[Reader-list] condemning ban on Charandas Chor

[Rajendra Bhat Uppinangadi]

Dear Anupam jee,
 I enjoy all the plays and dramas, for example, Vijay tendulkars plays, and
socially relevant plays, but can not digest the left sponsored part truths
passed as absolute truths. as I have seen from inside the full truths of the
left fuedal politburo.!
As to your accusation, shall we say, give proof.?
Regards,
Rajen.

On Wed, Aug 5, 2009 at 3:37 PM, anupam chakravartty <c.anupam at gmail.com>wrote:

> Thanks for sharing this Murali. Here's something I read written by Soumen
> De:
>
>
> The Historical Context of *The Bhagavad
> Gita*<http://eawc.evansville.edu/anthology/gita.htm>
> and Its Relation to Indian Religious Doctrines
>
> Soumen De
>
> *The Bhagavad Gita* <http://eawc.evansville.edu/anthology/gita.htm> is
> perhaps the most famous, and definitely the most widely-read, ethical text
> of ancient India. As an episode in India's great epic, the Mahabharata,
> *The
> Bhagavad Gita* now ranks as one of the three principal texts that define
> and
> capture the essence of Hinduism; the other two being the Upanishads and the
> Brahma Sutras. Though this work contains much theology, its kernel is
> ethical and its teaching is set in the context of an ethical problem. The
> teaching of *The Bhagavad Gita* is summed up in the maxim "your business is
> with the deed and not with the result." When Arjuna, the third son of king
> Pandu (dynasty name: Pandavas) is about to begin a war that became
> inevitable once his one hundred cousins belonging to the Kaurava dynasty
> refused to return even a few villages to the five Pandava brothers after
> their return from enforced exile, he looks at his cousins, uncles and
> friends standing on the other side of the battlefield and wonders whether
> he
> is morally prepared and justified in killing his blood relations even
> though
> it was he, along with his brother Bhima, who had courageously prepared for
> this war. Arjuna is certain that he would be victorious in this war since
> he
> has Lord Krishna (one of the ten incarnations of Vishnu) on his side. He is
> able to visualize the scene at the end of the battle; the dead bodies of
> his
> cousins lying on the battlefield, motionless and incapable of vengeance. It
> is then that he looses his nerve to fight.
>
> The necessity for the arose because the one hundred cousins of the
> Panadavas
> refused to return the kingdom to the Pandavas as they had originally
> promised. The eldest of the Pandav brothers, Yudhisthir, had lost his
> entire
> kingdom fourteen years ago to the crafty Kaurava brothers in a game of
> dice,
> and was ordered by his cousins to go on a fourteen-year exile. The conflict
> between the Pandavas and the Kauravas brewed gradually when the Kauravas
> refused to return the kingdom to the Panadavas and honor the agreement
> after
> the fourteen-year exile, and escalated to a full scale war when the
> Kauravas
> refused to even grant Yudhisthir's reduced demand for a few villages
> instead
> of the entire kingdom. As the battle is about to begin, Arjuna, himself an
> acclaimed warrior, wonders how he could kill his own blood relatives with
> whom he had grown up as a child. He puts the battle on hold and begins a
> conversation with Krishna, one of the ten but most important incarnations
> of
> the Universal Hindu God, Vishnu. *The Bhagavad Gita* begins here and ends
> with Krishna convincing Arjuna that in the grand scheme of things, he is
> only a pawn. The best he could do is do his duty and not question God's
> will. It was his duty to fight. In convincing Arjuna, the Lord Krishna
> provides a philosophy of life and restores Arjuna's nerve to begin the
> battle -- a battle that had been stalled because the protagonist had lost
> his nerve and needed time to reexamine his moral values.
>
> Even though *The Bhagavad Gita* (hereafter referred to as the *Gita*) is
> one
> of the three principal texts that define the essence of Hinduism, and since
> all over the world Hindus chant from the *Gita* during most of their
> religious ceremonies, strictly speaking the *Gita* is not one of the Hindu
> scriptures. In light of its inseparable links to one of the two great Hindu
> epics (Mahabharata and Ramayana) which most Indians hold very dear to their
> hearts, and because Krishna, the most venerated and popular of the
> incarnations of Lord Vishnu, figures so prominently in it, the *Gita* over
> the years has not only become very popular but has ascended to spiritual
> heights that are afforded only to the Vedas (and the subsequent
> reinterpretive philosophies that followed them) and the Upanishads in the
> ancient Indian literature. The concept and symbol of God were extremely
> complicated issues (see below) in the ancient Hindu religious literature
> prior to the writing of the *Gita*. The notion of God and the paths to
> salvation are integral parts of all religions. The manner in which Hinduism
> originally dealt with these two fundamental issues was very complex and
> appeared to be too speculative at times. This was one of the reasons for
> which Buddhism branched out as a separate religion. When Buddhism was
> beginning to grow in popularity, Hinduism met with its first challenge: To
> provide a clear-cut, easy-to-worship symbol of God to its followers. For a
> variety of reasons, Lord Krishna was the obvious choice. Many have even
> suggested that it was one of the most pivotal choices ever made by ancient
> scholars to `humanize' the concept of God in the Hindu religion. Molded in
> the original image of Lord Vishnu, Krishna is an affable Avatar
> (reincarnation of God) which for the first time provided concrete
> guidelines
> for living to all mortals. The average Hindu might not know much about
> Brahma, but every one knows who Lord Krishna is. Mahatma Gandhi read the *
> Gita* often when he was in seclusion and in prison.
>
> But, the universal popularity of the *Gita* has not detracted Indian
> scholars from deviating from the fundamental truth about Hinduism. The
> *Gita
> * is not the Hindu scripture even though the literal translation of
> "Bhagavad Gita" is "The Song of God". The Nobel laureate Indian poet,
> Rabindra Nath Tagore, rarely quoted from the *Gita* in his philosophical
> writings; instead, he chose to refer to the Upanishads, to quote from it,
> and to use its teachings in his own works. Of course, the teachings of the
> Upanishads are included in the *Gita*; they are visible in multiple
> chapters
> of the *Gita*. The kinetic concepts of karma and yoga, which appeared for
> the first time in the Upanishads (explained below), appear repeatedly in
> the
> *Gita*, often in disguised forms.
>
> As with almost every religious Indian text, it is difficult to pinpoint
> when
> exactly the *Gita* was written. Without a doubt, it was written over a
> period of centuries by many writers. From the contents of the *Gita*, it is
> abundantly clear that both the principal teachings of the Upanishads and of
> early Buddhism were familiar to the writers of the *Gita*. So, it has been
> approximated that the *Gita* was written during the period
> 500<http://eawc.evansville.edu/chronology/time.cgi?-500>
> -200 BCE <http://eawc.evansville.edu/chronology/time.cgi?-200>. Even
> though
> India is one of the few nations which has a continuous documented history,
> very few Indian religious texts exists for which the exact date of
> publication is established without controversy.
>
> *Despite its universal appeal, the Gita is replete with contradictions both
> at the fundamental level and at the highest level of philosophical
> discourse. To the discerning eye, it would seem that what has been said in
> the previous chapter, is contradicted in the very next chapter. This is the
> fundamental complaint against the Gita, and this fact would appear to be
> ironic given the fact that the Gita was originally written to reconcile the
> differences between two of the six major ancient Indian philosophies
> (Darshans) that evolved over the early years of Hinduism and became
> integral
> parts of ancient Indian religious literature. The irony disappears however
> when one understands what the Gita purported to achieve at the level of
> philosophical and religious discourse. This fact is crucial not only for
> the
> understanding of the principal themes of the Gita but also to locate the
> essence of the Gita in the overall picture of ancient Indian doctrines. The
> Gita attempted, for the first time, to reconcile the teachings of two very
> abstract Indian religious doctrines into one whole. The task was a
> formidable one.*
>
> The *Gita* tried to include the fundamentals of two ancient Indian
> philosophies into one document and reconcile the principal differences
> between them. At the outset, one must note that the two doctrines
> (Darshans)
> were often extremely difficult to understand. Hence the inevitable
> contradictions or duality of interpretation. The Six Darshans of ancient
> India were actually of differing origin and purpose, but all were brought
> into the scheme by being recognized as viable ways of salvation. They were
> divided into three groups of two complementary schools of thought
> (Darshans)
> or doctrines: Nyaya and Vaisesika; Sankhyya and Yoga; and Mimamsha and
> Vedanta. *The Bhagavad Gita* attempted to reconcile the Sankhyya philosophy
> with those of the Vedanta doctrine. One must note in passing that the
> Sankhyya school of thought led to Buddhism while the Vedanta philosophy is
> at the root of modern Hinduism. In this article, we are only going to
> discuss briefly the two Darshans -- the Sankhyya and the Vedanta -- the *
> Gita* attempted to reconcile.
>
> The Sankhyya is the oldest of the six Darshans while the Vedanta is the
> most
> important of the six systems. The various subsystems of the Vedanta
> doctrine
> has led to the emergence of modern intellectual Hinduism. The primary text
> of the Vedanta system is the Brahma Sutras, and its doctrines were derived
> in great part from the Upanishads, which marked the beginning of Hinduism
> as
> is understood and practiced today. Even though the Vedas are India's
> ancient
> sacred texts, modern Hinduism begins with the Vedanta (end of Vedas) and
> attains its zenith with the Brahma Sutras.
>
> The Sankhyya philosophy traces the origins of everything to the interplay
> of
> Prakriti (nature) and Purusha (the Self, to be differentiated from the
> concept of the soul in the latter Indian philosophies). These two separate
> entities have always existed and their interplay is at the root of all
> reality. The concept of God is conspicuous by its absence. There is no
> direct mention of God but only a passing reference as to how one should
> liberate himself to attain the realization of Is war (a heavenly entity). A
> very significant feature of Sankhyya is the doctrine of the three
> constituent qualities (gunas), causing virtue (sattva), passion (rajas),
> and
> dullness (tamas). On the other hand, the Vedanta school of thought deals
> with the concept of Brahman the ultimate reality that is beyond all logic
> and encompasses not only the concepts of being and non-being but also all
> the phases in between. It is one of the most difficult concepts in the
> entire Indian philosophy. At the highest level of truth, the entire
> universe
> of phenomena, including the gods themselves, was unreal -- the world was
> Maya, illusion, a dream, a mirage, a fragment of the imagination. The only
> reality is Brahman.
>
> One can see quite clearly the sources for the *Gita's* contradictions. It
> was dealing with not only two widely-differing Darshans but also with two
> of
> the most abstract philosophical systems. We know that the *Gita* was
> written
> long after the emergence of modern Hinduism. So it was able to draw on a
> wide variety of philosophical themes -- both ancient and relatively modern
> by comparison, and often opposing -- still present in modern Hinduism. Yet,
> to consolidate the two schools of thoughts proved to be an extremely
> difficult task -- a fact which the lyricism of the *Gita*, in the words of
> Lord Krishna himself, could not camaflouge. Any serious reader would arrive
> at the conclusion that even though the *Gita* mentions the Sankhyya, it
> more
> or less elaborates on ideas that originated with the Upanishads.
>
> The fundamental tenets of Hinduism took shape during the period
> 800<http://eawc.evansville.edu/chronology/time.cgi?-800>
> -500 BCE <http://eawc.evansville.edu/chronology/time.cgi?-500>. They were
> set down in a series of treaties called the Upanishads. The Upanishads
> arise
> at the end of the Vedas, which earns it the name Veda-anta, which literally
> means "end (anta) of the Vedas." Almost all philosophy and religion in
> India
> rests upon the wealth of speculation contained in these works. The
> Upanishads center on the inner realms of the spirit. Encompassing the
> meaning of spiritual unity, the Upanishads point directly to the Divine
> Unity which pervades all of nature and is identical to the self.
>
> There are four "kinetic ideas" -- ideas that involve action or motion --
> that represent the core of Indian spirituality. The ultimate objective is
> control of the passions and to realize a state of void -- a concept very
> similar to that of Buddhism. The four kinetic ideas are "karma, maya,
> nirvana, and yoga" and they appear in the *Gita*. But one must remember
> that
> they appeared for the first time in the Upanishads. A brief summary of the
> four ideas are provided below.
>
> Karma: The law of universal causality, which connects man with the cosmos
> and condemns him to transmigrate -- to move from one body to another after
> death -- indefinitely. In the *Gita*, Krishna makes an allusion to the
> eternal soul that moves from body to body as it ascends or descends the
> ladder of a given hierarchy, conditioned on the nature of one's own karma
> --
> work of life or life deeds.
>
> Maya: refers to cosmic illusion; the mysterious process that gives rise to
> phenomena and maintains the cosmos. According to this idea, the world is
> not
> simply what is seems to the human senses -- a view with which the 20th
> century western scientists wholly agree. Absolute reality, situated
> somewhere beyond the cosmic illusion woven by maya and beyond human
> experience as conditioned by karma. Both Tagore, the renowned Indian poet
> and Albert Einstein, the famous scientist, agreed on this conclusion.
> Absolute reality, in their minds, was beyond human perception.
>
> Nirvana: The state of absolute blessedness, characterized by release from
> the cycle of reincarnations; freedom from the pain and care of the external
> world; bliss. Union with God or Atman. Hindus call such mystical union with
> ultimate reality as Samandhi or Moksha.
>
> Yoga: implies integration; bringing all the faculties of the psyche under
> the control of the self. Essentially, the object of various types of yoga
> is
> mind control, and the system lays down the effectual techniques of gaining
> liberation and achieving divine union. The word yoga is loosely applied to
> any program or technique which leads toward the union with God or Atman.
> There are five principal kinds of yoga: Hatha(physical), jnana (the way of
> knowledge), bhakti (the way of love), karma (the way of work), and rajah
> (mystical experience).
>
> The Western world's interest in *The Bhagavad Gita* began around the end of
> the eighteenth century when the first English translation of the *Gita* was
> published. All religious texts of ancient India were written in Sanskrit.
> In
> November 1784, the first direct translation of a Sanskrit work into English
> was completed by Charles Wilkins. The book that was translated was *The
> Bhagavad Gita*. Friedreich Max Mueller (1823-1900), the German Sanskritist
> who spent most of his working life as Professor of Comparative Philology at
> Oxford University, served as the chief editor of the Sacred Books of the
> East. (Oxford University Press). The *Gita* was included in this famous
> collection. Since then, the *Gita* has become one of the most widely-read
> texts of the world. True, there are unexplained contradictions and
> paradoxes
> in this brief book, but its wide-ranging implications based on the two
> ancient Darshans of India and its allegorical meanings are still being
> examined and reinterpreted.
>
>
>
> On 8/5/09, Murali V <murali.chalam at gmail.com> wrote:
> >
> > 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
> mindbetween 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
> >> >> >>> _________________________________________
> >> >> >>> reader-list: an open discussion list on media and the city.
> >> >> >>> Critiques & Collaborations
> >> >> >>> To subscribe: send an email to reader-list-request at sarai.netwith
> >> >> >>> subscribe in the subject header.
> >> >> >>> To unsubscribe:
> >> https://mail.sarai.net/mailman/listinfo/reader-list
> >> >> >>> List archive: &lt;https://mail.sarai.net/pipermail/reader-list/>
> >> >> >>>
> >> >> >> _________________________________________
> >> >> >> reader-list: an open discussion list on media and the city.
> >> >> >> Critiques & Collaborations
> >> >> >> To subscribe: send an email to reader-list-request at sarai.net with
> >> >> >> subscribe in the subject header.
> >> >> >> To unsubscribe:
> https://mail.sarai.net/mailman/listinfo/reader-list
> >> >> >> List archive: &lt;https://mail.sarai.net/pipermail/reader-list/>
> >> >> >>
> >> >> >
> >> >> >
> >> >> _________________________________________
> >> >> reader-list: an open discussion list on media and the city.
> >> >> Critiques & Collaborations
> >> >> To subscribe: send an email to reader-list-request at sarai.net with
> >> >> subscribe in the subject header.
> >> >> To unsubscribe: https://mail.sarai.net/mailman/listinfo/reader-list
> >> >> List archive: &lt;https://mail.sarai.net/pipermail/reader-list/>
> >> >
> >> >
> >> > --
> >> > Rajen.
> >> >
> >> >
> >> _________________________________________
> >> reader-list: an open discussion list on media and the city.
> >> Critiques & Collaborations
> >> To subscribe: send an email to reader-list-request at sarai.net with
> >> subscribe in the subject header.
> >> To unsubscribe: https://mail.sarai.net/mailman/listinfo/reader-list
> >> List archive: &lt;https://mail.sarai.net/pipermail/reader-list/>
> >>
> >
> >
> _________________________________________
> reader-list: an open discussion list on media and the city.
> Critiques & Collaborations
> To subscribe: send an email to reader-list-request at sarai.net with
> subscribe in the subject header.
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>



-- 
Rajen.