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A tireless quest
A tribute Seshendra Sharma
the scholar and poet
Can anyone remain untouched by the early morning golden sunrise over the serene stretch of ocean, or by the flight of white birds sailing across blue skies? Our life, living, love, beauty, poetry, sensuousness and many emotions are linked with primal rhythms and natural vibrations of Nature - these rhythms and vibrations we feel in his poetry, in every written word of his. His verses so full of verve and life, pulsate like rhythmic heart beats. With one stroke of his pen, he gives us a lifetime observation.


Dr Seshendra Sharma, on whom the Sahitya Akademi conferred its highest honour of “Fellowship" in 1999 is an eminent poet, a ‘Maha Kavi' a critic of fine sensibility and a scholar of great standing. A trendsetter in poetry, he occupies a place of crucial importance in the development and evolution of Modern Indian Literature. He has great command over Telugu, English, Hindi and Sanskrit and is well versed in 'Tarka Shastra' and Upanishads. Apart from poetry he has written short stories, plays, novelettes, critical essays with the same force and authority, and also translated works from Telugu to English. He has authored more than 50 books which are translated into English, Kannada, Urdu, Bengali, Hindi, Nepali and Greek. He is married to Rajkumari Indira Dhanrajgiri, a poet herself.


Born in Nellore district of Andhra Pradesh in 1927, Dr. Guntur Seshendra Sharma later graduated from the Andhra University, passed Law from Madras University, and in 1949 joined the state government and became a municipal commissioner. It was following a translation of 'Sohrab and Rustum' with the help of Mathew Arnold's version of the Persian Epic "Shahnama" that Seshendra first appeared in print, in 1952. From then on he concentrated on poetry, occasionally turning to criticism to fulfill his dialectical urge.


Seshendra's first collection of prose-poems 'Sesha Jyotsna' strictly conforming to Telugu prosody, was published in 1972 in bi-lingual editions (Telugu and English) with translations in Hindi and Urdu separately. The publication of 'Munday Suryudu' (Burning Sun) of using a poetic language to deal with revolutionary theme for the first time, is being followed by many poets today, in idiom and expression.


His Magnum Opus "Naa Desham, Naa Prajalu" (My Country, My People - English, Meri Dharti, Mere Log - Hindi and Urdu) brought Seshendra into prominence as one of the outstanding poets of our country.


Eminent writers like Ali Sardar Jaffri hailed it as a landmark in Modern Indian Literature and some critics compared this epic poem with T.S. Eliot's' Wasteland, and 'L' Ascension' by St. John Perse. In the words of the great Greek poet, Nikhephoros Vretakkos, "It was not only Tagore and Gandhi who crossed the frontiers of their country and reached the wider world and achieved universality. Seshendra's epic poem ‘My country’ ‘My People' is proof. I would compare the pain and anguish of the poet with the one of Loutremont in his lyric 'Maid Aurore'. The difference is that Seshendra's protest is not made in the void.
He walks firmly on soil, one can find in the poet a wild whirlwind which attains incredible oratorical heights/creating terrific images-whirling within him is the idea of strength of life that is fighting the dark powers which want to take away it's freedom and bread... at times we observe in the poem a Biblical and Prophetic tone that attracts us."


Seshendra's deep scholarship in Vedas, Upanishads and Kavyas has placed him in a unique position among the scholars of the country. "Shodasi" his tantric commentaries on the Ramayana and 'Swarna Hamsa' the study of Harsha's 'Naishadhiya Charita' are monumental works of literary criticism. 'Kaala Rekha', Seshendra's Sahitya Akademi Award winning book is a collection of 25 essays on various subjects like Ancient Sanskrit and ancient Greek Drama, Comparative Literature, Classical Poetry, Aurobindo's Savitri etc. "Gorilla" was published in 1977 (bi-lingual edition) and it was hailed as ‘Pure Poetry' by critics. Dr. R.V.S. Sundaram from Mysore University translated it into Kannada and the book was prescribed for the M.A course.
Seshendra Sharma is the founder member of 'Kavi sena movement' for which he wrote a manifesto ‘Adhunika Kavya Shastra'. His desire was to educate the new generation of poets. This book has widely influenced contemporary criticism in Telugu literature.


In 1985 all his volumes of poetry were compiled into one book adding new poems under the title ‘Adhunika Mahabharatam' and in 1993 another collection of poetry by name ‘Janavamshan’ was brought out. His book titled ‘Narudu Nakshatralu' (man and stars) which deals with a variety of subjects like science, politics, economics, history and sociology bear testimony to Seshendra's versatility and brilliance of thought. The Telugu University conferred on him Honorary D.Litt in 1994.


In 1994, Seshendra was conferred the title of "Rashtrendu" (Moon of the Nation) by the Official Language Commision of the Home Ministry, Government of India at Calcutta. He has won many other awards. At present he has been nominated as a member to the 'Kendriya Hindi Samithi' under the Prime Minister of India.


Seshendra's writing is truly a tireless exploration. He flies into the tapestry of human life and brings forth a consortium of myriad thoughts, with every word charged with force, majesty, might and immense beauty.
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Please contact :
Saatyaki S/o Seshendra Sharma
saatyaki@gmail.com , +91 9441070985 , 7702964402
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SESHENDRA: A MULTIFACETED GENIUS


In the galaxy of Indian poets and critics, the position of Seshendra as a luminary is unique. He visualizes the cross currents of tradition and modernity as perpetually interacting and moving towards the future, in new directions. As a Telugu poet and critic, he is a multifaceted genius, seminal in his thought, his writings in various genres facilitating the evolution of new modes of literary activity among the new generation writers.


As Seshendra says with all humility in the First Memorial Lecture on the Jnaan Peeth Award-winner Viswanatha Satyanarayana titled “Valmiki to Kalidasa - Ashram Kavya Yuga,” “…my guru. His blessings have been with me all my life and it is only through his blessings that I am today.” Seshendra’s interaction with Viswanatha for years is evident from the latter’s Forewords to Seshendra’s epoch-making works Shodasi Ramayana and Ritu Ghosha. The traditionalist facet of Seshendra is evident in Shodasi Ramayana. It is a new interpretation of a part of Valmiki Ramayana in terms of Kundalini Yoga. The Sundarakanda represents the quintessence of Valmiki Ramayana’s thought. The first verse of the Sundarakanda, “Tato Ravana Nithayah,” etc., has been interpreted by Seshendra as representing an attempt by Hanuman to traverse the path of the Sushumna, which is the mystic path situated between the Ida and Pingala, thereby reaching the final goal, of oneness with the Kundalini Sakti. In the chapter on Indra Paratva as opposed to Vishnu Paratva, the critic makes an original thesis: that the Ramayana closely follows the predominant position of Indra in the pantheon of gods, which is the Vedic pattern as against the supremacy of Vishnu which is the Puranic pattern. “Shodasi” is related to the Maha Mantra “Sri Vidya.” Viswanatha in his Foreword says that it is Seshendra’s commentary on Gayatri Mantra. He wonders about Seshendra’s genius in reading the Maha Mantra “Sri Vidya” with such deep significance. While maintaining that no one else has read Mahabharata and Ramayana together in the way Seshendra could do, Viswanatha says that not only Telugu people but Indians at large should be grateful to Seshendra for writing Shodasi Ramayana.


Seshendra’s interpretation of Sri Harsha’s Naishadhiyacharitham based on the story of Nala in Vyasa’s Mahabharata is another landmark in his studies in Sanskrit literature. He goes beyond Mallinatha, Srinatha and Nannaya and maintains that Naishadhiyacharitham synthesizes Mantra Sastra, Yoga Sastra and Vedanta Sastra. The work is an allegory on the journey of the soul, a discourse on Matter and Spirit.


In his Foreword to Ritu Ghosha (“CRy of Seasons”) too Viswanatha showers praise on Seshendra’s poetic genius. In this poem Seshendra renders the beauties of the seasons that determine time. His understanding of the sounds of seasons is not merely in external terms. He makes an in-depth study of the human time in different aspects in relation to the seasonal time. Viswanatha says that Seshendra’s eminence as a poet lies in his understanding of the multiple aspects of the seasons, the deep resonances between the human system and the seasonal variations. In this sense, according to Viswanatha, Seshendra’s writing is of the highest order.


One of Seshendra’s major poems, Gorilla, uses the Tantric philosophy to reinforce the poet’s views on modern life. While Shodasi Ramayana explicates the Sundarakanda as presenting the power of Kundalini, the modern epic Gorilla deals with the will traced through the pages of Vedic philosophy. As Seshendra says in his Preface, “The great power of universal creation is the vital force which forms the subject matter of contemplation for many thinkers of ancient India in the Vedic, Tantric and Darshanic systems of philosophy.” According to the poet, even in the turbulent contemporary life, the individual can summon all the superhuman energy of the primordial Apeman to destroy evil forces around. The invocation to Gorilla is significant:


“O Gorilla, arise, Gorilla! Rise from your slumber, O Creative Power sleeping in man. O Pitamaha, O Grandsire, who first saw the sun and moon, awake! Mankind is imploring helplessly for you.”


Inspired by Primordial force, the poet says:


“The ocean does not sit at anybody’s feet and bark. The voice of a storm does not know how to say yes. The mountain does not bend and salute. I may be a fistful of earth, but when I lift my pen, I have the arrogance of a nation’s flag.”


Seshendra’s message is that deriving superhuman’s energy from Primordial Nature, the individual can survive the onslaughts of contemporary life.


Another poem of Seshendra widely read in India and abroad, My Country, My People has indeed heralded a new era in the poetry of twentieth century anguish. In his Foreword to the Greek translation of the poem, the contemporary Greek poet Nikhi Phorus Vruttakose says, “Personally I would compare the pain and anguish of the poet with the one of Loutre Mont (the founder of Surrealism) in his lyric Mald-Aurore. The difference is that Seshendra’s protest is not made in the void. He walks firmly on the soil. At times we observe in his poem a Biblical and Prophetic tone which attracts us.” Contemporary Progressive Poetry in Telugu, under the leadership of Sri Sri, has been replaced by Seshendra’s traditional wisdom, redefining the nature of contemporary man as a social being. The poet as humanist exhorts the masses to wake from slumber and march on the path to glory:


“Come, my people, take up your ploughs. Come with your women, your children, come out of your hearths and homes, from prisons of your schools and offices, your academies and assemblies. Come, let us see centuries blown off in the winds of time.


Come, walk with me through the villages, towns and cities. Flow like floods, roar like floods, through the streets and highways of our nation.”


In Kaala Rekha, besides a score of critical essays on the traditional modern poetry, Seshendra shows remarkable insight into the genre of Ghazal in Urdu poetry in five essays on the subject. He calls Ghazal an art of magnetism, a fire, a culture. His friendship with Faiz Ahmed Faiz gives personal touch to the essays. Seshendra sees in Ghazal poetry the heights of love poetry in observing that even though Islam does not accept idol worship, the Ghazal poets have ushered in a tradition of idolizing the beloved. He calls the Sanskrit metre Anushtup, an Urdu Shait and maintains that the number of Ghazals in Valmiki’s poetry cannot be seen anywhere else. He also sees closeness of Vemana’s Telugu metre Aataveladi and the Ghazal.


As evident in his brilliant interpretation of Sundarakanda in Shodasi Ramayana, Seshendra as an Indian critic has firm grasp of the Indian mythology. Elsewhere in his critical essays too he has sounded the depths of both the Indian and Western lore, in a comparative perspective. In his long letter of July 18, 1984 to me, Seshendra analyzes Jessie Weston’s From Ritual to Romance (used by T. S. Eliot in writing The Waste Land). While admiring Weston’s book as “a monument of quest and scholarship….that captures the original source or sources of the Grail Legend now found embedded in Christian liturgy,” with his in-depth knowledge of Ramayana and Mahabharata as well as the Indian folklore, Seshendra corrects the Western critic, suggesting that she should have taken the Rishyasringa version of the Ramayana instead of the one of Mahabharata. He maintains that Weston should have taken into account the fertility ritual in Ramayana.


Seshendra’s treatise Kavisena Manifesto deals with an ambitious literary movement to give new directions to the writings of the new generation poets. The basic aim of the movement is to inculcate literary consciousness in the intelligentsia in the present day climate of social consciousness related to the causes of political and economic conditions. In Kavisena Manifesto the poet-critic synthesizes the traditional Indian poetics and modern European theories such as the Greek, Roman and Marxist. As Seshendra says in his letter of June 12, 1979 to me, “At the physical level these theories are riddled with vulgarized antagonisms all of which are only accretions of the ignorance of blind folks in politics and literature. But the visionary mind always revels in discovering the integrity of the whole in life and cognition of life.”


Modern Indian literature in English translation is gaining currency in the university departments, having been included in M. A. (English) courses. Seshendra’s works have been prescribed for study in such courses, several of them being translated into English, French, German and Greek besides many Indian languages including Hindi, Urdu, Bengali and Kannada.


With titles conferred on him, like “Navakavita Pitamaha,” “Raashtrendu,” etc., Seshendra participated in a score of Kavi Sammelans at the state and national levels. He lectured widely in India and abroad including Greece, West Germany, Mauritius and Kenya on Indian literature and tradition. He also lectured on the subjects at several Indian universities including Rajasthan, Nagpur, Hyderabad, Tirupati, Anantapur and Visakhapatnam besides India International Centre, New Delhi, Telugu Academy, Hyderabad and Kalidasa Academy, Ujjain. The honours bestowed on Seshendra were climaxed by the Central Sahitya Academy Award and Honrary D.Litt by the Telugu University in Hyderabad. No wonder he was nominated to the Nobel Prize in Literature.


-Prof. D. Ramakrishna
( Kakatiya University : Warangal : India )
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SESHENDRA: A MULTIFACETED GENIUS


In the galaxy of Indian poets and critics, the position of Seshendra as a luminary is unique. He visualizes the cross currents of tradition and modernity as perpetually interacting and moving towards the future, in new directions. As a Telugu poet and critic, he is a multifaceted genius, seminal in his thought, his writings in various genres facilitating the evolution of new modes of literary activity among the new generation writers.


As Seshendra says with all humility in the First Memorial Lecture on the Jnaan Peeth Award-winner Viswanatha Satyanarayana titled “Valmiki to Kalidasa - Ashram Kavya Yuga,” “…my guru. His blessings have been with me all my life and it is only through his blessings that I am today.” Seshendra’s interaction with Viswanatha for years is evident from the latter’s Forewords to Seshendra’s epoch-making works Shodasi Ramayana and Ritu Ghosha. The traditionalist facet of Seshendra is evident in Shodasi Ramayana. It is a new interpretation of a part of Valmiki Ramayana in terms of Kundalini Yoga. The Sundarakanda represents the quintessence of Valmiki Ramayana’s thought. The first verse of the Sundarakanda, “Tato Ravana Nithayah,” etc., has been interpreted by Seshendra as representing an attempt by Hanuman to traverse the path of the Sushumna, which is the mystic path situated between the Ida and Pingala, thereby reaching the final goal, of oneness with the Kundalini Sakti. In the chapter on Indra Paratva as opposed to Vishnu Paratva, the critic makes an original thesis: that the Ramayana closely follows the predominant position of Indra in the pantheon of gods, which is the Vedic pattern as against the supremacy of Vishnu which is the Puranic pattern. “Shodasi” is related to the Maha Mantra “Sri Vidya.” Viswanatha in his Foreword says that it is Seshendra’s commentary on Gayatri Mantra. He wonders about Seshendra’s genius in reading the Maha Mantra “Sri Vidya” with such deep significance. While maintaining that no one else has read Mahabharata and Ramayana together in the way Seshendra could do, Viswanatha says that not only Telugu people but Indians at large should be grateful to Seshendra for writing Shodasi Ramayana.


Seshendra’s interpretation of Sri Harsha’s Naishadhiyacharitham based on the story of Nala in Vyasa’s Mahabharata is another landmark in his studies in Sanskrit literature. He goes beyond Mallinatha, Srinatha and Nannaya and maintains that Naishadhiyacharitham synthesizes Mantra Sastra, Yoga Sastra and Vedanta Sastra. The work is an allegory on the journey of the soul, a discourse on Matter and Spirit.


In his Foreword to Ritu Ghosha (“CRy of Seasons”) too Viswanatha showers praise on Seshendra’s poetic genius. In this poem Seshendra renders the beauties of the seasons that determine time. His understanding of the sounds of seasons is not merely in external terms. He makes an in-depth study of the human time in different aspects in relation to the seasonal time. Viswanatha says that Seshendra’s eminence as a poet lies in his understanding of the multiple aspects of the seasons, the deep resonances between the human system and the seasonal variations. In this sense, according to Viswanatha, Seshendra’s writing is of the highest order.


One of Seshendra’s major poems, Gorilla, uses the Tantric philosophy to reinforce the poet’s views on modern life. While Shodasi Ramayana explicates the Sundarakanda as presenting the power of Kundalini, the modern epic Gorilla deals with the will traced through the pages of Vedic philosophy. As Seshendra says in his Preface, “The great power of universal creation is the vital force which forms the subject matter of contemplation for many thinkers of ancient India in the Vedic, Tantric and Darshanic systems of philosophy.” According to the poet, even in the turbulent contemporary life, the individual can summon all the superhuman energy of the primordial Apeman to destroy evil forces around. The invocation to Gorilla is significant:


“O Gorilla, arise, Gorilla! Rise from your slumber, O Creative Power sleeping in man. O Pitamaha, O Grandsire, who first saw the sun and moon, awake! Mankind is imploring helplessly for you.”


Inspired by Primordial force, the poet says:


“The ocean does not sit at anybody’s feet and bark. The voice of a storm does not know how to say yes. The mountain does not bend and salute. I may be a fistful of earth, but when I lift my pen, I have the arrogance of a nation’s flag.”


Seshendra’s message is that deriving superhuman’s energy from Primordial Nature, the individual can survive the onslaughts of contemporary life.


Another poem of Seshendra widely read in India and abroad, My Country, My People has indeed heralded a new era in the poetry of twentieth century anguish. In his Foreword to the Greek translation of the poem, the contemporary Greek poet Nikhi Phorus Vruttakose says, “Personally I would compare the pain and anguish of the poet with the one of Loutre Mont (the founder of Surrealism) in his lyric Mald-Aurore. The difference is that Seshendra’s protest is not made in the void. He walks firmly on the soil. At times we observe in his poem a Biblical and Prophetic tone which attracts us.” Contemporary Progressive Poetry in Telugu, under the leadership of Sri Sri, has been replaced by Seshendra’s traditional wisdom, redefining the nature of contemporary man as a social being. The poet as humanist exhorts the masses to wake from slumber and march on the path to glory:


“Come, my people, take up your ploughs. Come with your women, your children, come out of your hearths and homes, from prisons of your schools and offices, your academies and assemblies. Come, let us see centuries blown off in the winds of time.


Come, walk with me through the villages, towns and cities. Flow like floods, roar like floods, through the streets and highways of our nation.”


In Kaala Rekha, besides a score of critical essays on the traditional modern poetry, Seshendra shows remarkable insight into the genre of Ghazal in Urdu poetry in five essays on the subject. He calls Ghazal an art of magnetism, a fire, a culture. His friendship with Faiz Ahmed Faiz gives personal touch to the essays. Seshendra sees in Ghazal poetry the heights of love poetry in observing that even though Islam does not accept idol worship, the Ghazal poets have ushered in a tradition of idolizing the beloved. He calls the Sanskrit metre Anushtup, an Urdu Shait and maintains that the number of Ghazals in Valmiki’s poetry cannot be seen anywhere else. He also sees closeness of Vemana’s Telugu metre Aataveladi and the Ghazal.


As evident in his brilliant interpretation of Sundarakanda in Shodasi Ramayana, Seshendra as an Indian critic has firm grasp of the Indian mythology. Elsewhere in his critical essays too he has sounded the depths of both the Indian and Western lore, in a comparative perspective. In his long letter of July 18, 1984 to me, Seshendra analyzes Jessie Weston’s From Ritual to Romance (used by T. S. Eliot in writing The Waste Land). While admiring Weston’s book as “a monument of quest and scholarship….that captures the original source or sources of the Grail Legend now found embedded in Christian liturgy,” with his in-depth knowledge of Ramayana and Mahabharata as well as the Indian folklore, Seshendra corrects the Western critic, suggesting that she should have taken the Rishyasringa version of the Ramayana instead of the one of Mahabharata. He maintains that Weston should have taken into account the fertility ritual in Ramayana.


Seshendra’s treatise Kavisena Manifesto deals with an ambitious literary movement to give new directions to the writings of the new generation poets. The basic aim of the movement is to inculcate literary consciousness in the intelligentsia in the present day climate of social consciousness related to the causes of political and economic conditions. In Kavisena Manifesto the poet-critic synthesizes the traditional Indian poetics and modern European theories such as the Greek, Roman and Marxist. As Seshendra says in his letter of June 12, 1979 to me, “At the physical level these theories are riddled with vulgarized antagonisms all of which are only accretions of the ignorance of blind folks in politics and literature. But the visionary mind always revels in discovering the integrity of the whole in life and cognition of life.”


Modern Indian literature in English translation is gaining currency in the university departments, having been included in M. A. (English) courses. Seshendra’s works have been prescribed for study in such courses, several of them being translated into English, French, German and Greek besides many Indian languages including Hindi, Urdu, Bengali and Kannada.


With titles conferred on him, like “Navakavita Pitamaha,” “Raashtrendu,” etc., Seshendra participated in a score of Kavi Sammelans at the state and national levels. He lectured widely in India and abroad including Greece, West Germany, Mauritius and Kenya on Indian literature and tradition. He also lectured on the subjects at several Indian universities including Rajasthan, Nagpur, Hyderabad, Tirupati, Anantapur and Visakhapatnam besides India International Centre, New Delhi, Telugu Academy, Hyderabad and Kalidasa Academy, Ujjain. The honours bestowed on Seshendra were climaxed by the Central Sahitya Academy Award and Honrary D.Litt by the Telugu University in Hyderabad. No wonder he was nominated to the Nobel Prize in Literature.


-Prof. D. Ramakrishna
( Kakatiya University : Warangal : India )
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Gunturu Seshendra Sarma, the well-known poet, critic and scholar of unfathomable depth, has to his credit quite a number of books in Telugu as well as English. A keen intellect and a lucid exponent of the intricacies in Samskrit literature, the author brought out a treatise on Ramayana. The book also reveals the symbolism in our epics and shows the spirit behind.


According to the author, Sage Valmiki has observed Ramayana as though it is a story of a dynasty in its outward appearance. But when the story part is kept aside, the hidden secrets of the Mantrasastra come out. Valmiki’s Ramayana is full of Vedic literature, language and usages. Ramayana can be appreciated from three angles. The poetic beauty, the historicity and the secret meaning of mother Parasakti. Later Upanishads have taken Valmiki Ramayana as the way to the Mantrasastra. Rama’s wife Sita is considered as Parasakti. In Devi Bhagavatham Sita is described as Goddess Gayatri. The author has taken unusual pains and quoted Vedic dictations which are literally taken by Valmiki in his Ramayana. Thus it has been a product of Vedas and the usages in Ramayana and the words used therein and the similies adopted by Valmiki speak inexplicably the secret of Mother Lalita in his stories.


The author has given and attached a very great significance for Sundarakanda in Ramayana. The author has quoted numerous quotations from Smrithis and Srithis to establish that Sundara­kanda is beautiful because Anjaneya the Jeeva has seen Sita the Parasakti. Hence this canto is so styled as Sundara. According to the author “Sita” means “Kundalini.” Hanuman has seen Sita while she was sitting on the ground. Ground means Earth. Earth denotes Mooladharam. The serpent Kundalini stays in this. Thus it is symbolised as Sita sat on the ground. Hanuman the Yogi has the vision of Kundalini in Sita. With the aid of Ida and Pingala, Kundalini travels in Sushumna through spinal cord crossing the six fluxes, and finally reaching Sahasraram. This again speaks of “Shodasi.” Rama is a beautiful man. He is having a Sundari in Sita (a beautiful woman). The descriptions are beautiful in this canto. Thus it is synonymous with “Soundarya­lahari” of Sankaracharya.


The author expressed that Mahabharata is a reflection of Ramayana in all the cause, origin and delivery. Innumerable similarities are quoted from both Valmiki and Vyasa to prove that the usages, style and similies are almost similar in both the epics. He compares Vyasa’s “Nalacharitam” with Sundarakanda of Valmiki in the vision of Srividya.


The author further argues that Kalidasa’s “Meghasandesam” is only an imitation of Valmiki. The flight of Anjaneya in search of Sita is the basis for Kalidasa’s “Meghasandesam.” Both Sita and the Yaksha’s wife are described as “Syamas” – meaning in the middle of youth. The duration of separation is one year in both the cases. Ultimately the author said that “Meghasandesam” is the offspring of Ramayana, with yearning to see Parasakti.


The author has taken the readers in his book to that sublime beauty where there is no further argument, than to enjoy the flow of citations with their intrinsic meaning and full of scientific vision. His unsurpassed knowledge in Mantrasastra has enabled him to pass dictums vivisecting the symbolic mysticisms into splinters and handing the kernel of truth under each word, usage, and application. He deserves all praise for this meritorious contribution to our literature.
- Triveni\journa


Ramayana, a replica of Vedas
S. VARADARAJAN
There are several versions of the Sri Ramayana, one of the two greatest epics. Following Sri Valmiki Ramayana several editions have been published in various languages, besides scores of commentaries written across centuries. Late. Gunturu Seshendra Sharma, scholar poet of 20th Century unearthed secrets of the Ramayana through his popular Telugu book “Shodasi”.
The novelty of nomenclature Shodasi , called Sri Vidya is reflected , in the 16th Chapter . Sharma’s intellectual depth comes forth in analyzing Sundara Kanda specially through Kundalini Yoga . The author highlights hidden truth in Valmiki’s thought that is similar to Vedas and says that Trijata’s dream in Sundara Kanda reflects Gayatri Mantra of 32 Syllabi in 4 lines. Sharma pays rich encomiums in the description of Lanka surrounded by three impregnable borders. He compares these three borders with Trikuta viz... Shakti , Kaamaraaja , Vagbhava Kutas with those of Sri Vidya in Kundalini . A staunch believer of Vedas, the author feels that Ramayana is a replica of Vedas and oriented towards the character of Indra . He concludes that in Ramayana the mentioning of the supreme God is Indra and not Vishnu, as the presiding deity of valour in Vedas. Utterances of the word Vishnu were considered to be imaginary overstatements in the author’s view.
This book lends a new perspective to the Ramayana by adding the dimension of Kundalini Yoga .
The foreword by Vishwanatha Satyanarayana adds credibility to the book. The current work is an English translation of the original by Gurujada Suryanarayana Murthy , a scientist by profession . His proficiency in the subject is evident in the translation throughout that doesn’t swerve from the original’s purport.
The Hindu
(Friday Review: 2nd October 2015)
Photo Details: "Shodasi :Secrets of the Ramayana" by saatyaki - Posted Date: Fri May 17, 2013 - Rating: n/a

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