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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.
- http://www.trivenijournalindia.com/

Shodasi Secrets of the Ramayana
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నమస్కారం. మీరు వ్రాసిన వచనానువాదం చాలా బాగుంది. కావ్యంలో ఉన్న విషయం ఇదీ అని తెలుసుకోవడానికి నాకు చాలా ఉపయోగపడింది. మీ కృషికి అభినందనలు, కృతజ్ఞతలు. -మురళి నందుల.

Pls enable rent option for this book

హాలీవుడ్ స్టైల్ లో నవల ప్లజంట్ గా నడిపించడంలో రచయిత్రి సక్సెస్ అయ్యారు.సిద్దార్థ సుగాత్రి మధ్య నడిచే సీన్స్ కొత్తగా వున్నాయి.నవల అప్పుడే అయిపోయిందా ?అనే ఫీలింగ్ కలిగింది.నిడివి తక్కువగా ఉండడం కొంత నిరాశకు గురి చేసింది.
అపరాధ పరిశోధనల్లో ఈ మధ్య వచ్చిన నవలల్లో డిఫరెంట్ ప్లజంట్ నవల అని చెప్పవచ్చు.

సబ్జెక్ట్ డిఫరెంట్ గా వుంది.ముఖ్యంగా హీరో అనగానే ఆరడుగుల ఆజానుభావుడు గాల్లో ఎగిరి ఫైట్ చేయడం అని కాకుండా వీల్ చైర్ ( చక్రాల కుర్చీ ) కి పరిమితమైన వ్యక్తి మాఫియా సామ్రాజ్యాన్ని శాసించడం ఆ పాత్ర శక్తిని నెక్స్ట్ లెవెల్ కు తీసుకువెళ్లినట్టు వుంది.అదే వ్యక్తి అండర్ వరల్డ్ గాడ్ ఫాదర్ "యాంటీ మాఫియా" కు చీఫ్ గా మారి ముల్లును ముల్లుతూనే తీయాలి అన్నట్టు మాఫియాను ధీ కొట్టే పాత్రగా మార్చ

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