\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Some topics on focus here: Sanskrit-Romanian Correspondences (Ahimsa-Mioritsa\/Memna, Nasadya Sukta \u2013 Memento mori \u2013 teaching Sanskrit by\u00a0 Morse in Romanian Communist jails); Indians for Romania (Satyavrat Shastri, Amita Bhose, Urmila Rani Trikha, Zricha Vaswani…); Abhijnana (Kalidasa, Goethe, Eminescu; what for posthumous author of Sanskritikon?); Not Sanskrit \u2013 Not Romanian. <\/span><\/a><\/span><\/p>\n <\/p>\n
MANGALAM<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1. Hindu Dharma for Romanians. Romanians are Orthodox Christians in their majority. One would be not surprised to hear that some say all Indians are Buddhist. Mihai Eminescu (1850-1889), who \u201cmade India immortal in his country\u201d\u00a0 (Amita Bhose)\u00a0\u00a0 may be taken as a name of Dharma, saying that Buddhism is another more intense form of Christianity. Together with religions and movements originated in Vedas \u2013 Hinduism, Jainism, Sikhism \u2013 or in relation with these first revealed scriptures of the mankind, as the Buddhism.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On the path of Eminescu, Romanians climbed up to their subconsciousness, sensitive to Vedas themes (Epistle I<\/em>, Evening Star<\/em>, The Prayer of a Dacian<\/em>) and also in the fruits of their spirituality. Twined Mantras (Zricha Vaswani):\u00a0 Od\u0103 \u2013 Kathaopanishad; Glossa \u2013 Sutta-Nipata;<\/p>\nRug\u0103ciunea unui dac (Nirvana) \u2013 Rig-Veda; Scrisoarea I \u2013 Rig-Veda; Luceaf\u0103rul \u2013 Srimad Bhagavad Gita; Kamadeva \u2013 Abhigyan-Shakuntalam; Mortua est! – Buddha-Karita Constantin Brancusi, Mircea Eliade, Lucian Blaga are among the universal modern creators of Romania, and also bearers of Romanian-Vedantin message.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 As Sanskrit is the saint language of holy books and people, one will enjoy original prayers starting with Gayatri <\/em>:<\/p>\nAUM bhur bhuvah swah. Tatsavitur varenyam bhargo devasya dhimahi. Dhiyo yo nah prachodayat.<\/em><\/p>\nOm Jai Jagadish hare, swami jai Jagadish hare<\/em><\/p>\nMata pita tum mere, sharan gahun mein kiski<\/em><\/p>\nTvameva mata cha pita tvameva<\/em><\/p>\nTvameva bandhuscha sakha tvameva<\/em><\/p>\nTvameva vidya dravinam tvameva<\/em><\/p>\nTvameva sarvam mama deva deva<\/em><\/p>\nSarve bhvantu sukhena<\/em><\/p>\nSarve santu niraamya<\/em><\/p>\nSarve bhadraani pashyantu<\/em><\/p>\nMa kaschit dukhbagh bhavet<\/em><\/p>\n\u00a0<\/em><\/p>\nAsato maa sad gamayaa<\/em><\/p>\nTamaso ma ajyotir gamayaa<\/em><\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mrityorm amritam gamayaa<\/em><\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>2. <\/strong>The only leader of revolutions.<\/em><\/strong> <\/em><\/strong>Romanian priest and scholar Constantin Galeriu speaks on Mahatma Gandhi as the only leader of revolutions who discovered the Saviour, through Sermon on the Mountain preaching to\u00a0 love one’s enemies. He proved to his enemies that he loved them, even dying as a martyr. In his own words: \u201c<\/strong>I think only evil should be hated not evil-doers even when I could be the victim\u201d;<\/strong> \u201c<\/strong>Not to admit and to detest your <\/strong>enemies\u2019 mistakes should never rule out compassion\u201d,<\/p>\nand even love for them\u201d.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>\u00a0In his book\u00a0 The Gandhian Mode of Becoming, Gujarat Vidyapith, Ahmedabad, 1998, Dr. Catalin Mamali includes also satyagraha, ahimsa, aparigraha statements: I think that the most efficient means to have justice done is to do justice to my own enemy; I think that each and every person should give up the desires to possession of as many things as possible;\u00a0 In my opinion any person who eats the fruits of the earth without sharing them with the others and who is of no use to the others is a thief.<\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A talk in Bucharest by Deepak Maheshwari , 29\/5\/12,\u00a0 mentioned that\u00a0 degeneration of the Sanskrit language as the primary spoken language went hand in hand with the rise of the caste system, over a long period that began before 1,000 B.C. The Vedic scriptures were sealed off and codified. The common people could no longer read them, and a special class emerged of those who could still read Sanskrit and therefore recite and interpret the body of scriptures. The freedom of all individuals to worship God with songs of praise was replaced by the “ritualization” of the society under brahmin control.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Gandhi’s war against untouchability started with his\u00a0 “epic fast” of Sept. 20-26, 1932.<\/p>\n
“We do not want on our register and on our census untouchables classified as a separate class,” declared Gandhi in his statement of protest. I will not bargain away the rights of the Harijans for the kingdom of the whole world. I cannot possibly tolerate what is in store for Hinduism if there are two divisions set up in every village.”<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 What is a Guru? Asked Swami Chidanand Saraswati, o<\/strong>n Guru Purnima A Guru is one who removes our darkness. In Sanskrit, Gu means \u201cdarkness\u201d and ru is\u201dthat which removes.\u201d A Sanskrit sloka says: The Guru is Brahma, the Guru is Vishnu, the guru is Shiva, the God of gods, \/ the Guru\u00a0 is verily the Supreme Brahman. Salutations to the adorable Guru.<\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 3. Ramayana Play <\/em>(theory and practice). Valmiki, Kamban and Tulsidas are universal revealers of Rama, but also of Hanuman. Devotees of Ramayana meet bhakti. The ramayanic spring bring the thirsted receiver to an ever fresh newness of divine spirit and beauty. The music of Hindi Ramcharit Manas, an Indian Divine Comedy, is heard also far out from temple in the hearts of different believers, beyond dry ecumenical talks. The joy to re-tell Raamaayana and awakening from a dream when it is over, made Rajagopalachary to equal in a subliminal way Raamaayana with Seeta herself:<\/p>\n\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cWhen the Prince left the city, he felt no sorrow; it was only when he lost Seeta that he knew grief. So with me too. When I had to step down from high office and heavy responsibility, I did not feel at a loss or wonder what to do next. But now, when I have come to the end of the tale of the Prince of Ayodhya, the void is like that of a shrine without a god.\u201d ( C. Rajagopalachari, Ramayana, Bhartya Vidya Bhavan, Mumbay, 1996, p.313).<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Srimad Valmiki Ramayana<\/em> is smriti <\/em>(\u201e memory\u201d), an epic poem which narrates the journey of Virtue to annihilate vice. Sri Rama is the Hero and aayana<\/em> His journey.<\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In almost all of North India, the Tulsidas Ramayana<\/em>, also known as the Ramcharitmanasa<\/em>, is the most popular. Goswami Tulsidas rewrote the Valmiki version in Hindi in about 1574, changing it somewhat to emphasize Rama as an avatara<\/em> (incarnation) of Vishnu. Another notable change was that Sita had a duplicate, who was kidnapped while Sita remained safe. In the Kamban Ramayana<\/em>, popular in the state of Tamil Nadu, segments of the story were changed to better reflect Tamil ideas, including Ravana not being as cruel to Sita.<\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The easiest way to attain Lord Rama is to worship Hanuman: \u201cTumhare bhajan Ram ko pavae\u201d; \u201cNothhing exist but God\u201d; \u201cYou are the whole I am a part\u201d; \u201cI see that you are I and I am you\u201d. One can see firstly an impish young monkey flying to the sun, becoming distracted and falling, thus earning his name which means \u201cbroken chin\u201d (Li Min). Think also to Sun Wukong\u2019s Journey to the West, and also to Hobbits journey through the wilderness, into maturity.<\/p>\n
\u00a0\u00a0\u00a0\u00a0 The ancient message of the Ramayana continues to be relevant for the human race. It is not surprising that Mahatama Gandhi was tremendously influenced by the teachings of the Ramayana. If Gandhiji is still relevant for the world so is his guidebook \u2013 Ramayana.<\/em><\/p>\nSANSKRIT-ROMANCE ONTOPOETICS<\/p>\n
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1.A Sanskrit mantra<\/em> among the euphonies of any Romance utterance puts a peculiar question of poetics. Because\u00a0 that rasa <\/em>appeals there to the global mythologi\u00adcal imagination. Neither Sanskritization and nor the least, in turn, Latinization here, these literatures can be compared in the good Indo-European tradition. But at the same time both Pan-Indian poetics and subjective Europocentric modernity have to be regard\u00aded not only as registration of some assimila\u00adted influences but also in a specific indivi\u00addualized\u00a0 perspective. Thus, through an ontologic poetics – and not compulsory Heidegger’s Dasein \u2014 we see beyond satyasya satyam (the reality of the real) or superintellectual reality of the mystery, the poet as such, as poet to poet, as Tagore’s personaliz\u00aded upanishadic advaitam (the mystery of one) which is anantam (infinite) and which is anandam (love).<\/p>\n <\/p>\n
2. \u00a0Tagore’ s\u00a0\u00a0 “O fire, my brother”<\/em> sounds as Franciscan “il mio fratello sole”. Trans\u00adcribing in Latin the Buddha’s\u00a0 fourth noble truths-suffering, origin of\u00a0\u00a0 suffering,\u00a0\u00a0\u00a0 cessa\u00adtion of suffering, the eightfold way leading to the cessation of suffering as – dolor, doloris ortus, doloris interims, octopartita\u00a0\u00a0 via\u00a0 ad doloris sedationem Dhamapada -, Artur Schopenhauer\u00a0\u00a0 has\u00a0\u00a0 identified\u00a0\u00a0 morally\u00a0 the bikkhus and mandicant order of St. Francisc. Sometime, the philosopher’s disciple, Mihai Eminescu, took again the way from Latin to Sanskrit, looking to change, for instance, the name of one his Romantic character called Mors\u00a0\u00a0 (Death) into Nirwana.\u00a0\u00a0\u00a0\u00a0\u00a0 Significant enough, Jawaharlal Nehru confessed he didn’t know more Sanskrit than Latin. May be what meant Sanskrit creative unity to Tagore was for & as the Latin one for\u00a0 Ezra Pound in whom “Cantos” flows\u00a0 as\u00a0\u00a0 if\u00a0\u00a0 same Ganges of Petrarch, while, on the other hand, last century Mirza Ghalib didn’t\u00a0\u00a0 spend\u00a0\u00a0 time any more for reading Sikandar’s\u00a0\u00a0 life.\u00a0\u00a0\u00a0 Now, from poetics to poetry as an order of Welt-literature could be observed as Sanskrit, Greek, Latin.\u00a0\u00a0 Ontologically the mechanism looks freer, the theme of love for example trying to be one either as ecstatic knowledge\u00a0\u00a0\u00a0 or as disorder of\u00a0 human\u00a0 rational equilibrium.<\/p>\n <\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 3. Indo-Latin Kavya Purusha. <\/em>A Latin ecce India still keeping in the beginnings ‘Java’ of “Mahab-harata’ resounds from Catullus “India’s arid land’ and Horace’s peace of mind’ with no gold nor tasks that India yelds’ to Cavalcanti’s chiostra\/ Chel’s sente in India ciascun Unicorno’. Cam\u014des’ ‘o illustre Ganges que na terra celesta tenho o berco verdadeiro’ or G\u00f3ngora, from Baudelaire and Eminescu to Dario, Pess\u014da. Montale. On a modern Sanskrit ground we can attend – as Pound said about Brancusi – that ‘exploration toward getting all the forms into one form’ – Latin satires, epodes, odes, epistles, sermons continued into Italian sonetto. French chanson, Spanish romancero, Romanian doina, Portuguese redondilha. For, said Michael Madhu Sudan, \u2018 cultivated by men of genius, our sonnet would in the time rival the Italian’. With such thought to a Sanskrit-Latin sonnet I published in my book of poems -Ardhanariswara” (International Academy ‘Mihai Eminescu’, Delhi, 1982). Lope de Vega’s Cuando el mejor planeta en el diluvio’. Baudelaire’s Correspondances’ and Eminescu’s ‘Venetia’, in Sanskrit version done together with U. R. Trikha, from Spanish, French, Romanian respectively,<\/p>\n‘Ganga\u00a0 Dnnuvyava saha samgachhati’<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Lope de Veffa<\/p>\n
‘niseva vidyutiva rasarupani<\/p>\n
dhvanayah prativadanti parasparam<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Baudelaire<\/p>\n
‘sthiram\u00a0\u00a0 jivanam vishla venitsyayah’<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eminescu<\/p>\n
One verse by Eugenio Montale,<\/p>\n
‘cio che non siamo, cio che non vogliamo’<\/p>\n
is transounded as follows into Sanskrit by Satyavrat Shastri,<\/p>\n
‘na vayam smo na ca tatha yadvayam kameyawaho’.<\/p>\n
Otherwise, J. M. Masson confesses also a Sanskriturn-Latin smriti paral-lelling within a Proustian memory a Sanskrit sloka with one of Dante’s,<\/p>\n
kavinam manasam naumi taranti pratibhambhasi<\/p>\n
yatra hamsavayamsiva bhuvanani caturdasa<\/p>\n
Nel mezzo del camin di nostra vita<\/p>\n
mi ritrovai per una selva oscura<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 4. Last years the Vedic and Buddhist in\u00ad<\/em>spiration<\/em> in Mihai Eminescu’s poetry now more than an experiment in translating but an ontic sat. “Scrisoarea 1” (“First Epistle”) was published in 1881 in “Convorbiri literare” (“Literary Conversations”) and then soon translated into German and after some time into Latin, Italian. Polish, Hungarian, English, French, Armenian. Bulgarian, Spanish, Russian, Greek, Bengali. The Vedic cosmogony and the Apocalypse both under the ray of the moon superposing the vision of Old Guru and the construction of the poem, it’s springing at infinitum from one point as Beethoven’s Vth Symphony were transposed affinitively by some professors and poets from the Department of Modern Indian Languages of Delhi University increa\u00adsing so the creative knowledge of the poem – for instance the tantric Shiva-Shaktis union observed through Mahendra Dave and O.M. Anujan versions. With the Sanskrit transla\u00adtion of Rasik Vihari Joshi, Indo-Latin roots restart the poetic universe again. Because, in Eminescu’s mind-differing by his own translations from German, French, English. Swedish, Latin, Greek literatures – in the case of Sanskrit like of Romanian itself it seems to be realized an identity between affinity and creation And with only a (half) sloka open\u00ading the Hymn of Origin from Rig Veda we face onto-poetry’s source.<\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 4.1.\u00a0\u00a0\u00a0 Rig Veda\u00a0\u00a0 (“Hymn of Creation” starts):<\/p>\n
nasad asin, no sad asit tadanim<\/p>\n
<\/p>\n
4.2\u00a0\u00a0\u00a0\u00a0 Mihai Eminescu:<\/p>\n
La-nceput, pe cind fiinta nu era, nici nefiinta<\/p>\n
<\/p>\n
4.3.\u00a0\u00a0\u00a0 Sanskrit (re-)version by Rasik Vihari Joshi:<\/p>\n
adau sampurnasunye na hi kimapi yada<\/p>\n
sattvamasinna casi<\/p>\n
<\/p>\n
4.4\u00a0\u00a0 Hindi, by Usha Choudhuri :
\nPranihina. sattarahita. ajiva<\/p>\n
<\/p>\n
4.5 Gujarati, by Mahendra Dave:
\nTyare natun ko Sat, na asat<\/p>\n
<\/p>\n
4.6 Punjabi, by Gurbhagat Singh:
\nJadon thakian akhan nal main mombati
\nbujhaunda han<\/p>\n
4.7.\u00a0\u00a0\u00a0 Malayalam, by O.M. Anujan (Dravidian languages, as Pali, taken with Sanskrit):<\/p>\n
Adiyilekku nissunyata nannile<\/p>\n
4.8.Tamil,byP.Balasubramanian:
\nMudhanMudhalil.thodakkathil,
\nOnrumatra verumaiyil<\/p>\n
<\/p>\n
<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 5. The Indian poets answer today<\/em>, rather than old Latin continent, some Latin American creators, themselves looking forward personal Sanskrit poetic\u00a0 myths. Otherwise, the Sumitranand\u00a0 Pant’s\u00a0 inner\u00a0 sorrow keeps the journey\u00a0 in\u00a0\u00a0 universal Sanskrit\u00a0 jar and to recommend tale-quale the\u00a0\u00a0 doctrine of\u00a0 the correspondence, the symbolism and any synesthetic bend seem to be a work of a distant poetics,\u00a0\u00a0 maybe far away\u00a0\u00a0 from\u00a0\u00a0 the poetry\u00a0\u00a0 itself.\u00a0 Those poets renouncing apparently\u00a0 the\u00a0 registration of\u00a0 the aesthetic truths\u00a0\u00a0 and\u00a0\u00a0 following their\u00a0 genuine destiny are signaling the eternity\u00a0\u00a0 of\u00a0\u00a0 poetry, as such more-or-less no analyzable\u00a0\u00a0 by the means of the poetic.<\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In the context of the Indian literature, looking upon some trends, spheres of influence amongst groups and generations – beyond the perception of common essences and inspirations summarizing a complex originality\u2014there are new concomitantly universal and Indian personalities; so it’s to be contemplated that creative process, given impulse by the Sanskrit root growing up under the sun of the whole world.\u00a0\u00a0\u00a0\u00a0 The incommunicable inner drama of the poet lets itself be\u00a0\u00a0 shared through\u00a0 the directness of language, the ideal of\u00a0 beauty\u00a0 and\u00a0\u00a0 human participation.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 All are transfigured within the art,\u00a0\u00a0 as\u00a0\u00a0 if\u00a0 divine,\u00a0 and\u00a0 of the\u00a0\u00a0 Prajapati (creator).\u00a0 After all, the poets are one, but through the communion the poet can perhaps renounce the lyricism of his own person; the Thou installs the contradictory infinity of love; not the world but the ego is expressed as a theater, multitude of human sorrows, spiritual differentials of the same mind; the third person exists, thus, as autonomous inspiration and whole transcends\u00a0 the\u00a0 unreconcilable plurality to let open\u00a0\u00a0 the\u00a0 way of creation.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It’s a communing self, within the neighbour, the idea, the\u00a0 solitude, a respon\u00adsive and, in the same time, fully\u00a0\u00a0 passionate: the technique is denied sometime through an obsessional geometry; the motive dictates\u00a0 or is dictating itself as a leitmotiv; the poem is the fruit of one violent and tender\u00a0\u00a0 radiance; the\u00a0\u00a0 images\u00a0\u00a0 are\u00a0\u00a0 remembering the really seen and, maybe, conquered worlds: A poem is sorrowful, another\u00a0 answers it;\u00a0\u00a0 a book is the memory\u00a0\u00a0 of\u00a0 a sound,\u00a0\u00a0 another\u00a0 is\u00a0\u00a0 a chorus, preserving\u00a0 the\u00a0\u00a0 silences\u00a0 of\u00a0 the\u00a0\u00a0 soul on the poetic planet: and the cosmos validates itself tantrically in the communion of the\u00a0\u00a0 fecundity with\u00a0 self creation;\u00a0 the light\u00a0 of\u00a0\u00a0 sadness and the\u00a0\u00a0 hymn\u00a0\u00a0 of\u00a0 joy\u00a0\u00a0 castellated\u00a0\u00a0 in\u00a0\u00a0 a\u00a0\u00a0 time\u00a0\u00a0 in\u00addifferent\u00a0\u00a0 to\u00a0\u00a0 the primordiality of sorrow: the communing salvation is the name of synchronicity of the song with the\u00a0 transcendence\u00a0\u00a0 of the person through an unsinful message.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The poetic discourse\u00a0 originated\u00a0 in a dream homologue\u00a0\u00a0 with\u00a0\u00a0\u00a0 reality\u00a0\u00a0 adapts\u00a0\u00a0 to\u00a0\u00a0 rare destiny,\u00a0\u00a0 preserving\u00a0 the old\u00a0\u00a0 temptation\u00a0\u00a0 of searching\u00a0\u00a0\u00a0 for\u00a0\u00a0 the\u00a0\u00a0 lost happiness\u00a0\u00a0 of\u00a0\u00a0 the Paradise,\u00a0 which\u00a0\u00a0 is\u00a0\u00a0 now just disappearing or emptying itself\u00a0 out;\u00a0 the\u00a0\u00a0 existential\u00a0\u00a0 fullness is saved through the freedom of the singing; the awareness doesn’t follow\u00a0\u00a0 the\u00a0 poem,\u00a0\u00a0 it is synchronistic\u00a0 with\u00a0\u00a0 it; and\u00a0 so another poem waits its avatar; many more lives in a literary intuition are\u00a0 finding utterance,\u00a0\u00a0\u00a0 the\u00a0\u00a0 world recognizes its\u00a0\u00a0 miracles\u00a0 and\u00a0\u00a0 injustices. The questions are put deeply into the answers of the communion; the poem guesses the salva\u00adtion; the poetical dedication is like\u00a0 an adoption; the Logos passes through moods without\u00a0\u00a0 words; the\u00a0\u00a0 secret\u00a0\u00a0 of\u00a0\u00a0\u00a0 the\u00a0\u00a0 death follow\u00a0\u00a0 all\u00a0\u00a0 the\u00a0\u00a0 former lives; Saphic\u00a0\u00a0 women flows toward \u00a0the pose\u00a0 of\u00a0\u00a0 the\u00a0 one\u00a0\u00a0 like\u00a0\u00a0 a hibiscus.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The resurrection of the hymn is written in itself, with a decent passion of the glory through love and sorrow, through the lyricism of the unhappiness in love and world. To write the poetry of being – over the obsession of\u00a0\u00a0 life\u00a0\u00a0 as\u00a0\u00a0 such or musicalised myths, classicisms on Anglo-American modernisms – is to have the essential recep\u00adtivity\u00a0\u00a0 of\u00a0\u00a0 the world\u00a0 through untransfigurable symbols, to reach one infinite familiarity with the tragic self, to produce a purificatory purity.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The poetic excellence arises, then, through a concurrent vibration: there is a back -ward path towards the finesse and the tender power of vital light: the ancient Indian aura is interior to the poet and the metronomic moves the hearing towards the luminous sounds; thus, the primordial moods are everydaynesses of a poetic destiny; the commu\u00adnion fascinates the lyric work and so the love can still be the progression in the series of the great feelings.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 6. Anthropology of New Recognition<\/em>. <\/em>There is no need to say that making literature as anthropology and anthropology as literature one loses one\u2019s chance to be recognized within either of them. But the theme of recognition itself can be a joint topic, on top of it may be Kalidasa\u2019s \u201cRecognition of Sakuntala\u201d (Abhijnan Sakuntalam). Even after some two thousands or two thousands and a half years it seems that Dushyanta recognizes his deserted wife almost for the sake of their child, successor to the throne.<\/p>\nA XIX century\u2019s replica is C\u00e3lin <\/em>poem by Mihai Eminescu, in which the recognition of the deserted wife, after years, starts by meeting the child.<\/p>\nPhilosophy of recognition in modern times includes patterns drawn by Hegel, Pascal or Lacan. An anthropology of recognition would record also discrimination between cultures and their representatives to the extend of cultural cannibalism, colonialism-globalism, localism, etc. To be recognized during or after demise is very little related to one\u2019s will. It seems rather an outer concept. It is quite hard to enjoy the non-recognition, but after all, then it is time to find God. Does God recognize a person unrecognised even by self? Is it possible to get God\u2019s message when all expectations are transformed in lost obsession of Divinity?<\/p>\n
Two poems of different ages and others reveal the devotion-recognition to Goddess or simply Woman. Shankaracharya\u2019s Saundaryalahari<\/em> and Dylan Thomas The Ballad of Long Legged Bite<\/em> are almost at the antipodes one from the other, yet they may meet either in Shakta cult or in surrealistic mysticism of woman. Sanskrit worshipper makes a cosmic prayer to the Divine Mother on the whole and part by part, while the Welsh balladist thinks of woman in pieces thorn apart by sharks and lovers. While the religion \u2013 recognition of Uma, Daughter of Himalaya attracts hotly tantric and advaitin followers, the woman-bite is recognizable only through song recreation of the victim in tune with legions of raped and kidnapped heroines like, for instance: Kira Kiralina of Romanian ballads and Panait Istrati\u2019s novels, in which the heroine kills herself in order not to be captured by the rapists. In another ballad by Ionel Zeana, hundred virgins chose to kill themselves instead of entering the harem of the invaders.<\/p>\nThe woman is recognized as Goddess and as a bite almost in the spiritual inspiration, once an enthusiastic devotion, twice even still more literary as empathically ballad. The joy and sorrow come together as the characters are concerned, but both works convey either advaita-nondual, or Don\u2019s love recognition in the same move as prayer and chatarsis causes-effects.<\/p>\n
From thousand to thousand years, from Sakuntala to Saundaryalahari and ballad Goddess-bite other characters and feelings are transformed or forgotten also as recognition of the fact that recognition is not possible.<\/em><\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>C\u0103t\u0103lina-Kate-Christina love, up to avataric identification, the soft and all powerful Morning Star in his\u00a0\u00a0 cosmic-erotic double. By 1980, when Eliade saluted in a letter to us the Sanskrit version of Eminescu’s Luceafarul \/ Divyagrahah by Urmila Rani Trikha, would have had in mind his character Miss Christina – \u2026 avatara diviagraha \u2013 but also divine Arundhati, embodiment of Vedic\u00a0 Morning Star and of spiral kundalini serpent, ideal wife \u2013 of Vashista \u2013 invoked by Sita in Ramayana by Walmiki. At D. H. Lawrence, Kate abandons herself to the Morning Star beyond military world, beyond the good and the wrong, in role of Malintzi: <\/em>\u201eSo, when she thought of him and his soldiers, tales of swift cruelty she had heard of him: when she remembered his stabbing the three helpless peons, she thought: Why should I judge him? He is of the gods. And when he comes to me he lays his pure, quick flame to mine, and every time I am a young girl again, and every time he takes the flower of my virginity, and I his. It leaves me insouciante like a young girl. What do I care if he kills people? His flame is young and clean. He is Huitzilopochtli, and I am Malintzi\u201d<\/em>\u00a0 <\/em><\/p>\n7. \u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0<\/em>Feminine Theoanthropoetics. <\/em>The anthro-poetry (I have proposed the term in 1970, at the 10th ICAES, New Delhi) may deal with a transcendental deputation of man as creator and of the creator as god but also with the human share of the supreme creation through the poetical cosmogonies. Some Indo-European creative myths are quite separated from the current theories of the universe\u00a0 but not so within poetry. For instance, the cosmic symbolism of woman’s hair grows independently fromKalidasas’s Usha\/Dawn (Sanskrit-Romanian trans-soundation: ava yoseva suna\/urusa yati prabhunjati\/ave ei eva juna aurusa-n pridvor de zi” – George Anca. Ardkanariswara, International Academy Eminescu, Delhi, 1982) in the Veda or the Milk Ocean to Eminescu’s blonde Indian princess or Brancusi’s La negresse blonde.<\/em><\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The ambiguity between divinity and hair-fairness is obvious in the appellations of Krishna as Krishna (derived from ka – Brahma, ica – Siva, vo – one that goes before Brahma and Shiva; or from kesa-hair, and va – who possesses, fair-haired) or as Vasudeva meaning dark-blue or brown (M.N. Dut). And everybody enjoying, reading, commenting, dancing, translating (what be in that case a sort of trans-translation) Jayadeva’s Gitagovinda, remembering or not the ten opening avatars of Vishnu will witness differently the climax-reproach of Radha speculating on Krishna’s name (as -‘dark”). While the avatars of Hyperion in Eminescu’s poem are marked in the eyes of moon-like girl, Catalina, just by changing color of his hair (6). “Thus R\u0101ma banished will be no-R\u0101ma”‘ (“not charming”) says Manthara to Kaikeyi (Rumayana by Valmiki). Sanskrit nymphs, poetesses, characters can be paralleled with blonde avatars in modern poetry, from Kalidasa’s Urvasi to Giraudoux’ Ondine.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A. K. Warder, Indian Kavya Literature, vol. 2, Motilal Banarsidas,\u00a0 Delhi, 1974: “The travelers look with unblinking eyes peasant’s daughter made pale with flour.\u00a0 ‘ With desire, as if at Fortune coming forth from the Ocean of Milk” (Maharastri verse from 2 A.\u00a0 D.)\u00a0 “The allusion here is to the myth of the churning of the Ocean by the gods, which produced among\u00a0\u00a0 other precious\u00a0\u00a0 things\u00a0\u00a0 the\u00a0\u00a0 Goddess\u00a0\u00a0 Fortune (Laksmi), moreover Fortune is symbolized by the color white. It is a commonplace that the gods’ eyes do not blink, thus the travelers’ stares would suggest that they were gods’ (p.\u00a0 192). Vol. 3, 1977: From Kalidasa’s Urvashi: – “At the rite of her creation was the Moon the Creator, giving his charm?\u00a0 ‘ Was it Pleasure himself with the sensitive as the one aesthetic experience? Was it the Moon who is the source of flowers?\u00a0\u00a0 ‘ – For how could an ancient sage, dull through studying the Veda, his interest averted from sense objects, create this delightful form?” (p. 139).<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 An almost feminine theoanthropoetics of the vision is retained by Abhinavagupta from a yoga tradition in which the eye is populated by many goddesses differently colored . Kami\u00a0 Chandra\u00a0\u00a0 Pandey,\u00a0\u00a0 Abhinavagupta.\u00a0\u00a0 Chowkhamba.\u00a0\u00a0 1963, p. 533; “each eye has four orbits (Mandala) (i) white (ii) red (iii) white-black (iv) black. The first is the abode of the group of sixteen goddesses, the second of twelve, the third of eight and the fourth of four. In each of these four orbits one of the four powers, of creation, maintenance, annihilation and of manifesting itself in indefinable form, respectively predominates and so does one of the four, object (Prameya), means (Pramaaa), subject (Pramata), and knowledge (Pramiti)”.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rajasekhara’s argument of the blind poet sustaining the theory of poetic imagination, pratibha, meets Eminescu’s blind sculptor as well as Brancusi’s sculpture for the blind – one with the beginning of the world, the golden embryo – Mihai Eminescu: Memento mori.<\/em> Geniu pustiu<\/em> \/ The Deserted Genius; Ion Barbu: Oul dogmatic<\/em>\/The Dogmatic Egg. Blond women avatars in Eminescu’s “The Avatars of the Pharaoh Tla” and in Liviu Rebreanu’s Adam and Eve. George Bacovia: “All chaos is a gaiety of the ether” (Autumn Notes); “In the ideal night the blond princess in white” (Ballad).<\/p>\n\u00a0The feminine rhyme of the Ganges in Romance poetry recalls an endless flowing creation over the human phalanges . <\/em>Gongora’s (and many other poets’) “el Ganges\/falanges” sending to the nritti sequence Ganga springing from the head of Shiva. <\/em>Pierhyme cosmic dance in Cam\u014des : “Eu sou o illustro Ganges, que na terra \/Celeste tenho o ber\u00e7o verdadeiro”. Al. Philipide still baroque “picioroange falange”. Giambattista Marino: “De la vene de Gange il fabro scelse \/ Il piu pregiato et lucido metallo. <\/em>Virgil in Georgica: “usque coloratis amnis deuxus ab Indus.\/ et uiridem Aegyptum nigra fecundant harena” (the river flowing down from the colored Indians \/ and fertilizes green Egypt with its black sand – tr. <\/em>David West). Sanskrit-Portuguese rhyming in Mariano Garcias: “Terra de Sabios, e imortaes poetas \/ Philosophos, videntes e ascotas.\/Valmiki. Somadeva, e Kalidasa, \/ Budha, Manu, Panini e Vynssa \/ Durgavati. Maytreyi e Kalinatha Dvantari e Soma e Aryabratha \/. Kaverajah. Jayadeva o Vedanta, E tanto genio, tanta gloria, tanta. Surr\u00e9aliste natya <\/em>rhyme<\/em> in Apollinaire : “L’\u00e9poux royal de Sacontale \/ Las de vaincre se rejouit \/ Quand il la retrouva plus p<\/em>\u00e2<\/em>le \/ D’attente et d’amour p\u00e2lie\/ Caressant sa gazelle m\u00e2le”. <\/em><\/p>\nL’IMAGINATION DE BAUDELAIRE<\/p>\n
Sanskrit Correspondence<\/p>\n
A few expressions here, like Anandavardhana’s kavi-prajapatih or Baudelaire’s, could be related, somehow, to Kamala Das’ “when you learn to swim do not enter a river that has no ocean”.<\/p>\n
1.\u00a0\u00a0 After his unfinished voyage <\/em>to Bharata Varsa, as if out of Camoens steps, the young punished Charles Baudelaire\u00a0 did more than imagining India. As a now adikavi – or, in T.S.Eliot’s words, the greatest archetype of\u00a0 the poet in modern age\u00a0 and in all the countries\u00a0 -, as a critic, too,\u00a0 he refound on an endless path that “ordre\u00a0 et\u00a0 beaut\u00e9” corresponding to Sanskrit aucitya and ramanyia.<\/p>\nWith this alliterative modern-maudit Baudelaire, but also acarya or padah, like the old Abhinavagupta we speak of poetry and poetics \/metaphysics\/science\/dandyism, etc. poetry in correspondence \/unnaya\/ symbol\/verse\/ prose,etc.,\u00a0 poetry within\u00a0 logos\/rasa-dhvani etc. Poet, daemon and lecteur\/sahrdaya are one, the Swedenborg’s heaven-man. And beyond a Jesuit ballet of forgiving-conviction around, the Parisian poet living between 1821-1867, we see again “Les Fleurs du Mal”, opened in 1857, while Flaubert published ‘Madame Bovary’, Dostoievsky and Tolstoy gathered their momentum, Wagner ended the second act of ‘Tristan’; “such a year matters in the history of spirit” (Andr\u00e9 Suares).<\/p>\n
Some “substantives” passed obssessively into the bibliography of this now tragic sophist, now virgin poet now the best critic of this century: the madness, the world-index, the autobiography, the influence of Poe, the mystical symbolism, the city, the cathacresys, the originality, the muse, the aesthetics of individualism, the revery, music, etc.”Substantif, adjectif, verbe, on correspond alors que le grand trinit\u00e9” – profondeur, transparence, mouvement, – qui est celle de l’\u00eatre baudelairien lui-meme”(Jean-Pierre Richard).”Cinque sostantivi”(Lorenze Maranini): “Le tout n’est qu’ordre\u00a0 et beaut\u00e9,\/Luxe, calme\u00a0 et volupt\u00e9”.<\/p>\n
As kavyapurusha\u00a0 (spirit of poetry) meets sahityavidya (appreciative criticism) making her his bride in Vidarbha and creating Vaidarbhi Riti, the modern poetic\u00a0 mind travels within the\u00a0 temple\u00a0 of the nature – correspondence\/ lila\u00a0 (play)\u00a0\u00a0 of\u00a0 the\u00a0 heaven\u00a0 with the\u00a0 earth – in Cythere, Icaria,\u00a0\u00a0 Lesbos,\u00a0\u00a0 to\u00a0 a Limbus,\u00a0\u00a0 a sunset,\u00a0\u00a0 a mist\u00a0 mixed with rain,\u00a0\u00a0 a Paris,\u00a0\u00a0 a Cocagne\u00a0\u00a0 Land,\u00a0\u00a0 a Capua,\u00a0\u00a0 a Parnassus. But in the island of Venus, the temple is changed in a hanged alter ego. Like following descendita ad inferna<\/span> of Ulysses, Aeneas, Jesus, Dante, ‘Chaque jour vers l’Enfer nous descendons d’ un pas’, and analogically to Bhavabhuti introducing the\u00a0 scene\u00a0 of Madhava’s\u00a0 selling flesh in\u00a0 the crematory, in the course of development of Rasa\u00a0 of\u00a0 love, Baudelaire\u00a0 contemplates the divine essence in the corpse of Venus. Being the correspondence of the life with the death, of the spleen with the eternal ideal, the journey never ends. Diabolical or paradisaical, the poetic corres\u00adpondences reveal through the prayoga of the poet a self-poetry as rasavada and sarasvatyastattvam, an alchemy of grief which will be transformed by Rimbaud in an alchemy of verb. Over versed poetics – like in Horace and alamkara sastra -, among dense perfumes, with vaporized and, in its divine momentum – before the loss of para\u00addise -, centralized self, the poet remains the stranger, the mysterious of his first prose poem, the lover as in Kalidasa’s\u00a0 ‘Meghaduta’, of the clouds, the going clouds, the marvelous clouds, clouds which are imitating his life and are thinking through him as also he thinks through the things, the clouds like the perfumes of the ‘Correspondences’, “ayant 1′ expansion des choses infinies”.<\/p>\n2. \u00a0Reading Baudelaire within Sanskrit context<\/em>, beyond the poet as voyant in the temple of clouds, the correspondences are to be felt individually from both Indian and Latin carmen-kavya through the ancient epos, Camoens’ epic India,\u00a0\u00a0 Eminescu’s rig-vedic\u00a0 romanticism, even if it is said, for instance, about Edwin Arnold’s translation\u00a0 of ‘Gitagovinda’\u00a0\u00a0 that is “so unrecognizable baudlerized”. To remember Baudelaire as a translator, “People accuse me, of imitating Edgar Poe! Do you know why I translated Poe so patiently? Because he was like me. The first time I opened a book of his I saw, with horror and delight,\u00a0 not\u00a0 just the subjects I had dreamt of, but sentences I had thought of, and written by him twenty years\u00a0\u00a0 before”(1864).<\/p>\n3.\u00a0\u00a0 For the modern poet<\/em> – Rimbaud:\u00a0\u00a0 “Je suis un autre” – on reading-Mallarm\u00e9 could contradict one reading – Baudelaire, a continent’s apophatic\u00a0 avantgardism could be\u00a0 secretly rebelled by the ancient diction of another universe but through such unfaithfulness\u00a0 within\u00a0 confi\u00addence he creates the fidelity of the poetry to itself. The critical mind seems to mingle the poet and poetry, from Thibaudet’s stake on Baudelaire or Paul Bourget’s enjoyment to Brunetiere’s protest, last\u00a0 century, and in our age\u00a0 between a programmatic\u00a0 bio-bibliographical exhaustiveness\u00a0 (George Blin,\u00a0 Henri Peyre, Claude Picnois, Marcel Raymond,\u00a0\u00a0 W. T. Bandy,\u00a0\u00a0 Robert T.Carge, Alfred Edward Carter a.e.)\u00a0 and \u00a0<\/sup>“attemptative”(Sartre) or simply existentialistic work (Buter), esoteric (Pierre Emmanuel) or semiotic isotopic\u00a0 (Roman Jakobson and Claude Levy-Strauss).\u00a0 Poet of the poet – as Holderlin interpreted by Heidegger -, through his spiritual encounters -De Maistre, Poe, Delacroix, E.T.A. Hoffmann, de Quincey, Wagner -,Baudelaire revealed his\u00a0 own aesthetics\u00a0 having as\u00a0 a method the\u00a0 sincerity of self,\u00a0 and the new as\u00a0 ulti\u00admate\u00a0 aesthetic obsession.\u00a0\u00a0 What he said about Poe could have been written at the first person. Between asatya (non – existent) and utpadya (created by imagination) to Te\u00a0 Deum \/ <\/em>opium sahitya and to include verse\u00a0 in\u00a0 the most of prose-critical glass is\u00a0 to\u00a0 transfer stanzas\u00a0 from” “Correspondences”\u00a0 or “Les Phares” in antara-sloka.<\/p>\nIn Kalidasa’s comparison of poetry to Ardhanariswara (the symbolic image\u00a0 of Siva representing one\u00a0 half of his body as Parvati)\u00a0\u00a0 the goddess Parvati is Vak or Jalva (parole) and god Paramesvara is Artha (logos\/conventum), their union as Ardhanariswara signifying, as V.Raghavan reminds it, the greatest ideal of poetry variously emphasized as\u00a0 sahitya,\u00a0\u00a0 sammitatva,\u00a0\u00a0 etc.\u00a0\u00a0 For Baudelaire, the poetry – this fruit of the sensitivity of imagina\u00adtion – is absolutely true only into another world. But the poet himself, in and out of the two halves for two persons of symbolon or\u00a0 the Lohengrin’s secret of Graal, comes self devouringly to another world as\u00a0 Heautontimorumenon,\u00a0\u00a0 that\u00a0 Greek-Latin\u00a0 comic\u00a0 character bantered by Goethe\u00a0 as\u00a0\u00a0 anologen\u00a0 of poetes\u00a0 from his\u00a0\u00a0 age,\u00a0\u00a0 of a tragic irony after Baudelaire.<\/p>\n
The words from the dictionary of external nature, says Baudelaire, have to be\u00a0 selected and\u00a0 arranged \u00a0by\u00a0 the creative\u00a0 artist\u00a0 using the imagination,\u00a0\u00a0 “la reine\u00a0 des facult\u00e9es”,\u00a0\u00a0 an\u00a0 almost\u00a0 divine\u00a0 faculty,\u00a0\u00a0 giving\u00a0 to\u00a0 the poet\u00a0 or to\u00a0 the\u00a0 musician\u00a0 the capability of\u00a0 translating the\u00a0 hieroglyphs\u00a0 of\u00a0 the\u00a0 spiritual reality. Only the imagination comprises the poetry. The true imagination of the true poet, who is also always a critic and a reader. As mystery of creation either in written word, music or painting, there is a blank, lacuna, to be fulfilled by the imagination of the reader or listener, which suggests similar ideas in different minds. And through which we can find in different times and spaces Kalidasa’s corresponding imaginative sympathy of the audience, the whole Sanskrit emphasis on sahradaya, – l’ homne de lettres,\u00a0 l’homme\u00a0 d’esprit\u00a0 -,\u00a0 answering\u00a0 “le po\u00e8te,\u00a0 le\u00a0 pr\u00eatre\u00a0 et\u00a0 le\u00a0 soldat,\u00a0\u00a0 l’homme\u00a0\u00a0 qui\u00a0 chante,\u00a0\u00a0 1′ homme\u00a0 qui\u00a0 bonit,\u00a0\u00a0 l’homme\u00a0 qui\u00a0 sacrifie\u00a0 et\u00a0 se\u00a0 sacrifie”.<\/em><\/p>\n\u00a0\u00a0 IDOEMINESCOLOGY<\/p>\n
<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1. Mihai Eminescu’s Rasa-dhvaniah. <\/em>The Sanskrit correspondence with the Romanian culture and poetry culminates with Mihai Eminescu, a reader of Vedas and Upanishads in original. In Romania, it is taught at school that “The First Epistle” or “The Dacian’s Prayer” (Nirvana) are connected with Rig Veda. Of course the analogy is fundamental but the correspondence lies both in the common or community cosmogony mind and particularly in the universal intuition of real life, of sat (meaning “village” \u2013 in Romanian, “truth” in Sanskrit).<\/p>\nEminescu speaks of human reality and reverse nostalgia, reciprocal metamorphosis, intensive voluptuousness and general transparency, the retrospective lucidity and the para-nymph and we can deduct an anthro-poetry and anthro-poetics by reading his “Anthropomorphism”, “Tat tvam asi”, “God and Man”, “From Berlin to Potsdam” etc. There is a theo-anthropomorphosis in his poems of which ‘Dumnezeu\/god’ is also ‘om\/man’, and, through the evoked Indian forest, the Sanskrit Om. Eminescu’s\u00a0 dream of Carmen Saeculare – like in Horace’s ‘dulce ridentem Lalagem amabo\/dulce loquentem’ – is also of mahakavyas and of mahavakyas, as he entitled a poem ‘Tat twam asi’, and through ‘Eu sunt Luceafarul’ (I am the Evening Star) comes in mind ‘Aham Brahma asmi’ or his melancholy turns into verse – ‘melancolia-mi (…) se face vers’ – like Valmiki’s soka into sloka. As “Rig Veda” entered even his journalism, one may say, as alamkarika. ‘raso vai sah’.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Most frequent key-words in Eminescu’s poetry are, ‘ochi’\/eye, lume\/world, via\u0163a\/life, umbra\/shade, fa\u0163a\/face, dulce\/sweet, lun\u0103\/moon, m\u00een\u0103\/hand, noapte\/night, alb\/white, mare\/sea, negru\/black, suflet\/soul, vis\/dream, inima\/heart, cer\/sky, cap\/head, frumos\/beautiful, stea\/star, floare\/ flower’. There are Latin words, Romanian ramanya, where the rhyme itself could affect the flexion, at Eminescu, Ind’ rhyming with gerundive forms or with nouns and getting its own flexion euphonically, ‘lnde decinde\/Indic vindec\/Indicele vindice-le Indici vindici\/Inzi colinzi’. In his universal Romanian dictionary of rhymes (edition Marin Bucur, Victoria Ana Tau\u015fan), colored by classical Greek-Latin and Romance sounds, the Indo-rhymes answer chosen words and compounds : “Vede\/revede. Gangele\/falangele, coline\/bramine, carmine\/latine, increde-i\/Vedei, dat mi-i Atmei, Elorii\/norii, ateismul\/budismul. iubi-va\/Siva, bengalic\/italic, predic\/Vedic, naframa\/Brahma, Kama\/ iama, aurora\/ Elora’.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A “restituendo’ (Rosa Del Conte) work is the Sanskrit version of Eminescu’s “Luceaf\u0103rul’\/”Divyagraha” bv Dr. Urmila Rani Trikha in collaboration with the present\u00a0 author. As the names of Brahma and Buddha are written rhymed in manuscript variants of “Luceaf\u0103rul” and the association with it of “Katha Upanishad” (Nachiketas-Yama compared with Hyperion-Father) is familiar by now to the eminescologists as well as to the Indian students in Romanian, when translating we found ourselves close to Sanskrit and Buddhist atmosphere as such. To “Rig Veda”: Brahma and the identity of everything with god: the feminine Ushas compatible with the male Luceafar (seen by Sergiu Al-George as a Bodhisattva from Ellora): the young and at the same time ancient twin, brothers Ashvina; Agni as Varuna in the evening; the golden son of the waters Apam-Napat consounding with Romanian Latin ap\u0103 (water) with bright rays; the king Varuna making path for sun and constellations: the golden bright-rayed Savitr; Yama as the god of death and of life wearing nil\u0101mbara: Purusha as Jivatma separating himself from Virat: Sarama crossing the waters of Rasa. To “Brahad\u0101ranyaka Upanishad”: “O Maytreyi, a wife is dear to her husband not for her sake, but for the sake of his own Atma”. To other correspondences with Kalidasa’s “Raghuvamsam”, “Rtusamhara”, Shakuntalam. “Meghadutam’, with refrains from Bhavabhuti, Amaru, Jayadeva. Thus, if in Romania concluding her book “Eminescu and India” Amita Bhose stated that Eminescu is the only European poet who made India immortal in his country, in India, Urmila Rani Trikha transposed in ballad-sloka meter “Luceafarul” within a symbolical gathering of immortal Sanskrit sounds and feelings known by any sahrdaya as any Romanian recites stanzas from Eminescu.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0The union of kavyapurusha with sahityaviya in vaidarbhi riti could be for a modern poetical mind the correspondence of heaven with earth. Diabolical or paradisaical, the poetic correspondences – rasa-dhvaniah – reveal through the prayoga of the poet, a self poetry as rasav\u0101da ad sarasvatyasattvam, an alchemy of grief and verb. In Kalkdasa’s comparison of poetry to Ardhanariswara, the goddess P\u0101rvati is v\u0101k or \u015babda and god Parume\u015bvara is artha, their union as Ardhanarishvara signifying, as V. Raghavan reminds it, the greatest ideal of poetry variously emphasized as s\u0101hilya, sammitatva etc. Or, the love between Hyperion and Catalina in Eminescu’s “Luceaf\u0103rul” evokes beyond the myths a neoteric Anlhanarishwara. One can see Lucypherus as a biblical Ravana, but Eminescu’s Hyperion is closer to Jayadeva’s Krishna and one can read “Luceafarul” as the “G\u012btagovinda” of Romanians.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 From a Romanian point of view, we consider that under the light of recent researches, poems by Mihai Eminescu. Ion Barbu, Emil Botta a.o., the cosmic temple of Indore projected by Constantin Brancusi could be not absent from any anthology or ontology of Sanskrit and Buddhist world poetry, that at least Eminescology and Brancusology matter for Indology and Sanskrit studies, as in the works of George Calinescu, Mircen Eliade, Rosa Del Conte, Alain Guillermou, Constantin Noica, Perpessicius, Marin Bucur, Sergiu Al-George, Zoe Dumitrescu-Busulenga, Amita Bhose a.o. Following the continuous modern Indo-European scientific tradition we looked forward to bringing out, beyond theoretical studies, a living Sanskrit-Latin sahitya through an anthology of masterpieces inspired by India in Greek, French, Italian, Latin, Portuguese, Romanian, Spanish.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Both poetical work and thinking of Mihai Eminescu (1850-1889), the national poet of Romania, \u201cthe last romantic\u201d of Europe, are connected with Indian culture.\u00a0 The complete series of Eminescu\u2019s Works<\/em> published by Editura Academiei includes in the\u00a0 XIVth volume \u2013 \u201cPhilosophical, historical and scientific translations\u201d (1983) –\u00a0 also the translation into Romanian from German of Franz Bopp\u2019s Sanskrit Grammar<\/em>\u00a0\u00a0 after Kritische Grammatik der Sanskrita-Sprache in kurzerer Fassung<\/em> von Franz Bopp, Zweite Ausgabe, 1845. Perhaps most mysterious manuscript of Eminescu, was published for the first time in 1983, after 100 years of its conception, but only in facsimile, due to lack of printing Devanagari letters in Romania, at that time.<\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The editors, Petru Cre\u0163ia and Amita Bhose, introduced the researchers and readers in the laboratory, all suprizing for Romanian culture, of Mihai Eminescu, the translator. Preocupation for Sanskrit could appear\u00a0 like a final of work in eternity. Gramatica sanscrit<\/em>\u0103 \u00een versiunea lui Eminescu <\/em>(Sanskrit grammar in version of Eminescu) appeared for the first time in printed devanagari, in 2004, at Bibliotheca Publishing, editors – Dimitrie Vatamaniuc, George Anca and Vlad Sovarel, under care of Romanian-Indian-Cultural-Association.<\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 2. Eminescu and Jayadeva. <\/em>Choosing to speak of Jayadeva and Eminescu – Poet to Poet – does not mean to compare automatically the 12th century last Sanskrit classic to the l9th century last great European romantic.<\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 About Jayadeva I can speak only as a translator of ‘Gitagovinda’ into Eminescu’s language and meters. My Romanian version was released within a gathering organized by the Association of Indian Comparative Literature and the Department of Modern Indian Languages on 3rd May 1983 at the University of Delhi. I am grateful to all who were attending the same and to those who commented it always encouragingly. I am grateful, of course, to Jayadeva and Eminescu.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 My version was begun as a sort of trans-sounding syllable by syllable from Sanskrit into Romanian but increasingly it became a dhvani, turning the dhvani (sound) into the dhvani (suggestion) in respect to the two languages. The ‘Gitagovinda’ in Romanian may be compared to the Sanskrit version of Mihai Eminescu’s ‘Luceafarul’ (Hyperion) signed by Urmila Rani Trikha in ‘Latinitas’ published as a book under the International Academy Mihai Eminescu having as a president Amrita Pritam. It was hoped that these translations will open new trends for comparative discussions on Jayadeva and Eminescu. But the ultimate test of this Gitagovinda in Romanian will have to be related to its own poetic quality.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 This is a part of a project started in 1981 as ‘Patterns in Modern Indo-Latin Kavya Purusha’. By following a quiet utopian concept of integration and migration of poetical mind we enter the temple of nature, of its correspondences. On the other hand, looking precisely now and again to the poetic being, to the poet as such, we could easier rediscover analogies of apparently unconditioned symbols through unusual addresses of the poet to the other, to the cosmos, to god. Thus, any regional anthology could be seen as a part of an onto-poetry, a universal kavyapurusha. An essential reader was intended in this vision in Indian and Romance poetry and poetics from the classics to contemporary poets writing in Indian languages, in French, Italian, Portuguese, Romanian, Spanish. In terms of comparative literature, Indian themes as avatar or sati and in poetics, rasa and dhvani were to be analyzed in Romance literature as an argument of a Sanskrit-Latin poetics.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mihai Eminescu’s ‘Luceafarul’ (Hyperion) appeared in 1883, in Vienna. Out of a genuine smriti, we have printed in Delhi the Urmila Rani Trikha’s Sanskrit version. Divyagrahah”. This translation from Romanian has been appreciated by well-known Sanskrit scholars like Satyavrat Shastri, Kapila Vatsyayan, Sergiu Al-George, enjoyed by literary audience and students.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 There are many Romanian studies on Eminescu and Rigveda, Katahaupanishad, the Buddha Kalidasa, Tagore, and India as such, which like Max Muller he hadn’t seen physically. ‘Luceafarul’ is the ‘Gitagovinda’ of the Romanians. The anustubh is Dr. Trikha’s version, like in Veda and Avesta. Recalls also Eminescu’s original meter on a ‘story’ like Jayadeva’s. At the same time, the meters of the “Gitagovinda’ are to be reimagined\u00a0 through all Eminescu’s poetry. The Sanskrit and Romanian aren’t perhaps the two closest languages in the world but one can think so on this ground. And if Urmila Rani Trikha did know a better Romanian after accomplishing her Sanskrit Hyperion, one can get closer to Eminescu by translating Jayadeva into Romanian. The illustrations to the both first editions of Eminescu’s ‘Luceafarul’ in Sanskrit and, respectively, Jayadeva’s ‘Gitagovinda’ in Romanian were intended accordingly.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The two prabandhas – the 9th and the 18th – recited at the beginning of our Gitagovinda-release – belong to the sakhi, which I’ve translated into Romanian with ‘surata’, meaning also ‘little sister’ and evoking by contrast or not the Sanskrit Jayadevian meaning of “surata”, as for gaining that dreamt dhvani from the original into translation, to let the veena sounds of the creator be heard among the tabla sounds of the interpreter. Actually, sakhi herself is an interpreter with a triple speech and the translation is like her, her brother.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In both ‘Gitagovinda’ and ‘Luceafarul’ gods speak directly, as Govinda and Demiurgos Radha and Catalina are in love with gods. The ten avatars evoked in one, at Jayadeva are three simultaneous avatars – Demiurgos, Hyperion, Catalin – at Eminescu. The double reading of ‘Jaya jaya Deva Hari’ speaks for, both poems of the belonging of the poet to god or of the belonging of god to the poet. Yamuna speaks of Gitagovinda as if the river has read it, and not only the original but all the translations and especially those to be done again and again until the original will repeat itself in the waters of the river. The water is, at Eminescu, that of the primordial, Vedic ocean.<\/p>\n
\u00a0\u00a0\u00a0\u00a0 The translation of Gitagovinda in Romanian was thus done in a very daily life, culture and language in India. In the same very room where we gathered, one afternoon in 1981, October, after Dr. Sergiu Al-George, the translator of the ‘Bhagavad Gita’ into Romanian, had lectured on Rupaka, I’ve asked him why not Gitagovinda. But one week later he was no more. With his death, the Sanskrit became for me not a foreign language any more. So, naturally, my translation is dedicated to Sergiu Al-George. Listening to Dr. Trikha’s translation into Sanskrit from Eminescu, he also told us that it was as if he had heard for the first time ‘Luceafarul’ (Divyagrahah).<\/em><\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 3. Dyachronically, the best spirits of Romanian culture were attracted by Indian thought (Blaga, 1945). There is a confluence (Al-George, 1981), a correspondence with perennial India. Our pre-christian Dacian deity Zalmoxis was interpreted for instance by Keith in connection with the Hindu doctrine of immortality. Alexandria, Sindipa, Varlaam and Ioasaf are amongst fundamental of Romanian medieval readings. The Buddha is represented as Ioasaf in Christian murals. The \u2018antibarorea\u2019 synthesizes in the 18th century Ion Budai-Deleanu\u2019s masterpiece Tziganiada the forms of government as envisaged by gypsies claiming their origin from Jundandel of India. (By the way, the ruler patronizing the talkative governants to be is nobody else than Vlad Tsepesh, alias \u2013 according to many \u2013 Drakula).<\/p>\n
Synchronically, during the 19th century, newspapers and magazines from all Romanian provinces wrote on Indian widows (1829), Csomo de Koroszy (1830, 1842 \u2013 the death of \u2018our patriot\u2019 recorded in \u2018Gazeta de Transilvania\u2019), maharaja Ranjit Singh and Martin Honigberger (1838, 1839, 1857), morals of Indians (1840), caves from Ellora (1846), Ostindia (1857), etc. On the old paths of Dimitrie Cantemir or Miron Costin, polihistorians of the same century like Ion Eliade Radulescu and Bogdan Petriceicu Hasdeu have shaped both romantic and Indo-Europeanistic renaissance while the great classical writers \u2013 Mihai Eminescu, Ion Creanga, Ion Luca Caragiale, George Cosbuc, Titu Maiorescu \u2013 created in correspondence with Indo-universal values. At the same time, the school came into existence \u2013 the first course of Sanskrit was begun by Constantin Georgian in 1876 at the University of Bucharest -, and grew up during 20th century trough generations of students in philosophy, letters and Indology having \u2013 in the universities of Bucharest, Iassy, Cernowitz, Cluj-Napoca \u2013 as professors: B.P. Hasdeu, C. Georgian, N. Iorga, V. Parvan, N. Ionescu, I. Iordan, A. Frenkian, A. Rosetti, L. Blaga, G. Calinescu, T. Vianu, M. Eliade, A. Graur, T. Simenschy, V. Banateanu, N. Zberea, C. Poghirc, S. Al-George, V.P. Dyal, I. Pandey, I.N. Chaudhuri, A. Bhose, S.B. Singh, Y. Tiwary, S.Kumar, G.Anca, L. Theban, M.Itu, N. Samson, S. Fanar, P. Lazarescu a.o.<\/p>\n
The second classical age of Romanian culture and literature between the two world wars strengthened a new correspondence through the creations by C. Brancusi, L. Blaga, I. Barbu, M. Sadoveanu, L. Rebreanu, M. Eliade, V. Voiculescu, I. Pillat a.o. In all, the Vedas, Upanishads, Puranas and Buddhism seem to lead to correspondence (through Eminescu, Brancusi, Blaga, Eliade, Galaction, Voiculescu), but epics, natya, lyrics of Sanskrit, Dravidian or modern Indian languages works are shared rather through synchronistic studies and translations. For the future (these are considerations rendered as such from 1970\u2019s), the knowledge and openness to Panini and Abhinavagupta, Bhartrihari, Gunadin and Jayadeva are likely to be correspondingly approached by new comers. (\u201cFuture\u201d was \u2013it is \u2013 much of Shankaracharya and advaita). Up to this point (bindu?), many translations from Mahabharata for instane have been done by George Cosbuc, Psychora, Irineu Mihalcescu, Theofil Simenschy, D. Nanu, M. Eliade, G. B. Duica, A. E. Baconschi, S. Al-George, I.L. Postolache, C. Filitti \u2013 many versions of Bhagavad Gita, one published in 1944, during the war. Tiruvaluvar Tamil\u2019s kurals appeared in Romanian as early as 1876. Traditionally, Eminescology and Brancusology include always larger indological comments. Leading personalities of Romanian culture have written about Rabindranath Tagore and Mahatma Gandhi as representatives of whole Indian and world culture<\/p>\n
After years, even psychoanalyzable, above vague hiding concepts of correspondence and school\u00a0 are but fact and desiderata in absence of real possibilities of, with Dandekar\u2019s term, \u2018exercises of Indology\u2019. There were a few others, e.g.: natya rhyme, Sanskrit-Latin Onto-poetics, feminine anthropoetry, inverse nostalgia, crawfish\u2026 Yet a freedom of Indology like freedom of expression seemed flooding in 1990\u2019s in Romania, with a start of a new Indological school \u2013 MA dissertations in philosophy, history, philology on Indian themes, Hindi courses in Bucharest university, Romanian-Indian Cultural Association on the steps on Centre of Indian Studies projected by late Dr. Amita Bhose, broadcastings, publications, Indian Library and so on. International Academy Mihai Eminescu, after being founded in Delhi in 1981 and existing for three years, restarted in Bucharest after 1990. But old\u00a0 coherence of classicity followed by \u2018coherence\u2019 of repression, made room to postmodern destruction or sect brain-washing. Many diaries form already a field Indology confirming diversely chronic views of cultural shock. Confusing enough are rash of some\u00a0 self styled gurus, artificial puja culture, para-psychological Indology. Individual Indology of solitary adventurers of the fields may prove fruitful especially with growing quality leading to solidarity in long run research forming and reforming a genuine school based on Eminescu and Eliade heritage.<\/p>\n
This is a very personal outlook, of a writer who preferred to make \u2018indological\u2019 novels (the series Indian ApoKALIpse is in 9 volume) and books of poems.<\/p>\n
It can work a saying of retiring at time from anything but Indology. There are born Indologists. Wars, jails, repression keep aware that spirit of abhijnan in them. A try of symbolic recognition was the lecture tour in Romnia of prof. Satya Vrat Sastri, in 2001, at our invitation, with award of Oradea University Honoris Causa Doctorate to Indian scholar. In the beginning of the new millenium an option for Sanskrit as leading chapter in further studies became obvious. What a passeist step, at best, some may say.<\/p>\n
Sergiu Al-George died in Octomber 1981, one week after he returned to Romania from India where had participated to International Congress of Sanskrit in Varanasi. I said then he was too happy, that happiness killed him. All suffering of his life was dispersed by translating Gita. So may have it been. I discussed many things with him. Or could he have died for Sanskrit?\u00a0 <\/em><\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 4. Public Address to the President of India, <\/em>H.E. Shanker Dayal Sharma, at ceremony\u00a0 of\u00a0 Receiving\u00a0 Honorary Doctorate, Bucharest University (by George Anca, 1994)<\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Your Excellency Mr. President of India, Sharmaji,<\/p>\nYour gracious meeting offered to Romanian specialists in Indian studies, mainly from Bucharest, here, it’s a high honor, a stimulation and also a consolation. For it’s a tragic issue of Stalinist-Communist dictatorship that best thinkers, Indologists included, were jailed. But riks and slokas from Vedas and Upanishads were still communicated by Morse alphabet.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 We feel getting, at last, a free way to knowledge of Indian spirit and culture. Perhaps the moksha\/salvation was the most appreciated quality of Indian spirit, together with Christian, Indian and universal dharma and shanti.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mihai Eminescu, Romanian national poet, declared himself a Buddhist as an empowered Christian. During more than 15 years I had talks and letters about Mihai Eminescu, mainly in and from India, but also other continents; they make some personal and Indo-eminescological history in an epistolar novel I had honor to dedicate to your excellency, Mr. President of India, Dr. Sharma ji.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Kind of field researcher, I taught Romanian, between 1977-1984, at University of Delhi, while Prof. dr. Prabhu Dayal Vidyasagar was teaching Hindi at Bucharest University.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 My mother has just died before and so India became my mother \u2013 now it was no problem how good India was to me, but how good was I to her.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I am grateful to legions of people in India, from great writers and professors like Amrita Pritam, Ageya, Nagendra, R.C. Mehrotra, Gurbakhsh Singh \u2013 former vicechancellors of Delhi University \u2013 to my colleagues and students in the university.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Surely the exchange of teachers between universities is a must.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Suppose India and Romania would have their cultural centers in Delhi and in Bucharest respectively, smaller and in a way more cultural cities like Ia\u015fi, Cluj, Timi\u015foara, R\u00e2mnicu-V\u00e2lcea, for Romania, and Bhopal, Bhubaneshwar, Chandigarh, Bangalore, Trivandrum for India may be taken in consideration.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Romanian-Indian Cultural Society, started recently, in 1993, beyond university and formal scientific research on Indology, is trying to gather interested people in different topics of Indian culture. Many young and gifted persons are eager to study Indian arts, dance and music, to be on scholarship in their dreamland.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 We can only slightly open a door toward an endless realm.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Finally, I will dare to evoke a very special Indo-Romanian tradition dealing with human freedom<\/em> and make a call for your judgment.<\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Early 1990’s Romanian new press acknowledged both India’s international support to political prisoners and their recognition to pundit Jawaharlal Nehru who provoked a visit of then UN Secretary General U Thant.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dr. S. Radhakrishnan, when vice president of India, made shorter the sentence of poet Radu Gyr.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 As a representative to UN International Association of Educators for World Peace, I request now, Mr. President of India, your high intervention that Mr. Ilie Ila\u015fcu, parliamentarian, jailed in Tiraspol, for only guilt of being Romanian, to be liberated.<\/em><\/p>\n\u00a0\u00a0\u00a0\u00a0 <\/em>5. <\/em>International Academy Mihai Eminescu<\/em><\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Founded in 1981 in Delhi by George Anca. Presidents: Amrita Pritam (1981-1984), Eugen Todoran (1990-1994), Alexandru Surdu (1994-1996) Dimitrie Vatamaniuc (since 1996). \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Publications: Latinitas (Delhi), Bibliotheca Indica (Bucharest \u2013 with Romanian Indian Cultural Association), indological, anthropological and fiction books.)<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>First draft \u2013 1981 \u2013 to be completed by acknowledgments, other names of poets, thinkers, artists, translators, eminescologists, educators, desiring to be together unto poetry\/shanti.<\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Albania, Argentina, Australia, Austria, Belgium, Brazil, Bulgaria, Canada, Czechoslovakia, Chile, China, Denmark, Egypt, Finland, France, Germany, Greece, Hungarx, India, Iran, Irak, Israel, Italy, Japan, Mexico, Moldova, Netherlands, New Zealand, Nigeria, Philippines, Poland, Portugal, Romania, Senegal, South Africa, Spain, Sweden, Switzerland, Tanzania, Thailand, United Kingdom, USSR, USA, Yugoslavia<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 MEMBERS \/ HONORARY INVITED<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rafael Alberti, Robert Bly, Emil Cioran, Rosa del Conte, Yolanda Eminescu, Evgheni Evtushenko, John Fowles, Vaclav Havel, Daisaku Ikeda, Eugen Ionesco, Octavio Paz, Amrita Pritam (president since 1981), Salman Rushdie, Leopold Sedhar Senghor, Bogdan Suhodolsky, Grigore Vieru.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 MEMBERS AT LARGE<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Anna Aalten, B. Abanuka, Tawfik El Abdo, Prachoomsuk Achava-Amrung, Ioan Alexandru (organizer), Ion Andrei\u0163\u0103, O. M. Anujan, Lourdes Arizpe, Werner Bahner, Andrei Banta\u015f, Romano Baroni, Georges Barthouil, Al Bayati, Enric Becescu, Eva Behring, Amita Bhose, Danuta Bienkowska, Carlo Bernardini, Eveline Blamont, Ana Blandiana, Lucian Boz, Ion Caramitru, Margaret Chatterjee, Mary Ellen-Chatwin, Mihai Cimpoi, Silvia Chi\u0163imia, Henri Claessen, Georges Condominas, Lean-Louis Courriol, Robert Creeley, Petru Cre\u0163ia, Marco Cugno, Nicolae Dabija, Rodny Daniel, Nilima Das, Sisir Kumar Das, Mahendra Dave, Guenther Deicke, Francis Dessart, Stanislaw Dobrowolski, P. Vidyasagar Dayal, Metoda Dodic-Fikfak, Mihai Dr\u0103gan, Livia Dr\u0103ghici, Jules Dufur, Zoe Dumitrescu-Bu\u015fulenga, Anton Dumitriu, Monika Egde, Christian Eggebert, Didona Eminescu, Roland Erb, Jiri Felix, Galdi Laszlo, Roy Mac Gregor-Hastie, Al Giuculescu, Allain Guillermou, Herbert Golder, Klaus Heitmann, Helena Helva, Gerard Herberichs, Carmen Hendershott, Anna Hohenwart, Peter Hook, Alexandra Hortopan, Kazimiera Illakowiczowna, Philip Iseley, Judith Isroff, Ion Iuga, Vilenka Jakac-Bizjak, Rafik Vihati Joshi, Elena M. Koenigsberg, Maria Kafkova, Iuri Kojevnikov, Henrik Konarkovski, Omar Lara, Leonida Lari, Maria Teresa Leon, Catherine Lutard, Keshav Malik, Muhamed Maghoub, Fidelis Masao, Liliana M\u0103rgineanu, Pino Mariano, Constantin Mateescu, Anna Mathai, Dumitru Matkovski, Charles Mercieca, Ion Milos, Baldev Mirza, George Munteanu, Chie Nakane, Ion Negoi\u0163escu, Wanda Ostap, Ayappa Panikar, Sheila Pantry, Daniel Perdigao, Augustin Petre, Irina Petrescu, Max Demeter Peyfuss, Jane Plaister, Franco Prendi, Carlos, Queiroz, Zorica Rajkovic, Lisa Raphal, Peter Raster, Ruprecht Rohr, Marcel Ro\u015fcule\u0163, Mario Ruffini, Angelo Sabbattini, A. M. Sadek, Zeus Salazar, Patricia Sarles, Monika Segbert, Joachim Schuster, Vinod Seth, Satyavrat Shastri, Andrei Simic, Norman Simms, William Snodgrass, Mihai Stan, Dumitru St\u0103niloae, Sygmunt Stobersky, Sanda Stoleru, Sorin Stratilat, Arcadie Suceveanu, Eric Sunderland, Bathelemy Taladoire, Akile Tezkan, Eugen Todoran, Fernando Tola, Mona Toscano-Pashke, Urmila Rani Trikha, Kliment Tsacev, Mihai Ursachi, Bruno Uytersprot, Nelson Vainer, Isabela Valmarin, Dimitrie Vatamaniuc, Romulus & Mihu Vulc\u0103nescu, J.L. Vig, Brenda Walker, Xu Wende, Reinhold Werner, Rudolf Windish, Mario Zamora<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 MEMBERS IN MEMORIAM<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Anna Ahmatova, Sergiu Al-George, Gheorghe Anghel, Tudor Arghezi, George Bacovia, Ion Barbu, Lucian Blaga, Samson Bodn\u0103rescu, Alexandru Bogdan, N.N. Botez, Petre Br\u00e2nzeu, Victor Buescu, Anta Raluka Buzinschi, George C\u0103linescu, I. L. Caragiale, Iorgu Caragiale, Toma Chiricu\u0163\u0103, Pompiliu Constantinescu, Aron Cotru\u015f, Ion Creang\u0103, Dimitrie Cuclin, Mihail Dragomirescu, Mircea Eliade, Gheorghe Eminescu, Gheorghe Eminovici, Franyo Zoltan, Galgi Laszlo, Gala Galaction, Mozes Gaster, Onisifor Ghibu, Petre Grimm, Ion Gora\u015f, N.I. Herescu, G. Ibr\u0103ileanu, Nicolae Iorga, Petru Iroaie, Josef Sandor, Ivan Krascko, Mite Kremnitz, Franco Lombardi, E. Lovinescu, Titu Maiorescu, Alfred Margul-Sperber, Veronica Micle, Matei Millo, Gheorghe Nedioglu, Constantin Noica, Ramiro Ortiz, Sylvia Pankhurst, Vasile P\u00e2rvan, Perpessicius,\u00a0 Ioana Em. Petrescu, Gheorghe Pitu\u0163, Miron Pompiliu, Augustin Z. N. Pop, Cornelui M. Popescu, Aron Pumnul, Salvatore Quasimodo, Ianis Ritsos, Mihail Sadoveanu, George Bernard Shaw, Ioan Slavici, Nichita St\u0103nescu, Carmen Sylva, Carlo Tagliavini, Fani Tardini, Vasile V\u0103duva, Tudor Vianu<\/strong> \u00a0<\/strong><\/p>\nNotes<\/h2>\n
Some Indian Writings and Authors in Romanian <\/em>(apud Latinitas, No 2, October 1982, Delhi):<\/p>\nVedas (Rig-, Atharva, hymns), Mahabharata (Savitri, and Damayanti, Bhagavad Gita, Bhima, Dasharatas, Tilotama, Urvashi), Ramayana, Upanishads (Kata, Mundaka), Manava Dharma Shastra, Tirukurral, Panchatantra, Hitopadesha, Vetalapanchashatika, Shakuntala, Gitanjali, Discovery of India, Amaru, Sri Aurobindo, Ageya, Mulk Raj Anand, O.M. Anujan, Muhamad Alvi, Manik Banerji, Baren Basu, Vasant Bapat, M.A.Bhagavan, Bhabani Bhatacharya, Lokenath Bhattacharya, Shukanta Bhattacharya, Sisir Bhattacharya, Amita Bhose (Ray), Prem Chand, Margaret Chatterjee, Nirendranath Chakravarti, Rani Chanda, Krishna Chandar, Kamala Das, Nilima Das, Sisir Kumar Das, Prabhu Vidyasagar Dyal, Anita Desai, Maitreye Devi (Sen), Rajlakshmi Devi, Nissim Ezekiel, Nida Faazli, Mahatma Gandhi, Sarath Kumar Gosh, Bimal Chandra Gosh, Ibrahim Gialis, Muhammad Iqbal, Jayadeva, Ali Sardar Jafri, Kalidasa, Humayun Kabir, Prabhjot Kaur, Krishna Kripalani, Jiddu Krishnamurti, Ananda Kumarasvami, P. Lal, Prabhakar Machwe, Rupendra Guha Majumdar, Keshav Malik, Pari Makalir, Kamala Markandeya, Arvind Krishna Mehrotra, Kansal Mishra, Anna Sujata Modayl, Sitakant Mohapatra, Dhan Gopal Mukherjee, Jawaharlal Nehru, R. K. Narayan, Pritish Nandi, Kedar Nath, Amrita Pritam, Palagummi Padmaraju, Anvayiar Ayappa Panikar, Induprakash Pandey, K. M. Pannikar, Deva P. Patnaik, N. Pichamurti, Phanishvaranath Renu, Z. Zahher Sajjad, Vinod Seth, Satya Vrat Shastri, Madan Gopal Sinhal, Shahryar, Harbhajan Singh, Navtej Singh, Anant Gopal Shorey, Pillai Thakazhi Sivasankara, Tiruvalluvar, Rabindranath Tagore, Valmiki, Vyassa, Narayana Menon, Valathol, Mahadevi Varma, Srikanta Varma, Kapila Vatsyayan, T.S.Venugopala, Martin Vikramasinghe, Syed\u00a0 Sajjad Zaheer.<\/p>\n
Some Romanian Books on India <\/em>(apud Indoeminescology, 1994, Bucharest):<\/p>\nSergiu Al-George: Indian Philosophy in Texts. Bhagavad Gita, Samkhyakarika, Tarka-Samgraha, 1971; Language and thought in Indian Culture, 1976; Archaic and Universal, 1981<\/p>\n
George Anca: Indian ApoKALIpse, I-VII, 1997-2003, Indo-Eminescology, 1994; The Buddha, 1994; Mamma Trinidad, 2001; Manuscripts from the Living Sea1996; Sanskritikon, 2002<\/p>\n
Tancred Banateanu: Life and Work of Rabindranat Tagore, 1961<\/p>\n
Amita Bhose: Eminescu and India, 1978; Bengali Proverbs and Thoughts, 1975<\/p>\n
Ion Budai-Deleanu: Tziganiada, 1800<\/p>\n
Ion Campineanu-Cantemir: Sati or Pikes of Love, 1928<\/p>\n
Al. N. Constantinescu: The Buddhism and the Christianism, 1928<\/p>\n
George Cosbuc: Sanskrit Anthology. Fragments from Rig-Veda, Mahabharata, Ramayana. Lyrical Poems and Proverbs, 1897; Kalidasa \u2013 Sacontala, 1897<\/p>\n
Mircea Eliade: India, 1935; Workshop, 1935;Maitreyi, 6th edition 1946; Asian Alchemy. Chinese and Indian Alchemy, 1935; The Myth of Reintegration, 1939; Yoga, 1936; Patanjali et le Yoga, 1962<\/p>\n
Irineu Mihalcescu: The Cosmogonies of Indians, 1907; Bhagavad Gita, 1932<\/p>\n
Cezar Papacostea: The Ancient Philosophy in Mihai Eminescu\u2019s Works, 1932<\/p>\n
Cicerone Poghirc: Origins of a Civilization: The Ancient India, 1972;<\/p>\n
Theofil Simenschy: The Grammar of Sanskrit Language, 1959; KathaUpanisad, 1937, Mundaka-Upanisad, 1939; Bhagavad Gita, 1944; Story of Nala. Episode from Mahabharata, 1937; Panciatantra, 1931\/1969<\/p>\n
Iuliu Valaori: Elements of Indo-European Linguistics (1924); Main Indo-European languages, 1929<\/p>\n
Some topical studies <\/em><\/p>\nLe mythe de l\u2019atman; the semiosis of zero, la fonction r\u00e9v\u00e9latrice des consonnes;l\u2019Inde antique et les origines du structuralisme; Brancusi et l\u2019Inde (Sergiu Al-George); Tagore \u2013 a Skeleton Poem (Tudor Arghezi); le naga dans les mythes populaires roumains (Tancred Banateanu); new contributions on a \u2018proto-Indian\u2019 language (Vlad Banateanu); Rabindranath Tagore in Europe; Mahatma Gandhi as I knew him (Lucian Blaga); classical Indian literature in poetry of Eminescu; classical Indian literature in poetry of George Cosbuc (Sergiu Demetrian); carols and Vedic hymns (Aron Densusianu); influence of ancient Indian culture on Romanian contemporary literature (Ion Dimitriu); Indian demonology and a Romanian legend; bi-unite et totalite dans la pens\u00e9e indienne; la concezione della liberta nel pensiero indiano; contributions to the philosophy of yoga; cosmic homology and yoga ; Durga-Puja; Duryodhana and the Walking Dream; pre-Aryan elements in Hinduism; mystic erotic in Bengal; woman and love; philology and culture; introduction in Samkhya philosophy; introduction en tantrisme; magic and m\u00e9tapsychique; la mandragore et les mythes de la naissance miraculeuse; the metaphysic of the upanishads; religious motives in upanishads; mudra; symbolisme aquatique; il problema del male e della liberazione nella filosofia\u00a0 Samkhya Yoga; erotic rituals; il rituale hindu e la vita interiore; sapta padani kramati; les sept pas de Bouddha; the symbolism of sacred tree; symbolisme indien de l\u2019abolition du temps; Indian humanism; secret languages; vernamala; Bhagavad-Gita in Romanian (Mircea Eliade); Purusa-Gayomard-Anthropos; Greek skepticism and Indian philosophy; la theorie du sommeil d\u2019apres les Upanisad et la Yoga; wherever there is smoke there is fire (A.Frenkian); a Romanian exorcism and an Indian exorcism from Veda; Die philosophischen und religiosen Anschauungen in ihrer Entwicklung; (B.P.Hasdeu); reflection on India in Romanian Popular\u00a0 Litrature Sixteenth to Eighteenth Centuries (Keith Hitchins); divinites indo-europ\u00e9ennes aux populations de l\u2019Asie Ant\u00e9rieure et de la Mediterrannee; the formation of Vedic Pantheon; errors in the analysis of phonetic sequences\u00a0 of primitive Indo-European (G.Ivanescu); Veda, the oldest Indo-European text (Henri Jacquier); due pessimisti romantici sotto l\u2019influssi del pensiero indiano antico; influsso del pensiero indiano antico sull concetto di uomo in Mihai Eminescu; influsso del pensiero indiano sull concetto di donna di Mihai Eminescu (D.Marin); Eminescu and Indian philosophy (Cezar Papacostea); lat. Nubo-nubes et le mythe d\u2019Indra; the morals of Nirvana (Ion Petrovici); Indo-Traco-Dacica; sur les traces du transylvain Martin Honigberger, m\u00e9dicin et voyageur en Inde; Constantin Georgian, the founder of Romanian Indology (Arion Rosu); the origin of universe in the conception of Indians and Greeks; supreme being in Hindu mystic (Theofil Simenschy); researches of Indo-Aryan linguistics; actualit\u00e9 de la Grammaire de Panini; Indo-romanica estruturas sintacticas an contacto (Laurentiu Theban); Romania me hindi; puridhan ka phalahari baba; Romaniya ka yayavar Aleku Ghika (N.Zberea)<\/p>\n
Energetic nonviolence and non-possession\u00a0 – <\/em>main themes of the master course in psychology-sociology (by George Anca);<\/p>\nExploring social violence. Motivation of violent behavior (protection, \u201efight or flight\u201d, groups and identity). Conflict prevention \u2013 systemic (globalization, international crime), structural (predatory states, horizontal inequities), operational (accelerators and detonators of conflict \u2013 e.g. Poverty of sources, affluence of small guns, elections).<\/p>\n
Anthropology of nonviolence: Jain ahimsa and aparigraha. Buddhist karuna. Christian pity. Gandhian nonviolence. Principles of anekanta (relativity).<\/p>\n
Ancient Mahavira has classified people in three categories: having many desires (Mahechha), having few desires (Alpechha), having no desires (Ichhajayi). The economy of nonviolence, along with poverty eradication, applies also Mhavira’s concept of vrati (dedicated) society. He gave three directions regarding production: not to be manufacturated weapons of violence (ahimsappyane), not to be assembled weapons (asanjutahikarne), not to be made instruction for sinful and violent work (apavkammovades). Following anekanta, the philosophy of Mahavira synthesizes personal fate and initiative. <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"\u00a0 (De la st\u00e2nga: Prof David Frawley SUA, prof. Lokesh Chandra pre\u0219edintele(ICCR), prof. Yu Longyu din China \u0219i dr. George [&hellip<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-26742","post","type-post","status-publish","format-standard","hentry","category-articole"],"_links":{"self":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/26742","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/comments?post=26742"}],"version-history":[{"count":4,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/26742\/revisions"}],"predecessor-version":[{"id":26744,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/26742\/revisions\/26744"}],"wp:attachment":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/media?parent=26742"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/categories?post=26742"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/tags?post=26742"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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