Visionary poet of the millennium

Seshendra Sharma better known as Seshendra is a colossus of Modern Indian poetry. His literature is a unique blend of the best of poetry and poetics.

Diversity and depth of his literary interests and his works are  perhaps hitherto unknown in Indian literature.

From poetry to poetics , from Mantra Sastra to Marxist politics his writings bear an unnerving print of his rare Genius . His shcolarship and command over Sankrit ,English and Telugu Languages has facilitated his emergence as a towering personality of comparitive literature in the 20 th Century World literature.

   T.S.Eliot , Archbald Macleish and Seshendra Sharma are trinity of world poetry.
His sense of dedication to the genre of art he chooses to express himself and the determination to reach the depths of subject he undertakes to explore 
place him in the gallery of world poets / world intellectuals. 

my memoirs that appeared in Sakshi Telugu Daily on 30th May , 2013

Father's 6th Anniversary

                                           Seshendra Sharma Family Complex:1962

Seshendra with Janaki wife , children in Thirupathi ,temple town, A.P India :1962

Seshendra with parents,siblings, Janaki wife

in his native village ,

Thotapalligudur , Nellore dt.A.P India


Seshendra Visionary poet of the millennium

October 20th,1927  - May 30th ,2007

Parents: G.Subrahmanyam (Father) , Ammayamma (Mother)

Siblings: Anasuya,Devasena (Sisters),Rajasekharam

Wife: Mrs.Janaki Sharma

Children: Vasundhara , Revathi (Daughters),Vanamaali , Saatyaki (Sons)


Seshendra Sharma better known as Seshendra is a colossus of Modern Indian poetry. His literature is a unique blend of the best of poetry and poetics.


A tantric commentary on Valmiki Ramayana

The book “Shodasi” written by my friend Sri Guntruru Seshendra Sharma is literally his experiments in the study of of Valmiki Ramayana. Sri Seshendra Sharma is a devout and erudite scholar in the Tantra Sastra. The present book is an attempt on his part, among other things, to explain part of Valmiki Ramayana in terms of Kundalini Yoga.

According to the learned author, the exposition of the story of Ramayana by Valmiki is not a mere narration in good and excellent poetic style. Underlying this is an attempt to infuse in it the directives of the esoteric theories of Kundalini Yoga. Of all Kandas (Cantos) of Valmiki Ramayana, the author has given and rightly so, great importance only to the Sundara Kanda which, as is well known, represents the quintessence of the Valmiki Ramayana’s thought. The first verse of the Sundara Kanda “ Tato Ravana Nithayah” etc., has been interpreted by the author as representing an attempt by Hanuman to traverse the path of the Sushumna , which is the mystic path situated between Ida and Pingala, thereby reaching the final goal of oneness with the Kundalini Sakti. The word “Charana Charite patthi” has been interpreted by the author as the path of Kundalini by deriving the world Charana as the Tadditanta derivative of the Word Charana. In a similar manner several other verses have been interpreted in an extremely interesting and original light. According to the author, this underlying principle of interpreting Valmiki in the light of Kundalini Yoga is not merely a novelty that can be seen here and there, but represents a continuous under-current of thought which Valmiki  keeps  at the back of his mind while writing his immortal epic. In this respect, the author is of the view that Valmiki and his composition are not mere poetical and emotional out pours but represent a deliberate and well thought out attempt to reach the doctrines of Manthra , Yoga and Vedantha.

The author has also shown a lot of interest and original work with regard to internal evidence of the Ramayana and Mahabharata and has sought to bring out the antiquity of the Ramayana and its closeness to the Vedic thought. In particular, in the chapter on Indra Paratva as opposed to Vishnu Paratva, the author has sought to bring out an original thesis that the Ramayana closely follows the predominant position of Indra in the pantheon of gods, which is the Vedic pattern as against the Supremacy of Vishnu which is the Puranic Pattern. In other words, the author contends that the Ramayana is sought to be established as being more in consonance with the Vedic pattern than with the Puranic pattern of Vishnu.

The author also has done extensive research into the Maha Bharata and proves conclusively that Vyasa has , in his Maha Bharata closely followed Valmiki in several aspects of epic writing including description of hills , description of rivers etc. The description of Damayanthi as “ Malina Vastrangi” in the harem of a king in the guise of a Sairandhri is compared with the description of Sita in the Ashokavana of Valmiki. Similarly the flight of Garutman insearch of nector from the heaven is sought to be equated with the descripton of the flight of Hanuman over the seas. Many othe chaste Sanskrit expressions like “krodhamurchitaha” “ Satya Parkaramaha” etc., with which were first made familiar by Valmiki are found embedded into the Maha Bharata. Several other verses have also been similarly repeated in Vyasa’s Maha Bharata.

The author’s erudite scholarship and keen sense of research are evident throughout the book. The book is an original attempt at a re-interpretation of Valmiki in a new light ad all Devi Upasakas would gladly and gratefully welcome this. The book is so thought-provoking and so well written that It deserves to be translated into English and several other Indian Languages so that the new ideas propounded by the author can be made accessible and studied by several scholars of the several regions of our country.

I wish the author all success in this new attempt.


1967                                                                  (Sd)/-

    N.Ramesan, I.A.S

                                                                                    Secretary to Government (Education) A.P 


Seshendra :  Visionary poet of the millennium


Central Sahitya Academy Fellowship


Sri Gunturu Seshendra Sharma on whom the Sahitya Akademi is conferring its highest honour of Fellowship, is an eminent poet- a Maha kavi- a critic of fine sensibility and a scholar of great standing in literature. He also writes short stories and plays and translates from Telugu to English.   He has been writing poetry in English as well.

                Sri G. Seshendra Sharma was born on 20 October, 1927, In Nagarajupadu in the Nellore district of Andhra Pradesh. After graduating for the Andhra Christian College, he did law in Madras; his greatest ambition was to become a journalist. He believes that the poet and journalist are twin brothers because their source of material is the same. I.e. people and human life. He has been writing weekly columns in Andhra Prabha Daily for more than a decade, in the 60s and 1970s and hundreds of essays and features in many other periodicals.

Sri Seshendra Sharma began his writing career in 1951 with the translation of Sohrab and Rustam with help of Mathew Arnold’s version of the Persian epic Shahnama.  From then on, he concentrated on poetry. The whole credit of having invested Telugu Poetry with life-breath of modernity in the late 70s and early 80s goes entirely to him. To this day, he is considered a unique poetic voice. Seshendra melted anew the materials of poetry, language, imagery, symbolism and fashioned for himself a forceful poetic instrument which bears the stamp of his personality.

Sri Seshendra Sharma’s first collection of prose-poems Seshjyotsna written between 1968-1972 , was published in 1972 in bilingual editions (Telugu and English). This book marks the beginning of the new trend in Telugu poetr5y pioneered by Seshendra. “His emergence is to be hailed as a significant landmark in the history mo modern Telugu poetry.” Observes C.N.Sastry.

The publication of his Munday Suryudu (the Burning Sun) and Rakta Rekha (Arc of Blood) In 1974 proved to be a turning point in Telugu poetry and criticism. Rakta Rekha has now become a classic in Telugu literature revealing his clarity of thought, varied and profound erudition and intellectual acumen. In Munday Suryudu , the poetic language necessary to deal with a revolutionary theme found expression for the first time , and is followed by many even today.


In 1975, his magnum opus Naa desham Naa prajalu (My Country My people) brought Seshendra into prominence as one of the outstanding poets of our country.  Eminent writers like Ali Sardar Jafri hailed it as a landmark in recent history of Indian literature. Some have even compared it to Eliot’s Wasteland. Steeped in the spirit of Indianness and Indian Literature, this master work moves with the grandeur of lyric beauty through the epic landscape of India. In the preface to its Greek translation, the renowned Greek poet Nikheprhoros Vretakkos observes, “Personally I would compare the pain and anguish of the poet with one of Loutremont (the founder of  (Surrealism) in his lyric “ Malrd Aurore” The difference is that Seshendra’s protest is not made in the void. He walks firmly on his soil. At times we observe in this poem, a biblical and prophetic tone which attracts us.”

The collection of poems Neerai Paari poyindi (Turned into Water and Fled away) brought out in 1976 in bilingual editions, was quite different structurally, and his concept of ‘genetic memory’ found expression in it. In 1977 Gorilla came out.

Narudu- Nakshtralu (Man and Stars) which deals with a variety of subjects like science, politics, economics, history and sociology bear testimony to Sri Sharma’s versatility and brilliance of thought.

His deep scholarship of Vedas, Upanishads, Puranas , Itihasas and Kavyas has placed him in a unique position among the scholars of the country. Shodasi, his Tantric Commentary on the Ramayana and Swarna Hansa , his study of Harsha’s Naishadhiya Charita , are monumental works of literary criticsm.

Adhunika Kavya Sastra, the manifesto of ‘Kavisena” which he founded along with five others is a work on poetics, presenting a synthesis and a comparative study of ancient poetics, ancient Greco-Roman poetics,modern western literary criticism and Marxian aesthetics.

His Sahitya Koumudi (1968) is a brilliant work, re-evaluating the classical poets of Telugu Literature of the medieval period. Kaala Rekha, Sri Sharma’s Sahitya Akademi Award-winning book, is a collection of 25 essays on various subjects like ancient drama, comparative literature, classical poetry and modern writing. This work reflects his rare critical insight, fruitful application of comparative poetics and refreshing originality.

Sri Sharma has attended International Seminars held in Greece, Germany, France, Italy, England, Mauritius, Madagascar, etc. presenting his ori9ginal thoughts on a variety of subjects.

The many honours and awards Sri Sharma has received include Subramanya Bharati Rashtriya Sahitya Puraskar from the Hindi Akademi, Calcutta, in 1993, Sahitya Akademi Award, The Rashtriya Sankriti Ekta Puraskar and the honorary D.Litt conferred by the Telugu University in 1994.

For his eminence as a poet and scholar the Sahitya Akademi confers its highest honor, the Fellowship, on Sri Gunturu  Seshendra Sharma.


                                                                                                            Hyderabad:         19-7-1999


Seshendra: Visionary poet of the millennium