Book Reviews

Lessons from The Ramayana by Chavali Satyanarayana Murthy, Jeeyar Educational Trust, Sitanagaram, Guntur Dist - 500 501. Copies can be had from Chavali Satyanarayana Murthy, Bank Colony, Kothapet, E. Godavari Dist - 533223. Page 185, Rs. 65/-

Lessons from The Ramayana Contains 16 lessons which can be learnt from the Ramayana. Do not mistake duty for power, learn to be kind, do not be a coward, do not be proud, understand the principles of democracy, be a master of your fate, are some of the important lessons mentioned in the book. The author has derived all the lessons mentioned in the book, from the various characters and stories of the Ramayana. The innumerable and valuable lessons which can be learnt from the Ramayana, makes it “the best example for a book which stimulates humanity in man and transforms him into a paragon of virtues”. The author rightly points out that the “Weariest and most loathed worldly life becomes the sweetest and happiest if we imbibe the lessons from the Ramayana.”

The book is interesting and will be useful for the young as well as the old.

Dr. K. Subramanyam

‘Culture Capsules - Living Through Changing Times’ by Prof. I. V. Chalapati Rao, Sri Yabaluri Raghavaiah Memorial Trust, Hyderabad - 500 076. Pages 159, Rs. 75/-

This is the fourth book in the author’s ‘Culture Capsules’ series, the earlier three being ‘Culture capsules – Art of Living’, ‘Culture Capsules - Indian Renaissance’ and ‘Culture Capsules - Ancient Wisdom, Modern Insights’, The present one the fourth in the quartet entitled ‘Culture Capsules-Living Through Changing Times’, contains 44 short essays of not more than 4 pages each, immensely helpful in enabling one to live peacefully and joyfully through the present fast changing times. In the very first essay the author points out that coping with change is the perennial challenge in the lives of all of us today, and healthy coping with the phenomenon of life requires minds at peace and this peace can be secured by following the simple but profound truths contained in the Upanishads and the Bhagawad Geetha. These truths are not merely to be revered but actively put into operation in daily life and for this purpose one should start with one-self.

The essays cover a very wide range of subjects all of which are linked to the changing times and the various facets of change in relation to men and matters. The titles of the essays indicate the subjects dealt with eg. ‘A case for the return of the Hero,’ where the author expresses the need for real heroes but not hero worship, ‘Art of aging youthfully’, ‘Soft skills needed in dealing with people, especially children’ etc. There are essays on individuals who have been harbingers of beneficial changes in society and there are important essays explaining the quintessence of the Upanishads, the teachings of world famous Saints and leaders who have endeavoured towards the making of a better world.

The essays are original and critical. They seek to bring out the wisdom of traditional thought in the idiom of the modern age and to establish a harmonious relationship between the verities of the spirit and modern scientific and technological values.

Reading the essays is itself education and enlightenment. They inspire positive thinking and present an ennobling vision of human nature. The quartet of ‘Culture Capsules’ richly deserves to be prescribed as study course for intermediate students in all colleges.

N. Sriramamurty

Vyasa Sukthamu (in Telugu) by Acharya Nandula Gopalakrishna Murthy, 11-5-48/1, S.V. Colony, Road No. 10, Saroornagar, Hyderabad – 35; Pages 54, Rs. 50/-

Dr. Gopalakrishna Murty presents through this booklet a collection of eight fascinating essays in Telugu on assorted topics of importance. Spirituality in the medieval Hindu literary tradition (Sivananda Lahari), literary criticism of ancient Hindu epics (Mahabharata and Ramayana), and a brief account of eminent personalities in Telugu literature of the modern era and their literary works. The reader gets a brief but truly worthwhile roundup of invaluable information pertaining to the Hindu perspective of spirituality, our ancient culture as reflected in the timeless Hindu epics, and the trends in the modern Telugu literature.

Sivananda Lahari, a composition of 100 beautiful slokas, is a masterpiece of a stotram in praise of Lord Siva, written by Adi Sankaracharya at Srisailam and dedicated to Srisaila Mallikarjuna. This classic poetic work emphasizes that bhakti alone leads man to attainment of Atma Jnana and thereby to moksha.

Ramayana has been known to be the quintessence of the Vedas and preaches Saranagathi (total surrender to God as the ultimate phase of bhakthi). The epic glorifies this principle of Saranagathi notably through the roles of Bharatha, Hanuman and Vibheeshana. Sri Rama’s roles in Ramayana as a son, as a brother, as a husband and as a friend have come to be universally accepted as the ultimate ideal for all men. The loving relationship between Sri Rama and his consort Sita has been widely acknowledged as the most desirable goal for all married couples.

Mahabharata narrates the saga of the Pandava princes, personifying dharma and their first cousins, the Kaurava princes, representing all the facets of adharma … arising from kama, krodha, lobha, moha, mada and matsarya. The epic deals in great detail effective political administration, well organized diplomacy, social welfare, the caste system, social ethics, economics, and even taxation during that period. Sri Mahavishnu appeared in his avatar as Sri Krishna during the same period to annihilate adharma and reestablish dharma on a firm footing. Mahabharata is an epic that deserves a thorough study, appreciation and application in day to day life by all mankind, and practically by those aspiring for power and leadership.

Kambhampati Krishna Prasad

TREE, MY GURU: Ismail; (poetry), (Tr.) D. Kesava Rao; Yadukula Bhushan, Desi Books, New York; pp 89; Rs.120/- (US$ 12.00)

The blurb says that Ismail, the poet, who had a dozen books of poetry and criticism to his credit had changed the landscape of Telugu poetry forever with his deep imagery and refreshing language. His adherence to silence in poetry and lone battle against the Marxists won him wide audience and in his final years he wrote Haiku poems with Zen like simplicity, like the Japanese master poets. And, the translator, D. Kesava Rao, who collaborated with the poet for five long years came out with translations, that were fresh, sensual and original with all naunces of Telugu language, the most musical of all the languages of India.

One entirely agrees with, the Claims made. Thanks to the initiative of Mr. Yadukula Bhushan, this bi-lingual version came to be published. Mr. Bhushan has been a great fan of the writer and feels that what Gurazada Appa Rao had done to the Telugu Theatre, Ismail, the eternal child did to the poetry. A Close readings of the original Telugu and the English translations bear testimony to the above statements.

Pieces like “Man and woman / a strange creation / each for other’s happiness / ... / each for others perdition / like a wick and flame” (Creation) OR  “The solitary fisherman’s bargepole/divides the sky by the river / leaving a remainder / of cosmic O" (Balusu Tippa) are a few examples of Ismai’'s talent.

But, one finds among these translations instances where some of the main ideas escaped in the translations, such as ‘a band of musicians’ does not convey the effect of hundred instruments (vandavayidyalato) (pp 52, 53). In the Prisoner (Pp 86/87), the original reads “endukayya punarukti / evaridee ku yukti?”, the translation stops at “why this reiteration?” leaving the dirty trick out. In the piece, “ela mogu nagara, echata deeniki mera” the translation leaves one dissatisfied, “Lothaina kavyam” becomes in the translation “a poem slowly unveiling itself”.  “Ee grahalaki santhiparvam / enta sepo teliyadu” becomes “I am afraid / the era of piece / will not last long”.

The translations may have made the grasping of the substance easier, but the scope of any translations one is afraid, is to be faithful to the original as any attempt to improve does not belong to the original author.

Take for instance “gala gala manto nityam” becomes “interminable murmuring” (p 10/11). The sound gala gala in Telugu is much louder then mere murmuring. Of Charlie Chaplin, the poet uses the word “vidushaka” which is a mere “tramp” in the translation, probably because Chaplin played the tramp. But the vidhushaka is not a tramp. May be more appropriately a court jester.

As explained by the translator, the expression “paada kunte ela” has become “how can I stop singing” which he found did not translate well and the lines were relocated. Even then, one finds that the translation lacks the punch of the original.

Perhaps, these are innate problems one has to face in trying to translate poetry of one language into another.

Inspite of all these minor points, the translation on the whole is an elegant and competent rendering, bringing credit to Ismail and the translator, Mr. Kesava Rao as well. Highly recommended for those interested in translations.

Vemaraju Narasimha Rao