Ramayan Through Kundalini Yoga Shodasi is an ideal read for Sanskrit-literate readers who are open to eclectic yogarthas and connotative meanings -------- So you thought Vyasa was before Valmiki, Mahabharat was before Ramayan, Rama a Vishnu avatar, and tantrism distinct from vedism? Think again. In Shodasi: Secrets of the Ramayana, Telugu poet Seshendra Sharma re-reads the Ramayan to come up with a number of new conclusions. Much of the book sets out to prove that Ramayan was written before the (...) Mahabharat. Sharma discusses how Indra is cited more often than Vishnu, thus placing the context of the Ramayan closer to Vedic than Puranic thought. He quotes from the Mahabharat to show how it follows descriptions of hills, rivers from the Ramayan. The Mahabharat has some prose, and therefore, it must have been composed after Ramayan, which is entirely in poetry. These are only some of the numerous reasons that Sharma offers to suggest a new sequence of our itihasas. Sharma’s book is also an experimental reading of the Ramayan through the interpretive lens of what he calls Kundalini yoga. Hanuman’s flight to Sri Lanka gets a new interpretation. “Charana Charite Pathi” is interpreted as the path of Kundalini, and the first verse of the Sundara Kanda “Tatho Ravana Nithayah” is interpreted by Sharma to refer to Hanuman traversing the sushumna nadi of the Kundalini. Trijata’s dream becomes the Gayatri mantra through an imaginative recasting of words as numbers. Gaja (elephant) means eight, danta (teeth) means thirty-two, and maha-gaja-chaturdantam somehow also adds up to 32 syllables, which is the number of syllables in the Gayatri mantra. That Trijata’s dream is halfway through the Ramayan also becomes significant for Sharma, he calls it the ‘central bead’ in the Ramayan garland of 24,000 beads. Identifying 32-syllables as the Gayatri follows a convention, for mantras are referenced by the number of syllables; however, it is the “secret” yogartha—or mystical, anagogical translations—derived by Sharma that becomes problematic, unless he is considered an authority in his own right. conclude that the name Sundarakand is unrelated to any descriptions of beauty of any of the main characters in the Ramayan. However, Soundarya and Tripura-Sundari are well-known conventions in the tantric tradition and hence, Sharma concludes that Sundarakand derives its name from Shakti’s beauty, and “Sundara-Hanuman” means “Hanuman who is a devotee of Devi” (117). A coda in this book is about the benedictory verse in Kalidasa’s Sakuntalam which has traditionally been understood to refer to Ishwara. Sharma re-interprets this verse highlighting the “eight forms” of the last line as the eight forms of Devi that please Ishwara. This book is suitable for a reader who is Sanskrit-literate and open to eclectic yogarthas and connotative meanings. Sharma cites substantially from the Ramayan in roman but without diacritics, this is difficult to follow; and he does not always include translation. Sharma often cites commentators without citing names and sources. It is not clear why the book is called Shodasi—readers may note, this book is not about the Srividya tradition. Even if the reader is unconvinced by Sharma’s reasoning or methodology, the free flow of references may prove absorbing for a reader interested in the subject. This could also be an eclectic reference for a scholar researching tantric elements in the Ramayan. - Mani Rao The Sunday Standard Magazine The New Indian Express 29th November 2015 . (shrink)

Valmiki , The Sage of 5th century B.C wrote The Ramayana not to narrate the story of Rama in an absorbing style. Though the epic poem presents Rama’s Journey of life in enchanting poetry , the story and the enchanting poetry are sugar coating or honey to the organic medicine called Kundalini Yoga. Maharshi Valmiki wrote the Ramayana to spread / propagate Kundalini Yoga among the masses. Thus the soul of The Ramayana is Kundalini Yoga / Sri (...) Vidya. Valmiki embedded Kundalini Yoga in the Chapter titled “ Sundara Kanda” . Hanuman and Ravana are Kundalini Yogis of Samaya and Kaula Paths. And in Sundara Kanda , he inserted “ Trijata Swapna “ , dream sequence of a demon and in it embedded the Gayathri Mantra. The concepts of Vishnu and Avatar (reincarnation) were nonexistent during the Ramayana Period. Seshendra Sharma , Scholar - Poet in his Magnum Opus of Research “ Shodasi : Secrets of The Ramayana “ reveals these secrets lying hidden for thousands of years . (shrink)

In this paper moral philosophy of Mahrishi Valmiki discussed on the basis of his ideas in the Ramayana.

The Ramayana and the Mahabharata written in Sanskrit are considered to be the standard texts in India. During the medieval period, the poets have composed these two epics in regional languages incorporating their social elements. While the regional poets maintained the characters of the standard texts constant, the events and functions were variable in their cultural context. The reinterpretation of standard Sanskrit texts in different and diverse contexts was maintained in the vernacular languages and cultures during the medieval period (...) was embedded with many local imaginations connected to these epics. Surdamuni Sarala Das was the first composer of Odia Mahabharata during the 15th Century .His writing was the first of its kind to compose a complete eighteen parvas of the Mahabharata. The Sarala Mahabharata is the foundation of Odia language and has shaped the Odia identity. Surdamuni Sarala Das was an epic singer who mastered the text in his mind through his experience, knowledge, and creativity, and then he wrote the epic poetry in Odia. (shrink)

Fiction is the favorite of most of the readers. Fiction is the reflection of the societal living and lives of human beings as observed by the writer. The writer also will have individual experiences, ideas, likes, dislikes, philosophy which influence and mold his writings. Fiction is famous as short-fiction and novel. Though fictitious, and also because fictitious, fiction takes possession of minds and hearts of readers more than any other literary genre. Their imaginations sore and they get engrossed in the (...) reading of fiction. Fiction is very good in engaging and passes time to the readers. The scholarship, study, reading, worldly knowledge and observation will make one a good fiction writer. The influence of earlier famous fiction writers will mold the writing of author. I am influenced by stories from the Ramayana and the Mahabharata, Panchatantra, Hitopadesa, Jataka Tales, Somerset Maugham, O. Henry, P.G. Wodehouse, Boris Pasternak, Sir Conon Doyle, Saratchanda Chaterjee, Sripada Subrahmanya Sastry, Satyam Sankarmanchi, mostly and many foreign and Indian fiction-writers. My style of writing is mostly in first person-the aatmaasraya narration. (shrink)