‘Know yourself as Brahman, And Remain Absolutely Free’ ...... Vedanta Dindima Commentary by Adi Shankaracharya ...... A Clear and Thoughtful Introduction to Advaita Vedanta : Retold by Vanam Jwala Narasimha Rao

 ‘Know yourself as Brahman, And Remain Absolutely Free’

Vedanta Dindima Commentary by Adi Shankaracharya

A Clear and Thoughtful Introduction to Advaita Vedanta

Retold by Vanam Jwala Narasimha Rao

(December 15, 2025)

Let me begin my (the retold) article on Vedanta Dindima, authored by Jagadguru Adi Shankaracharya, with utmost ‘Reverential Acknowledgement’ to Pravachana Kireeti Padma Shri Garikipati Narasimha Rao, whose discourses inspired me to engage deeply with this subject. Listening regularly to his Pravachanas, my wife and I found ourselves drawn into serious reflection and study. What follows is a concise presentation of what I could comprehend with limited knowledge. The scholarship, eloquence, and moral clarity of Garikipati have illumined classical Indian thought for contemporary society.

Garikipati is exquisitely endowed with rare mastery over Sanskrit Scriptures, Telugu Literature both ancient and modern, the Ashtadasha Puranas, Itihasas, Valmiki Ramayana including Telugu renderings, Vedavyasa’s Mahabharata, and Shrimad Bhagavata, with Classical Telugu Translations (Nannaya, Tikkana, Errparagada, Bummera Potanamtya), Prabhandas, and lived cultural wisdom. He stands as a bridge between timeless knowledge and modern understanding.

What distinguishes his exposition is not only merely erudition, but also exceptional contextual sensitivity and the unparalleled ability to communicate subtle metaphysical truths in language accessible to ordinary listeners without sacrificing and diluting philosophical rigor. His Discourses (Pravachanas) on variety of subjects, do not instruct from a distance, but they awaken reflection from within. Through lucid narration and ethical grounding, he presents Vedantic Insight as living wisdom rather than Archived Doctrine.

This article is therefore offered in a spirit of gratitude and reverence, acknowledging that the clarity with which Vedanta Dindima is approached here owes much to his interpretative vision. Any limitations in articulation are entirely my own. The initial spark of curiosity and confidence to engage with Advaita was lit by his discourse. Such teachers (Acharyas) remind us that knowledge survives not merely through texts, but through enlightened voices that renew meaning for every generation.

The Time-Tested Great Indian philosophy has produced many profound texts, but few are as direct, forceful, and uncompromising in their message as Vedanta Dindima. The word Dindima means a drumbeat or proclamation, and true to its name, the text repeatedly declares a single truth that, Brahman alone is real, the world of multiplicity is appearance, and the individual self is not different from Brahman (the supreme existence or absolute reality, the eternal, conscious, irreducible, infinite, omnipresent, and the spiritual core of the Universe of Finiteness and Change).

The Major Commentary, authored by Adi Shankaracharya for the Advaita tradition, Vedanta Dindima, in the process of reviving and systematizing the Advaita Vedanta, is not a ritual manual or technical and philosophical debate in complex language. It is a teaching text meant to awaken clarity. It cuts through confusion created by rituals, social identities, emotions, and intellectual arguments, and directs the seeker toward self-knowledge (Atma-Jnana) as the sole means of Liberation (Moksha). This article seeks to convey its essence in accessible English while preserving its spiritual seriousness and intellectual depth.

At the heart of Vedanta Dindima lies the Advaita vision of Non-Dual Reality. According to it, Reality is not divided into God, Soul, and World as separate entities. There is only one Existence-Consciousness-Bliss called Brahman. Distinctions such as knower and known, cause and effect, belong to the level of appearance, not to ultimate truth. The text repeatedly contrasts bondage and liberation (pairs of opposites), pleasure and pain, knowledge, and ignorance, only to declare that Brahman alone transcends all such dualities. From the standpoint of truth, there is neither real bondage nor real liberation. Liberation is simply the removal of ignorance about one’s true nature. Hence the bold assertion that, ‘Brahman is the knower and the world is the known. In truth, only Brahman exists.’

One of the strongest messages of Vedanta Dindima is that ‘Knowledge and not Action, Alone Brings Liberation.’ Rituals, worship, charity, pilgrimages, yoga, and moral action have value, but they cannot directly produce freedom. Actions belong to the body and mind, which are themselves objects of knowledge. Liberation is freedom from false identification with them, and only knowledge can remove ignorance.

The text clarifies that karma purifies the mind, Upasana (devotional practices) steadies it, and Brahma-Jnana alone destroys ignorance and grants Moksha. Even sacred scriptures, mantras, and philosophical systems are provisional. They are useful only until direct realization arises, much like a lamp that is unnecessary after sunrise. Vedanta Dindima is radically inward and universal. Liberation does not depend on caste, social status, religious role, or lifestyle. Neither householder (Grihastha) nor renunciate (Sanyasi), neither yogi nor pleasure-seeker, is assured freedom without self-knowledge. True Brahmin-Hood, the text insists, arises not from birth or ritual learning, but from realization of Brahman. Spiritual authority is thus relocated from external labels to direct understanding.

A central teaching is the Unreality of the World (Maya) as it appears. This does not deny experience, but denies absolute reality to it. Like a dream, the world appears real until knowledge dawns. That which exists unchanged at the beginning, middle, and end alone is real. Names and forms constantly change and cannot define truth. Brahman alone is the bedrock, upon which the world appears, just as clay alone is real behind many pots.

The text of Vedanta Dindima offers a practical method through the analysis of the Self as witness (Sakshi). The seeker is guided to negate false identifications, and not the body, not the breath, not the mind, not even ignorance, but the witness of all. Through this discrimination, one discovers the Self as ever free, untouched by birth and death, pleasure, and pain. The witness is not an object but the light by which all objects are known.

The difference between the individual (Jiva) and Brahman is emphatically declared unreal, arising only from ignorance and limitation. When these limitations are removed, through knowledge, the identity is evident. The famous Advaita Declaration is reaffirmed that, ‘Brahman is Real, the World is Appearance, and the Individual is not different from Brahman.’ Liberation is not a future event or a journey elsewhere, but it is recognition of what has always been true.

A liberated person according to Vedanta Dindima, continues to live in the world but is no longer bound by it. Action continues without attachment. Because the world is seen as Brahman, there is no fear, no grief, and no sense of loss. Pleasure and pain may arise, but they do not disturb inner fullness. The text states that, infinite happiness belongs to those established in Brahman, while worldly pleasures inevitably carry sorrow.  

In its closing verses, Vedanta Dindima becomes strikingly simple, advising constant remembrance that all is Brahman and encouraging natural living without anxiety over action or inaction. True wisdom culminates in silence, not from absence of knowledge, but from completeness. The final drumbeat is clear that, know yourself as Brahman and remain absolutely free. Vedanta Dindima is not merely philosophy but a declaration of spiritual independence. It cuts through complexity and demands intellectual honesty. Its message is uncompromising yet compassionate, reminding us that suffering persists only because truth is overlooked. This Timeless Drumbeat of Advaita continues to echo.

In a modern world shaped by materialism, identity politics, religious polarization, and mental unrest, Vedanta Dindima remains deeply relevant. By locating suffering in mistaken identity rather than external conditions, it challenges both dogmatism and reductionism, shifting inquiry from belief to direct self-understanding. it invites critics also to reassess their assumptions.

Seen thus, Vedanta Dindima is not an escape from life but a corrective lens for it. It reframes spirituality as disciplined inquiry into experience itself. Over centuries, it has inspired admiration and critique alike, not as conflict, but as a productive dialogue enriching Indian thought. Any intellectually honest engagement with the text must acknowledge this dialogue, not as a conflict, but as a productive tension that has enriched Indian philosophical thought.

Supporters of Advaita Vedanta view Vedanta Dindima as a masterful condensation of Upanishadic Wisdom, praising its clarity and didactic precision. Critics caution against misunderstanding its negations or overlooking ethical maturity. Yet both acknowledge its rigor and coherence. In balance, Vedanta Dindima stands as a precise remedy for a specific confusion that, mistaking the temporary for the eternal. Its uncompromising tone serves those ready for discrimination, ensuring that its philosophical conversation remains open, living, and relevant.

Knowledge alone liberates, for bondage itself is born of ignorance, and this uncompromising truth is the drumbeat of Vedanta Dindima proclaimed by Jagadguru Adi Shankaracharya. His intent was not to construct a belief system, but to shatter confusion and redirect the seeker toward direct self-recognition. In our times, this ancient proclamation finds renewed vitality through the lucid and ethically grounded discourses of Garikipati Narasimha Rao, whose Pravachanas bridge classical Advaita and contemporary life without dilution.

It was through sustained listening to the expositions of Garikipati that, an inner urgency arose in me, a quiet but persistent call to revisit, reassess, and update my own understanding. This engagement with Vedanta Dindima thus became not an academic exercise, but a personal inquiry into identity, freedom, and clarity in a changing world. By asserting awareness as self-evident and irreducible, the text challenges materialist assumptions while remaining firmly rooted in reasoned inquiry, inviting the modern mind to look inward rather than outward for resolution.

Thoughtful critiques of Vedanta Dindima further enrich this engagement. Some caution that its radical emphasis on knowledge and negation may be misread as dismissive of devotion, ethical responsibility, or gradual inner transformation. Such concerns serve as necessary correctives, reminding seekers that maturity, context, and discernment are essential. Yet even critics acknowledge the text’s internal coherence and philosophical rigor. Vedanta Dindima does not deny the empirical world, and instead, it relativizes it.

It does not reject action. It limits action’s scope. Seen in balance, it is not a universal prescription but a precise remedy for a specific confusion, mistaking the temporary for the eternal. Its forceful tone is intentional, meant for those ready for discrimination. In this positive spirit, both reverent exposition and reasoned critique contribute to its living legacy. What emerges is not a dogma, but an ongoing philosophical conversation, one that continues to inspire inner renewal, intellectual honesty, and the courage to know oneself as one truly is.

(The author of the original Sanskrit text Vedanta Dindima is generally attributed to Shri Narasimha Teertha)

గోపికల దగ్గరికి ఉద్ధవుడిని పంపిన శ్రీకృష్ణుడు ..... శ్రీ మహాభాగవత కథ-65 : వనం జ్వాలా నరసింహారావు

 గోపికల దగ్గరికి ఉద్ధవుడిని పంపిన శ్రీకృష్ణుడు

 శ్రీ మహాభాగవత కథ-65

వనం జ్వాలా నరసింహారావు

సూర్యదినపత్రిక (15-12-2025)

కంII             చదివెడిది భాగవతమిది,

చదివించును కృష్ణు, డమృతఝరి పోతనయున్

                             చదివినను ముక్తి కలుగును,

చదివెద నిర్విఘ్నరీతి ‘జ్వాలా’ మతినై

కంసుడిని వధించిన అనంతరం, ఆయనతో పాటు చనిపోయినవారికి ఉత్తర క్రియలు జరిపించిన తరువాత, కృష్ణుడు, చెరనుండి విడిపించిన తల్లిదండ్రులు దేవకీవసుదేవులకు నమస్కారం చేశాడు. దేవకీవసుదేవులు కొడుకులను చూసి వారు సాక్షాత్తూ భగవంతులు అని అంతా సంశయిస్తున్నారని అన్నారు. అప్పుడు కృష్ణుడు తన మాయతో వారికి కలిగిన తత్త్వజ్ఞానాన్ని పోగొట్టాడు. తల్లిదండ్రులైన వారిద్దరూ కొడుకుల బాల్యాన్ని చూడలేదని, గారాబంగా పెంచే అదృష్టాన్ని పొందలేదని, అలాగే వారి లాలనను పొందే అదృష్టం తమకు కూడా లభించలేదని కృష్ణుడు వారితో అన్నాడు. ఇన్ని రోజులు వారిని చెరనుండి విడిపించలేక పోయినందుకు మన్నించమని అడిగాడు. ఆ తరువాత తాతగారైన ఉగ్రసేనుడిని పలకరించి, కొడుకు మరణానికి దుఃఖిస్తున్న అతడిని ఓదార్చి, మథురా నగరానికి రాజును చేశాడు.

కంసుడికి భయపడి అన్య దేశాలకు వలసపోయిన వారందరినీ రప్పించాడు. మథురలో వున్న బంధువులందరికీ సుఖాన్ని కలగచేసి వ్రేపల్లెకు వస్తామని తనను పెంచిన తండ్రైన నందుడికి చెప్పాడు. అలా చెప్పి నందాదులను వ్రేపల్లెకు సాగనంపాడు. అనంతరం వసుదేవుడు తన కొడుకులకు గర్గుడు మొదలైన బ్రాహ్మణులతో శాస్త్రప్రకారం ఉపనయనాన్ని చేయించాడు. దాంతో వారు ద్విజరాజత్వాన్ని పొందారు. ఆ తరువాత వారిద్దరూ బ్రహ్మచారులై ఆచార్యుడిని అన్వేషిస్తూ బయల్దేరారు. కాశీ పట్టణానికి చేరుకున్నారు. అక్కడ నివసిస్తున్న సాందీపుడు అనే విద్వాంసుడిని గురువుగా చేసుకున్నారు. ఆయన దగ్గర నాలుగు వేదాలు, ఆరు వేదాంగాలు, ధనుర్విద్య, సిద్ధాంత విషయమైన గ్రంథాలు, మన్వాది శాస్త్రాలు, నీతి శాస్త్రం, తర్క శాస్త్రం, రాజనీతి మొదలైన సకల విద్యలు అభ్యసించారు. అరవైనాలుగు రోజుల్లో అరవైనాలుగు విద్యలను నేర్చుకున్నారు.

విద్యాభ్యాసం పూర్తైన తరువాత గురుదక్షిణగా, సముద్ర స్నానం చేస్తూ నీట మునిగిన, తన కుమారుడిని తెచ్చి ఇవ్వమని అడిగాడు సాందీపుడు. వెంటనే వారు సముద్ర సమీపానికి పోయి నీట మునిగిన గురువుగారి కుమారుడిని ఇవ్వమని సముద్రుడిని శాసించారు. బాలుడు స్నానం చేస్తున్నప్పుడు పంచజనుడు అనే రాక్షసుడు మింగాడని చెప్పాడు సముద్రుడు. వెంటనే సముద్రంలో ప్రవేశించి పంచజనుడి పొట్ట చీల్చాడు కృష్ణుడు. అయినా ఆ బాలుడు కనపడలేదు. ఆ రాక్షసుడి దేహంలో పుట్టిన పాంచజన్యం అనే శంఖాన్ని తీసుకున్నాడు. అక్కడి నుండి రథం ఎక్కి బలరాముడితో కలిసి యముడి పట్టణానికి పోయాడు. వచ్చినవాడు సాక్షాత్తు శ్రీమహావిష్ణువే అని గ్రహించిన యముడు కృష్ణుడు కోరినట్లే గురుపుత్రుడిని ఆయనకు అప్పగించాడు. ఇచ్చిన మాట ప్రకారం గురుపుత్రుడిని ఆయన తండ్రి సాందీపుడికి గురుదక్షింగా అప్పచెప్పారు. ఆ తరువాత ఆయన దగ్గర సెలవు తీసుకుని మథురకు వచ్చారు బలరామకృష్ణులు.

ఒకనాడు కృష్ణుడికి గోపికలు గుర్తుకు వచ్చారు. బృహస్పతిని పోలిన ఉద్ధవుడిని పిలిచి వ్రేపల్లెకు వెళ్లమన్నాడు. తన ఎడబాటు వల్ల దుఃఖిస్తున్న గోపికలను పలకరించి, తాను వారిని విడవనని, త్వరలోనే బృందావనం వస్తానని తన సందేశంగా వాళ్లకు చెప్పమన్నాడు. సూర్యాస్తమయ సమయానికల్లా ఉద్ధవుడు వ్రేపల్లె చేరి నందుడిని కలిశాడు. అతడినే కృష్ణుడిగా భావించిన నందుడు కుశల ప్రశ్నలు వేశాడు. మథురలో వున్న వారందరి క్షేమ సమాచారం అడిగాడు. కృష్ణుడు ఎప్పుడొస్తాడని అడిగాడు. యశోదాదేవి కూడా కృష్ణుడి గురించి అడిగి కళ్లనీళ్లు పెట్టుకుంది. త్వరలోనో వస్తాడు కృష్ణుడని చెప్పాడు ఉద్ధవుడు.

ఆ రాత్రి హరి మహిమలు చెప్పుకుంటూ గడిపారు. మర్నాడు నిద్ర లేచి, ఉద్ధవుడు అనుష్టానాది కార్యక్రమాలు పూర్తి చేసుకుని ఒక ఏకాంత ప్రదేశంలో వున్నప్పుడు, గోపికలక్కడికి వచ్చారు. వారంతా ఉద్ధవుడిని చూసి, కృష్ణుడిలాగానే ప్రకాశిస్తున్నాడని అనుకున్నారు. తమ క్షేమ సమాచారం కనుక్కునేందుకు కృష్ణుడు ఆయన్ను పంపారని తెలుసుకుని సంతోషించారు. వచ్చిన వారిలో ఒక గోపిక కృష్ణ చరణ ధ్యానంలో పరవశురాలయింది. ఆమె ఒక తుమ్మెదను చూసింది అక్కడ. దాన్ని, కృష్ణుడు పంపిన దూతగా కల్పించుకుని, ఉద్ధవుడికి అన్యాపదేశంగా తెలిసేట్లుగా ఆ గోపిక కృష్ణుడి లీలావతారాలను గురించి మాట్లాడ సాగింది. ఆమెతో పాటు అంతా గొంతు కలిపి భ్రమర గీతాలు పాడారు, మాట్లాడారు. వారిని చూసి, వారి మాటలు విని, ఉద్ధవుడు, ప్రియమైన మాటలతో వారిని ఊరడించాడు. కృష్ణుడు గోపికలకు చెప్పమని చెప్పిన మాటలన్నీ చెప్పాడు.

కృష్ణుడి మాటలుగా, ‘మీరు చేసే నిరంతర ధ్యానం వల్ల నేను మీలోనే వున్నాను. మీరు ఎప్పుడూ నన్ను తలస్తూ వుండాలనే కోరిక వల్ల నేను ఈ విధంగా మీకు దూరంగా వున్నాను. కాబట్టి మీరు ఎడతెగని ధ్యానం ద్వారా నన్ను పొందగలరు’ అని ఉద్ధవుడు చెప్పాడు. గోపికలు కృష్ణుడిని గురించి పరిపరి విధాలుగా అడిగారు. తాము పడే అవస్థను తమ ప్రాణ నాయకుడైన కృష్ణుడికి చెప్పమని ఉద్ధవుడిని ప్రార్థించారు. ఆయన రావడం ఆలశ్యం చేస్తే శ్రీకృష్ణుడిని ఎడబాసిన తమ దేహాలు భూమ్మీద నిలవవవి చెప్పమన్నారు. అసలు శ్రీకృష్ణుడు ఎప్పటికైనా వ్రేపల్లెకు వస్తాడా అన్న సందేహం కూడా వెలిబుచ్చారు. ఆ తరువాత కృష్ణుడు చెప్పి పంపిన మరి కొన్ని మాటలు ఉద్ధవుడు చెప్పగా, గోపికల మనస్సులు కుదుట పడ్డాయి. ఆయన్ను పూజించారు. ఇలా కృష్ణ లీలా వర్ణనలు చేస్తూ వ్రేపల్లెలో మరికొన్ని నెలలు వుండి, నందాదుల దగ్గర సెలవు తీసుకుని మథురకు బయల్దేరాడు ఉద్ధవుడు.               

          (బమ్మెర పోతన శ్రీమహాభాగవతం, రామకృష్ణ మఠం ప్రచురణ ఆధారంగా)

The Infectious Culture of Power Proximity : Vanam Jwala Narasimha Rao

 The Infectious Culture of Power Proximity

Vanam Jwala Narasimha Rao

The Hans India (December 14, 2025)

{Meaningful interactions with people in high offices or iconic public figures were preserved for personal memory, not publicity. Even replies to letters written to a Prime Minister or President by young citizens, often acknowledged promptly, were treasured privately in family albums} – Synoptic Note by Editor Hans India

In an age where every handshake becomes a headline and every courtesy visit turns into a photo opportunity, the line between ‘dignity and display’ is blurring alarmingly. What was once a private expression of reverence or respect has now been reduced to a public performance of proximity. From Prime Ministers quietly seeking the blessings of spiritual masters in earlier decades, to today’s culture of selfies, orchestrated media coverage, and exaggerated press notes, the society has been witnessing the steady erosion of substance in favor of optics.

This is not just about politics. It pervades bureaucracy, religion, media, and even intellectual circles. The hunger to be seen with power, rather than to serve meaningfully, has become an infectious cultural trend, one that trickles down from the highest offices to the grassroots. The consequences are more than cosmetic. Perception overtakes principle and validation replaces values. A mature democracy, however, demands humility, restraint, and focus on outcomes, not frames. History remembers what leaders stood for, not who they stood beside.

In a telling reflection of how genuine reverence transcends ceremonial optics, The New York Times reported in November 1966 that, the then Prime Minister Indira Gandhi and President Sarvepalli Radhakrishnan sat cross-legged before the Sringeri Pontiff, a quiet yet profound gesture of humility. Indira Gandhi when visited Kanchi Kamakoti Peetham for darshan of Jagadguru Chandrasekharendra Saraswati she sat before Him with utmost reverence. When the Pontif was on North India visit, she traveled there to seek his blessings.

PV Narasimha Rao visited Kanchi and spent time with all three Kanchi Acharyas. Rajiv Gandhi, during his visit, sat with marked reverence. These instances reflected silent dignity untainted by spectacle.

Narendra Modi, as Gujarat Chief Minister, displayed similar grace, standing respectfully beside the Shankaracharya of Kanchi during the inauguration of the Sankara Eye Hospital in October 2008. These encounters were not orchestrated for cameras but affirmed the Pontiffs’ Spiritual Gravitas, where even the highest political figures went to them, for guidance and grace. In contrast, an influential spiritual and humanitarian figure’s meeting with Prime Minister Modi at the latter’s venue recently received wide amplification on television, social and print media. While noble in intent, the event blurred the line between piety and publicity, sanctity, and stagecraft, raising a deeper question: Are we drifting from private reverence toward public performance?

Here, it is significant no note that, this contrast becomes more telling, when one recalls how earlier generations valued discretion. Meaningful interactions with people in high office or iconic public figures were preserved for personal memory, not publicity. Even replies to letters to a Prime Minister or President normally by young citizens, which were acknowledged promptly, were treasured privately in family albums. Today, the value of the moment has been replaced by the urge to exhibit it. Gratitude was once private dignity. Now it is diluted by display.

A few Congress Chief Ministers whom I personally knew in the 1980s, long before social media dictated relevance, were genuinely gratified to receive even a short note from the AICC High Command or the Prime Minister. These were carefully filed but never flaunted. One Chief Minister to whom I was PRO, preserved a congratulatory message from RK Karanjia, the legendary Blitz editor. The press release issued at that time touched on Punjab’s Critical Situation; yet without a photograph or ostentation. It was a time when leaders found satisfaction in the substance of gestures, not their exhibition. We now live in an era where the currency of proximity outweighs the value of principle, where optics dominate over substance.

What was once a respectful acknowledgment of authority has devolved into a culture of showcasing visibility over substance. From Sarpanches to Spiritual Leaders, from Corporators to Cabinet Ministers, and from regional party workers to national figures, this incomprehensible infectious culture of flaunted proximity urgently needs restraint. Political branding today has merged personal image with party lines.

Being seen, even briefly, with a Chief Minister or Prime Minister has become a prized possession. The handshake, the smile, the framed photograph, all find proudly their way to television channels, newspapers, websites, and social media giving an impression that the person photographed holds special closeness with the high office.

A routine congratulatory letter to a newly elected MLA, once a matter of personal satisfaction, now becomes front-page news. The illusion of access has overtaken the purpose of communication. A mere handshake or a casual meeting is no longer enough. Leaders and aspirants stage ‘Chance Meetings’ at public events to secure that prized photograph. MPs and Ministers release press notes announcing festival or birthday greetings from the Prime Minister, often typed by aides. Even senior bureaucrats, once dignified in restraint, now join the race. The infection has spilled from politics to bureaucracy and even into the religious domain.

Why is it that in a democracy where every individual is equal, the mere act of meeting someone in a higher position is considered worthy of publicity? The answer perhaps lies in the intersection of insecurity, ambition, and media-fueled vanity, as well as, visibility being often mistaken for credibility. 

What makes this culture truly incomprehensible, and infectious, is its sheer scale. Even heads of states without hesitation publicize their meetings with counterparts from other countries, often going to lengths to issue joint statements, despite insignificant benefits to both the countries. There is nothing inherently wrong in publicizing important meetings when they serve national, administrative, or policy-related interest. The problem begins when this act is done disproportionately and without relevance, merely to exploit the optics.

In such cases, the culture transforms into self-serving vanity rather than a communication of public interest. Even more worrisome is the mimicry this farcical culture that encourages at grassroots levels. A Panchayat member feels empowered only when photographed with the Mandal President. The Mandal President chases the ZP Chairman for a selfie, who in turn seeks the MP, who queues for a handshake with the Chief Minister, and ultimately the Prime Minister. It is an unending upward chase for recognition, rarely translating into downward responsibility.

Ironically, even journalists and intellectuals succumb. Writers once celebrated for sharp independence now proudly display photographs of ‘Courtesy Visits’ to Ministers or ‘Exclusive Meetings’ with officials. Their independence of opinion, their greatest asset, is compromised, not necessarily because they are co-opted, but because the image itself projects co-option. In the public eye, perception erodes credibility. Is this behavior symptomatic of deeper psychological needs? Perhaps. In a climate of fierce competition and diminishing ideological clarity, the hunger for validation intensifies.

Power proximity offers a shortcut to relevance. And in a world where perception outweighs reality, this shortcut becomes addictive, an opiate too tempting to resist. The antidote lies in conscious restraint. Those in positions of power must discourage glorification of access. Institutional dignity demands that public officeholders and spiritual leaders resist the temptation to convert every meeting into a photo-op. Just because a moment is captured does not mean it must be displayed. Silence often speaks more about stature than speech.

Ultimately, a mature democracy is not just about who is in power, but how power is viewed and handled. It is not about who stood next to whom in a photo, but what they stood for.

The obsession with selfies and statements, greetings and gestures, photographs, and proximity, this incomprehensible, infectious culture, needs a thoughtful introspection. A little humility and a lot of focus on real outcomes can go a long way in detoxifying public sphere from this affliction of exaggerated optics.

True leadership, influence, and grace need a legacy not a frame. When the flash fades and the frame gathers dust, what remains is never the nearness to power, but the distance one wisely kept from vanity, noise, spectacle, and shallow applause. 

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)