[Reader-list] condemning ban on Charandas Chor

[Murali V]

The Ramayana and Mahabaratha have to be understood in the right perspective.
Here is one such interpretation of mine which I would like to share.

Mind – The symbolism in GITA

*Bhagavad Gita* is the epic discourse given by Krishna to Arjuna in the
battle field of Kurukshetra. This base could be very easily
*symbolized*into the
*mind and the forces involved*. The battle field of *Kurukshetra* could be
associated to the *mind or the intellect*. The *two warring forces*, the *
Kauravas* and the *Pandavas* needs no superior logic to conclude that
the *Kauravas
represented the evil forces* while the *Pandavas represented the good*,
which in turn could be *associated to the bad and good thoughts or the
negative and positive emotions*. The battle of Kurukshetra could be
conceptualized to the constant war that takes place within the mind between
the evil and good thoughts. *Krishna who stands between the two armies is
the conscience*.

The concept on which the Bhagavad Gita has come to stay is the fact
that *Arjuna
starts questioning all the actions* that were going to take place on the
battlefield and the resultant reactions, to which Krishna gives his
response. So this is the basis on which, comes the conclusion, that *one
needs to question oneself within, of all the actions both good and bad and
expect answers from ones conscience*. The individual takes the role of
Arjuna, Krishna acts as ones conscience, the mind is the battlefield of
Kurukshetra and the actual war is the internal fight taking place within the
mind between the negative and positive thoughts.

The result of the Kurukshetra war, in that the good won over the evil forces
could be ascribed to the fact that Arjuna listened to Krishna and acted
accordingly.

*Act in accordance with the guidance of ones conscience (Krishna) and one is
bound to succeed*.


On Wed, Aug 5, 2009 at 1:28 PM, anupam chakravartty <c.anupam at gmail.com>wrote:

> Dear Rajen,
>
> I will list these injuctions as a special order from Rajendra Bhat
> Uppinangadi and use it to my 21st century list of commandments. I am
> typically interested in this "mind of a woman" bit about your injunction.
> where does it come from sir?
>
> And offcourse I acknowledge the fact Valmiki had undergone immense
> transformation to have conjured such words which lead to Ramayana. However,
> I think you missed the point. If a dacoit transforms and scripts an epic,
> why does a particular community have a problem with Guru Ghasidas's
> depiction? Isnt it an engineered protest? When in several versions of
> Ramayana and Mahabharata dalits and tribals are represented as Rakshashas,
> Mlechas, later "rescued" by their savoirs, Rama or Krishna, there are no
> objections raised. There is also no objection for Lankans being depicted as
> demons in Ramayana. Because in a plot certain characters are shown in a
> light which needs to be understood and contextualised.
>
> Dear Rajen, what do you have to say about Chhatisgarh government conjuring
> fictitious names farmers to procure paddy?
>
> http://www.indianexpress.com/news/How-Chhattisgarh-fudged-records-for-multi-crore-paddy-scam/488464/
>
> The names they have made up are also from one particular community.
>
> Anupam
>
>
>
> On Wed, Aug 5, 2009 at 12:12 PM, Rajendra Bhat Uppinangadi<
> rajen786uppinangady at gmail.com> wrote:
> > Dear Anupam jee,
> >
> > Origin of a river, past of an ascetic,  mind of a woman are difficult to
> > understand, so do not try say the wise.
> >
> >
> >  When ramayana was written, the writer was a changed persona, will you
> > atleast acknowledge that.......!
> >
> > Regards,
> > Rajen.
> > On Tue, Aug 4, 2009 at 6:55 PM, anupam chakravartty <c.anupam at gmail.com>
> > wrote:
> >>
> >> dear vidya,
> >>
> >> Very kind of you to use such words. It shows your knowledge. Rishi
> Valmiki
> >> was a dacoit called Ratnakar or Valia Koli. This is from a children's
> site
> >> (
> >> http://www.bolokids.com/2008/0542.htm) (I am quoting from a children's
> >> website because i think you are not matured enough to converse in this
> >> forum)
> >>
> >> *Dear children,
> >>
> >> I am sure you enjoy reading the biographies of the great visionaries of
> >> the
> >> world. The bed-time stories which your parents or grand parents tell
> you,
> >> must have some or other reference to the Ramayana, the great epic of
> >> India.
> >> Do you know the name of the author of this great piece of writing? In
> this
> >> update I shall tell you about that legendary, eminent personality of our
> >> country, Valmiki. *
> >>
> >> Valmiki, universally accepted and applauded as adikavi, the first among
> >> the
> >> poets – in India and particularly in Sanskrit – was the foremost to
> >> ascertain a metrical expression of epic dimension. He had the apparition
> >> to
> >> match the emotional ecstasy of an elevated soul endowed with compassion
> >> and
> >> concern for all living beings. It was in such a state of identification
> of
> >> the human being with the universal that his immortal epic, the Ramayana,
> >> originated from his heart.
> >>
> >> Valmiki born as 'Ratnakar' is a legendary Hindu sage . He was the tenth
> >> child of Pracheta. There is a religion based on Valmiki's teachings and
> it
> >> is called Balmikism. The Ramayana consists of 24,001 verses in seven
> >> cantos
> >> (kandas) and tells the story of Rama and Sita. Valmiki Ramayana is dated
> >> variously from 500 BC to 100 BC.
> >>
> >> Maharishi Valmiki is accepted by many Indian communities as the author
> of
> >> the Yoga Vasistha, this particular piece of work was taught to Rama when
> >> he
> >> was disillusioned with the world in large. The Yoga Vasistha is an
> >> incredible piece of text which discusses a wide array of philosphical
> >> issues. Moreover, it appears to have been written over 5000 years ago.
> At
> >> his hermitage he taught both males and females. He gave Sita shelter
> after
> >> her banishment from Ayodhya.
> >>
> >> The great Valmiki, originally named Ratnakar, was from a Kirata Bhil
> >> community. Valmiki Muni was from a backward caste community and his name
> >> before he became the Adi-Kavi (prime poet) who recorded the Ramayana,
> was
> >> Vailya. He was trained by the Narada Muni, who is thought to be a
> devotee
> >> of
> >> Vishnu or *Narayana. In another legend that goes, Valmiki, originally
> >> Valia
> >> Koli, was a dacoit and a robber who would rob people passing through
> woods
> >> and dense forests. He would not only rob out of their possessions but
> also
> >> cut their ears and wear them in the form of a chain. One fine day,
> Narada
> >> Muni was passing through this forest and Valia Koli happened to confront
> >> him. Narada Muni asked Valia if he knows what he is doing. Valia replied
> >> saying that it is this which runs his family and the family is aware
> about
> >> it.* Then Narada Muni asked Valia if his family members would share a
> part
> >> of a burden of his sins? Valia was so moved with this, he ran back to
> his
> >> home and asked every member of his family if they will share if the
> >> situation demands. No member of the family, neither his wife nor his
> sons
> >> replied in assertive. His wife said that the sins Valia is doing
> everyday
> >> are part of his life and it is his duty to feed his family and it is
> only
> >> he
> >> who is responsible for the sins he has been committing. Hearing this,
> >> Valia
> >> changed himself completely, from a dacoit to a Sage. He returned to
> Narada
> >> Muni and requested him to help enlighten himself, after which he became
> >> Sage
> >> Valmiki by penance.
> >>
> >> Once Valmiki was taking a stroll on the bank of the river Tamasa along
> >> with
> >> his disciple Bharadwaja. The river-water attracted his concentration.
> The
> >> pleasing and composed movement of the waves seemed to remind the prophet
> >> of
> >> the mature and the reticent qualities of his hero. He visualized the
> >> purest
> >> spark and tranquil of a pious man’s mind reflected in the flowing
> stream.
> >> But the very next moment he saw a upsetting panorama of a female bird
> >> suddenly separated from her partner who was mercilessly shot by a
> >> malicious
> >> hunter. He could not bear the contrast he perceived between the crystal
> >> clear water reflecting a placid heart and the work of a heartless
> huntsman
> >> who shot at the pair of naïve, guiltless birds absorbed in the valid
> >> gratification of life for no fault of theirs and to no benefit for him
> >> moreover. These two incidents had an impression on his mind and his
> >> creative
> >> art, which led to his composition of the greatest epic on earth, the
> >> Ramayana.
> >>
> >> It is unfortunate that men of letters know very little about this fêted
> >> poet
> >> worldwide repute except about his epic composition, the Ramayana. The
> poet
> >> did not say much about himself in his work nor could history keep any
> >> documentation and authentic account of his life – not even of the time
> he
> >> lived in. The word Valmika literally means an ant-hill that stands for
> >> deep
> >> meditation in a poised state of penance. Valmiki, the poet, is a product
> >> of
> >> this penance. Kalidasa, a great admirer of Valmiki, glorifies this
> aspect
> >> in
> >> his famous line in Meghasandesa.The revelation and the influence of
> >> Valmiki
> >> are seen at their best while portraying the character of Sita as an
> ideal
> >> woman – a sculpt for reticence, a pictogram of sophisticated simplicity,
> >> an
> >> incarnation of elegance and dignity, an austere observer of moral code
> of
> >> behavior, an exceptional paradigm of ultimate love and a singular
> >> amalgamation of valor and kindness. There are three important characters
> >> in
> >> the Ramayana who made significant contribution to the advancement of the
> >> march of Rama from Ayodhya to Mithila, Kishkindha and Lanka. They are
> >> Vishwamitra, Lakshmana and Hanuman—and these characters were created by
> >> Valmiki with utmost care.
> >>
> >> The Ramayana, as envisaged by Valmiki, is a stride in search of man – a
> >> man
> >> whose humanity stands out spirituality by the asset of its translucent
> >> transitoriness. Rama, the central figure of this march of cult presents
> a
> >> rare amalgamation of individual decorum and celestial ignite. He kept
> the
> >> sparkle to himself and within himself and widen the bouquet of complete
> >> love, warmth, concern, restoration and healing to the planet around him.
> >> These are the vital human values and virtues more accomplished than
> >> sermonized by Rama, the man of Valmiki’s vision. These traits of the
> main
> >> character by their instinctive penchant dominated almost all the other
> >> characters in the Ramayana. Good and bad are only virtual terms for a
> >> great
> >> soul like Rama. They do not have any unconditional meaning for him from
> a
> >> comprehensive point of view. They can be changed, altered and converted
> if
> >> the human advance is maintained with valor, obligation and kindness. The
> >> effect of this policy and the values of life finds abundant design
> >> throughout the Ramayana.
> >>
> >> The creative distinction of Valmiki lies in his genuineness in
> experience
> >> and ease in expression. There is tenderness in his words, equilibrium in
> >> his
> >> emotions and innate glibness in his commentary. He speaks less and makes
> >> his
> >> characters articulate for themselves. He has an inherent approach into
> the
> >> soul and a spectacular expertise in restraining the movements and the
> >> historic actions of his characters. The secret of his success as an epic
> >> poet of predictive vision lies in his all-absorbing penance or tapasya
> and
> >> unassuming firmness.
> >>
> >> The intermediary and the communication are equally imperative for the
> epic
> >> poet and Valmiki has accomplished both. He never thought that his
> sincere
> >> concern for the pair of birds divided by a cruel shot would result in
> the
> >> magnum oeuvre campaigning the basic human qualities like adoration and
> >> compassion. It assumed the form of a world classic with a message for
> each
> >> era to come and for the entire living beings. Valmiki is revered as the
> >> first poet, and the Ramayana, the first kavya.
> >>
> >> ENDS
> >>
> >> It is a fact that there are several versions of Ramayana written in
> >> several
> >> languages. Infact, the Prime Minister in waiting L.K. Advani has written
> >> about Valmiki: http://lkadvani.in/forum/viewtopic.php?f=37&t=5792
> >> My point here is not to cite Ramayana or the mythological stories around
> >> its
> >> creation. My problem lies with the fact, how a play is being banned
> >> selectively by the Chattisgarh government by making tribals as the
> >> scapegoat. Just like how many other opportunists operate in that area
> >> and cash in on that tribal sentiment.
> >>
> >> -with regards
> >> anupam
> >>
> >> On 8/4/09, Vidya <joshvidya at gmail.com> wrote:
> >> >
> >> > He was just one of the writers of ramayana. and when he wrote it he
> was
> >> > not
> >> > a dacoit you ignonramus ass hole. That he was a dacoit is also not
> >> > proved by
> >> > any reliable sources.
> >> >
> >> >
> >> > ----- Original Message ----- From: "anupam chakravartty" <
> >> > c.anupam at gmail.com>
> >> > To: "sarai list" <reader-list at sarai.net>
> >> > Sent: Tuesday, August 04, 2009 2:01 AM
> >> > Subject: Re: [Reader-list] condemning ban on Charandas Chor
> >> >
> >> >
> >> > The Chattisgarh government perhaps doesnt realise that mythological
> >> > epic,
> >> >> Ramayana was written by a dacoit.
> >> >>
> >> >> On 8/4/09, prakash ray <pkray11 at gmail.com> wrote:
> >> >>
> >> >>>
> >> >>> Press Release condemning ban on Charandas Chor:
> >> >>> We are shocked to learn from press reports that the BJP government
> of
> >> >>> Chhattisgarh has banned Charandas Chor, a classic of the modern
> Indian
> >> >>> theatre, written and produced by Habib Tanvir. The play was first
> done
> >> >>> in
> >> >>> the 1970s, and is originally based on an oral folk tale from
> >> >>> Rajasthan.
> >> >>> Habib Tanvir worked on this tale, introducing into it elements of
> the
> >> >>> art
> >> >>> and beliefs of the Satnami community. Satnami singers and dancers
> have
> >> >>> performed in this play, and it has been seen by members of the
> >> >>> community
> >> >>> several times. In Chhattisgarh and Madhya Pradesh, there are several
> >> >>> rural
> >> >>> troupes who are today performing some version of this play.
> >> >>>
> >> >>> The play itself is the story of a thief who, under the influence of
> a
> >> >>> guru,
> >> >>> pledges never to tell a lie. He sticks to his pledge, even at the
> cost
> >> >>> of
> >> >>> his life. This superb tragic-comedy, in a thoroughly entertaining
> and
> >> >>> artistic manner, brings into focus the moral and ethical
> degeneration
> >> >>> of
> >> >>> our
> >> >>> society, in which, paradoxically, it is a thief who ends up being
> more
> >> >>> honest than those who supposed to be the custodians of our morality.
> >> >>>
> >> >>> Charandas Chor remains Habib Tanvir’s best-known play, and has been
> >> >>> performed literally hundreds of times by his world-renowned Naya
> >> >>> Theatre
> >> >>> troupe all over India and in several countries across the world. It
> >> >>> was
> >> >>> made
> >> >>> into a film by Shyam Benegal, with Smita Patil in the lead, in 1975,
> >> >>> and
> >> >>> was
> >> >>> the first Indian play to win the prestigious Fringe First award at
> the
> >> >>> Edinburgh Theatre Festival in 1982. It then did a successful run on
> >> >>> the
> >> >>> London stage.
> >> >>>
> >> >>> We demand that the Chhattisgarh government immediately revoke this
> >> >>> absurd
> >> >>> ban.
> >> >>>
> >> >>> Arvind Gaur
> >> >>> Brijesh
> >> >>> Govind Deshpande
> >> >>> Javed Malick
> >> >>> Madangopal Singh
> >> >>> M.K. Raina
> >> >>> Moloyashree Hashmi
> >> >>> N.K. Sharma
> >> >>> Shahid Anwar
> >> >>> Sudhanva Deshpande
> >> >>> Vivan Sundaram
> >> >>> Wamiq Abbasi
> >> >>> Act One Theatre Group
> >> >>> Asmita Theatre Group
> >> >>> Bahroop Art Group
> >> >>> Jana Natya Manch
> >> >>> Jan Sanskriti
> >> >>> Janvadi Lekhak Sangh
> >> >>> Sahmat
> >> >>> _________________________________________
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> >> >>>
> >> >> _________________________________________
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> >> >>
> >> >
> >> >
> >> _________________________________________
> >> reader-list: an open discussion list on media and the city.
> >> Critiques & Collaborations
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> >
> >
> > --
> > Rajen.
> >
> >
> _________________________________________
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