృష్ణ మఠం ప్రచురణ ఆధారంగా)