Seshendra Sharma

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 India’s National Newspaper (Friday Review: 2nd October 2015) Shodasi Astounding scholarship of Sanskrit classics A product of deep research, intense intellectual labour And amazing scholarship The book under review which is an English translation by Dr. Gurajada Suryanarayana Murthy of the original Telugu Text represents a scholarly attempt by the erudite author to justify and prove the validity of certain radical propositions which he makes about the world – renowned Kavya – Valmiki Ramayana. The propositions that he makes are – 1. Sundara Kanda is an allegory of Kundalini Yoga 2. Sita is Kundalini Shakti 3. Hanuman’s search – mission of Sita symbolises Tantric Exercise of identifying the Kundalini Shakti and raising it from the Moola Dhara Chakra (denoted by Lanka) to Sahasrara Chakra 4. The descriptive terms employed about Sita hint at Sita being essentially a Kundalini Shakti 5. Trijata’s dream is nothing but Gayathri Mantra 6. Valmiki’s language has pronounced Vedic flavour 7. The phraseology employed by Valmiki corresponds largely to the terms employed in Lalitha Sahasra Nama , Durga Saptasati , Devi Bhagawatam etc.. 8. The aptness of the name Sundara Kanda is provable on Strong Grounds 9. Ramayana is anterior to Bharatha on various grounds such as the Vedic language employed in the former the reference of Valmiki and Ramayana in Mahabharata and absence of reference to Vyasa and Mahabharata episodes in Ramayana , Mention of Rama in Mahabharata and Rama’s greater antiquity than Pandavas and a host of other plausible evidences 10. Indra , the chief Vedic god more prominently featured and praised in Ramayana than Vishnu of the Puranic origin. 11. Megha Sandesham of Kalidasa originated out of the seed of Valmiki Ramayana and 12. The benedictory verse of Sakuntalam is eulogy of Devi. The brain – tickling propositions are not just of the cuff remarks made without basis but credible theories buttressed with profuse quotations of relevant Sanskrit Texts , wide and deep study of the relevant treatises unassailable arguments based on internal and external evidences and astounding scholarship of Sanskrit classics. On the flip side, there are a few errors in the transliteration of the Sanskrit texts. Had the Sanskrit passages from the treatises been provided in Devanagari Script also in addition to transliterated form in Roman Script value and appeal of this essentially Sanskrit oriented book would be much higher to the large and growing Sanskrit readership. The book is doubtless, a product of deep research, Intense intellectual labour and amazing scholarship. The Vedanta kesari : August 2016 The Lion of Vedanta A Cultural and Spirtual Monthly of the of the Ramakrishna Order since 1944 AN INTELLECTUAL FEAST Along With utmost devotion The author has clear understanding of not only of the Ramayana but also Mantra Sastra , Vedas and Kundalini Yoga His method is going deep into the subject and at the same time comparing the same with ideas of other branches of literature Shodasi , authored by Seshendra Sharma is a book of a special type . Though its purpose is to unfold secrets of the Ramayana many other aspects from different branches of knowledge also find a place there. The Ramayana is read in every household with devotion. It narrates not only story of Rama but it also spotlights very intricate and subtler points in other branches of knowledge, a point not even noticed by many. The author has clear understanding of not only of the Ramayana but also Mantra Sastra , Vedas and Kundalini Yoga . There are two approaches to understand the Sastras. One is vertical which is closely followed in Sanskrit Literature. It is reading a book with the help of commentary on it. In this method not only each word of the original analysed; its correct meaning and contextual purpose are also examined. The second is a horizontal method where in various ideas in the text are read not with one commentary but with many commentaries by different people. This gives total meaning of the text. Seshendra Sharma follows both methods. His method is going deep into the subject and at the same time comparing the same with ideas of other branches of literature. This needs a thorough understanding of various branches and ability to compare texts and spot new ideas and enjoy the same. For example , when Hanuman asks Sita who she is ,she replies ,“sama dvadasa tatraham raghavasya nivesane bhunjhana manushan bhogan sarva kama samrudhinee “ . Meaning “I enjoyed 12 years of mundane pleasure in the home of Rama” Though she is not an ordinary human being, she enjoyed mundane pleasures. “ you may mistake that I am a mortal woman , but understand I am Sri Maha Lakshmi” . That was the message. The most important clue is the statement “ Aham Sarva Kama Samridhinee “ . In Devi Bhagawatham we find “ Matah Sankaree Kamade “ In Sri Sukta “ Sarva Kamartha Siddhaye “ and in Lalitha Sahasra Nama “ too it is stated “ Om Kamyayai Namah” . If Sita were to be just an ordinary being all these statements would have been irrelevant. At another place she says “ Maya Ramasya Rajarshe Bharyayaya Paramatmanah” which means that she is wife of Paramatma. Hanuman , the devotee , recognized Sita to be none other than Jaganmata. Hence he could identify her easily as the divine mother and says “ tat sreemadyate tarat”. The word sreemat is used to mean brilliance Hanuman identifies Sita as Devi by the holy seed letter ( Sreem ) . The book is full of comparisons between different branches of learning and surely a feast for one who could enjoy the existence of similar ideas at various places. It only proves that ways may be different but the goal is one. Seshendra Sharma physically lifts the minds of the readers and offers an intellectual feast along with utmost devotion. Surely everyone should read this book and keep a copy of the same at home. Goda Venkateswara Sastry Tatvaloka : June 2016 The Splendour of Truth ( Monthly Magazine) ------------ Ramayan Through Kundalini Yoga Shodasi is an ideal read for Sanskrit-literate readers who are open to eclectic yogarthas and connotative meanings -------- So you thought Vyasa was before Valmiki, Mahabharat was before Ramayan, Rama a Vishnu avatar, and tantrism distinct from vedism? Think again. In Shodasi: Secrets of the Ramayana, Telugu poet Seshendra Sharma re-reads the Ramayan to come up with a number of new conclusions. Much of the book sets out to prove that Ramayan was written before the Mahabharat. Sharma discusses how Indra is cited more often than Vishnu, thus placing the context of the Ramayan closer to Vedic than Puranic thought. He quotes from the Mahabharat to show how it follows descriptions of hills, rivers from the Ramayan. The Mahabharat has some prose, and therefore, it must have been composed after Ramayan, which is entirely in poetry. These are only some of the numerous reasons that Sharma offers to suggest a new sequence of our itihasas. Sharma’s book is also an experimental reading of the Ramayan through the interpretive lens of what he calls Kundalini yoga. Hanuman’s flight to Sri Lanka gets a new interpretation. “Charana Charite Pathi” is interpreted as the path of Kundalini, and the first verse of the Sundara Kanda “Tatho Ravana Nithayah” is interpreted by Sharma to refer to Hanuman traversing the sushumna nadi of the Kundalini. Trijata’s dream becomes the Gayatri mantra through an imaginative recasting of words as numbers. Gaja (elephant) means eight, danta (teeth) means thirty-two, and maha-gaja-chaturdantam somehow also adds up to 32 syllables, which is the number of syllables in the Gayatri mantra. That Trijata’s dream is halfway through the Ramayan also becomes significant for Sharma, he calls it the ‘central bead’ in the Ramayan garland of 24,000 beads. Identifying 32-syllables as the Gayatri follows a convention, for mantras are referenced by the number of syllables; however, it is the “secret” yogartha—or mystical, anagogical translations—derived by Sharma that becomes problematic, unless he is considered an authority in his own right. conclude that the name Sundarakand is unrelated to any descriptions of beauty of any of the main characters in the Ramayan. However, Soundarya and Tripura-Sundari are well-known conventions in the tantric tradition and hence, Sharma concludes that Sundarakand derives its name from Shakti’s beauty, and “Sundara-Hanuman” means “Hanuman who is a devotee of Devi” (117). A coda in this book is about the benedictory verse in Kalidasa’s Sakuntalam which has traditionally been understood to refer to Ishwara. Sharma re-interprets this verse highlighting the “eight forms” of the last line as the eight forms of Devi that please Ishwara. This book is suitable for a reader who is Sanskrit-literate and open to eclectic yogarthas and connotative meanings. Sharma cites substantially from the Ramayan in roman but without diacritics, this is difficult to follow; and he does not always include translation. Sharma often cites commentators without citing names and sources. It is not clear why the book is called Shodasi—readers may note, this book is not about the Srividya tradition. Even if the reader is unconvinced by Sharma’s reasoning or methodology, the free flow of references may prove absorbing for a reader interested in the subject. This could also be an eclectic reference for a scholar researching tantric elements in the Ramayan. - Mani Rao The Sunday Standard Magazine The New Indian Express 29th November 2015 --------------------------- Scholarly and deeply researched monograph Pearls of insightful ideas and truths Most of the ancient treatises like the Valmiki Ramayana and Bhagavatha lend themselves to allegorical interpretations. The book under review is scholarly and deeply researched monograph that formulates the startling theory that the immortal epic Valmiki Ramayana, particularly, Sundara Kanda, is nothing but the enunciation of the doctrine of Kundalini Shakthi Yoga. The very title of the book is bound to make the scholarly fraternity and even the common readership sit up and take notice. The radical propositions that the erudite author advances are on the basis of relentless logic and a mass of internal and external evidences are: Ramayana is rooted in Vedas, both in terms of ideas it disseminates and its verbal garb in those it is clothed. Many of the similes that Valmiki employs are inspired by vedic poetry and literature. Many of the expressions employed in the Valmiki Ramayana bear close resemblance to phraseology found in texts like Devi Bhagavatham, and Soundarya Lahari. Sita is none other than Divine Mother and Gayathri. As borne out by an analysis of similarity of names and words used in Valmiki Ramayana and Sri Vidya Literature. Sundara Kanda is nothing but delineation Kundalini Yoga. Hanuman’s aerial voyage in search of Sita represents allegorically the devi worshipper’s exercise in Kundalini Yoga. Sita is Kundalini Shakti. The episodes of mainaka, surasa and Simhika – representing satwa, rajas, tamas respectively –represent piercing of the triple knots by the spiritual aspirant. The Sanskrit phrase “Charana Charithe pathi” that occurs at the opening Canto of Sundara Kanda clearly implies Hanuman’s movement through the path of Sushumna. Lanka is the Mula Dhara Chakra, the seat of Kundalini implied in Valmiki’s graphic description of Lanka, the place of incarceration of Sita. Lanka is Muladhara also from the point of view of Yoga and it is Sri Chakra from the point of view of Spiritual practice. The burning of Lanka symbolises awakening of Swadhishthana. The aptness of name Sundara Kanda is explicable in the light of various evidences embedded in the epic. Trijata’s dream is nothing but the Gayathri Mantra as can be inferred from certain Sanskrit terms representing their numerical equivalents employed to describe dream – scenes of Trijata and also from Dramatis Personae appearing in her dream. Mahabharata is an image of Ramayana and many striking similarities may be found between Valmiki and Vyasa in their style of narrative. Valmiki’s Ramayana is the seed of Meghadootha and Valmiki reincarnates, as it were, as Kalidasa. The vedic god Indra , as the supreme deity dominates epic as a benchmark for all comparisons with Rama and dwarfs Vishnu, the Puranik God, in importance. Ramayana is anterior to Mahabharata. There are 2 annexures at the end of the book “benedictory verse of Sakunthalam is nothing but eulogy of Devi “and “All Humans have same destination” . Coming from the pen of the Telugu poet proficient in several languages, who was active in various disciplines ranging from Sanskrit studies to Cultural activism and who was given the Sahitya Akademi Award, this book is definitely of exceptional merit as the ingenious interpretations of various verses of the epic and also of allied hymnal literature to establish the novel but plausible propositions, come as a refreshing revelations. The book unmistakably bears imprints of an amazingly analytical, deeply erudite and marvellously nimble mind that effortlessly plumbs the oceanic epic and picks up and presents to the community of discerning readers pearls of insightful ideas and truths. One glaring drawback of this essentially Sanskrit-oriented book is the absence of Sanskrit quotations in Devanagari script as transliterations in roman script that are given are poor substitute sonorous Sanskrit words clothed in Devanagari script. The merits mentioned in a short review of this book packed with quaint and profound ideas constitute merely the proverbial tip of an iceberg. A fund of fruitful and lofty ideas awaits those who venture dive deep into this great book. In short this book is a riveting read for scholars and a strong stimulant for the general readers. – N. Hariharan Madurai Prabuddha Bharata March 2016 A monthly journal of the Ramakrishna Order started by Swami Vivekananda in 1893 Unearthing secrets of Ramayana Ramayana A sea-bed of secrets A great boon to Devi Upasakas and Practioners of Sri Vidya The Ramayana popular as the Adi Kavya (first work of poetry) the world over is not just beautiful poetry . It is a sea bed of secrets – containing the methods of Kundalini yoga and mantra sastra . This is the heart of Shodasi : Secrets of the Ramayana authored by Seshendra Sharma , one of the towering personalities of Telugu Poetry . This book, a collection 16 articles with one article added on from this edition appeared in Telugu Original in 1967. Mr. N.Ramesan IAS , the then Principal Secretary to Education Dept , the then AP Govt observed feelingly in his preface , that this work is a boon for Devi Upasakas and merits to be translated into English and other Indian Languages. This advice has fructified after 48 Years. Dr. Suryanarayana Murthy , a physicist (retired : Baba Atomic Research Centre ) has translated Shodasi into English with commendable clarity of grasp over the subject and felicity of thought process and flow of reading. The story of Rama narrated in enchanting poetry, according to Seshendra is a honey supplement to the bitter medicine called Kundalini Yoga. Valmiki Maharshi chose the Story of Rama to propagate Kundalini Yoga and systems of meditation in the society, among the masses of his era. This is the fulcrum of this Research work. What is of significance is that the author , in order to buttress his analysis and arguments cites extensively and conclusively from the Original Text of Ramayana itself. This Translation introduces this seminal work to wider sections of readers in other parts of our multilingual nation and to scholars engaged in research in Indian scriptures in the west. As the reader goes through the pages of Shodasi it gradually becomes clear that , the story that Valmiki was a Hunter , after viewing the pair of birds dying for each other renounced hunting and became a Rishi is an episode woven around him to make him and his epic the Ramayana popular and that Valmiki belongs to the pantheon of Vedic Rishis . Seshendra at every point of analysis cites from the Vedas and sruthis. His own introduction to this work “one word to begin with “ he discusses elaborately on the significance of Valmiki’s Style of expression of phrases . This chapter is the gateway to the entire work. While analysing one stanza of he touches upon a simile Which compares moon in the night sky wit vrishabham in Goshtam (cowshed). Seshendra goes deeper into shruthi and Vedas and concludes that go means in Sanskrit speech and “goshte vrishabham mattamiva bhramantam “ implies that like Omkara moves at the throat the divine personality of moon is moving in the sky. That intricate and deep is the analysis of the author. Seshendra , then discusses why sundara kanda was chosen as the name of a chapter . He observes incisively and proves conclusively that Sita is the main character of this Kanda and Sita is none other than Adi Shakti ( The Divine Mother ) Sri Maha Tripura Sundari.This is the reason why Maharshi named it Sundara Kanda. Sundara Kanda is the heart of the Ramayana and Trijata Swapna (Demoness Trijata’s Dream) is its heart. Sundara Kanda is nothing but Kundalini Yoga . Right from the 1st stanza of the chapter Maharshi starts unfolding the path of Kundalini Yoga in a suggestive manner garbed in enchanting poetry teaming with breath taking similes. Hanuman is SriVidyopasaka. The author discusses the 1st stanza “Chaaranaa Charithe pathi “ with intrinsic evidence from the Ramayana itself. Charanas are Divine Singers and their path is the sky . In other words in Kundalini Yoga “Sushumna “. The entire chapter elaborates each stanza in a captivating tone and concludes with Lanka Dahana ( Burning of Lanka ) as piercing of the Sahasrara seated in the head. First hand reading alone will give the unnerving feel of this chapter. Another important chapter is “ Trijata’s dream is nothing but Gayathri mantra “. In this , Seshendra views Trijata’s Dream, one of the demonesses guarding Sita in Ashoka Vana as Gayathri mantra. He dwelves deep into each Sloka of this episode and proves convincingly that Valmiki created this episode in order to embed the mantra in Ramayana. Till this point this book is a cluster of revelations. “The later part is both revelation and research. Seshendra in the chapter “ Indra is the Supreme Deity of Ramayana “ discusses each stanza of the Ramayana and goes on to reveal that at the time when Valmiki was writing the Ramayana the concepts of Vishnu and incarnation (Avatar ) were non– existent . Indra is the supreme deity of the Ramayana. In other 2 chapters the author‘s exhaustive study and Incisive analysis are all pervasive. Seshendra explodes the myth sought to be propagated by some of the Western Scholars that the Bharatha precedes the Ramayana . Shodasi , as rightly pointed out in one preface, is a great boon to Devi Upasakas and Practioners of Sri Vidya. All these ages this Adi Kavya is seen only as the Story of Rama. Here is a path breaking work which reveals the hidden treasure of spiritual secrets which Valmiki Maharshi embedded them in his epic. Insight ( Sunday Magazine ) The Hitavada ( English Daily ) 1st November 2015 ----------- SHODASI : SECRETS OF THE RAMAYANA ENGLISH HINDI AND TELUGU ORIGINAL AUTHOR : SESHENDRA SHARMA Seshendra : Visionary Poet of the Millennium http://seshendrasharma.weebly.com https://seshen.tributes.in/ REVIEWS : https://www.facebook.com/shodasi/ Books : https://kinige.com/author/Gunturu+Seshendra+Sharma Valmiki , The Sage of 5th century B.C wrote The Ramayana not to narrate the story of Rama in an absorbing style. Though the epic poem presents Rama’s Journey of life in enchanting poetry , the story and the enchanting poetry are sugar coating or honey to the organic medicine called Kundalini Yoga. Maharshi Valmiki wrote the Ramayana to spread / propagate Kundalini Yoga among the masses. Thus the soul of The Ramayana is Kundalini Yoga / Sri Vidya. Valmiki embedded Kundalini Yoga in the Chapter titled “ Sundara Kanda” . Hanuman and Ravana are Kundalini Yogis of Samaya and Kaula Paths. And in Sundara Kanda , he inserted “ Trijata Swapna “ , dream sequence of a demon and in it embedded the Gayathri Mantra. The concepts of Vishnu and Avatar (reincarnation) were nonexistent during the Ramayana Period. Seshendra Sharma , Scholar - Poet in his Magnum Opus of Research “ Shodasi : Secrets of The Ramayana “ reveals these secrets lying hidden for thousands of years . * * * * * How old is Valmiki Ramayana? One Calculation says 8 lacks 70 thousand Years. Going by the Christian calendar dating to approximately the 5th to 4th century BC. According to Indian classification of time Ramayana belongs to the Treta Yuga and today we are in the Kali Yuga. All these millions of years the human civilisation the world over, recognised it as the first poetry and in this part of the world i.e. the Indian Subcontinent the central character of the epic is present as an idol of worship in thousands of temples and in every household of believers. But here is a research work which says Ramayana is merely poetry to the naked eye whereas it is an ensemble of invisible secrets which have been lying unnoticed all these ages. What could have been the Valmiki Maharshi’s vision which made him chisel an epic poem which is pregnant with startling secrets? Shodasi : Secrets of the Ramayana , a Magnum Opus comprising both revelations and research findings written in Telugu 47 Years ago is translated into English by Dr. G.S.Murthy , a 86 year old physicist (Retrd) from BARC. Dr. Murthy observes about Shodasi that “the approach adopted by Seshendra Sharma is unprecedented. .. His conclusion that Ramayana is closer to Sruthi than any other scripture is very significant and is based on the intrinsic evidence in the Ramayana itself.... it is a revolt against the customary methods followed to understand the status of Ramayana in the Sanskrit Literature.” The fulcrum of Shodasi is that poetry in Ramayana is a supplement to the bitter medicine called “Kundalini Yoga” and Ramayana is divine Ambrosia for all mundane afflictions and problems that beset the human kind. Seshendra reveals that Sundara Kanda is the heart of Ramayana and it is nothing but Kundalini Yoga . And the heart of Sundara Kanda is Trijata ‘s Dream , which is nothing but Gayatri Mantra. Kundalini Yoga which is also known as Sri Vidya is awakening of inner powers dormant in humans through meditation. The very 1st Shloka of Sundara Kanda is analysed and explained exhaustively by the author from several angles. “Chaarana Charithe pathi..(Sky-Path) “is , according to the author the Sushumna in Humans. Lanka Dahana ( Reducing Ravana’s Empire Lanka to ashes ) is the climax of the Kundalini Yoga which is Sahasrara Bhedana. The author analyses citing evidence from the Ramayana original text , that both Paths of Kundalini Yoga , Samaya and Kaula ways are shown in the epic. What is of paramount importance in this work is that each exposition refers to a cluster of references germane to the main discussion. Hence it is obvious that this work is a scholastic paradise to people who are conversant with Sanskrit literature and other ancient scriptures. A pedestrian reader cannot even peep into Shodasi . Seshendra’s introduction “One word to begin with “sets the tone and tenor of the work. He dilates at length how Sanskrit language is moulded by Valmiki on the lines of Sruthi and Veda to envelop his central theme in suggestive and oblique style. It is said Valmiki wrote Ramayana in 24 thousand Shlokas taking each syllable of Gayatri Mantra, which has 24 syllables. Seshendra Shows convincingly, where the Gayathri Mantra itself is located in Ramayana. He says “ Sundara Kanda “ is the heart of Ramayana and Trijata ‘s Dream is Sundara Kanda’s heart. “ Maharshi created an apparent episode of “Trijata Swapna “ and through this he embedded Gayathri Mantra in it. “ This book is replete with several such revelations and unnerving observations. The chapters on “ Relationship between Ramayanayana and Megha Sangesham “ “Indra supreme deity “ compel the reader to stop and think at the turn of every observation. This reviewer does not like to “spill all the beans “. Dr. Murthy, the translator, aptly observes “ It needs a very attentive mind and adequate patience to follow author’s arguments “. Seshendra Sharma( http://seshendrasharma.weebly.com ) , winner of Sahitya Akademi Award for his “Kaala Rekha “( Arc of Blood ) a collection of essays in comparative literature , a fellow of the Akademi During his life time whose Long Poem “ My Country – My People – Modern Indian Epic “was nominated for Nobel in 2004 is scholar –poet of our times . His Kavisena Manifesto (Modern Indian Poetics), Kaala Rekha( Essays in Comparative Literature)are monuments of contemporary Indian Literature , unsurpassed to this day. His prose works prove that he is Albert Einstein of Indian Literature. After completing the first round of reading the reader would certainly agree with Vishwanatha Satyanarayana ,Telugu poet of romantic era , recipient of Gyanpith Award for his “Ramayan Kalp Vriksh” who wrote preface to this book “ Every one , not only the telugu – speaking people all Indians must be grateful to him for writing this book”. -------- 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.GunturuSeshendra 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 analyzingSundara Kanda specially through KundaliniYoga . 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 , VagbhavaKutas 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 KundaliniYoga . The foreword by VishwanathaSatyanarayana adds credibility to the book. The current work is an English translation of the original by GurujadaSuryanarayanaMurthy , 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) A Resplendent Icon of all Arts This is an exemplary book which elevated the status of Indian Literary Criticism to the peaks of the world literature. Shodasi is a name associated with a great hymn. The title suggests that it’s a book on spiritual discourse. A reading of this book suggests that the spirit of scientific temper is critical to comprehend Valmiki’sSrimad Ramayana. Besides this, command on Vedic or Scriptural knowledge is essential. What does a layman has to say when a towering personality like ViswanathaSatyanarayana himself extolled the critical acumen and serious scholarship of Seshendra Sharma. Sharma has made it crystal clear that unless one has an apparent understanding of the plot’s context, psyche of the characters, and the milieu of the bygone days supplemented by extraordinary scholarship, sound knowledge of phonetics and awareness on contemporary issues; one cannot easily comprehend the poetic diction of Valmiki. The debate on the phrase “Netraturaha” is a fitting example. The uniqueness of the title, Sundarakanda, Kundalini Yoga, Gayatri Mantra secretly hidden in Trijata’s dream sequence, considering The Bharatha as an image of The Ramayana.... this book is a repository of many such critical discourses. It is replete with inconceivable and unfathomable issues. This magnum opus is an invaluable gift to the Telugu literature. - VIPULA, Viswa Katha Vedika: May 2014 (An exclusive Telugu Monthly Magazine for stories) * * * Valmiki Ramayana – Greatest Medicine for Mankind The story of Ramayana is prescribed as textbook for students. Sita and Rama are worshiped as prime couple. No need to mention about reciting it. Whether Valmiki was satisfied with simple narration of the story? Seshendra Sharma denies it. He analyzed it mentioning that to understand the inner meanings of Valmiki Ramayana, the scientific knowledge is essential. The underlying secret of the sage’s mind will be known through the knowledge of science. It is the firm opinion of Seshendra that the argument that “the sciences are for scholars only” is a conspiracy hatched by Selfish scholars and lazy uneducated persons. Seshendra who has democratic ideology and conviction on science and literature informs the public about the secrets of Ramayana expounded by Valmiki. He explains that Valmiki dedicated ambrosia (The Greatest Medicine) named “Kundalini Yoga” to the mankind. The poetry in the metre of AnushtupSloka is the honey coating to the medicine. It was explained with great introspection and exemplary scholarship. He concludes that the Ramayana is older than the MahaBharatha and it is another form of Veda. Valmiki introduced the system of meditation in Ramayana. The Introspection and research bent of mind of Seshendra are spread over in the book in two streams. The exuberant fragrance of scholarship is experienced throughout the book. The present generation can understand the scholarship of Seshendra in Vedas and Mantra Sastra. Seshendra is a poet who has composed unique RuthuGhosha (Cry of the Seasons: Metrical Poetry) and revolutionary free verse –MandeSuryudu (The Burning Sun). - Andhra Prabha (Telugu Daily), 24th August 2014. * * * Two Great Peaks in the world literary criticism and research Shodasi: Secrets of The Ramayana and SwarnahamsaHarshanaishada from the mighty pen of the great Telugu poet, GunturuSeshendra Sharma are considered to be the two great peaks in the world literary criticism and research. This is a truth most contemporary Telugu writers and readers aren’t aware of. The way Seshendra could discover Kundalini Yoga, Gayathri Mantra in Shodasi, he could discern the treasure trove of mantra yoga, Sri Mahatripurasundari, Chintamani mantra in Swarnahamsa. At a time when our universities which are mere Degrees production Units, churn out “solid waste” in the name of research; Seshendra even while attending to his job as a Municipal Commissioner created research oriented critical volumes like a sage. Though Shodasi was published in 1967 and Swarnahamsa in 1968; Swarnahamsa was created by him much before Shodasi was conceived. The concepts that Srinatha, Nannayya and Mallanatha, the Telugu Classical poets couldn’t decipher, Seshendra could. He humbly submits that he is most fortunate that the triumvirate had left behind some pertinent concepts only to be discovered by him at a later stage. These two great kavyas were serialised under the editorship of late NeelamrajuVenkataSeshaiah in Andhra Prabha Daily, Sunday Literary Supplements from 1963 to 1967 and Seshendra’s poems and non-fiction were published in the book forms (6) only after they appeared in serial form in Andhra Prabha. ----------------- GunturuSeshendraSarma, 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 BhagavathamSita 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. Visionary Poet of the Millennium An Indian poet Prophet Seshendra Sharma October 20th, 1927 - May 30th, 2007 http://seshendrasharma.weebly.com/ https://www.facebook.com/GunturuSeshendraSharma/ eBooks :http://kinige.com/author/Gunturu+Seshendra+Sharma Seshendra Sharma is one of the most outstanding minds of modern Asia. He is the foremost of the Telugu poets today who has turned poetry to the gigantic strides of human history and embellished literature with the thrills and triumphs of the 20th century. A revolutionary poet who spurned the pedestrian and pedantic poetry equally, a brilliant critic and a scholar of Sanskrit, this versatile poet has breathed a new vision of modernity to his vernacular.Such minds place Telugu on the world map of intellectualism. Readers conversant with names like Paul Valery, Gauguin, and Dag Hammarskjold will have to add the name of Seshendra Sharma the writer from India to that dynasty of intellectuals. Rivers and poets Are veins and arteries Of a country. Rivers flow like poems For animals, for birds And for human beings- The dreams that rivers dream Bear fruit in the fields The dreams that poets dream Bear fruit in the people- * * * * * * The sunshine of my thought fell on the word And its long shadow fell upon the century Sun was playing with the early morning flowers Time was frightened at the sight of the martyr- - Seshendra Sharma B.A: Andhra Christian College: Guntur: A.P: India B.L : Madras University: Madras Deputy Municipal Commissioner (37 Years) Dept of Municipal Administration, Government of Andhra Pradesh 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. Diversity and depth of his literary interests and his works are perhaps hitherto unknown in Indian literature. From poetry to poetics, from Mantra Sastra to Marxist Politics his writings bear an unnerving pprint of his rare genius. His scholar ship and command over Sanskrit , English and Telugu Languages has facilitated his emergence as a towering personality of comparative literature in the 20th century world literature. T.S.Eliot ,ArchbaldMacleish and Seshendra Sharma are trinity of world poetry and Poetics. His sense of dedication to the genre of art he chooses to express himself and the determination to reach the depths of subject he undertakes to explore place him in the galaxy of world poets / world intellectuals. Seshendra’seBooks :http://kinige.com/author/Gunturu+Seshendra+Sharma Seshendra Sharma’s Writings Copyright © Saatyaki S/o Seshendra Sharma Contact :[email protected]+919441070985+917702964402 ------------------------ GunturuSeshendraSarma: an extraordinary poet-scholar One of the ironies in literature is that he came to be known more as a critic than a poet HYDERABAD: An era of scholastic excellence and poetic grandeur has come to an end in the passing away of GunturuSeshendraSarma, one of the foremost poets and critics in Telugu literature. His mastery over western literature and Indian `AlankaraSastra' gave his works a stunning imagery, unparalleled in modern Indian works. One of the ironies in literature is that he came to be known more as a critic than a poet. The Central SahityaAkademi award was conferred on him for his work `KaalaRekha' and not for his poetic excellence. The genius in him made him explore `Kundalini Yoga' in his treatise on Ramayana in `Shodasi' convincingly. His intellectual quest further made him probe `NaishadhaKaavya' in the backdrop of `LalitaSahasraNaamavali', `SoundaryaLahari' and `Kama Kala Vilasam' in `SwarnaHamsa', Seshendra saw the entire universe as a storehouse of images and signs to which imagination was to make value-addition. Like Stephene Mallarme who was considered a prophet of symbolism in French literature, SeshendraSarma too believed that art alone would survive in the universe along with poetry. He believed that the main vocation of human beings was to be artists and poets. His `Kavisena Manifesto' gave a new direction to modern criticism making it a landmark work in poetics. Telugus would rue the intellectual impoverishment they suffered in maintaining a `distance' from him. Seshendra could have given us more, but we did not deserve it! The denial of the Jnanpeeth Award to him proves it The Hindu India's National Newspaper Friday, Jun 01, 2007

This is father’s speech ( Seshendra Sharma / http://seshendrasharma.weebly.com ) at “ Meet the author Program “ jointly organised by India International Centre and Sahitya Akademi : New Delhi on 05. 12. 1995 ------- In this Literary Gathering father presented his paper on poetics“ Poetry : An Odyssey “ and Recited his poems in English, Hindi and Telugu. Courtesy : Sahitya Akademi : New Delhi : India https://www.youtube.com/watch?v=EXXoCgY25Ck&t=2466s https://www.youtube.com/watch?v=BgpIhKXy0wE&t=650s

Visionary Poet of the Millennium An Indian poet Prophet Seshendra Sharma October 20th, 1927 - May 30th, 2007 http://seshendrasharma.weebly.com/ https://www.facebook.com/GunturuSeshendraSharma/ eBooks :http://kinige.com/author/Gunturu+Seshendra+Sharma Seshendra Sharma is one of the most outstanding minds of modern Asia. He is the foremost of the Telugu poets today who has turned poetry to the gigantic strides of human history and embellished literature with the thrills and triumphs of the 20th century. A revolutionary poet who spurned the pedestrian and pedantic poetry equally, a brilliant critic and a scholar of Sanskrit, this versatile poet has breathed a new vision of modernity to his vernacular.Such minds place Telugu on the world map of intellectualism. Readers conversant with names like Paul Valery, Gauguin, and Dag Hammarskjold will have to add the name of Seshendra Sharma the writer from India to that dynasty of intellectuals. Rivers and poets Are veins and arteries Of a country. Rivers flow like poems For animals, for birds And for human beings- The dreams that rivers dream Bear fruit in the fields The dreams that poets dream Bear fruit in the people- * * * * * * The sunshine of my thought fell on the word And its long shadow fell upon the century Sun was playing with the early morning flowers Time was frightened at the sight of the martyr- - Seshendra Sharma B.A: Andhra Christian College: Guntur: A.P: India B.L : Madras University: Madras Deputy Municipal Commissioner (37 Years) Dept of Municipal Administration, Government of Andhra Pradesh 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. Diversity and depth of his literary interests and his works are perhaps hitherto unknown in Indian literature. From poetry to poetics, from Mantra Sastra to Marxist Politics his writings bear an unnerving pprint of his rare genius. His scholar ship and command over Sanskrit , English and Telugu Languages has facilitated his emergence as a towering personality of comparative literature in the 20th century world literature. T.S.Eliot ,ArchbaldMacleish and Seshendra Sharma are trinity of world poetry and Poetics. His sense of dedication to the genre of art he chooses to express himself and the determination to reach the depths of subject he undertakes to explore place him in the galaxy of world poets / world intellectuals. Seshendra’seBooks :http://kinige.com/author/Gunturu+Seshendra+Sharma Seshendra Sharma’s Writings Copyright © Saatyaki S/o Seshendra Sharma Contact :[email protected]+919441070985+917702964402 ------------------------ GunturuSeshendraSarma: an extraordinary poet-scholar One of the ironies in literature is that he came to be known more as a critic than a poet HYDERABAD: An era of scholastic excellence and poetic grandeur has come to an end in the passing away of GunturuSeshendraSarma, one of the foremost poets and critics in Telugu literature. His mastery over western literature and Indian `AlankaraSastra' gave his works a stunning imagery, unparalleled in modern Indian works. One of the ironies in literature is that he came to be known more as a critic than a poet. The Central SahityaAkademi award was conferred on him for his work `KaalaRekha' and not for his poetic excellence. The genius in him made him explore `Kundalini Yoga' in his treatise on Ramayana in `Shodasi' convincingly. His intellectual quest further made him probe `NaishadhaKaavya' in the backdrop of `LalitaSahasraNaamavali', `SoundaryaLahari' and `Kama Kala Vilasam' in `SwarnaHamsa', Seshendra saw the entire universe as a storehouse of images and signs to which imagination was to make value-addition. Like Stephene Mallarme who was considered a prophet of symbolism in French literature, SeshendraSarma too believed that art alone would survive in the universe along with poetry. He believed that the main vocation of human beings was to be artists and poets. His `Kavisena Manifesto' gave a new direction to modern criticism making it a landmark work in poetics. Telugus would rue the intellectual impoverishment they suffered in maintaining a `distance' from him. Seshendra could have given us more, but we did not deserve it! The denial of the Jnanpeeth Award to him proves it The Hindu India's National Newspaper Friday, Jun 01, 2007 Who Are The Legal Heirs of Seshendra Sharma ? ------------------ The literary world is aware that my father Gunturu Seshendra Sharma, eminent poet, litterateur and scholar-critic, died on 30th may 2007. Ever since he expired, there has been no mention of his parents, family members and other personal details in the news and in the articles about him. Not only this, fictional lies are being spread and using money power one shady lady is being propagated as his wife and so on. This has been causing me, as his son, a great mental agony. That is why, through this article, I am revealing certain fundamental truths to the literary field of this country and the civilized society. I appeal to your conscience to uphold truth, justice and values of our composite culture. Seshendra Sharma's family members are: Parents: Subrahmanyam Sharma, Ammaayamma- Wife: Janaki Daughters: Vasundhara, Revathi, Sons: Vanamali, Saatyaki. Only these two are legal heirs of Seshendra Sharma, socially and morally too. Street Play and Circus: In 1972, away from the civilized society, without the knowledge of parents and near and dear, in a far flung village called Halebeed in Karnataka a circus, a street play was staged. Let me make it clear that even after this street play my father did not divorce my mother Mrs.G.Janaki legally. He never had even a faint intention of committing such an uncivilized act. On the contrary, in all crucial Government documents he nominated my mother as his legal heir from time to time. During his long career as Municipal Commissioner with The Government of Andhra Pradesh, he retired 3 times. His first retirement came in 1975 by way of compulsory retirement for his anti establishment writings during Mrs. Gandhi's' emergency. His second retirement came in 1983 when the then new chief minister N.T. Rama Rao's government reduced the age of service from 58 to 55 years. The third and final retirement in the year 1985 on attaining 58 years of age. On all these occasions, in all the government documents, my father Seshendra Sharma nominated my mother Mrs. Janaki as his legal heir. This is precisely why the self contradictory 'second marriage' is a circus enacted away from the society and Law does not recognize this type of street plays as marriage. Lakshmi Parvathi in literature N.T. Rama Rao, actor turned politician married Ms. Lakshimi Parvathi in 1994 and subsequently in January 1995 he came to power for the second time. She used to act as an extra constitutional power and run the matters of government and the party. She developed her own coterie of cohorts and started dominating the party. After NTR was toppled by his own son- in-law, most of them parted ways with her. And the remaining touts left her for good the day NTR breathed his last. Ms.Indira Dhanrajgir has been playing the same role in Telugu literature over a period of more than 3 decades. In the guise of literature she developed her own coterie of lumpens with extra literary and money mongering elements - Tangirala Subba Rao, Velichala Kondala RAo(Editor:Jayanthi) Cheekolu Sundarayya(A.G.'s Office, Hyderabad et al). There are a couple[ of dissimilarities between these two instances. After the demise of NTR, L.P's coterie of cohorts disappeared once and for all. Whereas, in Indira Dhanrajgir's case new lumpens are entering the field with the passage of time. Squandering her late father's wealth, she is roping in new touts. Since NTR's wife Basava Tarakam passed away in 1984 and since he was old and sick NTR's marriage with LP has ethical basis and is legal completely. Whereas I.D's is neither ethical nor legal. Hence it is a street play. This is the reason why after my father's death she has been spending money on a larger scale and indulging in false publicity and propaganda. Bh. Krishna Murthy, Sadasiva Sharma (The then Editor of Andhra Prabha:Telugu Daily, presently with Hindi Milap) Chandrasekhara Rao(Telugu lecturer: Methodist Degree College) etc. are indulging in all sorts of heinous acts to prop up I.D as my father's wife. My father passed away on 30 May 2007. When our family was in grief and I was performing the 11 day ritual as per my mother's wish, the above mentioned Sadasiva Sharma went to Municipal Office on 4th June, created ruckus, played havoc telling them that he is from the Prime Minister's Office , мейд some 'senior officials' make phone calls to the officials concerned and got my father's death certificate forcibly issued. When the entire family was mourning the death of the family head, a stranger and a lumpen S.S -Why did he collect my father's death certificate forcibly from the municipal authorities? Whom did he collect it for? THREE NAMES OF THE SAME PERSON IN 3 DECADES This is perhaps for the first time that the name of a lady appears in 3 forms at a time. Perhaps in 1970, in my father's collection of poems"PAKSHULU her name appeared As Rajkumari Indira Devi Dhanrajgir. In 2006 she published a fake version of Kamaostav(Rewritten by a muffian Called Chandrasekhara Rao) . In this book her name appears as R.I.D.D. Prior to 1970 in Maqdoom Mohiuddeen's(Renowned Urdu Poet) anthology of poetry 'Bisath -E-Raks', in Urdu as well as Hindi , at the end of two poems her name appears as Kumari Indira Dhanrajgir. On 15th June 2007 A.P state cultural affairs department and Telugu University jointly held my father's memorial meeting. I.D hijacked this meeting by issuing her own commercial advertisements in English and Telugu dailies. In these advertisements her name appeared as Smt. Indira Devi Seshendra Sharma and again in the commercial public notices мейд by her in the month of November 2007her name appeared as Rajkumari devi etc. Why does her name appear in different forms on different occasions? Will I.D explain? Will Sadasiva Sharma clarify, who forcibly took my father's death certificate after four days of his death? Or will Bh.Krishna Murthy clarify? If I.D has even an iota of regard, respect for or faith in love, or relation, the institution of marriage, immediately after'Halebeed Circus', she would have used my father's family sir name and her name would have appeared as Gunturu Indira. Since she was conscious of her goal during all times and conditions she did not take such a hasty and mindless step of change of her name. WHERE DOES THE REAL SECRET LIE? Her life is totally illegal, anti-social and immoral. I.D's father performed her marriage with SRikishenSeth, Nephew of the then Prime minister to Nizam, Maharaja Kishen pershad in 1945. On the day of marriage itself I.D beat SrikeshenSeth up and ran away from him. She did not stop at that. She propagated among his friends and relatives and near and dear that he was not enough of a man and unfit for conjugal/ marital life. She filed a divorce case against him and dragged it till 1969/70. Lion's share of her husband's life got evaporated and was sapped completely by then. His parents used to approach I.D's father and plead with him to prevail upon his daughter, put sense into her head and see that she either lives with their son or dissolves the marriage legally so that they can remarry off their son. But I.D did not heed. Raja Dhanrajgir after getting disgusted with her nasty activities stipulated a mandatory condition in his will. He stated that I.D would be entitled to get a share of his property only if she is married. This is the reason why ID who has no respect for the institution of marriage or regard or desire for marital life , in the guise of love and love poetry inflicted indelible blemish on the institution of marriage which is unprecedented in the literary history of the world. After my father's death she has been indulging in more rigorous false publicity along with her coterie of touts. KAMOSTAV:STORY OF ID'S SOUL: With this novel Kamostav, father's literary life came to an end for good. He did not produce literary works worth mentioning in his later phase of life. During those days he asked for my opinion on that novel. I told him clearly that it lacks the form and content of a novel- it does not have a story line, plot, sequences, characters and eventually a message which every novel gives. Hence it is a trash. Several people went to court and got its publication in a weekly stopped. ID got this very trash rewritten completely by Chandrasekhara Rao and printed it. This kind of heinous development has never taken place in the recorded history of Telugu literature till date. A writing which brought disrepute to my father in the literary field and isolated him in the society, why did she get it rewritten by somebody and publish it claiming copyright to be hers? What is her motive? What is her aim? That is why Kamotsav is ID's biography, story of her inner soul. SESHENDRA'S COPYRIGHTS: My father gifted away copyrights of his entire works along with their translations to me by way of birth day gift to me on 2.12.1989. Since then I have published several of his works during his lifetime itself. Kamostav, the version that is secretly мейд available is the dirty work of cheapsters and lumpens under the leadership of ID. It is much worse than violation of copyrights. That is the reason why I have been reluctant to take action so far. If she and her debased henchmen try to violate copyrights of my father's works bequeathed to me, I shall take exemplary legal action against them. ID мейд 2 public notices to the effect that my father cancelled all his earlier transfer of copyrights and retransferred all his rights to her. This is a palace intrigue in the modern era in our civilized society. WHAT DOES LAW SAY ABOUT COPYRIGHTS? An author can transfer copyrights of his works to any one as per her/his wish. But the Copyrights Act 1957 and the Supreme Court in its various judgments has clearly stipulated a procedure to revoke earlier assignment and transferring of copyrights to somebody else subsequently. The author has to issue a notice to the 1st assignee, giving 6 months time for reply. Depending on the reply the author can take his next step. Where as in my father's copyrights matter he did not even inform me orally of any such cancellation. ID claims that she has a typed document of transfer of copyrights signed by my father on 5.1.2006. Between 5.1.2006 and 30.5.2007, leave alone issuing a notice, he did not even inform me orally. My father who assigned copyrights to me in his own handwriting, when he was relatively young and physically fit did not require to cancel the 1st assignment when he was totally dilapidated, almost bedridden and was counting his days. Another important aspect of the matter is that I have printed the Xerox of my father's document in his own works as early as 1995 and have been doing so from time to time during his life time. Where as ID claims to possess a document after my father's death and she has not мейд it public so far. ID tried to get my father's complete works published in different languages by Telugu University (Hyderabad: A.P: India) by paying them Rs. 6 Lakhs. I approached Telugu University and apprised them of facts. On the advice of legal experts, they stopped this project and returned ID's money to her. It is an incontrovertible fact that ID's document is a forged and fraudulent document which does not stand scrutiny before law. Court shall certainly award her exemplary punishment. In all societies and times literature has been social wealth/public property from time immemorial. It should not be used as a mask to grab share of parental property illegally and unethically. I am committed to this cause/ ideal and appeal to the civilized society to strengthen my hands in this endeavor. ID's younger brother Sri Mahendra Pratapgir is the lone legal heir apparent of that family and keeping him in dark, she is squandering her father's wealth in Telugu literature for her nasty propaganda. FATHER PASSED AWAY: In 1997 when he suffered the 1st heart attack he was half-dead. Dr.Sudhakar Reddy, cardiologist of Mediciti Hospitals (Native of Warangal.A.P) performed angiogram and diagnosed that he had blocks in arteries and one valve was damaged completely. He advised open heart surgery. But ID averted it and got angioplasty performed. His health declined rapidly since then and was leading the life of virtually an invalid till he breathed his last. He suffered inexplicable mental and physical torture for about a decade. During the last leg of his journey he was isolated from his family completely. He was deserted by one and all in the literary field. When his younger brother passed away, his younger sister passed away he did not visit his ancestral home in his village and call on those families. He became target of jealousy and animosity in the society. He became a victim of false impression with the society that he was an aristocrat and rolling in luxuries. Whereas, he was deprived of even his native vegetarian food for decades together. As a silent and helpless witness to these painful happenings, I was subject to untold mental agony. In the later half of March 2007 on one of my visits to him, I was aghast at his condition. His entire body was swollen. His appearance was like that of a stuffed gunny bag. I told him to get hospitalized. I told ID to rush him to a hospital. But of no avail. On 30th may 2007 at about 11 pm I got a phone call from her" Come soon/Serious" she said. As I entered at 11.15 pm "Go inside/he is no more' she said. * * One day when swarms of lamps vanish, in the light of a lonely lamp I ask the dumb pillars "Can't you liberate me from the disgust of this existence? I ask those stand still forest flame trees which blossom flowers at that very place year after year "can't you rescue me? I ask those high roof tops and this Venetian furniture which every one feels are greater than me, "can't you rescue me from the disgust of this existence?" All these answer in a melancholic voice "We have been languishing since more than 100 years watching the same unchanging scenes we are older prisoners than you are" (Janavamsham: Telugu: Seshendra: Page 80-81:1993: Translated by me) My father's first biography (in Hindi) titled "Rashtrendu Seshendra: Ashesh Aayaam" by Dr.Vishranth Vasishth appeared in 1994. Touching upon these very sensitive aspects of my father's life he commented in that book"SONE KE PINJRE ME PANCHCHI" (A bird in a golden cage). Alarmed and agonized by his rapidly declining health, as early as June 2002, in order to bring pressure on ID, I gave a 2 cassettes long interview to Vijayaviharam of Janaharsha group. Later on when I enquired about that interview they said that in the raids conducted on their premises, they got destroyed. I wanted to rescue my father and bring him back home when he was in good health. Alas! At last, I took him to the burial ground, laid him on the funeral pyre and consigned him to flames and returned home all alone. G.Satyaki S/o Late.G.Seshendra Sharma Hyderabad.A.P.INDIA [email protected] , +91 94410 70985 , 7702964402 --------------- Pardon Me Father! I could not rescue him from the clutches of that nymphomaniac and vampire. There may be an exception or two but an average Indian woman desires from the depths of her soul that her husband should live long and she should pass away before him. She performs prayers and fasts on auspicious days for this purpose. She in spite of being 3years elder to him did away with my father in a planned and premeditated manner and I was a silent and helpless witness to it. He suffered 1st Heart attack in November 1997. Cardiologists performed angiogram and advised open heart surgery. Because there were blocks in vessels and one valve was damaged. But she successfully thwarted it and without my knowledge or informing any one got angioplasty done in Mediciti (Hyderabad: AP; India) her plan was to do away with him and live long, and establish herself as his wife through his books. He was succumbing to her blackmail. My overwhelming hunch is that she was threatening him with social insult and humiliation if he parts ways with her. Between 1997-2007, she played football with his body. He used to be hospitalized every now and then with swollen body and heart pain. Because of damaged valve pumping was impaired and water used to accumulate in the system. Every time I used to force her to hospitalize him. He used be in ICCU for a couple of days and recover marginally. After each visit to hospital he was getting debilitated gradually. He was put on wheel chair. He was virtually under house arrest. He was not allowed to speak to friends and family members. Visitors were kept away. He was taking Lasix (Tablet: is a diuretic that is used to treat fluid accumulation, caused by heart failure, cirrhosis, chronic kidney failure, and nephrotic syndrome.) to flush out water accumulated in his body. This creates a painful dilemma in me whether my interference in his health matters was just. As his son it was my moral duty to protect him. But I sometimes feel if I were not to interfere she would have put him to death long ago and thus he would have escaped from physical and mental torture quite early. Towards perhaps end of the month of March she withdrew medication. He got swollen suddenly and that condition continued till the last day i.e. 30th may 2007. Each time I visited I used to tell that witch to take him to hospital. But after a couple of visits I got convinced that she made up her mind this time to do away with him. I requested a bastard who was feigning to be a friend of mine, who incidentally happens to be a legal luminary of this region to send a doctor friend to that place and ascertain the exact condition of his health. But of no avail. I kept on telling him to come out of that place and lead a normal and healthy life. Her blackmail gained an upper hand and I lost in my efforts to restore health to him and bring him back to civilized society. O God pardon me for not being able to outmanoeuvre her machinations. Pardon me father.

THE ARC OF BLOOD : THE MAKING OF A POET I vaguely remember that it was in 1978 and then I was studying B.A. in S.V.Arts College which, though situated as a boundary to S V University, appears as a part of it due to its similarity in the name. Then the Department of Telugu under the stewardship of Prof G N Reddy used to conduct literary seminars and functions regularly and I enthusiastically attended many of them. The lectures of Gunturu Seshendra Sarma are undoubtedly the best among them. By that time Seshen emerged on the horizon of the poetry like a sun of avant- garde and his Kavisena was in a rage and his Kavisena Manifesto was a sensation and Prof G N Reddy who was always first in feeling the pulse of the times invited Seshen to the University as a Visiting Professor. I was there among the audience on the day of the inaugural lecture also. His arrival into the auditorium, a handsome young man in his forties, in impeccable silk attire - a magnificent spectacle. The moment he stood before the podium and began his lecture in his attractive husky tone the entire auditorium got enthralled. He seemed to have gone into a trance and all the classics and masters of literature were at his finger tips. Those lectures went on for week and still I vividly remember the effect of them and do cherish those moments though I have forgotten many of the issues he discussed then. When I took up reading his Raktha Rekha(The Arc of Blood) recently I realized that it contains most of them. Reading Raktha Rekha is also as spellbinding as that of his lectures. He pointed out that it is a poet’s note book which contained a selected part of his diary written between January 1952 and 1974. Part of it was like a discourse given to the students and some parts are written in an introspective mood. But all of them are endearing to the readers as the writer was successful in achieving a cordial and congenial relationship with the reader with his sincerity and authenticity. In Raktha Rekha Seshen had dealt with many topics related to literature. They are like dispersed meditations. In the beginning he says that the man has to undergo more tragedies than happiness. Those few happy things he enjoys are like the stars of the night that disappear by the day. The person got into the snares of happiness is like a fish devoured by fate. What remains are not happy things but they teach you the truth of life. Seshen is a poet who affirms that he can live for centuries enjoying the color of a single flower. He believes that literature is a means to attain a spiritual boon called good world. He points out that procuring a single good person is not an easy thing though millions of good books can be secured. He praises Malcolm De Chazal ,a French poet, who says, “A flower is pure poetry. If a man can see a flower smile to him, he is captured in the essence of poetry. But if he paints the flower smiling to him, he is in the essence of art. He is coexistent to god.” A poet of a higher order like D H Lawrence can only say, “The perfect rose is a running flame, emerging and flowing off and never in any sense at rest, static, finished.” Seshen observes that the element of subjectivity which is the living core of modern poetry is not necessarily the gross autobiographical content of the poet’s mind. It is the essence of his poetic perception, not of the objects but through the objects; or rather it is the emphasis on the vision of the poet in the making of a poem. He firmly asserts that a poet needs to have a disciplined training. He proves the same by quoting T S Eliot who charged D H Lawrence that he suffered from a lack, not so much of information as of critical faculties which education should give. He proves that Poetics first appeared in India by choosing an illustration from Mahabharatha in which Narada is praised for adorning the word letter-wise and meaning-wise. He thus enumerates the six outstanding schools of the dialects of poetry: 1.The Rasa theory of Bharatha 2.The Alamkara theory of Bhamaha 3. The Riti theory of Vamana 4. The Dhwani theory of Anandhavardhana 5.The Vakrokthi theory of Kuntaka and 6. The Auchithya theory of Kshemendra. To this Seshen adds one thing, the Chamathkara theory of Jagannatha. Seshen reiterates the concept of Jagannatha that the word which unfolds beautiful meaning is poetry. As the medium of literature is verbal, literature is made of words. The ancient Indian aesthetes discussed the four forms of speech(Vaak), para, pasyanthi, madhyamaa, and vaikhari. They also observed the three forms of sound(Sabdha), abhida, lakshana and vyanjana. Upholding Kuntaka’s theory of Vrakthokthi, Seshen declares that the two of the seven types of Vrakthokthi,varna and pada are not reasonable as the roundabout of saying are impossible in them. Referring to the great Symbolist poets of French literature whom he considers masters of modern poetry, Baudelaire, Rimbaud, Verlaine and Mallarme, Seshen observes that symbolism is the most ancient cult in India which can be traced back to the Vedas and Tanthras. He believes that the French poets were influenced by the intellectual postures of Upanishadic symbolism. He proclaims that Nietzsche’s Thus Spoke Zarathustra, the culmination of the second Renaissance of Europe is also an adoption of Upanishadic thought ‘aham bramhasmi’. He believes that the medium of writing in dialogues which Nietzsche borrowed from Plato and Socrates reflects the European adaption of Indian Upanishat. These are only few among the various reflections of Seshen and his opinions on the other aspects like poetic language, Negritude, Africans and communism, Homer and Valmiki, colonialism, poetics of Greek, Rome and Persia, and so on are equally interesting. Some of them may be personal impressions, others are controversial and some others may be debatable but all are important and interesting as they all fall into the realm of Poetics. They are the impressions of arguably the most important poet of our times. Seshen’s The Arc of Blood is a bilingual book written in two languages, Telugu and English, as per the mood of the poet. Though it is referred to as a diary its form is more that of a discourse. But it is a different kind of Prelude (William Wordsworth’s long poem) which traces out the growth of a poet. Only a very few poets have unveiled their heart as clearly and earnestly as Seshen had done in it. For a student of literature, it is as absorbing and interesting as the interviews of the renowned poets and writers published in Paris Review. - Prof. MADHURANTHAKAM NARENDRA (Professor, English Department : Sri Venkateswara University , Tirupati:India ) (The writer is a Professor of English, short story writer, novelist and poet, writing in both Telugu and English) Published in The Hans India (English Daily: Sunday Magazine: Date. 13th December 2015