VKMurali

“Recipes of Sita People have to be fed during a war. And so the kitchens of Lanka were busy. Those who were going to the war had to be fed; those who were returning from the war had to be fed. Food had to inspire, comfort and stir passions. The smell of rice boiling, vegetables frying and fish roasting filled the city streets, mingling with the smell of blood, rotting flesh and burning towers. The aromas reached Sita’s grove. ‘Don’t you like that smell?’ asked Trijata noticing Sita’s expression as she inhaled the vapours. Trijata, Vibhishana’s daughter, had become a friend. ‘If I was cooking, I would change the proportion of the spices,’ Sita said. She gave her suggestions to Trijata, who promptly conveyed them to the royal kitchen. Mandodari followed these instructions and soon a different aroma wafted out of the kitchen. So enticing was the resulting aroma that other rakshasa cooks came to the Ashoka grove and asked Sita for cooking tips. Without tasting the food, just by smelling what had been prepared, like a skilled cook, Sita gave her suggestions. ‘Add more salt.’ ‘Replace mustard with pepper.’ ‘Mix ginger with tamarind.’ ‘Less cloves, more coconut milk.’ These suggestions were promptly executed, and before long Lanka was full of the most delightful aromas and flavours, so delightful that sons and brothers and husbands and fathers wanted to stay back and relish more food. They wanted to burp, then sleep, then wake up and eat again. They wanted to chew areca nuts wrapped in betel leaves and enjoy the company of their wives on swings. No war, no fighting, just conversations over food. Ravana noticed the lethargy in his men, their reluctance to fight. They were not afraid. They were not drunk. They were just too happy to go to war. Furious, he ordered the kitchens to be closed. ‘Starve the soldiers. Hungry men are angry men. In anger they will kill the monkeys. The only food they can eat is monkey flesh.”
― Devdutt Pattanaik, Sita: An Illustrated Retelling of the Ramayana

“In its totality, a raga is a combination of musical heritage, technical elements, emotional charge, cognitive understanding and aural identity.”
― T.M. Krishna, A Southern Music: Exploring the Karnatik Tradition

“Arjuna, to expand your mind, use intelligence to draw your mind away from sensuality, so that there is no self-obsession, aggression, arrogance, desire, anger, possessiveness, attraction or repulsion. You are content in solitude, consuming little, expressing little, connected with the world and aware.—Bhagavad Gita: Chapter 18, verses 51 to 53 (paraphrased).”
― Devdutt Pattanaik, My Gita

“In Karnatik music, compositions are mainly in Sanskrit, Telugu, Tamil, Kannada and Malayalam. Musicians will find that the aesthetics of the melody seems different when the same musical phrase is sung in two different languages. This is primarily because of the sound of the syllables, which are the pillars on which the melodic phrase is structured. This could be partly psychological – the result of the mind interpreting the melodic flow differently when other syllables are placed in the same position. The syllables and the compound sounds unique to each language register differently in our mind, making the structure of the phrase seem different.”
― T.M. Krishna, A Southern Music: Exploring the Karnatik Tradition