Photos of Seshendra Sharma

Discover photos of Seshendra Sharma, his friends and family, and locations where he lived.

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Saatyaki S/o Seshendra Sharma 60 Years M.A ( Pol.Science ) JNU : New Delhi Publisher & Coordinator GunturuSeshendra Sharma Memorial Trust ( Non – Profit ) Hyderabad : India http://seshendrasharma.weebly.com Contact :saatyaki@gmail.com , +91 9441070985 , 7702964402 काश्यश्च परमेष्वासः शिखण्डी च महारथः । धृष्टद्युम्नो विराटश्च सात्यकिश्चापराजितः ॥ kāśyaścaparamēṣvāsaḥśikhaṇḍīcamahārathaḥ. dhṛṣṭadyumnōvirāṭaścasātyakiścāparājitaḥ৷৷Bhagawat Gita : 1.17৷৷
People in this photo:
Oct 20, 1927 - May 30, 2007
Saatyaki S/o Seshendra Sharma 60 Years M.A ( Pol.Science ) JNU : New Delhi Publisher & Coordinator GunturuSeshendra Sharma Memorial Trust ( Non – Profit ) Hyderabad : India http://seshendrasharma.weebly.com Contact :saatyaki@gmail.com , +91 9441070985 , 7702964402 काश्यश्च परमेष्वासः शिखण्डी च महारथः । धृष्टद्युम्नो विराटश्च सात्यकिश्चापराजितः ॥ kāśyaścaparamēṣvāsaḥśikhaṇḍīcamahārathaḥ. dhṛṣṭadyumnōvirāṭaścasātyakiścāparājitaḥ৷৷Bhagawat Gita : 1.17৷৷
People in this photo:
Oct 20, 1927 - May 30, 2007
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 :saatyaki@gmail.com+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
People in this photo:
Oct 20, 1927 - May 30, 2007
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 :saatyaki@gmail.com+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
People in this photo:
Oct 20, 1927 - May 30, 2007
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)
People in this photo:
Oct 20, 1927 - May 30, 2007
Mrs. Janaki Wife Of Seshendra Sharma
People in this photo:
Unknown - Unknown
आधुनिक काव्यशास्त्र कविसेना मेनिफेस्टो Seshendra : Visionary Poet of the Millenium http:// seshendrasharma.weebly.com ...जीवन के आरम्भ में वह अपनी माटी और मनुष्य से जुड़े हुए रहे हैं। उसकी तीव्र ग्रन्ध आज भी स्मृति में है जो कि उनकी कविता और उनके चिन्तन में मुखर होती रहती है। वैसे इतना मैं जानता हूँ कि शेषेन्द्र का कवि और विचारक आज के माटीय और मानवीय उत्स से वैचारिक तथा रचनात्मक स्तर के साथ-साथ क्रियात्मक स्तर पर भी जुड़ते रहे हैं और इसका बाह्य प्रमाण उनका ‘कवि-सेना' वाला आन्दोलन है। यह काव्यात्मक आन्दोलन इस अर्थ में चकित कर देने वाला है कि सारे सामाजिक वैषम्य, वर्गीय-चेतना, आर्थिक शोषण की विरूपता-वाली राजनीति को रेखांकित करती हुए भी शेषेन्द्र उसे काव्यात्मक आन्दोलन बनाये रख सके। मैं नहीं जानता कि काव्य का ऐसा आन्दोलनात्मक पक्ष किसी अन्य भारतीय भाषा में है या नहीं, पर हिन्दी में तो नहीं ही है और इसे हिन्दी में आना चाहिए। - नरेश मेहता कवि उपन्यासकार, समालोचक ज्ञानपीठ पुरस्कार विजेता ***** • शेषेन्द्र शर्मा आधुनिक युग के जाने-माने विशिष्ट और बहचर्चित महाकवि हैं। प्राचीन भारतीय काव्यशास्त्र, पाश्चात्य काव्यशास्त्र, आधुनिक पाश्चात्य काव्य सिद्धान्त एवं मार्क्सवादी काव्य सिद्धान्त - इन चारों रचना क्षेत्रों के संबन्ध में सोच-समझकर साहित्य निर्माण की दिशा में कलम चलानेवाले स्वप्न द्रष्टा हैं। • यह मेनिफेस्टो शेषेन्द्र की उपलब्धियों को दर्शाता है। यह पूर्व, पश्चिम और मार्क्सवादी काव्यदर्शनों का सम्यक तुलनात्मक अनुशीलन प्रस्तुत करता है। इसी कारण से शेषेन्द्र सुविख्यात हुए हैं। • यह मेनिफेस्टो साहित्य के विद्यार्थियों के लिए दिशा निर्देशक और काव्यशास्त्र के शिक्षकों के लिए मार्गदर्शक है। यह तुलनात्मक दृष्टि से काव्यशास्त्र विज्ञान के अनुशीलन का रास्ता प्रशस्त करता है और उस दिशा में काव्यशास्त्रीय विज्ञान के तुलनात्मक अध्ययन को विद्वत जनों के लिए सुगम बनाता भी है। • 'कविसेना' एक बौद्धिक आन्दोलन है। नए मस्तिष्कों को नवीन मार्ग का निर्देश करता है और सत्य की शक्ति को नई पीढ़ी द्वारा हासिल करने का मार्ग प्रशस्त करता है। मेनिफेस्टो कविता में सामान्य शब्द को चुम्बकीय शक्ति से अनुप्राणित कर ग्रहण करने की पद्धति का प्रशिक्षण प्रदान करता है। इससे सामान्य शब्द साहित्य को एक हथियार (अस्त्र) बनाता है। समस्या एवं प्रगति प्रशस्त होती हैं। शायद भारत में यह पहली बार संभव हो रहा है। कवि अपनी कलम अपने समय के लिए उठा रहा है। इससे उनकी प्रज्ञा का प्रभाव इस देश की जनता के जीवन को उच्चतम चोटी को छू लेने और समस्याओं को सुलझाने की दिशा में मार्गदर्शक हुआ है। ***** - कविता भाव चमत्कार और अर्थ चमत्कार भाव वैचित्रि और अर्थ वैचित्रि है। - शब्दों की हेराफेरी शब्दों का सर्कस कविता नहीं है। - कविता एक जीवनशैली है - रोजीरोटी का साधन नहीं। - कविता एक आत्म कला है - अभूत कल्पना नहीं। - विशिष्ट भाव और विशिष्ट भाषा अपने रक्त में बहता हुआ असाधारण वाक्य ही कविता है। - कविता एक मंदिर है - शब्दों और भावों को यहाँ तक कि भगवान को भी स्नान कर उसमें कदम रखना चाहिए। - जिस प्रकार गद्य में ‘क्या कहा गया है’ महत्मपूर्ण होता है, उसी प्रकार कविता में ‘कैसे कहा गया है’ महत्वपूर्ण है। - सामाजिक चेतना को साहित्यिक चेतना में परिवर्तित करनेकी क्षमता चाहिए कवि को। - जीवन की समस्त सामग्री को साहित्यिक सामग्री में परिवर्तित करने की कलात्मक प्रक्रिया-साहित्यिक चेतना चाहिए कवि में। - समाज में सिर उठाई संस्कृतियाँ और सभ्यताएँ कवियों के निरंतर परिश्रम का अनमोल धरोहर है। - कवियों का असीम परिश्रम सभ्यता को सजीव रखता आया है। - कवि का कंठ एक शाश्वत नैतिक शंखध्वनी है। - कवि चलता फिरता मानवता का संक्षिप्त शब्द चित्र है। - शेषेन्द्र ***** महाकवि शेषेन्द्र 92 की जयंती (20-oct-2019) के अवसर पर उनके पुत्र सात्यकी की पेशकश साहित्य जगत् को एक अद्भुत उपहार। Book : http://kinige.com/book/Kavisena+Manifesto+Hindi
People in this photo:
Oct 20, 1927 - May 30, 2007
Visionary Poet of the Millennium An Indian poet Prophet Seshendra Sharma October 20th, 1927 - May 30th, 2007 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 , 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. * * * * * * Gunturu Seshendra Sarma: 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 Gunturu Seshendra Sarma, one of the foremost poets and critics in Telugu literature. His mastery over western literature and Indian `Alankara Sastra' 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 Sahitya Akademi award was conferred on him for his work `Kaala Rekha' 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 `Naishadha Kaavya' in the backdrop of `Lalita Sahasra Naamavali', `Soundarya Lahari' and `Kama Kala Vilasam' in `Swarna Hamsa', 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, Seshendra Sarma 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
People in this photo:
Oct 20, 1927 - May 30, 2007
Ammayamma : Seshendra Sharma's Mother
People in this photo:
Oct 20, 1927 - May 30, 2007
Visionary Poet of the Millennium An Indian poet Prophet Seshendra Sharma October 20th, 1927 - May 30th, 2007 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 , 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. --------------------- Gunturu Seshendra Sarma: 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 Gunturu Seshendra Sarma, one of the foremost poets and critics in Telugu literature. His mastery over western literature and Indian `Alankara Sastra' 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 Sahitya Akademi award was conferred on him for his work `Kaala Rekha' 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 `Naishadha Kaavya' in the backdrop of `Lalita Sahasra Naamavali', `Soundarya Lahari' and `Kama Kala Vilasam' in `Swarna Hamsa', 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, Seshendra Sarma 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
People in this photo:
Oct 20, 1927 - May 30, 2007
मेरी धरती मेरे लोग (मेरी धरती मेरे लोग, दहकता सूरज समकालीन भारतीय और विश्व साहित्य के वरेण्य कवि शेषेन्द्र शर्मा का यह संपूर्ण काव्य संग्रह है। शेषेन्द्र शर्मा ने अपने जीवन काल में रचित समस्त कविता संकलनों को पर्वों में परिवर्तित करके एकत्रित करके “आधुनिक महाभारत'' नाम से प्रकाशित किया है। यह “मेरी धरती मेरे लोग'' नामक तेलुगु महाकाव्य का अनूदित संपूर्ण काव्य संग्रह है। सन् 2004 में “मेरी धरती मेरे लोग'' महाकाव्य नोबेल साहित्य पुरस्कार के लिए भारत वर्ष से नामित किया गया था। शेषेन्द्र भारत सरकार से राष्ट्रेन्दु विशिष्ट पुरस्कार और केन्द्र साहित्य अकादमी के फेलोषिप से सम्मानित किये गये हैं। इस संपूर्ण काव्य संग्रह का प्रकाशन वर्तमान साहित्य परिवेश में एक अपूर्व त्योंहार हैं।
People in this photo:
Oct 20, 1927 - May 30, 2007
Pawan Kalyan , Popular Telugu Film Hero and Founder of Janasena Party and Saatyaki S/o Seshendra Sharma met on 3rd May 2016 . During this informal one to one closed door meet , Saatyaki requested Pawan Kalyan to finance reprint of Adhunika Mahabharatam , from which book he has been reciting poems in all his public meetings , citing specially Gunturu Seshendra Sharma as his one and only favorite poet. He readily agreed and by May end the book was ready and released in Seshendra's 9th Memorial Meet on 30 May 2016 Adhunika Maha Bharatam : Telugu Poetry Author : Gunturu Seshendra Sharma https://www.facebook.com/Adhunika-Mahabharatam-Telugu-Poetry-381628225569685/ https://www.youtube.com/watch?v=fOuWbnElH7g http://seshendrasharma.weebly.com
People in this photo:
Oct 20, 1927 - May 30, 2007
SESHENDRA: A MULTIFACETED GENIUS In the galaxy of Indian poets and critics, the position of Seshendra as a luminary is unique. He visualizes the cross currents of tradition and modernity as perpetually interacting and moving towards the future, in new directions. As a Telugu poet and critic, he is a multifaceted genius, seminal in his thought, his writings in various genres facilitating the evolution of new modes of literary activity among the new generation writers. As Seshendra says with all humility in the First Memorial Lecture on the Jnaan Peeth Award-winner Viswanatha Satyanarayana titled “Valmiki to Kalidasa - Ashram Kavya Yuga,” “…my guru. His blessings have been with me all my life and it is only through his blessings that I am today.” Seshendra’s interaction with Viswanatha for years is evident from the latter’s Forewords to Seshendra’s epoch-making works Shodasi Ramayana and Ritu Ghosha. The traditionalist facet of Seshendra is evident in Shodasi Ramayana. It is a new interpretation of a part of Valmiki Ramayana in terms of Kundalini Yoga. The Sundarakanda represents the quintessence of Valmiki Ramayana’s thought. The first verse of the Sundarakanda, “Tato Ravana Nithayah,” etc., has been interpreted by Seshendra as representing an attempt by Hanuman to traverse the path of the Sushumna, which is the mystic path situated between the Ida and Pingala, thereby reaching the final goal, of oneness with the Kundalini Sakti. In the chapter on Indra Paratva as opposed to Vishnu Paratva, the critic makes an original thesis: that the Ramayana closely follows the predominant position of Indra in the pantheon of gods, which is the Vedic pattern as against the supremacy of Vishnu which is the Puranic pattern. “Shodasi” is related to the Maha Mantra “Sri Vidya.” Viswanatha in his Foreword says that it is Seshendra’s commentary on Gayatri Mantra. He wonders about Seshendra’s genius in reading the Maha Mantra “Sri Vidya” with such deep significance. While maintaining that no one else has read Mahabharata and Ramayana together in the way Seshendra could do, Viswanatha says that not only Telugu people but Indians at large should be grateful to Seshendra for writing Shodasi Ramayana. Seshendra’s interpretation of Sri Harsha’s Naishadhiyacharitham based on the story of Nala in Vyasa’s Mahabharata is another landmark in his studies in Sanskrit literature. He goes beyond Mallinatha, Srinatha and Nannaya and maintains that Naishadhiyacharitham synthesizes Mantra Sastra, Yoga Sastra and Vedanta Sastra. The work is an allegory on the journey of the soul, a discourse on Matter and Spirit. In his Foreword to Ritu Ghosha (“CRy of Seasons”) too Viswanatha showers praise on Seshendra’s poetic genius. In this poem Seshendra renders the beauties of the seasons that determine time. His understanding of the sounds of seasons is not merely in external terms. He makes an in-depth study of the human time in different aspects in relation to the seasonal time. Viswanatha says that Seshendra’s eminence as a poet lies in his understanding of the multiple aspects of the seasons, the deep resonances between the human system and the seasonal variations. In this sense, according to Viswanatha, Seshendra’s writing is of the highest order. One of Seshendra’s major poems, Gorilla, uses the Tantric philosophy to reinforce the poet’s views on modern life. While Shodasi Ramayana explicates the Sundarakanda as presenting the power of Kundalini, the modern epic Gorilla deals with the will traced through the pages of Vedic philosophy. As Seshendra says in his Preface, “The great power of universal creation is the vital force which forms the subject matter of contemplation for many thinkers of ancient India in the Vedic, Tantric and Darshanic systems of philosophy.” According to the poet, even in the turbulent contemporary life, the individual can summon all the superhuman energy of the primordial Apeman to destroy evil forces around. The invocation to Gorilla is significant: “O Gorilla, arise, Gorilla! Rise from your slumber, O Creative Power sleeping in man. O Pitamaha, O Grandsire, who first saw the sun and moon, awake! Mankind is imploring helplessly for you.” Inspired by Primordial force, the poet says: “The ocean does not sit at anybody’s feet and bark. The voice of a storm does not know how to say yes. The mountain does not bend and salute. I may be a fistful of earth, but when I lift my pen, I have the arrogance of a nation’s flag.” Seshendra’s message is that deriving superhuman’s energy from Primordial Nature, the individual can survive the onslaughts of contemporary life. Another poem of Seshendra widely read in India and abroad, My Country, My People has indeed heralded a new era in the poetry of twentieth century anguish. In his Foreword to the Greek translation of the poem, the contemporary Greek poet Nikhi Phorus Vruttakose says, “Personally I would compare the pain and anguish of the poet with the one of Loutre Mont (the founder of Surrealism) in his lyric Mald-Aurore. The difference is that Seshendra’s protest is not made in the void. He walks firmly on the soil. At times we observe in his poem a Biblical and Prophetic tone which attracts us.” Contemporary Progressive Poetry in Telugu, under the leadership of Sri Sri, has been replaced by Seshendra’s traditional wisdom, redefining the nature of contemporary man as a social being. The poet as humanist exhorts the masses to wake from slumber and march on the path to glory: “Come, my people, take up your ploughs. Come with your women, your children, come out of your hearths and homes, from prisons of your schools and offices, your academies and assemblies. Come, let us see centuries blown off in the winds of time. Come, walk with me through the villages, towns and cities. Flow like floods, roar like floods, through the streets and highways of our nation.” In Kaala Rekha, besides a score of critical essays on the traditional modern poetry, Seshendra shows remarkable insight into the genre of Ghazal in Urdu poetry in five essays on the subject. He calls Ghazal an art of magnetism, a fire, a culture. His friendship with Faiz Ahmed Faiz gives personal touch to the essays. Seshendra sees in Ghazal poetry the heights of love poetry in observing that even though Islam does not accept idol worship, the Ghazal poets have ushered in a tradition of idolizing the beloved. He calls the Sanskrit metre Anushtup, an Urdu Shait and maintains that the number of Ghazals in Valmiki’s poetry cannot be seen anywhere else. He also sees closeness of Vemana’s Telugu metre Aataveladi and the Ghazal. As evident in his brilliant interpretation of Sundarakanda in Shodasi Ramayana, Seshendra as an Indian critic has firm grasp of the Indian mythology. Elsewhere in his critical essays too he has sounded the depths of both the Indian and Western lore, in a comparative perspective. In his long letter of July 18, 1984 to me, Seshendra analyzes Jessie Weston’s From Ritual to Romance (used by T. S. Eliot in writing The Waste Land). While admiring Weston’s book as “a monument of quest and scholarship….that captures the original source or sources of the Grail Legend now found embedded in Christian liturgy,” with his in-depth knowledge of Ramayana and Mahabharata as well as the Indian folklore, Seshendra corrects the Western critic, suggesting that she should have taken the Rishyasringa version of the Ramayana instead of the one of Mahabharata. He maintains that Weston should have taken into account the fertility ritual in Ramayana. Seshendra’s treatise Kavisena Manifesto deals with an ambitious literary movement to give new directions to the writings of the new generation poets. The basic aim of the movement is to inculcate literary consciousness in the intelligentsia in the present day climate of social consciousness related to the causes of political and economic conditions. In Kavisena Manifesto the poet-critic synthesizes the traditional Indian poetics and modern European theories such as the Greek, Roman and Marxist. As Seshendra says in his letter of June 12, 1979 to me, “At the physical level these theories are riddled with vulgarized antagonisms all of which are only accretions of the ignorance of blind folks in politics and literature. But the visionary mind always revels in discovering the integrity of the whole in life and cognition of life.” Modern Indian literature in English translation is gaining currency in the university departments, having been included in M. A. (English) courses. Seshendra’s works have been prescribed for study in such courses, several of them being translated into English, French, German and Greek besides many Indian languages including Hindi, Urdu, Bengali and Kannada. With titles conferred on him, like “Navakavita Pitamaha,” “Raashtrendu,” etc., Seshendra participated in a score of Kavi Sammelans at the state and national levels. He lectured widely in India and abroad including Greece, West Germany, Mauritius and Kenya on Indian literature and tradition. He also lectured on the subjects at several Indian universities including Rajasthan, Nagpur, Hyderabad, Tirupati, Anantapur and Visakhapatnam besides India International Centre, New Delhi, Telugu Academy, Hyderabad and Kalidasa Academy, Ujjain. The honours bestowed on Seshendra were climaxed by the Central Sahitya Academy Award and Honrary D.Litt by the Telugu University in Hyderabad. No wonder he was nominated to the Nobel Prize in Literature. -Prof. D. Ramakrishna ( Kakatiya University : Warangal : India ) http://seshendrasharma.weebly.com
People in this photo:
Oct 20, 1927 - May 30, 2007
Ramayana, a replica of Vedas S. VARADARAJAN There are several versions of the Sri Ramayana, one of the two greatest epics. Following Sri Valmiki Ramayana several editions have been published in various languages, besides scores of commentaries written across centuries. Late. Gunturu Seshendra Sharma, scholar poet of 20th Century unearthed secrets of the Ramayana through his popular Telugu book “Shodasi”. The novelty of nomenclature Shodasi , called Sri Vidya is reflected , in the 16th Chapter . Sharma’s intellectual depth comes forth in analyzing Sundara Kanda specially through Kundalini Yoga . The author highlights hidden truth in Valmiki’s thought that is similar to Vedas and says that Trijata’s dream in Sundara Kanda reflects Gayatri Mantra of 32 Syllabi in 4 lines. Sharma pays rich encomiums in the description of Lanka surrounded by three impregnable borders. He compares these three borders with Trikuta viz... Shakti , Kaamaraaja , Vagbhava Kutas with those of Sri Vidya in Kundalini . A staunch believer of Vedas, the author feels that Ramayana is a replica of Vedas and oriented towards the character of Indra . He concludes that in Ramayana the mentioning of the supreme God is Indra and not Vishnu, as the presiding deity of valour in Vedas. Utterances of the word Vishnu were considered to be imaginary overstatements in the author’s view. This book lends a new perspective to the Ramayana by adding the dimension of Kundalini Yoga . The foreword by Vishwanatha Satyanarayana adds credibility to the book. The current work is an English translation of the original by Gurujada Suryanarayana Murthy , a scientist by profession . His proficiency in the subject is evident in the translation throughout that doesn’t swerve from the original’s purport. The Hindu (Friday Review: 2nd October 2015) ---- Gunturu Seshendra Sarma, the well-known poet, critic and scholar of unfathomable depth, has to his credit quite a number of books in Telugu as well as English. A keen intellect and a lucid exponent of the intricacies in Samskrit literature, the author brought out a treatise on Ramayana. The book also reveals the symbolism in our epics and shows the spirit behind. According to the author, Sage Valmiki has observed Ramayana as though it is a story of a dynasty in its outward appearance. But when the story part is kept aside, the hidden secrets of the Mantrasastra come out. Valmiki’s Ramayana is full of Vedic literature, language and usages. Ramayana can be appreciated from three angles. The poetic beauty, the historicity and the secret meaning of mother Parasakti. Later Upanishads have taken Valmiki Ramayana as the way to the Mantrasastra. Rama’s wife Sita is considered as Parasakti. In Devi Bhagavatham Sita is described as Goddess Gayatri. The author has taken unusual pains and quoted Vedic dictations which are literally taken by Valmiki in his Ramayana. Thus it has been a product of Vedas and the usages in Ramayana and the words used therein and the similies adopted by Valmiki speak inexplicably the secret of Mother Lalita in his stories. The author has given and attached a very great significance for Sundarakanda in Ramayana. The author has quoted numerous quotations from Smrithis and Srithis to establish that Sundara­kanda is beautiful because Anjaneya the Jeeva has seen Sita the Parasakti. Hence this canto is so styled as Sundara. According to the author “Sita” means “Kundalini.” Hanuman has seen Sita while she was sitting on the ground. Ground means Earth. Earth denotes Mooladharam. The serpent Kundalini stays in this. Thus it is symbolised as Sita sat on the ground. Hanuman the Yogi has the vision of Kundalini in Sita. With the aid of Ida and Pingala, Kundalini travels in Sushumna through spinal cord crossing the six fluxes, and finally reaching Sahasraram. This again speaks of “Shodasi.” Rama is a beautiful man. He is having a Sundari in Sita (a beautiful woman). The descriptions are beautiful in this canto. Thus it is synonymous with “Soundarya­lahari” of Sankaracharya. The author expressed that Mahabharata is a reflection of Ramayana in all the cause, origin and delivery. Innumerable similarities are quoted from both Valmiki and Vyasa to prove that the usages, style and similies are almost similar in both the epics. He compares Vyasa’s “Nalacharitam” with Sundarakanda of Valmiki in the vision of Srividya. The author further argues that Kalidasa’s “Meghasandesam” is only an imitation of Valmiki. The flight of Anjaneya in search of Sita is the basis for Kalidasa’s “Meghasandesam.” Both Sita and the Yaksha’s wife are described as “Syamas” – meaning in the middle of youth. The duration of separation is one year in both the cases. Ultimately the author said that “Meghasandesam” is the offspring of Ramayana, with yearning to see Parasakti. The author has taken the readers in his book to that sublime beauty where there is no further argument, than to enjoy the flow of citations with their intrinsic meaning and full of scientific vision. His unsurpassed knowledge in Mantrasastra has enabled him to pass dictums vivisecting the symbolic mysticisms into splinters and handing the kernel of truth under each word, usage, and application. He deserves all praise for this meritorious contribution to our literature.
People in this photo:
Oct 20, 1927 - May 30, 2007
A photo of Seshendra Sharma (1927 - 2007) and family
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A photo of Seshendra Sharma (1927 - 2007) and family
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Unknown - Unknown
Visionary Poet of the Millennium An Indian poet Prophet Seshendra Sharma October 20th, 1927 - May 30th, 2007 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 , 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. * * * * * * Gunturu Seshendra Sarma: 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 Gunturu Seshendra Sarma, one of the foremost poets and critics in Telugu literature. His mastery over western literature and Indian `Alankara Sastra' 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 Sahitya Akademi award was conferred on him for his work `Kaala Rekha' 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 `Naishadha Kaavya' in the backdrop of `Lalita Sahasra Naamavali', `Soundarya Lahari' and `Kama Kala Vilasam' in `Swarna Hamsa', 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, Seshendra Sarma 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 * * * * * * 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 http://seshendrasharma.weebly.com
People in this photo:
Oct 20, 1927 - May 30, 2007
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 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 , 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. * * * * * * Gunturu Seshendra Sarma: 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 Gunturu Seshendra Sarma, one of the foremost poets and critics in Telugu literature. His mastery over western literature and Indian `Alankara Sastra' 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 Sahitya Akademi award was conferred on him for his work `Kaala Rekha' 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 `Naishadha Kaavya' in the backdrop of `Lalita Sahasra Naamavali', `Soundarya Lahari' and `Kama Kala Vilasam' in `Swarna Hamsa', 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, Seshendra Sarma 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
People in this photo:
Oct 20, 1927 - May 30, 2007
A photo of Seshendra Sharma (1927-2007).
People in this photo:
Oct 20, 1927 - May 30, 2007
A photo of Seshendra Sharma.
People in this photo:
Oct 20, 1927 - May 30, 2007
Shodasi :A tantric commentary on Valmiki Ramayana: Shodasi A tantric commentary on Valmiki Ramayana The book “Shodasi” written by my friend Sri Guntruru Seshendra Sharma is literally his experiments in the study of of Valmiki Ramayana. Sri Seshendra Sharma is a devout and erudite scholar in the Tantra Sastra. The present book is an attempt on his part, among other things, to explain part of Valmiki Ramayana in terms of Kundalini Yoga. According to the learned author, the exposition of the story of Ramayana by Valmiki is not a mere narration in good and excellent poetic style. Underlying this is an attempt to infuse in it the directives of the esoteric theories of Kundalini Yoga. Of all Kandas (Cantos) of Valmiki Ramayana, the author has given and rightly so, great importance only to the Sundara Kanda which, as is well known, represents the quintessence of the Valmiki Ramayana’s thought. The first verse of the Sundara Kanda “ Tato Ravana Nithayah” etc., has been interpreted by the author as representing an attempt by Hanuman to traverse the path of the Sushumna , which is the mystic path situated between Ida and Pingala, thereby reaching the final goal of oneness with the Kundalini Sakti. The word “Charana Charite patthi” has been interpreted by the author as the path of Kundalini by deriving the world Charana as the Tadditanta derivative of the Word Charana. In a similar manner several other verses have been interpreted in an extremely interesting and original light. According to the author, this underlying principle of interpreting Valmiki in the light of Kundalini Yoga is not merely a novelty that can be seen here and there, but represents a continuous under-current of thought which Valmiki keeps at the back of his mind while writing his immortal epic. In this respect, the author is of the view that Valmiki and his composition are not mere poetical and emotional out pours but represent a deliberate and well thought out attempt to reach the doctrines of Manthra , Yoga and Vedantha. The author has also shown a lot of interest and original work with regard to internal evidence of the Ramayana and Mahabharata and has sought to bring out the antiquity of the Ramayana and its closeness to the Vedic thought. In particular, in the chapter on Indra Paratva as opposed to Vishnu Paratva, the author has sought to bring out 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. In other words, the author contends that the Ramayana is sought to be established as being more in consonance with the Vedic pattern than with the Puranic pattern of Vishnu. The author also has done extensive research into the Maha Bharata and proves conclusively that Vyasa has , in his Maha Bharata closely followed Valmiki in several aspects of epic writing including description of hills , description of rivers etc. The description of Damayanthi as “ Malina Vastrangi” in the harem of a king in the guise of a Sairandhri is compared with the description of Sita in the Ashokavana of Valmiki. Similarly the flight of Garutman insearch of nector from the heaven is sought to be equated with the descripton of the flight of Hanuman over the seas. Many othe chaste Sanskrit expressions like “krodhamurchitaha” “ Satya Parkaramaha” etc., with which were first made familiar by Valmiki are found embedded into the Maha Bharata. Several other verses have also been similarly repeated in Vyasa’s Maha Bharata. The author’s erudite scholarship and keen sense of research are evident throughout the book. The book is an original attempt at a re-interpretation of Valmiki in a new light ad all Devi Upasakas would gladly and gratefully welcome this. The book is so thought-provoking and so well written that It deserves to be translated into English and several other Indian Languages so that the new ideas propounded by the author can be made accessible and studied by several scholars of the several regions of our country. I wish the author all success in this new attempt. 1967 (Sd)/- N.Ramesan, I.A.S Secretary to Government (Education) A.P Seshendra : Visionary poet of the millennium http://seshendrasharma.weebly.com ----- 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’s Srimad Ramayana. Besides this, command on Vedic or Scriptural knowledge is essential. What does a layman has to say when a towering personality like Viswanatha Satyanarayana 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, Sundara kanda, 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 Anushtup Sloka 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 Maha Bharatha 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 Ruthu Ghosha (Cry of the Seasons: Metrical Poetry) and revolutionary free verse –Mande Suryudu (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 Swarnahamsa Harshanaishada from the mighty pen of the great Telugu poet, Gunturu Seshendra 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 Neelamraju Venkata Seshaiah 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. e Book : http://kinige.com/book/Shodasi+Secrets+of+the+Ramayana
People in this photo:
Oct 20, 1927 - May 30, 2007
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Seshendra Visionary poet of the millennium http://seshendrasharma.weebly.com Parents: G.Subrahmanyam (Father) , Ammayamma (Mother) Wife: Mrs.Janaki Sharma Children: Vasundhara , Revathi (Daughters),Vanamaali , Saatyaki (Sons) Seshendra Sharma better known as Seshendra is a colossus of Modern Indian poetry. His literature is a unique blend of the best of poetry and poetics. This site presents essence of the millennium in a powerful poetic style. He was honored by DrManmohan Sigh, Beloved Prime Minister in golden jubilee celebrations of sahitya akedemi.
People in this photo:
Oct 20, 1927 - May 30, 2007
Seshendra Visionary poet of the millennium. Seshendra Sharma better known as Seshendra is a colossus of Modern Indian poetry. His literature is a unique blend of the best of poetry and poetics. This site presents essence of the millennium in a powerful poetic style. He was honored by Dr Manmohan Sigh, Beloved Prime Minister in golden jubilee celebrations of sahitya akedemi.
People in this photo:
Oct 20, 1927 - May 30, 2007
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