నా దేశం-నా ప్రజలు ( ఆధునిక ఇతిహాసం )
ఆధునిక మహాభారతం లో మొదటి చాప్టర్ , ప్రజా పర్వం గా చేర్చారు
నా దేశం నా ప్రజలు
(నా దేశం – నా ప్రజలు, మండే సూర్యుడు, గొర్రిల్లా, అరుస్తున్న ఆద్మీ,
సముద్రం నా పేరు, నీరై పారిపోయింది, ప్రేమ లేఖలు, శేషజ్యోత్స్న)
ఆధునిక మహాభారతం 1970 – 1986 మధ్యకాలంలో ప్రచురించిన శేషేంద్ర వచన కవితా సంకలనాల సమాహారం. 1984లో అప్పటి వరకు వెలువడ్డ కవితా సంకలనాలను పర్వాలుగా రూపొందించారు. ఆంధ్రప్రభ వారపత్రికలో ఈ వివరణతో సహా ఆధునిక మహాభారతం ధారావాహికంగా వెలువడింది. 1984 – 86 వరకు ఆంధ్రజ్యోతి సచిత్ర వారపత్రికలో శేషేంద్ర జాలం శీర్షికన చిన్న కవితలు వెలువడ్డాయి. వీటికి అరుస్తున్న ఆద్మీగా పేరుపెట్టారు. ఆధునిక మహాభారతంలో ఆద్మీ పర్వంగా చేర్చారు. శేషేంద్ర ఆధునిక మహాభారతం వ్యాస విరచిత భారతానికి ఏ సంబంధం లేదు. శేషేంద్ర మాటల్లోనే ఆధునిక మహాభారతం అంటే నేటి మన భారతదేశం. ఫలితంగా శేషజ్యోత్స్న జ్యోత్స్నపర్వంగా, నా దేశం నా ప్రజలు ప్రజా పర్వంగా, మండే సూర్యుడు సూర్యపర్వంగా, గొరిల్లా పశు పర్వంగా, నీరై పారిపోయింది ప్రవాహాపర్వంగా, సముద్రం నా పేరు సముద్రపర్వంగా, ఇందులో రూపొందాయి.
నాన్న ఇఛ్చిన ఈ వివరణ చూడండి
"ఇది నా కావ్య సంకలనం కాదు ఇది నా కావ్యం నా సంపూర్ణ కావ్యం. కవి అనేక కావ్యాలు రాయడు. కవి ఒకే మనిషి – ప్రవహిస్తున్న ఒకే జీవితం జీవిస్తాడు అలాగే ఒకే కావ్యం రాస్తాడు... జీవితం ఒక యాత్ర; యాత్ర అనేక మజిలీల ప్రయాణం. దీని అర్థాంతరమే, కవి కావ్యయాత్ర అనేక కృతుల సాముదాయిక స్వరూపం. అంటే ఒక కవి తన జీవితంలో ఒకే కావ్యం రాస్తాడు అయితే దాన్ని అప్పుడప్పుడూ క్రమక్రమంగా రాస్తూ ఉంటాడు. అలా రాయబడే ఒక్కో కృతి నిజంగా పూర్ణకృతి కోసం పుట్టే ఒక్కో పర్వం. కావ్యయాత్ర అంతిమ చరణంలో అన్ని పర్వాలూ కలిసి ఒక్క కావ్యం మాత్రమే అవుతుంది.
కనుక నేను నా జీవితంలో అనేక కావ్యాలు వ్రాయలేదు. రాశింది ఒకే కావ్యం. దాని పేరు నా దేశం నా ప్రజలు దాని వర్తమాన నామాంతరం ఆధునిక మహాభారతము. ఆ కావ్యం యొక్క భాగాలు నా జీవితంలో అప్పుడప్పుడూ రాస్తూవచ్చాను. భిన్నభిన్న నామకరణాలతో ఆ భాగాల్ని అప్పుడప్పుడూ ప్రకటిస్తూవచ్చాను. ఆ భిన్నభిన్న నామకరణాలతో అప్పుడప్పుడూ వచ్చిన ఆ భాగాలే ఈనాడు నా ప్రజలకు సమర్పిస్తున్న సంపూర్ణ కావ్యంలో పర్వాలుగా ప్రత్యక్షమవుతున్నాయి. అవి పుట్టినప్పుడు నిజంగా చివరకు రూపొందే సమగ్రకావ్యం కోసం పుట్టిన తొలి అవయవాలే గనుక ప్రతి పర్వాంతంలో ఒక పగ ఉంది. పర్వాంతగద్య. ఈ ఆధునిక మహాభారతానికి జనవంశమనే అనుబంధ కావ్యం ఒకటి ఉంది. ఇంతటితో నా కావ్యయాత్ర ముగిసింది "
For other information and details
please contact me.
Saatyaki S/o Seshendra Sharma
firstname.lastname@example.org , 9441070985 , 7702964402
Hearty New Year (2017) Greetings and Sankrathi Greetings
to Literary Fraternity and Book - Lovers.
A SRIVIDYA UPASAKA: A GOLDEN SWAN
In Sanskrit literature there are two well - known writers
with the name Sriharsha. One was a king (Harshavardhana
7th century AD), a follower of Buddhism and author of three
plays – Nagananda, Priyadarshika and Ratnavali. The
second Sriharsha of 12 Century AD was a Srividya Upasaka
and an eminent poet–scholar. It was he who authored the
famous book Naishadha (The story of Nala and Damayanthi)
in sanskrit. Later, in the 15th Century, Srinatha, The
Legendary Telugu poet, translated it into Telugu metrical
poetry. Srinatha was a Saivite and perhaps was not formally
initiated into the Shakteya form of worship and its praxis.
Srinatha could not decipher the hidden mystery of
Damayanthi conceived by Sriharsha as Sri Devi. It would
seem that it fell to the power of intuition of Seshendra, our
contemporary poet, to unravel the mystery after several
centuries. This is indeed a surprise. Sri Aurobindo’s ‘Savitri:
A legend and a Symbol’ is witness to his being the sacred
privy to Pristine Savitri Mantra. Very similar is Seshendra’s
Golden Swan, which transcends its apparent meaning of
being a mere commentary to niche of mystic trance
committed to words. Thus in his Shodasi: Secrets of the
Ramayana are included Trijata Swapna and Gayatri Mantra
is in itself a mystery. For, apparently in his Shodasi,
Philosopho-poetic intuition, the dream of Trijata (in the
Ashoka Vana) is verily the Gayatri Mantra as discerned by
the deep yogic sensibility of Seshendra (A nigoodha Yogi).
I have had intimate relationship for over six decades with
Seshendra. All who know him admire him for is poetic
|genius but mostly from reading his recent prose and poetry
works. Even so, how many of them who have read Golden
Swan and Shodasi: Secrets of the Ramayana will have seen
the mystic surrounding his poetic vision?
Saatyaki has now requested me to review Swarna Hamsa.
He is devoted to filial adoration. It is only because of this
that volumes of Seshendra’s works are seeing the light of the
The sacred Mantras: Ajapaa Gayatri, Chintamani are the
common heritage of many upasakas. Not all of them may
have read Sriharsha’s Kavya. Even those who might have
read only now know through Seshendra that Sriharsha is in
reality a Srividya Upasaka.
Srividya, the highest form of devotion to Enlightenment,
which gives liberation (Vimukthi) from the travails of both
the worlds, has its own trinity of Mantra, Yantra and form of
worship. Mantra is called Panchadashi. In this context it
would be helpful to study the commentary on
“chaturbis Sreekanthais Siva yuvatibhih panchabhir api
prabhinna abhis Sambor navabhir api moola prakritibhih
chatus chatwaarimsad vasu dala kalaasra trivalaya
tri raekhaabhis saartham tava Sarana konaah parinataah”
11 Sloka in Shankaracharya’s Soundarya Lahari.
Contemporary literature is beset with many diversities and
divergences. A swan, they say, can separate milk from water.
How many scholars have the calibre to do a swan,
unearthing the inner meaning of the text? Seshendra, like
that mystic swan, did it with aplomb. Because of this unique
quality Seshendra is a Golden Swan.
Prof. M. Shiva Prasad
Professor of Telugu (Retrd)
Adhunika Maha Bharatam
( Na Desham – Na Prajalu , Mande Suryudu , Gorilla , Arustunna Aadmi , Neerai Paaripoyindi , Samudram Naa Peru , Prema Lekhalu , Sesha Jyotsna )
Author: Seshendra Sharma , pages : 400 , Price : Rs.400/-
Published by Gunturu Seshendra Sharma Memorial Trust,
Available at all popular book shops , eBook @ kingie.com
Seshendra Sharma, scholar – poet of contemporary literature is known for his progressive and fearless style of expression. He is credited by critics with bringing new trend of symbolism and imagery into modern Telugu poetry. Experts observe keenly that Sri Sri introduced the concept of Revolution but he followed the beaten track of traditional diction , mythological idioms and style of expression. It is Seshendra who brought in new poetic diction, revolutionary expression and innovative poetic conventions. That is why he is eulogised as “Viplawa bhaashaa Vidhaatha”( Founder of Revolutionary poetic diction ). Prof.Sikhamani and Prof.Nanumasa Swamy , popular poets and retired Telugu professors from Telugu and Osmania Universities whose memorial lectures are added as Introductions analyse and observe that the genre of Kavyethihaasa
( Epic poetry ) is founded by Seshendra Sharma in modern poetry .
Seshendra Sharma , in his preface to his poetry unveils mainly 3 new concepts hitherto unknown to Telugu Literature. 1. All poetry is autobiography of the poet. For, after passing through the crucible of poet’s soul , emotions and reflections on contemporary life and society assume poetic expression. 2. A poet writes only one Long Poem in his life time. He publishes various parts of it with different names at different stages of life, but eventually they become limbs of one Corpus of Poetic Work. 3. When a worthy poet writes his biography with integrity it becomes the story of his country and saga of the mankind.
This is a flag staff of Modern Telugu poetry. In Ancient Mahabharata by Vyasa, Seshendra says Rich Classes fought for land. In this Modern Mahabharata the tillers and the toiling masses fight for land for their life. Tiller is hero of this epic poetry and the poet says that the soul of his epic is to arouse class consciousness among these sections of our country.
“ I am a drop of sweat, I am the burning sun
rising from the mountains of human sinews “
“I may be a fistful of dust, but when I lift my pen
I have arrogance of a nation’s flag “
“Tiller is bearing plough like Christ bears the cross “
“ even an iota of iron is not left for laying railways ,
all the iron is exhausted to build prisons”
“I shall make time my paper
I shall engrave a dream on it I shall sign beneath it with my breath “
are a couple of startling poetic lines from this work.
Since the birth of Telugu Cinema most of the Telugu poets have been making a living by writing lyrics, story and dialogues for films. But Quite interestingly, here is a unique development that a celluloid hero popular as Gabbar Sigh , Pawan Kalyan reprints the 4th revised edition of this Magnum Opus of Telugu poetry with utmost admiration . He admits in his message at the very opening page of the book that he is inspired by Seshendra’s poems as they reflect contemporary social conditions of the country. Quite befittingly, keeping with the stature of the poet , the book has a classy look and a touch of elegance .
Metro – India : English Daily : Hyderabad
14th August 2016
Poem of modern India
Adhunika Mahabhratam by the great Telugu poet Gunturu Seshendra Sarma is not in any way connected to the epic. It is in fact a commentary on modern India and is the reaction of sensitive, socially aware patriotic, erudite poet to the harsh modern reality of the increasingly urban nation. The present edition, a reprint of the classic by sarma, facilitated by the contribution of actor Pawan Kalyan , comprises a series of poems published between 1970 - 1986. The poems and their commentary appeared in Andra Prabha between '84 and '86 as a weekly series titled Arustunna aadmi [Shouting Man]
The poems speak in various voices, some angst -ridden , some romantic, some that call for the rise of an armed rebellion against oppressive forces, and even some that eulogize the poetic variety that the country inspires.
It is not only an ode to the country he loves, but also a plea for the man on the roads of Hyderabad (or any city) to recognize a world that lies outside the urban jungle and explore the reality that lies within the working class. It is a reminder that man need not fear the forces of modernity represented by the officials and a political class both of which limit his potential and reduce him to a sort of slavery.
JULY 22, 2016
PAWAN REPRINTS SESHENDRA’S BOOK
Not many know that Pawan Kalyan is an avid book reader and has a huge library at his home and office. whenever he gets time , he spends it reading books. Gunturu Seshendra Sharma , one of the prominent names in Telugu Literary World , is one of Pawan Kalyan’s favourite writers.
However it is hard to lay your hands on Seshendra Sharma’s popular book “Adhunika Mahabharatam “ since it has been out of print for many years as no publisher came forward to reprint the book and that’s when Pawan Kalyan decided to step in and help .
The actor- turned politician called saatyaki and gave him the required financial support to reprint the book. The actor also wrote a foreward where he mentions how the book has influenced him and why it’s an important part of his life the actor further mentioned that it was director Trivikram Srinivas who introduced him to Seshendra Sharma’s poetry.
Pawan Kalyan is leaving the country on July 8th to participate in an event United Kingdom Telugu Association as Chief Guest : the event will be held on in London on July 9th .
English Daily : 3rd August 2016
Dear Friends ! Greetings
One queer story has come to my notice . In this context , I , as publisher of Adhunika Maha Bharatam by Seshendra Sharma , my father give the following clarification to poetry lovers at large.
This seems to be a mindless comparison or analogy . Pawan kalyan is a well read Telugu person who has been reciting Seshendra Sharma , my father's poetry in almost all his public meetings. since 2 years and eventually he has financed printing of the 4th revised edition of Adhunika Maha Bharatamu.
Where as this Rajinikanth , Tamil Super Hero , neither knows Telugu nor there is any evidence of he reading Shri. Satyanarayana's Book “ My father Balaiah “ Shri. Rajinikanth Ji cannot read Telugu Nor there is any record to believe that he has reading habit. He would be the last person toreprint “ My father Balaiah” .
Please do not create confusion in the minds of average admirers of Literature.
Thanks / Regards
Saatyaki S/o Seshendra Sharma
email@example.com , 91 9441070985
ప్రియ మిత్రులు శ్రీ పవన్ కళ్యాణ్ గారికి నమస్కారం
సృష్టి సమస్తమూ , చరాచర జగత్తు సమస్తమూ ,జగన్మాత , జగత్పిత
మీ మీద అత్యంత ఆనందోద్రేకాలతో తమ శుభాశీస్సులు , శుభాకాంక్షలు
శుభ దీవెనల కుంభ వృష్టి కురిపిస్తున్నారు . మీరు చేసిన మహత్కార్యం అంత్తటిది .
చలన చిత్రం అనే అద్భుత ప్రక్రియను మానవుడు కనిపెట్టిన నాటి నుంచి
ఈనాటి వరకు ఏ నటుడూ చేయని బృహత్కార్యానికి మీరు కర్త అయ్యారు .
సినీ చరిత్ర , సాహిత్య చరిత్ర లో ఈ ఘట్టం సువర్నాక్షరాలతో రాస్తారు .
Saatyaki S/o Seshendra Sharma
Copies are available at all popular book shops.
I am contactable : Saatyaki S/o Seshendra Sharma
firstname.lastname@example.org , 770294402 , 9441070985
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 )
కవితానుభూతి ప్రేక్షకుల స్థాయికి అందనప్పుడు, అది నిరర్థకం కాక తప్పదనే ఆవేదన వీరిలో ఉంది. ఆఫ్రికా అడవుల్లో పచ్చలు, వజ్రాలు పొదిగిన అందమైన అంగుళీయకం పడవేసినా, అక్కడి జనులు దాన్ని తాకనైనా తాకకుండా తొక్కుతూ పోయినట్లు. అందమైన కవిత్వం సైతం స్పందన లేనివారి సమక్షంలో ఎందుకూ కొరగాకుండా పోతుందంటారు. కవిత్వం మనిషిని కార్యోన్ముఖుణ్ణి చేయాలని, కవిత్వం తన శక్తితో మనిషిలో ఆశాజ్యోతిని ఆరనీయకుండా చూడాలని శేషేంద్ర సంకల్పించారు. అందుకే ఆయన - "జీవితం ఒక మహాసముద్రం కావచ్చు కాని, ఆశ అనే నావతో దాన్ని దాటేయోచ్చు" అంటారు.
ఎంత అయోమయంగా రాస్తే అంత గొప్ప వచన కవిత అనే ధోరణిని ఆయన నిరసించారు. యూరోపియన్ కవుల కవితాత్మను పూర్తిగా అవగాహన చేసుకోకుండా కేవలం ఉపరితల పరిశీలనతో అనుకరణలు సృష్టించవద్దంటారు. పాశ్చాత్య సంస్కృతీ ప్రభావం భారతజాతికి ఎనలేని మేలు చేసిందనే వాదనను శేషేంద్ర అంగీకరించలేదు.
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.
Ramayana, a replica of Vedas
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.
(Friday Review: 2nd October 2015)
Seshendra Sharma – possibly the best known and most discussed modern Indian poet and thinker fulfils his dream of writing on four systems of thought on literature, namely The Ancient Indian Poetics, The Ancient Western Poetics, The Modern Western Poetics, and Marxist Poetics. This Manifesto as it is called remains one of the peaks of Seshendra’s achievement. It presents us with a full – length comparative studies of systems of East , West and Marxist poetic philosophy for which Seshendra has become famous.
The manifesto is brilliant, makes very easy reading for students of literature and a valuable guide to those who teach poetics gives a comparative assessment of the science of poetics by one of the front rank intellectuals.
Kavisena is an intellectual movement with a view to reshape the new minds to impart strength of truth to the younger developing generations. Manifesto, teaches them how to invest the magnetic power of poetry on the common word and turn literature into a weapon in the cause of change and progress. Possibly this is the first time in India that a poet lifted his pen to write poetics for his time and has brought his intelligence to bear on the lives and problems of his country.
This is a decisive Land Mark in the life of Seshendra Sharma's literature .
Shodasi, Secrets of the Ramayana , his Magnum Opus has been translated into English
after 49 years of Telugu Original work came to light in 1969 .
Writing foreword to Telugu original "Shodasi : Ramayana Rahasyaalu " Mr.N.Ramesan , the then Principal Secretary to A.P Govt suggested that this work should be translated into English and several other vernacular languages. That has materialised after 49 Years after 1st publication of Telugu original.
Father during his life time mentioned that some body had told him that people search for this book on the internet.
This is fulfills that search for this great work.
This edition is holistic - It contains reviews that appeared in different dailies , weekly and monthlies since 1968 and about his total literary personality. Any reader who reads this Magnum Opus of Research on Valmiki Ramayana would get to know the author and his literary personality in toto
Sri Jaya Vijayadasami Hearty Greetings to one and all.
Saatyaki S/o Seshendra Sharma
It gives me immense sense of satisfaction and happiness that this long poem written and published way back in 1978 is appearing in English to mark his 7th Anniversary. . Reader would certainly feel the intensity of poet's feelings and emotions which find expression in a new style hitherto unknown to Telugu poetry.
This is his second collection of prose poetry. To my mind after Ruthu Ghosha ( Which has class consciousness at its heart) this is symbolism at its best . That is the reason why it immediately attracted the attention of Stalwart like Sri. Avantsa Somasundar Ji.. Several prominent critics have recognized the prominence of this work during those days. We are in the process of gathering those articles which form a scholarly body of literary criticism.
This is his original style of story telling. his pro -poor and oppressed outlook is unmistakably out pours in these stories and the play. that is why I brought it out to mark his 1st Death Anniversary. His Kamotsav is a forced work written under pressure from a nymphomaniac. Learned readers may please make note of this important point.
Wish the readers a happy new year and a happy sankranthi.
Reflections on Life
A poet is like the Supreme Court, because he takes the side of dharma spontaneously and reacts with great vehemence against adharma said poet Mr. Gunturu Seshendra Sharma. In a speech at the Cent5raal Sahitya Akademi accepting their award for his book of literary criticism – “ Kaala Rekha.
In August this year , Mr. Seshendra Sharma received a cash award of Rs. 50,000/- from Undela Vignana Kala Peetham founded by poet Dr. Undela Malakonda Reddy . Mr. Sharma gave this amount to his son, Saatyaki , who in turn brought out Seshendra ‘s work “ Sahitya Darsini” an anthology of his writings. Mr. Sheshendra Sharma also appeared on a common platform with Civil Rights activists, poets and writers, to demand complete lifting of the ban on People’s War Group of Naxalites. He says his journey is towards Naxalism.
He also asserted that Academy awards cannot be yardsticks of a poet’s Genius. Sometimes incompetent people are chosen for awards and this is harmful because it amounts to insulting poets who are truly great. He says that sometimes, due to selfish interests, some people undeservingly get awards because the selections are done at the local level. To overcome this difficulty, he has suggested that literature in various languages should first be translated into Hindi, when a committee can make a selection without getting influenced by local considerations.
Friday , October 20 , 1995
Seshendra Visionary poet of the millennium
October 20th,1927 - May 30th ,2007
Parents: G.Subrahmanyam (Father) , Ammayamma (Mother)
Siblings: Anasuya,Devasena (Sisters),Rajasekharam(Younger brother)
Wife: Mrs.Janaki Sharma
Children: Vasundhara , Revathi (Daughters),Vanamaali , Saatyaki (Sons)
Seshendra Sharma better known as Seshendra is a colossus of Modern Indian poetry. His literature is a unique blend of the best of poetry and poetics. This site presents essence of the millennium in a powerful poetic style.
poet of the millennium
October 20th,1927 - May 30th ,2007
Parents: G.Subrahmanyam (Father) , Ammayamma (Mother)
Siblings: Anasuya,Devasena (Sisters),Rajasekharam(Younger brother)
Wife: Mrs.Janaki Sharma
Children: Vasundhara , Revathi (Daughters),Vanamaali , Saatyaki (Sons)
-Seshendra Sharma better known as Seshendra is a colossus of Modern Indian poetry.
- His literature is a unique blend of the best of poetry and poetics.
- This site presents essence of the millennium in a powerful poetic style.
This book received Central Sahitya Akademi Award for the year 1994. This was first published in 1990 By AP Telugu Akademi when Velisalaa Donkala Rao was Director. It was a very poor and appalling product.Father was terribly upset with its quality.
I brought it out with his Greek Portrait as cover , his family photographs and good article of literary value as introduction recently. This book is a feast of aesthetics for literary lovers.
Of course , it is meant for the scholars/ Intellectuals
Where is the book? Please respond to the questions. Thanks
Please provide the rented book of nagalokayagam
When I buy a book can't open (Addhunika Mahabharatam) even I download it can't open what is this idont understand this is waste site I have seen
I have recharged 360 but when read book does not open I want hard copy of Adhunika Mahabharatam book please send or other wise send PDF of complete book
Admin, Please let us know when this book will be available to download? I am eagerly waiting to read this book from past 6months.