20, సెప్టెంబర్ 2015, ఆదివారం

tagore award for kovela

21, ఆగస్టు 2007, మంగళవారం


14, ఆగస్టు 2007, మంగళవారం

WORKS OF SUPRASANNA

LITERARY WORKS OF SUPRASANNA

Kovela Suprasanna Charya is an eminent poet, critic, commentator reviewer and Editor in Telugu literary world. He Published seventeen poetry works and ten books on literary criticism (list Annexed). He wrote one book on the flow of thought by name “DEEPAVRIKSHAM”. Nearly seventeen books have been edited and Published under his supervision (list Annexed). The book ‘ANTARANGAM’ is a collection of Prefaces forewords written by him. He also published a book by name ‘VEDASUKTA SOURABHALU’ a commentary on some Veda Suktas’. Suprasnna started writing Poetry from his tender age of 9 and 10 and never looked back. He has published his first poetry work ‘HRIDGITA' in the year 1954 along with his cousin. But from 1958 onwards he started publishing his own Independent works on poetry and criticism.

As a poet and critic Suprasanna is maintaining his identity in the contemporary literary field. He has full command on Vastu (content) (subject) Sabda (Word) and Abhivyakti (expression). He wrote free verses (vachana kavita) and also Poetry with meter. The content of the poetry decides the form. In this aspect he is not rigid and he is flexible (Niyatikritam & Niyama Rahitam).

For his entire poetical works “contemporary man” is the centre with all his struggle and conflicts for his existence and his relations with cohumanbeings, society, nature, animals and universe. Modern man is struggling continuously to establish harmony and peace in his consciousness. In the industrial and urban civilization man feels loneliness in spite of all earthly and material comforts. He is fearsome with his limitations and struggles to direct his life towards the path of Harmony and Unity. The scientific invention and the advancement of technology are questioning the very existence of man, nature, animals on the Globe and have failed to establish stability and peace in the society. This contemporary situation prevailing in the society and world has made the poet sad. The sadness in the depth of the heart of the poet has moved him much. Apart from this the poet has got inspiration from the Personalities and works of Renaissance of India, freedom struggle along with deep inspiration gained from the Epics, the Puranas, the Upanishads and the Vedas. He struggled to establish human religious spiritual values in the society through his works. And he also directed the path of universal man. For him poetry is the media to express indepth feelings and experiences of collective human consciousness, and through his poetry he takes off the reader from contemporary world to the universal experience.

Indepth study of his entire poetry compiled in seventeen works clearly picturises the journey of the poet from classical poetry to Neoclassical poetry. ‘ADHUNA’ THEJASCHAKRAMU, DHUKHAYOGINI, HRIDGITA’ ANANDALAHARI are one set of poetical works which deal with indepth experience of sorrow Bhakthi and Yoga. But the later poetical works RITMBARA PONDICHERI GEETHALU PANNENDU, SATHANKURA KANNEETI KOLANU SAMPARYAM, SEPHALIKA, MANI SETHUVU related to the Neo classical trend and deals with the Inner and outer conflicts of universal Man and his evolution and transformation of consciousness most easthetically and eloquently. In an interview the poet expressed. (On the conflicts Prevailed in the society) that the “pure materialistic world came to exist by disowning the theory of illusion but the renaissance spirit ignited by Sri.Ramakrishna, Dayananda Swamy Vivekananda SriAurobindo, Sri Ramana Maharshi, Jiddu Krishna Murthy, Sivananda Murthy and other great Personalities, have totally transformed the outlook of philosophy of life. The poet has imbibed the same light in his consciousness and adopted an integral and unified life principle which reflected in his entire poetry. Either pure traditionist or pure materialist can not understand this integral approach towards life.”
His earlier works ‘DHUKHAYOGINI’ ‘ADHUNA’ ‘THEJASCHAKRAMU’ may be related poetical work of classical trend but the characterization of Ravana Urmila, Seetha etc. are beyond traditional outlook. The works deals with the Human story with spiritual touch. But the later works defers with content outlook and depiction.

In 1967 the poet coordinated in publishing ‘CHETANAVARTAMU’. It is an Anthology of collection of poems written by four poets with an ideology of national Integration and an Integral approach towards life. It has become a trendsetter and questioned and challenged the literary trend of DIGAMBARAKAVITA and the values it tried to impose on the society. The ‘CHETANAVARTAMU’ exposed the hallowness in the values and pessimistic and distractive attitude of ‘DIGAMBARAKAVITA’. If we really speak CHETANAVARTAMU is not an outcry on the trend of ‘DIGAMBARAKAVITA’ but it is a powerful poetical expression of the MIND OF THE NATION. Suprasanna wrote an extensive, powerful and indepth preface to the first collection of ‘CHETANAVARTAMU’ expounding the contemporary socio, political, economical, cultural trend in the nation and in the literary world and also strived for establishment of value system with national spirit in the country. Many scholars contemporary poets critics appreciated the preface and the spirit of ‘CHETANAVARTAMU’.

RITAMBARA (1974)

The next commendable work of the poet is ‘RITAMBARA’ which is an anthology of 37 free verses published in 1974. The poems are reflection of contemporary socio, political, cultural aspects with great patriotic vision. The basic content of poem is Man and his struggle his directionless path, pitiable condition and his aspiration for liberation from poverty, alianation, depression, sorrow and fear. The social outlook of the poet is fully exploded in ‘RITAMBARA’. In this Anthology the poet clearly revealed in many poems the natural imbalance and environmental pollution / destruction of forests and its results on human generation. Further he depicted the negative impact of science and technology on the universe and pathetically felt the distorted relations prevailed between man and nature in the society. In some poems he voices the patriotic spirit and praises the glory of Mother Bharat. For him the future generations are sons of the Mother India. Some of the poems in RITAMBARA glorifies the optimistic spirit of the contemporary generation and aspires to open new horizon in the human consciousness.

PONDICHERI GEETHALU PANNENDU (1975):
“PONDICHERI GEETHALU PANNENDU” (Tweleve Lyrics of Pondicheri) is a new experiment poetry in Telugu literature, wherein the poet expounded he experience experienced from morning to evening when he visited Sri Aurobindo Ashram at pondichery. Here the Tweleve represents the 12 Hrs of time from morning to evening. Further twelve numbers is symbol of Tweleve Petals in ‘ANAHATA CHAKRA’. It is exquisite poetry of flow of experience. In one aspect it expresses the journey in the physical plane and symbolically it expresses the spiritual journey also. Hence every experience gained by the poet interpreted it easthetically and spiritually. For him nothing is useless. Every thing surrounded is an expression of divine light. Sri Aurobindo said ‘All Life is Yoga’. The same spirit is profoundly explicited in the poems and also symbolised the journey of man from conscious to the highest consciousness.

PANCHALARAYA SATHAKAMU(1977)

Another work ‘PANCHALARAYA SATHAKAMU’ is a flow of expression of Bhakti and Saranagati purely based on “VISISTADWAITA”. This 108 poems composed by the poet basing on the experience had by seeing the ‘PANCHALARAYASWAMY’ near to his town. Most easthetically composed poems reveals the ‘VIRAHA’ (Separation) of Jeevas from the God.

SATANKURA(1987)
In 1987 Suprasanna published ‘SATANKURA’. This work is a turning point in his literary life. ‘SATANKURA’ is an explosion of easthetic experience, blended with earthly events in 100 poems. Every poem is an expression of indepth experience in three planes of human consciousness. By reading the poems in ‘SATHANKURA’ the reader performs journey from conscious to sub conscious and from there to collective consciousness. That means he travels from physical contemporary experience to highest universal experience. Here ‘SATANKURA’ means “Hundred sprouts”. The mother earth is ‘SATANKURA’. SATA is not confined to hundred literally. ‘SATAMANANTAM BHAVATI’, Veda says “ANKUR NAVO DBHIDI’ AMARAKOSAM Says. As such ‘SATANKURA’ represent this creation.

The first poem itself reveals the highness of the poetry. This ‘KAVYA’ is an expression of oneness of the universe. It touches the aspiration of a man and his struggle in the physical and mental and spiritual planes. Man is not confined body and mind. He is pure consciousness. All his activities are not confined to physical plane alone. Man is the combination of Body, mind, Chitta and Ahankara. As such man is the bridge between “Vykta and Avyakta” matter and spirit. Modern science has agreed this phenomenon. The root and foundation of the ‘SATANKURA’ lies in this unity of matter and spirit. Most of the poems depicted in ‘SATANKURA’ evolves from earthly / physical experience and travels to higher planes of consciousness.


STHUTI PRABHANDHAMU(1958);
SRI NRISIMHA PRAPATHI (2001) ;


Poetries of pure devotion written by the poet on different occasions. In Sthuti Prabhandhamu, Agni Suktam, Devi Pooja and Sri Nrisimhodaharanam are included. Sri Nrisimha Prapathi is pure personal poetry written in adoration of Sri Yoga Nrisimha Swamy.






KANNEETI KOLANU (POND OF TEARS) (1995)

It is an anthology of poetry written by the poet since 1978 and published in the year 1995. In this book of poetry both the free verses and poetry with meter can be seen.

In this anthology most of the poems related to the contemporary society, common man and his struggle, conflicts, his strained relations with nature its impact on human life, concept of death and the roots of this creation etc., The basic foundation of his poetry lies in the three planes of consciousness.

Further a deep sorrow continuously surrounded in human life is depicted in this poetry. Hence it is named as ‘KANNEETI KOLANU’. Human life itself is ‘Pond of Tears’. But man has to conquer this sorrow and perform journey towards eternity while in the body. Until he achieves this goal he has to lead the life uncompromisingly what ever comes on his way.

For the poet this modern culture is a big ‘Madman’s path’. The modern culture, industrialisation, urbanisation strained relations with nature aimless life, haunting for money, enmassing wealth by corruption, all these have saddened the poet and he himself has become the ‘Pond of Tears’.

In this Kavya, analysis of time and space, life of a universal man, deep experience of the inner planes of human consciousness and contemporary conflicts in family, socio political cultural spheres, hope in the future etc., are powerfully depicted.

In the ‘Pond of Tears’, the individual sorrow of the poet has merged in the feeling of separateness from Universe. That means ‘The mother earth’ is suffering and doing penance to evolve herself into the highest planes of consciousness in the universe. This is ‘SRUSHTI KUMULU’. In ‘SAVTHRI’ Sri Aurobindo has said that
“The earth has wheeled abandoned into hollow gulf
she forgets her spirit and her fate”.
“The same state of consciousness of ‘The Earth’ is elucidated in this Kavya in the poem ‘KANNEETI KOLANU’.





KRISHNARASMI (1996)

Suprasanna wrote a beautiful ‘Kavya’ (Poetry) by name ‘KRISHNARASMI’. It is ‘BHAVAKAVYA’. Here BHAVA means ‘MAHA BHAVA’ which refers ‘KRISHNA BHAVA’. In this poetry no story related to Krishna is depicted. It is purely a flow of experience of ‘KRISHNANUBHAVA’. He elucidated the complete subject with admirable lucidity in this KAVYA.

This poetry is divided into eight cantos. Each canto contain sixteen poems. Krishna was born as the eighth child. Sixteen represents completeness (PURNA).
Suprasanna wrote this Kavya as a Part of his spiritual journey. In this Kavya Krishna is ‘YOGISWARESWARA’. He is the ‘PARAVAK SABDA AND PARABRAHMA’. The poems in this Kavya search their origin and find their roots. Hence the poet himself flows in the poems, and his search for Krishna is in the under current. The Kavya tries to establish unity between form and formless, Bhakti and Yoga and external worship and inner worship. This unity can be achieved through ‘DHYANA’. In DHYANA, the form and sound merges in sound less state. This ‘KRISHNA RASMI’ allow the readers to merge in silence or soundless state.

This poetry is an expression of ‘KRISHNANUBHAVA’ that the poet has experienced in his life. That is why in preface Sadguru Sri Sri Sivananda Murthy has said that “It is a poetry evolved from the penance (Thapas) did by a literary personality”

In this poetry the poet’s very special expression can be seen in each and every poem. Pure Telugu idioms and colloquial way of expression can be experienced. The poet has created a special language for this ‘KAVYA’ which is beautiful lucid and harmonious.

The poetry depicts how the aspiration of Jeeva can bring the blessings (ANUGRAHA) of Eswara (The God) to the earth. The story of Sri Krishna in Bhagavata and how it is symbolically depicted in “Yoga Sadhana” in the contemporary world is the main theme of this ‘KAVYA’. The story of “Jeeva or Sadhaka” who aspires for the highest plane of consciousness is centered in this Kavya.
SREE NIRUKTI (1998)

Suprasanna has published ‘SREENIRUKTI in the year 1998. It is an easthetic exploration and description for “LAKSHMI ASHTOTHARA SATHANAMAS” Each name of Sri Lakshmi is visioned and illumined in each poem. As such it is a beautiful compilation of 108 poems. This type of experiment has not been done earlier by any poet in Telugu literature. It is an easthetic flow. Bhakti flows as under current. This poetry is a commentary for the names mentioned in the ‘Stotra “Sri LAKSHMI ASHTOTHARAM’. It is an independent and pure poetry embedded in the most easthetic language.
Sri Maha Lakshmi is not only a god of wealth but also the diety of beauty, unity and harmony. In the preface the goddess Sri Maha Lakshmi is invited (AVAHANA) finally the Kavya has been offered to her through NIVEDANA. In the middle he offered prayers, puja and Arpana (surrender). ASTHADASA SHAKTHI PITAS’ The eighteen spiritual and pilgrim centers stationed for Goddess in India has been remembered and adored in this work.

In the ‘ASHTOTHARA’ the first three names are PRAKRITI, VIKRITHI and VIDYA The poet remembered Sri Maha Lakshmi, Maha Kali and Maha Saraswathi through first three poems.

In the 108 names of Sri Maha Lakshmi the name PADMA repeated Twelve times in the stotra. The poet’s imagination has no boundaries in commenting these twelve names All the Jeevas are padmas. She resides in the hearts of Jeevas. Here poet prostrates to the Goddess who resides in the lotus centered in the heart of Jeevas.

In Indian literature ‘The Lotus’ has a special significance and symbolic meaning. ‘LOTUS’ is symbol for beauty, and also symbol for ‘charkas’ of astral body. In another vision ‘LOTUS’ is symbol for the entire universe and creation. Suprasanna has projected the goddess Sri Maha Lakshmi as projected in Stotra literature, Tantra, yoga Panchasastra, sakta, samhita, srividya, srivaishnavi literature.
In one aspect this entire creation is Sri Maha Lakshmi The creation is the symbol for expansion of consciousness. Further Sri Maha Lakshmi is external form of Eswara (Eeswarabhivyakti)

SEPHALIKA (2003)

SEPHALIKA is a lyrical poetry published in the year 2003. It is a collection of sixty poems on one theme and on one style of expression. In his preface ‘ A Glorious anthem of love’ Sri Dr. Elchuri Muralidhar Rao has summarised the work as “ The work therefore is not only a poetical production of considerable charm but also an unfailing document a devoutness that illustrates finally the use of memorable lyric poems in the service of religion and love, affection and attachment cherishing and devotedness adoration and tender passion, rapture and enchantment and deservedly holds a respectable placement in contemporary literature.”

The style in depicting the indepth experience of a poet in SEPHALIKA is unique and admirable. SEPHALIKA means the flower ‘PARIJATHAM’ which is a flower with a divine fragrance. Easthetic and divine fragrance is filled in the poetry with penchant. ‘SEPHALIKA’ is a symbol for the creative universe. In the first poem the poet entered a big flower garden. There he experienced “Thousand flowers, Thousand colors, Thousand fragrances Thousand Specialties” here the thousand represents infinite. One flower called the poet said that “I have blossomed for your sake. Oh infinite explorer and eternal traveler, my birth is for your sake” then the poet asked the flower who are you? The flower said ‘I am SEPHALIKA’ you are the branch of spirit existed in me’

Here the Jeevas are symbolized through flowers, in many poems. In another plane the creation itself is a big flower. The petals are Jeevas.

‘SEPHALIKA’ is the inner world of the poet. Here the poet is universal poet who travels from the very beginning of creation and who represents the three planes of consciousness and the experience engulfed in it. In one poem it is said that “I am entering the root of the earth and climbing the sky like a creeper and wondering in the worlds and non worlds. Where ever I exist in any form you are watching me through your two eyes” After prolonged time- you have not appeared. Once again I was awakened. You along with you one swan and lion. I don’t know something is following. The mane of lion, the wings of swan are glooming with golden color’ once again I am seeing you as ‘SEPHALIKA’.

For him SEPHALIKA is beloved and beautiful mother, daughter friend goddess Lalitha and every thing.

Through ‘SEPHALIKA’ the poet performed eternal journey from earthly consciousness to universal consciousness.(In his view the world’ is the stage or playground for staging a human drama) and finally he reached a stage and speaks “My word with the divine wings has crossed the blue sky and oceans and reached this house”. This Kavya Concludes with the mantra.

Sneha Mayi, Dhyana Mayi, Gnanamayi
Prema mayi
Jeeva Mayi, Thyagamayi, Bhavamayi
Gandha Mayi
Thapo mayi, Kripamayi, Dheeksha Mayi,
Thejo Mayi.
Anandamayi, Chaitanya Mayi, Satya Mayi parame.

Finally the Poet speaks with the mother “You are with me and occupied my entire planes but you made me to search all these time. You are the Queen of my ‘Chitta’ but you are playing the play of hide and seek. Every one knows you but you are unknown to me. However in every minute and in every particle, I am experiencing you. You are “Pratyaksha and Apratyaksha vibhavavu”


MANI SETHUVU(2003)

Suprasanna published ‘MANI SETUVU’ (A Hymm to the Divine Mother) in the year 2003. It contains 15 cantos. Each Canto contains twenty poems. As such the Kavya contains three Hundered poems. It is ‘DEVI THRI SATHI’. It is not Mythological and not even contains a single story in the Kavya. It is a world of experience. Plane of esthetic and mysticity. It bridges the earth and heaven. The poet has adored the supreme mother with Three hundred poems.

This entire creation is a play of mother. Hence the experience of human beings merits and demerits, ups and downs, sorrow and happiness, movement of time, experience of death, results of karma play of human consciousness and its place in universe etc are revealed in the poetry. Here, the poetry i.e., MANISETHUVU and the supreme mother are one. The poet identities himself with the poetry and the supreme mother. There is no difference between the three. That means here poetry is the flow of consciousness of the poet. The consciousness of the poet flowered as poetry and the fragrance of the poetry is the divine consciousness.

In ‘MANI SETUVU’ the poet revealed each and every subtle experience to the mother. It is the poetry of easthetic journey performed by the poet. It is the poetry of play of consciousness spread in the entire creation.

Further In this Kavya the supreme mother is no other than the Mother Bharat’. For real Indians India is not a piece of land covered by geographical boundaries. She is the mother Durga Bhavani, and Mahishasura Mardini. Bankimchand, SriAurobindo visioned India as mighty shakthi. This spirit and vision inspired the poet.

Dr. Premananda Kumar in her preface aptly said that “Three hundred Meditative Verses of the mother prefaced by thirty three verses which offer obeisance to the Guru to the personal diety to the poets personal vision of the eternal woman who forms the life force of man kind, ‘MANI SETUVU’ is the latest series of poems by Dr.Suprasannacharya that a romantic spiritual glow and all of them touched by the wand of Aurobindonian inspiration”.

PREETHI PUSHKARINI (2004)

Suprasanna published this Kavya in the year 2004. It is a unique poetry wrote by him. ‘PREETHI PUSHKARINI’ is one of the names of Sri Maha Lakshmi. The name of the poetry reveals the divineness of the love. The essence and content of the poetry is ‘Love’. It is pure and divine love which exists between man and woman in Indian Context. Man performs journey from pure love (PRANAYAMU) to salvation i.e., (PRANAVAM). In Indian context the love exists between wife and husband is beyond best. In the poetry the poet vivified the different planes of love in the human consciousness.

In the first stage the wife is the lover of the poet, where his entire love flows and merges. It is the base for the existence of the world. In the second stage she is the great inspirer to create the poetry. Here love towards his wife flows as poetry. She is the root cause for the easthetic experience of the poet. In the third and final stage she is the adoring diety of the poet. She is ‘UPASYA DEVATHA’. The poet has visioned and experienced the greatness of love in the three planes of consciousness.

The woman described in the poetry is not a physical woman. But she may be the imaginative personality of a man. In principle man in woman, woman in man is the secret of creation. She was created by ‘ADYAKAMANA’ of the creator. Hence the woman in the poetry is imaginary in one plane. The poet enjoys with her, offers obeisance and gets inspiration from her. His entire life with the woman in different stages and different planes of consciousness is beautifully elucidated in the poetry. He takes the experience of love from physical plane to spiritual plane. (ADI PRAJAPATI SHATARUPALU ABINAVAMUGA NELAPAI NADAYAD- INA LEELATHOCHE) The Union with the women is the union between PRAJAPATI and SHATARUPA (It is the first moment in the creation). He called it ‘PREMASAMADI’ Here Samadhi represents the spiritual experience. In this poetry the poet described the continuous experience or ‘Madhurya’ in pranava. But not described the experience of separation i.e ‘Viraha’. This is unique and alien to the concept of ‘Poetry of love’.

AS A CRITIC

As a Visionary and Integral critic Suprasanna Published Ten books between 1971 and 2004 (List enclosed). Apart from this he published the book ‘ANTARANGAM’ collection of prefaces wrote by him on different works written by other literacy personalities.

From his early years Suprasanna started writing poems and criticism simultaneously. Now he is the foremost well known and established critic in Telugu literature. Mudigonda Veerabhadraiah another well known critic in Telugu literature has aptly said that “He is a critic who is fully conscious of the value of tradition and culture in creative writings. In every work of his he has attempted to probe the cultural and traditional influences with exemplary meticulousness”.

Suprasanna evolved his own style of criticism on different subjects and objects of Telugu literature. His indepth knowledge and study of Indian literature and western easthetics, and the works of Sri Aurobinodo and Viswantha Sathya Narayana in particular contributed much to the criticism. His way of criticism is unique and resourceful to contemporary and future critics and Research scholars.

His criticism spreads its wings in different branches of Literature, like epic classical, neo classical progressive allegorical archetypal symbolic spiritual etc., (He took the help of modern psychology in some cases to analyze the subject in correct perspective) In some essays he revealed some historical secrets and in some essays he has given direction to approach the classics (“MAHAGRANDHALU SAHRIDAYA CHARAMU”) and to understand in correct perspective. In some essays he analysed the roots of creativity KAVITVAMU SRIJANA BHOOMIKALU. In some essays he defined the differences between symbols and archetypes.

Chekuri Rama rao well known critic in Telugu literature has wellsaid that “Suprasanna has introduced new philosophies and new way of techniques in literary criticism. Every poetry will have multiple layers and has to be unveiled the layers to know the indepth inner meaning of that poetry is philosophy of criticism. That means each poetry will have multiple layers and not two layers is his establishment. He established, elaborated and expanded this principle of literary criticism. Another important principle established by him is that the qualities of great poetry and poet can be seen in his early works analysed and applied this to the works of “Viswantatha Sathyanaryana”.

His essays on criticism provokes serious thinkers. He proposed and established the following new principles and philosophies in Telugu criticism.

1) He is the first critic who proposed and propagated the “Neo Classical trend” in Telugu literature. Not only that he analyzed the qualities of Neo Classical trend and clearly shown the principles between classical and Neo Classical works.
2) He is the first critic to introduce the Archetypal allegorical in literary criticism.
3) He is the first critic who introduced the Philosophy of ‘VISWA LAYA’ in approaching the classics like ‘VEYIPADAGALU’ and other works.
4) He is the first critic who studied the classics on the background of ‘CONTEMPORANITY AND UNIVERSITY’.
5) He is the foremost of critic who approached the different works with the help of modern psychology like Young, Froid and others.
6) In his criticism he clearly said the negative aspect of modern telugu critics and gave the clear approach to be adopted.
7) He established the Integral criticism of Telugu Literature (‘SAMANVAYA VIMARSA’)
8) Finally he struggled to establish the highest values in literary criticism.
9) Socio, Political economical cultural easthetic aspects of a literary work took the most important place in his criticism.
10)In his critical essay the contemporary literary movements like NAVYA KAVITHA, BHAVA KAVITHA, ABHYUDAYA, SAMPRADAYA, NAVYASAMPRADAYA movements its merits, demerits weaknesses, and its contribution to literature has been elaborated.
11)He is an expert and is specialized in analyzing the Viswanathasathya Narayana’s works.

SAMPARAYAM

SAMPARAYAM (2002)


Kovela Suprasanna Charya published SAMPARAYAM in the year 2002. It has been named “EPIC OF ETERNITY”. It is the first modern epic published in the 21st century in Telugu literary world. SAMPARAYAM illustrated in twelve sargas (cantos). Each canto contains not less than forty poems. This epic totally contains 546 poems. Names of each sarga have been given after completion of that sarga. Name of each sarga suggests the content of the sarga. The first sarga is named ‘ARAMBA KSHANAM’ (The beginning). Second Sarga is ‘UDGAMA REETHI’ (order of creation). Third sarga is ‘PRANAPRAVAHAM’ (flow of life). Fourth Sarga is ‘BRATHUKU KADALIKA (life’s endeavor). Fifth Sarga is SARGA GRANDHI (a knot in creation). Sixth Sarga is ‘ITHIHASAM’ (legend eternal). Seventh Sarga is ‘ANUBHAVA THEERTHAM’ (experience of pilgrimage). Eight Sarga is ‘SANKULA MARGAM (crowed pathway). Ninth Sarga is ‘ESWARA VIRAHAM’ (pangs of separation from God). Tenth Sarga is ‘SATYAKAMANA’ (truth wish). Eleventh Sarga is ‘MRUTHYU JAYAM’ (conquering death) and Twelthe is ‘VENNELA PADAVA’ (moon shine boat). Prior to the beginning of the epic the poet wrote six poems as ‘NANDI’ (the beginning) and named it as ‘USHASSU’ (the dawn).

About SAMPARAYAM poet said that “From the movement of creation to the sorrow less future world and the contents of past and future has been revealed in the present. The labour pain of expansion of creation and the conflicts in physical mental or vital and spiritual planes and the unending tapasya of the spirit was revealed in the SAMPARAYAM. The Eternity which has attained a form and came to conquer the doors of death has made this world of poetry an epic and revealed itself from the indepth sources of the Vedas, the Upanishads, the good old folklore stories and archetypes and have automatically flown in the ocean of epic.

The dictionary meaning of SAMPARAYAM is war and future. But SRI ADISANKARA in his commentary to KATOPANISHAT says that “SAMPARAYAM is related to ultimate worlds and attaining the ultimate”. Sampareth-is who imagined the highest ultimate world. Those who attained salvation may be called ‘SAMPARAYAS’. However this epic is centered on the highest and illumined thought of conquering death while living in the body and leaving the body intentionally and freely. That means conquering death while living in this body on this earth. Further this epic deeply aspires to divinize this mortal earth with deep aspiration and sadhana. Hence this earth itself is the Sadhana Kshetra for the ‘Jeevas’.

In the 18th and 19th century the world has viewed the matter as ultimate truth and from there it traveled to recongnise the life, mind, spirit and supramental consciousness. Human life itself is an eternal journey. In one aspect this universe is a flow of consciousness from dead matter to life, mind, spirit and to supermind. This is the journey from the individual or limited consciousness to universal consciousness (from individual ego to universal ego). The Upanishad speaks that it is a journey from untruth to truth, Darkness to light, mortality to immortality. As such this epic SAMPARAYA depicts the flow of consciousness from deep darkness to the highest light. It is the journey of man in the universe.

The first Sarga (canto) ARAMBA KSHANAM elucidates the deep darkness prevailed before creation. This deep darkness ‘KAALARATRI’ is described in ‘NASADIYA SUKTA’ of RIGVEDA (10-129) (Nasadasit Nosadasit). The same darkness is described in this chapter. (The first canto of Sri Aurobindo’s Savithri deals with the darkness as ‘Before the awakening of Gods’). This is the sleeping state of consciousness. From here creation evolves and performs journey. This canto reveals the beginning of evolution of creation in 44 poems. In one poem the poet says that
“Devastation is centered in the first step of creation.
Night follows sun, The Song desolves in silence.”

The creation and destruction, light and darkness, this duality is the nature of this creation. It is both side of a coin. It can’t be separated. This is the Secret of the Universe. Hence he named the chapter as ARAMBAKSHANAM (the description of the seed).

The second Sarga is ‘UDGAMARITHI’ (order of creation) describes the sprouting stage of the seed. The first ‘spanda’ of this creation. The period from darkness to dawn. Evolution of creation from ‘AVYAKTA’. i.e. from unknown world to the known world in one poem. It is revealed as

From the caves of Primeval the Primeval words blossoms.

This is the stage of delivery of creation from darkness of pregnancy- Unheard sounds from the earth. The stage of evolution of time, and space. From here the life force floods the universe. Three planes of consciousness, three stages and three qualities of Jeevas, every thing evolves.

From the depths of deep darkness the child of dawn born. With half darkness half light the creation evolved. “Earth and heaven, day and night are MITHRA AND VARUNA. Two aspects of this creation have declared its duality.

Here the poet identified himself with the creation and the creator. He is every thing in the universe and also the first person who descended and evolved on this creation (here the poet revealed the essence of the ‘Hymns’ of Indra Sukta of Rig-Veda 2-12) and also roared like a lion and shaken the ether. “I am the Indra stands on the edge of sky --- I am the gateway to the creation and the children of silence of caves”. This description clearly reveals the indepth knowledge of the poet and also the greatness of the epic ‘SAMPARAYAM’.

In one poem it is said that

“Two aspects of Kasyapa are DHITI AND ADHITI
VINATA AND KADRUVA are two faces of evolution
Life and death, day and night, angles and demons
All are two aspects of this world”.

In this poem the poet traces the Archetypes of the qualities of this world which existed in the duality of opposite forces.

The poet has called the evolution of creation as ‘JEEVAYAJNA’ and the ADIMAKUMARAS as HOTAS. This secret and the purpose of this creation are revealed in ‘RIGVEDA’. Here the poet referred the language of ‘SENAZER’ which is one of the ancient languages as per the findings of ‘Divine life society’. Finally he concludes this creation as ‘ASWATHA VRIKSHA’ its unknown roots in the sky and the known branches in this worlds.

The Third Sarga is “PRANAPRAVAHAM” Flow of life force. This life force is the Mother of Gods. Devamathruka. She is the SRUTI or VEDAMATA. Here life force of this creation is the ultimate mother. She is the creator and the entire creation exits on the grace of the Mother and evolves as fully blossomed lotus. Here the lotus is symbol for this universe. ‘Aravindam’ – is the symbol for creation. Expression of divine Mother hood – the poet said. The lotus possesses several Petals, but it is a only flower. Like lotus this universe appears with multiplicity with one form i.e., EKAKRITH – everything is connected with one life force i.e., ‘PRANA’. This creation is the flow of ‘PRANA’ i.e., PRANAPRAVAHAM.

In this sarga this creation ascends from the Planes of ‘PRANA’ to higher planes i.e., the evolution of ‘JEEVAS’ and different worlds. Further from here the journey continues consciously to ascend higher planes, where the Divine personalities are awaiting to receive their ascending children.

The life on this earth and also the fear of death are described in this chapter. The death is hidden in the first moment of life itself. Here the poet puts the eternal question “is the journey of life to end in death? He wonders How the death wands its supreme power and also says how the logic fails in defining the death and everything built brick by brick end in the silence pond of death and not return. Something which is unknown had two aspects i.e., life and death. It is deep dark park inside the earth. It is unknown appetite. Who knows it? Vasudeva who brought back the son of his guru and VYASA who brought the sons of kuru knows it. This unknown has entered in the life force or Prakriti. We have to conquer it by occupying the sky and as visionaries” – As such with optimistic note the chapter is concluded.

The Fourth Sarga is ‘BRATHUKU KADALIKA’ life’s endeavor. Contemporary life, modern society, the concept of modern life, and its impact on human existence, society, nature, in one word contemporanity is extensively discussed in this canto The imbalanced and distorted life of contemporary man is vividly described in this Sarga. He is the man suffering from loneliness, depression and melancholy. In the name of development and advancement man lost harmonious contact with co human beings, society nature, animals finally with the universe. In one poem it is said that “Man is occupying the forests, hills, deserts, every where he builds the temples of Industries and is establishing chairs and sacrificing life leaving sacred actions. Living in chaos, facing uphill tasks of problems and leading life in life less deserts”.

In another poem he said that
“Daivam Tholagi, Dharmam Tholagi, Samagra Jeeva Suthram Tholagi
Thanekkina Chettu Kommanu Narukkonay Murkha Manavudu”.

Divine is neglected, Dharma is neglected and the integral approach towards life is neglected. He is like a fool who cuts the branch of tree where he sits.

Ultimately the modern man is facing conflict in every step of his life and struggling to find out the new meaning to life. But for the poet this is only a transition time. This burning ‘Lava’ surrounded the life will definitely subsides. He says that some where the clouds of ‘Kalidasa’ will definitely arise, some where the ‘Springs’ will appear in hot summer. In one poem it is said that

“At one moment, I wonder about the purpose of the journey
Why I got entangled in this perennial current of failures.
Even in this eternal agony, I perceive
An unremitting future hope, a living internal flame”.

Fifth chapter is “SARGA GRANDHI” (A KNOT IN CREATION). sarga means creation. Grandhi means knot. In this chapter man performs journey from physical plane i.e. conscious plane to sub conscious vital and creative plane. This vital plane is the centre plane between conscious and collective consciousness. Poetry, drama, sculpture, songs, fine arts, epics, -every creative activity sprouts from this plane and enriches the human life and experience. It is the bridge between earth and heaven. Creative activity is an another world of creation of man.

As veda says ‘DHATA YADHA PURVA MAKALPAYAT’ the creative spirit of man creates another world which springs from indepth of human consciousness. Every thing is hidden in the depths of the human consciousness is hidden which sprouts at the moment of creativity, which are ‘Archetypes’. Every story, event repeats in the flow of time in one form or another.
In one poem it is said that
“In the caves of subtle heart Archetypes are visioned.
It is silver hammers which break the secret doors of creation”

Subsequently he referred the GILGAMEESH SUMERIAN STORY’ who met ‘SHAMSHUNAPISHTAM’ on the way who conquered the death, compared the same with sun and also compared the stories of THRIVIKRAMA and SUPARANA with PHINLAND ARCHYTYPAL stories. The ‘Puranas’ are the initial palaces built by human society. Hence the poet desires to say that Archetypes, legends, folk stories and Puranas are similar in the world which carries the stories of human race since time immemorial. For him the life of man and his journey on this earth itself is an eternal epic’. The poet performs journey to his inner consciousness and explores the secret of this creation in this chapter. In one poem it is said that

Is it Indra who first tilled this earth with his diamond plough?
Is it Varuna who first soued the seeds with his retinue of his rain drops?
Is it suparna who first heaped the produce with his bright wings?
Is it Ananta who first consumed it with his thousand heads?

Finally it is said that

Seers, sages, saints, Sufis, and fakirs are in one row
Scholars, scientists, poets and sculptors are in another
Great men, moralists and leaders stand in another line
who would unravel this mystery knot of creation !
Who? Who?
With this eternal quest the chapter is concluded.

The sixth sarga is named as “ITHIHASAM” LEGEND ETERNAL This is the VISWAJIDYAGA’ The movement of the worlds and the actions of the Jeevas. The aspirations of the universal man. It is a journey towards conscious immortality. It is a flow of History. The most selfish modern man to the highest selfless man appears in this chapter. An unending conflict of eternal war, between Divine and Asuric forces is vivified in this chapter. But the ultimate victory lies with divine force only. In this chapter the poet extensively discussed the events happened in world and Indian history, its results and impacts in the journey of human consciousness. In one poem it is beautifully said that

In the war the weapons will not but the confidence in self attains victory.
Flags will not but the ploughs will create civilization.

In this chapter the movement of time in Indian history, particularly the history of the freedom movement and the result and its impact have been discussed in several poems as detailed.

“The freedom of flag hoisted in the midnight was not by heroic man but by man shaken by defeat. The chariot of freedom struck in the mud soaked with blood and also the division of the country has created a shame in the hearts of Indians. However despite this shameful event India raised its head with patriotic spirit. But the enemies waged three wars against India. Independent India is suffering from reason less massacre in the name of Jihad revolutions, language and also with pretext to establish peace. However again and again India awakened with renewable spirit.
“A new life force has awakened from the debris of history
New incarnation of man with the weapon of Dharma.
The sons of earth were awakened from the earth.
They have conquered the repeated defeats and moving like life forces”
The above note clearly reveals the spirit of this chapter. Apart from this in this chapter the poet discussed the environmental problems created by modern man. when nature is disturbed exploited and destroyed, in turn the nature questions the existence of man. He refered the ‘RISHYASRINGA’ as a symbol of pure nature. Finally it is said that
“This earth is a play ground for Atomic explosions”
Who hurts the earth constantly is sealing the nations.

In this chapter it clearly discussed the eternal journey of the universal man, with wars, defeats, victories, violence, confusion, conflicts. Again awakening with confidence. rebuilding the nations, civilizations, a search for peaceful journey and existence etc are beautifully elucidated. Hence this chapter is named as ‘ITHIHASAM’. The history of universal man itself is a LEGEND. The story is unending. Hence it is ETERNAL. Finally the canto is concluded with the following poem.
This victory march shall force ahead till it reaches the peak.
No more self deceit, no more inferiority complexes.
All are of the lion pack, Bhagath singhs, moving on the bridges of swords.
All are Jhansi Lakshmis. And they ride the war horses.
Hence this sarga is contemporary history.

Seventh sarga is ‘ANUBHAVA THERTHAM’ It means ‘Experience of Pilgrimage’ hence the man ascends to the planes of experience of heart is discussed. Man performs journey from the planes of reason to the planes of experience where the reasoning mind subsides. The reasoning difference between mind analyses and detects the matter. Where as the heart experiences the world and creates art. Former is science later is art.
Experience is the step to climb the peaks of Creativity
Intellectuality merges in the wombs of the nature.
The path laid by the heart takes to heaven
Reasoning results revealing the secrets and rewards.
In one poem it is said that
This world is the dream of Eeswara, my world is the complete field of art
This world is transformation from unknown
My evolution is this intellectual world.

Man performs journey from material to easthetic and from to easthetic to spiritual plane. The art expands the consciousness of man. It takes the man from the planes of external material world to the planes of easthetic experience which is hidden in the caves of human consciousness. From here he performs further journey to reach to the planes of universal consciousness or collective consciousness. In this process the external consciousness of a man slowly expands and finally he looses limited/ identity and binding ego. This metamorphosis is must in the journey of human consciousness.

Further in this chapter the journey of universal man from his first appearance as tribal man to the most scientific advanced modern man is depicted. This is the journey performed by man from Stone age to sputnik age.

In this chapter the poet has beautifully and symbolically depicted the story of VALMIKI who represents the journey of consciousness of man from crude hunter to the great seer poet, who evolved from the Ants hill i.e., from earth. VALMIKI is symbol for transformation and journey of man from earth to heaven. On the banks of TAMASA river the inner consciousness of Valmiki awakened and he visioned the concept of ‘DHARMA’ and BRAHMA. Rama’ said that“I am the man and my Dharma is related to man’. The path of Dharma followed and shown by Rama is universal. No Philosophers, writers, prophets administrators thinkers, scientists, reformers of this world could find and adopt suitable and integral path for the progress of mankind beyond the principal and path of Dharma whatever may be the socio, political religious philosophies preached and practiced they could not establish peace, happiness and equality in the society. But the concept of ‘Dharma’ has shown the path towards peace, happiness and equality. Unfortunately the path of ‘DHARMA’ is neglected and man is suffering. This concept is the undercurrent of this epic. In the passing of time, in each century this concept takes new form and expands and shows the integral path to the universal man. This is the concept of epic and results in “ANUBHAVA THIRTHA”.

The eighth chapter is a unique chapter in this ‘Epic of eternity ‘SAMPARAYAM. It is named as ‘SANKULA SAMARAM’ (CROWDED PATHWAY). The stories of great personalities-MARKANDEYA, DHARMARAJA MASTERCVV, SAVITHRI, DHAKSHAYANI and MADHUCHANDSA have been depicted. They are not ordinary personalities. They have created history in the journey of human race. They are the conquerors of death. The death is one of the ‘Mysteries’ and an understandable concepts in the human life on this earth. Through the stories of these great personalities the goal to be attained by the universal man that is ‘AMRUTHATHVA’ is clearly suggested.

Entire human life and journey of man from his first appearance on this globe is full of conflicts, struggle, confusion, sorrow and uncertainty about the certainty. Death follows him every moment. Crores and crores of Jeevas are entering the caves of death in every second since the awakening of human consciousness. Therefore in this chapter the concept of death and its impact and how man unconsciously submits himself in to the jaws of death has been described in many poems. Death is a big challenge to man. But some of the great personalities have conquered death through their great Tapasya, Bhakthi and yoga. They are the Gurus.

In this canto the poet elucidated the experience of death and identified himself with ‘MRUTHYU JETHAS’ i.e., the conquerors of death.”
I have been drenched in the flow of lights,
I am ever living being and SANATHANA
I may be witness for the transformation as SAKSHI and STHANUVU
As an eternal being I am witnessing the infinite drama of death.
Further her it is discussed that, death is an opportunity for Jeevas to cross the ocean of limitedness and ‘Jeeva samsara.’ It breaks the barriers of material limits and gives a chance to attain new body to continue journey beyond death, gives many number of births in the sunlit path of Jeevas. In ‘Mahabharata’ Dharma raja is the son of Death. He defined Dharma and lived for Dharma. He lost everything for Dharma. He saved his brothers from the jaws of death, and finally he alone reached the goal in ‘MAHAPRASTHANAM’. All these aspects have been discussed in this chapter.

In the path of conquering of death, ‘SAVITHRI’ first conquered her death subsequently attainted victory in conquering her husband’s death.

Dhakshayani sacrificed her life and became the cause for creation of Eighteen ‘SHAKTIPEETAS’ in India which are centers of different paths of Yoga to conquer death.

Finally it is said that the doors of Death got loosened and the Divine life is descending on this earth. The goal is flowing like a flow and the light and rays of sun is entering into the deep beds of earth and the matter will be liberated on this auspicious time.

Ninth Sarga is ‘ESWARA VIRAHA’ (pangs of separation from the Divine). In this chapter the poet clearly differentiated the points between religion and spirituality. Religion is not spirituality. But religion ends in spirituality. In the spiritual life man feels the pangs if separation from the Divine. It is further said as ‘JEEVUNI VEDANA’ The real sorrow of man. In this creation man the evolving consciousness doesn’t alone feel the pangs of separation from the Divine, but the entire creation is feels the separateness. Actually this creation is separated from the Divine in unknown time. Again this creation is searching and struggling to merge in the Divine. This secret is beautifully described in the following poem.

This earth from its very dawn has been suffering pangs of separation.
Has been worried of this burden of long life’s agonies.
Day and night replaced the limitless divine light.
In fragmented time and space, and broken conscious planes.

‘GURU’ enters in the lives of those who aspire to merge in the Divine or atman or universal consciousness and guide them , uplift them and , show the path ultimately helps the Jeevas to dilute or merge in the eternal Divine light. In one of the poems Guru is descried as.

Preceptor, Guru is a flag on the top of the chariot of the God’s creation.
Preceptor is a flame of the peak of the soul’s ascendance.
Preceptor is water sources that quench the thirst of knowledge.
Preceptor is the door to spiritual awakening. Sushumna, a form of Shiva.

This chapter is a field of ‘SADHANA’ Thapasya. Search of Truth. The earthly life is a conglomeration of sorrow and happiness. But life is not limited to these petty experiences. Beyond these, life exists. In this eternal search he crosses all types of experiences and aspires the ultimate experience of reality, where in he looses his petty ego. This path is of two types. One is ‘BHAHIRYAGA’ and another is ‘ANTARYAGA’. His consciousness slowly crosses is the tiny selfishness and feels the oneness. “When egotism is diluted, one can see his reflection in every one”. Either to house holder or the ascetic, what is needed is freedom from ego sense.

Further it is very well elucidated how the artists, poets attain the higher consciousness. Once man enters the planes of this consciousness he becomes the pond of light and attains the experience of eternity.


Once you reach that silence, no more dawn and dusk for you.
Once you transcend the physical barriers you intuilt the soul.

With pure love when you reach the Mother’s lap,
you shall be a radiant lake, the seat is the eternal swan of time.

Finally man reaches the goal. The great and ultimate experience deances in the caves of human consciousness. This experience has been depicted in six poems beautifully and elegantly.

The surrounding ranks of Army ran away from the boundaries.
All over the sky, the nectar rained by flowers.
It is like crossing uncharted seas, gaining unattainable treasures.
All alones getting packed into a trice-that moment of Mother’s smile.

It is love that unifies the world. Love is the body of the Divine which removes the bridges of egoism which levels the peaks and troughs of earth is also a rain of affection. This is universal love which engulfs the consciousness. Hence for the poet “This cosmic whole is an offering in the form of love”. As such finally man embraces the cosmic whole with love and experiences the indefinable peace and nothingness.

Tenth chapter is ‘SATHYA KAMANA’ (TRUTH WISH) story of ‘SATHYAKAMA’ is narrated in this Sarga. SATYAKAMA is a Truth seeker.

The chapter begins with the reference of attack on WTO at America by “Bin laden”. By referring this incident the poet questions the negative aspects of religion, money and superstition existed in this contemporary world and expresses his surprise how the civilization, intelligence have been defeated by one act of terrorism. He awakens the man to cross the barriers of hatredness, egotism, terrorism, regionalism and encourages to come out from the limited caves of his ‘Manas’ and also inspires him that
“All this earth is God’s play ground a lake is his prank.
Becoming his child roam about free under his protection”.

Further he elucidates how man contracts himself in the name of high and low, good and bad, merits and demerits and explains the path of love to cross the barriers and to expand himself.

“To a seer, a poet, a great man or a spiritual teacher”
His identification is with this world or its origin.
“This is love, this is devotion and a new expression.”
It is the principle of universal progress, the fringe of his upper garment.

On this earth man has full freedom. This body is only an instrument. Jeeva has full command. The salvation is not based on the condition of body but the penance he does. But all are equal in attaining old age and death. From this point the chapter continued in narrating the story of ‘SATYAKAMA’ a well known story referred in ‘CHANDYOGOPANISHAD’. The name is ‘SATYAKAMA’ itself reveals the purpose of his birth. He symbolically represents the ‘Truth seeker or Truth lover’. He approached ‘HARIDRUMANTA’ the Guru to know the Truth and put forth his quest.

He was bothered with doubt what is the meaning of life?
How many layers does this inner world have? What is the link to the outer?
Always changing, where this manifest is moving?
To which sea or to which sky zone?
Where was the origin of his spoken word?
Every topic seemed to tell me some thing!
Feelings, senses and mind, where were they incorporated and in what?
In between this infinite creation and him what was the connection?

The inner quest of ‘SATYAKAMA’ astonished HARIDRUMANTA. He has seen a great and promising personality in SATYAKAMA who can transform the earth and can descend the Divine light on this earth. He gave four hundred lean cows for safe keep to SATYAKAMA and asked him
“Bring them here when they reach thousand in number. Build a world of cows in that forest”.

Construct a land in plenty, a world void of grief”, by this action of Guru, the way for satyakama has become clear, and he came to know that “All creation is a cycle of birth, a blossom of evolution and extension. By burning the ego, one can reach the pantheon of gods. He understood that a secret door opened for him”.

It is a symbolic story of “PRANAVOPASANA” and a journey of a man to know the truth and eternity. Man should not leave this world to know the truth hidden in him. By understanding the world, its movements and its duality he can know the secret. What ‘SATYAKAMA’ attained finally is defined as-

In the understanding obtained by satyakama there are no diversities.
Between truth and untruth, between splendor and self-mortification.
Birth and death the difference is just a matter of degree
He construed, the whole word has a blend of winter and spring.

He accepted the duality and the existence of world. He has not seen the world as illusion or Maya. By living on this earth truth has to be understood and experienced. Man need not leave this world to experience the truth. This has been achieved by ‘SATYAKAMA’.

Eleventh sarga is ‘MRITHYU JAYAM’ (conquering Death). This sarga is exclusively dealt with the story of ‘NACHHIKETA’ of ‘KATOPANISHAT’ finally concluded with the reference of “BHAGAVAN SRI RAMANA MAHARSHI” AND “PRANAVOPASANA”.

NACHIKETA who had the Darshan of ‘YAMA’ (God of Death) and took him as his ‘GURU’. He tried to transform the winter of creation into spring and who diverted morality onto the path of immortality. ‘NACHIKETA’ is the symbol of mortal being who attained immortality on this earth. He not only conquered the death but also shown and established the path on this earth to conquer the death and attain immortality. He asked ‘Yama’,
“Let there be many paths in this extent of universe
Let there be many flights constructed up and down
What I need is hall of infinite bliss
On this earth and in this physical body immortality”.

This question and the aspiration of NACHIKETA astonished Yama. Finally the path of ‘PRANAVA’ has been revealed to NACHIKETA.

If you enter the cave of “OM” light from there dissipates into the world.
It becomes a support, a way and the ultimate target
From that indestructible akshara, that attributes and non-attributes join.
And binds the past and the future, to attain immortality.

Twelthe canto is VENNELA PADAVA’ (Moon shine Boat) wherein the story of KSHUDRA PANTHAKA is narrated, and how he was transformed as an enlightened and realized soul simply by the grace of Lord ‘BUDDHA’
In that moment, finding himself in everybody
Dharma, in him, became a ripe sweet mango
Tathagatha found his reflection in him
He was the lotus is light that blossomed on the diamond of mind.

Before coming to the contact of ‘BUDDHA’ “kshudara panthaka” was a neglected soul, burdened by the past deeds. But with the magic and miraculous kind touch of BUDDHA his entire life has been transformed.

This canto is divided into two parts. The first part deals with the story of KSHUDRA PANTHAKA. Second part deals with the journey of human consciousness

Truth is universal; truth is the most personal possession
Turning himself inside intimacy, it is one’s own and personal
When spread all over the world it belongs to all
It is a particle of experience the all powerful advaita, monism

This canto inspires man to conquer the limitedness, pettiness, egotism and also inspires to expand oneself, spread one’s wings and conquer the eternity and also aspires and invites the descending of divine light on this earth.

Oh: Utopia! Come down to earth oh! Auspicious time stand still.
Curtain off the suffering world: forget this mortal world
Now the season of immortality entered this life
In these new genes a ritual of resplendent new life.

Moon shine stream with out moonlight added to Ganga
Vibrations coming from the mother’s super mind
Mind worlds struck in midst of some hurricanes.
Sudden scattering of the under worlds in a great earth quake.

Above two poems clearly indicates the vision and future happenings of great souls of India and also the aspiration of the poet.
Moving from one house to another
In the series of births over the steps of order of life
Transcending one after another scattering the seed of joy
I am awakening in the three states and I am the three fires.

This is the journey and the stage attained by the universal man and of consciousness. In this journey, the beginning is hidden in the end. The end is hidden in the beginning.

“Epilogue itself is in prologue and prologue in the form of epilogue. The fruit descended from the tree of eternal aspiration is the most beautiful story of ‘God’, a revelation of the nectar like ‘Baghavatha’. In this most beautiful story ‘God’ is no other then the movement of the universe. Finally the universal man reaches a stage where he lands in
Observing the sea of lights behind consciousness.
Observing the boat of moon shine in that sea of lights.
A memory of my traveling some time long ago in that boat.
A blossomed Arvinda lotus in that boat, the universal mother at the helm.

This ‘SAMPARAYAM’ epic of eternity concludes with the brilliant vision and aspiration. While commenting this epic Smt Premananda Kumar said that “Such is the anabasis of Kovela Suprasanna charya that begins with the first moments of creation and concludes with a brilliant image. For the “fully blossomed lotus” is also the lotus of our heart that has now fully blossomed with the sun rise of Knowledge. It is the Sankalpa suryodaya when we offer a complete surrender to the Divine Mother, Quietly sailing on the milky ocean of the Aurobindonian message, surrendering to the Divine Mother who is piloting the boat of our lives. What a flow of peace through our being in the midst of all the on-going “Samparayam”.

Samparayam is an epic of conglomeration of different socio, political, religious and spiritual philosophies preached and propagated in the past and present and its contribution to evolution of humanity and also its necessacity to the modern man to come out from the clutches and agony of materialism, imperialism, terrorism, anarchism and other petty narrow minded ‘Isams’.

Samparayam is an epic of profundities which deals with the basic roots of existence of man, nature and universe. Further it has rightly thrown its sight on the pulse of the contemporary life which is full of intrigues deceptions and dehumanization. Loneliness and alienation is of contemporary urban lives greatest tragedy. Man has become slave to his misdeeds and negative impact of science and technology. He lost his identity and self in struggle of existence. The epic covers a vast gamut of human emotions and experiences. The struggle for freedom from earthly sorrow and from the cycle of birth and death has been strongly advocated in this epic. Hence all the cantos are vivid and a vibrant reflection of life taking the reader along the Voyage of discovery of self and universe.
Therefore-

Samparayam is an epic of evolution of consciousness from deep darkness to divine light.
Samparayam is an epic of evolution of history of humanity from the primitive man to supramental man.
Samparayam is an epic of struggle, war, conflict of man against dark forces surrounded him.
Samparayam is an epic of aspiration of universal man to divinize the earthly life
.

Samparayam is an epic of conquering death and experiencing the immortality while living on this earth.
Samparayam is an epic of mighty impersonalities and conscious immortalities.
Samparayam is an epic of Voyage and journey of mortal beings from the limited time and space to eternity.
While commenting on future poetry Sri Aurobindo has said that-

“And what the age will aim at is neither materialism nor an intensive vitalism nor a remote detached spirituality, but a harmonious and luminous totality of man’s being. Therefore to this poetry the whole field of existence will be open for its subject, God and nature and man and all the worlds, the fields of the finite and infinite. It is not a close even a high close and ending in this or any field that the future offers to us, but a new and higher evolution, a second and greater birth of all man’s powers and his being and action and creation”.

This vision and spirit is fully exploded in Samparayam.

13, ఆగస్టు 2007, సోమవారం

A Brief outline of Modern Telugu literary movements

A Brief outline of Modern Telugu literary movements


The history of modern Telugu literature can be divided roughly into three periods (1) Modern poetry (2) Progressive poetry (3) Neoclassical poetry.

Telugu poetry has such history of more than a millennium. Many number of classical poets have enriched the poetry and the literature with their works. The modern poetry has influenced the Telugu poetry in the first half of twentieth century. Urbanization, Industrialization, strained relations with the nature and in family, lack of love and unity between human beings etc., have created a fear psychosis and loneliness in the modern man which was unknown to him earlier. Modern poets have reacted to this pathetic condition of man and expressed their feelings in poetry. Basically the modern poetry has drawn inspiration from the western literature. But the influence of freedom struggle, patriotism, National spirit and Indian esthetics has Indianised the modern poetry most vibrantly.

Simultaneously the reformists who opposed the superstitions and lifeless traditions and other social evils have started a big movement to create a new society which also influenced the poetry and the literature. Some of the writers were inspired by this movement and wrote poetry and novel with the spirit of reformation. KANDUKURI, GURAJADA, CHILAKAMARTI were noted writers. The spirit of Renaissance has reached its peak in the works of ‘VISWANATHA SATHYANARAYANA’ who is the leader for NEOCLASSICAL MOVEMENT in Telugu literature. He published ‘VEYIPADAGALU’ and other novels and started writing SRI MADRAMAYANA KALPA VRIKSHAMU’. He encroached and dominated the different movements of Telugu literature. The root and base of the ‘Neoclassical trend’ lies in the protection of cultural values. The goal of this movement is to protect the tradition of pure poetry from the onslaught of literary movements started by political parties. This movement has not restricted the writers in choosing the form. It has invited all trends and styles in literature. Numbers of poets were influenced by this movement and wrote great poetry and epics. The ‘FREEVERSE’ trend has paved the way to many poets to express their feelings experiences and moods. This trend has liberated itself from the ideology of Marxism. Bairagi, Madiraju, Suprasanna, SampathKumar, Jagannatham, Durganath, Mohan Prasad, Ismail, SatyaSrimannarayan and others were prominent poets who wrote poetry in free verses and strengthened the literature. They fought against social evils, lack of values, demoralization of social and political life etc., Following this trend in 1965 some of the poets wrote poetry ignoring all human values, with obscene language in the name of ‘Digambara kavulu’. They wrote absurd and destructive poetry. This trend collapsed in a short period.

In 1967 with Integral National reconstructive spirit and also respecting the democratic values, unifying the earthly life with Divine life ‘CHETANAVARTAMU’ has been published by four poets (SUPRASANNA, SAMPAT, JAGANNATHAM, NARASIMHA REDDY) which has a clear vision and propagated to reconstruct India with socio, political, religious, cultural and spiritual values and established pure poetry in the literature. It was an historical event when some writers started creating anarchy in the field of poetry and also restricted poetry to slogans.

In 1970 ‘VIRASAM’ took birth. It revolted, opposed and criticised traditional and democratic values. Opposing this destructive revolutionary trend ‘NATIONAL LITERARY PARISHAT’ (JATEEYA SAHITYA PARISHAT) has been established to strengthen the National Democratic values and cultural nationalism in literature. In 1982 ‘POTHANA PANCHASATI’ festivals were celebrated which awakened the literary spirit in thousands of people. During this period eminent poets MADIRAJU RANGARAO, SESHENDRA, SIVA REDDY, NAGNAMUNI, PENNASIVARAMAKRISHNA, NARAYANA REDDY, and SUPRASANNA have come to the stage and published excellent poetry works and strengthened the human values in Telugu literature. Their approach is integral easthetic and democratic.

DALIT MOVEMENT, STHREE (WOMEN) MOVEMENT are spordic movements in Telugu literature. They could not influence and their impact is very little and could not produce best literary works.

Another flow of the pure traditional and classical poetry has started to take new form and the entire Indian literature has been newly interpreted according to the contemporary situation prevailed and the birth of neo-classical trend started emerging. CHEELLPILLAVENKATASASTRY, SRIPADAKRISHNAMURTHY RAYAPROLU, DASARADHI, PUTTAPARTI, KARUNASRI, KRISHNASASTRI, VISWANATHA and others were predominant poets during the periods. . In the year 1943 progressive writers association was formed with the illusion that entire Indian literature has done great harm to common man. It got inspiration from the leftist ideology and started criticizing every thing that belonged to Indian tradition. Parallel to this movement there was ‘Telengana’ liberation movement which influenced the writers and the poets. Powerful expression of national spirit, self confidence, and other positive forces ruled the Telengana liberation writers. DASARADHI, KALOJI, were the famous poets of this movement. The patriotic spirit of DASARADHI is praiseworthy and his powerful poetical expression is unique and it has made an imprint in the Telugu literature.
A great awakening at national level in the form of Renaissance and Freedom struggle has also strongly and powerfully influenced the writers and poets of Telugu literature. NAYANISUBBARAO, RAYAPROLU, VISWANATHA, PUTTAPARTI NANDURI, VIDWANVISWAM, MUDIGONDA VEERABHADRA, MURTHY, SESHENDRA AND others are the prominent poets of this trend, they got inspiration from the writings and speeches of Personalities of Renaissance movement. If we summarize the above trends of movements in Telugu literature, the progressive writers, revolutionary writers and other spordic trends in Telugu literature could not visualize the life in total. Their approach to the socio-political, religious problems are peripheral and not integral. They were bounded by a political and social philosophy which was alien to this nation and the people. Further their approach towards national movements and renaissance was negative. However they tried to express their ideology through poetry written in free verses. Some poets who belonged to progressive writers slowly abandoned the movement and started expressing their poetry freely as per their choice.
The modern poets (NAVYAKAVITVAM) were an exception to the above and their approach towards life was also confined to love, pangs of separation, sorrow, loneliness, love towards nature, patriotism etc., some poets wrote most easthetic imaginative poetry. They were not against the national democratic values and have strengthened the cultural nationalism, through their works. Their approach towards life was positive and constructive. Some of the poets belonged to this trend slowly adopted ‘Neo classical ideology’.
‘The Neo classical movement’ assimilated all trends of the contemporary world. They have visioned the life in total and their approach is integral. Hence totality of life has been vibrantly projected in their works. They respected the highest socio, political, religious, spiritual values and opposed all social evils like exploitation, poverty, illiteracy, suppression, terrorism corruption, bankruptcy in values etc., They visioned and aspired a birth of great and new humanity and society in turn nation. Apart from this socio political aspect they had universal approach for every human problem. The Neo Classical moment has not been driven by any political party or single political ideology. They have imbibed the vision and thought of ancient / modern great Rishis, Thinkers, Philosophers, Writers and Poets.
The Neo Classical poets have explored the inner planes of consciousness. Hence the universe has become their canvas. Human beings, nature, animals, semi Gods, God, have all enacted a universal drama in their works. Experiences recorded in three planes of human consciousness have overflowed in their writings. They have projected a universal picture through symbols, archetypes, images etc. A vastness of sea and sky can be experienced through their works and their approach is not confined to past and present as they have visioned a future immortal being who conquers the death while living on this earth and who divinise the matter.
With this back drop one has to view Suprassana’s achievement in the field of modern epic and poetry.




25, జూన్ 2007, సోమవారం

RASALOKAM






3, ఏప్రిల్ 2007, మంగళవారం

gurajada