[Reader-list] condemning ban on Charandas Chor

[anupam chakravartty]

Dear Rajen,

Precisely for which report you would need a proof. Kindly state it clearly.

-anupam


On 8/6/09, Rajendra Bhat Uppinangadi <rajen786uppinangady at gmail.com> wrote:
>
> 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.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/>
>> >> >
>> >> >
>> >> > --
>> >> > 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.
>> To unsubscribe: https://mail.sarai.net/mailman/listinfo/reader-list
>> List archive: &lt;https://mail.sarai.net/pipermail/reader-list/>
>>
>
>
>
> --
> Rajen.
>
>
>