Within the opening scenes, there are visual symbols connected with the Upanishads: philosophical texts considered to be an early source of Hindu religion.
In India, the origin of solmization was to be found in Vedic texts like the Upanishads, which discuss a musical system of seven notes, realized ultimately in what is known as sargam.
The concept of Kshama forms one of the Ten Traditional Yamas, or restraints, that are codified in numerous scriptures including the Shandilya, Varaha Upanishads and the Hatha Yoga Pradipika by Gorakshanatha.
Well entrenched in the philosophy of Vedas, Upanishads and Gita, he has followed in detail the thoughts and writings of Western thinkers like Karl Marx and Arnold Toynbee and the Indian seers like Swami Vivekananda, Sri Aurobindo, Sree Narayana Guru, Mahatma Gandhi and Deendayal Upadhyaya.
Dr. Shivram Sharma, Sanskrit scholar from Varanasi, writes in his review of Śrīrāghavakṛpābhāṣyam on the eleven Upanishads that it is replete with novel thoughts and Sanskrit derivations, and that Rambhadracharya has shown Rama as the Pratipādya of the all Upanishads by the wonderful dexterity of Vyutpattis of Sanskrit words.
He also worked with W. B. Yeats during 1935 and 1936, on Majorca on the translations in The Ten Principal Upanishads (1938, Faber and Faber).
The book also includes two appendices about the perspectives of Rabindranath Tagore and Edmond Holmes on the Upanishads, as well as a selected bibliography (2 pages) and general index (6 pages); all editions also contain a preface by the author (6 pages), dated 1951.