Seshendra : Visionary Poet of the Millennium
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Visionary Poet of the
Millennium
An Indian poet Prophet
Seshendra Sharma
October 20th, 1927
- May 30th, 2007
http://seshendrasharma.weebly.com/
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
LLB: 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 , Archbald Macleish
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\u2019s eBooks : http://kinige.com/author/Gunturu+Seshendra+Sharma
Seshendra Sharma\u2019s Writings Copyright Saatyaki S/o Seshendra
Sharma
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- \u0c06\u0c02\u0c27\u0c4d\u0c30\u0c2a\u0c4d\u0c30\u0c2d\u0c38\u0c1a\u0c3f\u0c24\u0c4d\u0c30\u0c35\u0c3e\u0c30\u0c2a\u0c24\u0c4d\u0c30\u0c3f\u0c15,
(21 \u0c06\u0c17\u0c38\u0c4d\u0c1f\u0c41, 2000)
* * *
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\u0c17\u0c41\u0c02\u0c1f\u0c42\u0c30\u0c41\u0c0e.\u0c38\u0c3f. \u0c15\u0c3e\u0c32\u0c47\u0c1c\u0c40\u0c28\u0c41\u0c02\u0c1a\u0c3f\u0c2a\u0c1f\u0c4d\u0c1f\u0c2d\u0c26\u0c4d\u0c30\u0c41\u0c32\u0c41. \u0c2e\u0c26\u0c4d\u0c30\u0c3e\u0c38\u0c41\u0c32\u0c3e\u0c15\u0c3e\u0c32\u0c47\u0c1c\u0c40\u0c28\u0c41\u0c02\u0c1a\u0c3f \u2018\u0c32\u0c3e\u2019 \u0c21\u0c3f\u0c17\u0c4d\u0c30\u0c40. \u0c06\u0c02\u0c27\u0c4d\u0c30\u0c2a\u0c4d\u0c30\u0c26\u0c47\u0c36\u0c4d\u200c \u0c2a\u0c4d\u0c30\u0c2d\u0c41\u0c24\u0c4d\u0c35\u0c02\u0c32\u0c4b\u0c2e\u0c41\u0c28\u0c4d\u0c38\u0c3f\u0c2a\u0c32\u0c4d\u200c \u0c15\u0c2e\u0c40\u0c37\u0c28\u0c30\u0c41\u0c17\u0c3e\u0c2a\u0c28\u0c3f\u0c1a\u0c47\u0c38\u0c3f, \u0c2a\u0c26\u0c35\u0c40\u0c35\u0c3f\u0c30\u0c2e\u0c23\u0c35\u0c47\u0c36\u0c3e\u0c30\u0c41.
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\u0c12\u0c15\u0c3e\u0c28\u0c4a\u0c15\u0c36\u0c46\u0c56\u0c32\u0c40\u0c28\u0c3f\u0c30\u0c4d\u0c2e\u0c3e\u0c24.
- \u0c2f\u0c41\u0c35\u0c28\u0c41\u0c02\u0c1a\u0c3f\u0c2f\u0c41\u0c35\u0c26\u0c3e\u0c15\u0c3e (\u0c15\u0c35\u0c3f\u0c24\u0c3e\u0c38\u0c02\u0c15\u0c32\u0c28\u0c02)
\u0c05.\u0c1c\u0c4b. - \u0c35\u0c3f. \u0c2d\u0c4a. \u0c2a\u0c4d\u0c30\u0c1a\u0c41\u0c30\u0c23\u0c32\u0c41 1999
Seshendra
: Visionary Poet of the Millennium
seshendrasharma.weebly.com
https://www.youtube.com/watch?v=fgmx0Q887RI&list=RDfgmx0Q887RI
-----------------
For further information
please contact : Saatyaki S/o Seshendra Sharma ,
This email address is being protected from spambots. You need JavaScript enabled to view it.
, 9441070985 , 7702964402
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\u2019s 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, \u201cA 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.\u201d
A poet of a higher order like D H Lawrence can only say, \u201cThe perfect
rose is a running flame, emerging and flowing off and never in any sense at
rest, static, finished.\u201d
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\u2019s 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\u2019s 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\u2019s Thus Spoke Zarathustra, the
culmination of the second Renaissance of Europe is also an adoption of Upanishadic
thought \u2018aham bramhasmi\u2019. 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\u2019s 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\u2019s 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
--
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.
The traditionalist facet
of Seshendra is evident in Shodasi:Secrets of the 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\u2019s thought. The
first verse of the Sundarakanda, \u201cTato Ravana Nithayah,\u201d 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.
\u201cShodasi\u201d is related to the Maha Mantra \u201cSri Vidya.\u201d Viswanatha in his Foreword
says that it is Seshendra\u2019s commentary on Gayatri Mantra. He wonders about
Seshendra\u2019s genius in reading the Maha Mantra \u201cSri Vidya\u201d 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\u2019s
interpretation of Sri Harsha\u2019s Naishadhiyacharitham based on the story of Nala
in Vyasa\u2019s 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 (\u201cCRy of Seasons\u201d) too Viswanatha showers praise on Seshendra\u2019s 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\u2019s 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\u2019s writing is of the highest order.
One of Seshendra\u2019s major
poems, Gorilla, uses the Tantric philosophy to reinforce the poet\u2019s 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,
\u201cThe 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.\u201d 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:
\u201cO 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.\u201d
Inspired by Primordial
force, the poet says:
\u201cThe ocean does not sit
at anybody\u2019s 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\u2019s flag.\u201d
Seshendra\u2019s message is
that deriving superhuman\u2019s 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, \u201cPersonally 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\u2019s 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.\u201d Contemporary Progressive Poetry in
Telugu, under the leadership of Sri Sri, has been replaced by Seshendra\u2019s
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:
\u201cCome, 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.\u201d
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\u2019s poetry cannot be seen anywhere else.
He also sees closeness of Vemana\u2019s 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\u2019s From Ritual to Romance (used by T. S. Eliot in
writing The Waste Land). While admiring Weston\u2019s book as \u201ca monument of quest
and scholarship\u2026.that captures the original source or sources of the Grail
Legend now found embedded in Christian liturgy,\u201d 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\u2019s 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, \u201cAt 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.\u201d
Modern Indian literature
in English translation is gaining currency in the university departments,
having been included in M. A. (English) courses. Seshendra\u2019s 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 \u201cNavakavita Pitamaha,\u201d \u201cRaashtrendu,\u201d 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 )
\u0c2e\u0c4a\u0c26\u0c1f\u0c3f\u0c15\u0c32
----
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-----------
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------------
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\u0c07\u0c2a\u0c4d\u0c2a\u0c41\u0c21\u0c41\u0c2a\u0c4d\u0c30\u0c24\u0c3f\u0c1a\u0c46\u0c1f\u0c4d\u0c1f\u0c42\u0c12\u0c15\u0c26\u0c47\u0c35\u0c3e\u0c32\u0c2f\u0c02 , \u0c2a\u0c15\u0c4d\u0c37\u0c41\u0c32\u0c28\u0c4d\u0c28\u0c40\u0c0e\u0c17\u0c3f\u0c30\u0c47\u0c26\u0c47\u0c35\u0c24\u0c32\u0c41
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\u0c07\u0c26\u0c3f\u0c35\u0c38\u0c02\u0c24\u0c02 , \u0c08\u0c38\u0c02\u0c35\u0c24\u0c4d\u0c38\u0c30\u0c02\u0c15\u0c28\u0c4d\u0c28 \u0c2e\u0c4a\u0c26\u0c1f\u0c3f\u0c15\u0c32 .......
-----------------
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\u0c35\u0c43\u0c15\u0c4d\u0c37\u0c02 -
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- \u0c36\u0c47\u0c37\u0c47\u0c02\u0c26\u0c4d\u0c30
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