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Film Review: The Odyssey 2026 … by Kamlesh Tripathi

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The Odyssey 2026

‘It has mythology, adventure and morality. Reminds you of Gulliver’s Travels, Marcus Aurelius and the epic Ramayana.’

Kamlesh Tripathi

      Christopher Nolan’s The Odyssey (2026) is far more than a cinematic adaptation of Homer’s epic. It offers amazing visuals and emotional storytelling, turning Odysseus’s ten-year legendary voyage into a powerful exploration.  Shot entirely on IMAX 70 mm film, the movie has been praised for its breathtaking scale, emotional depth, and ambitious storytelling, with critics calling it one of Nolan’s finest works.

    Matt Damon’s portrayal of Odysseus (the legendary Greek King of Ithaca and a veteran of the Trojan War) could have been better. Rather than presenting him as an invincible warrior, the film shows him as a leader whose greatest battles are against temptation, pride, grief, and despair.

    Christopher Nolan’s direction places greater emphasis on the psychological dimension of the story. The action sequences are spectacular, but the quieter moments, such as Odysseus questioning his choices, Penelope’s unwavering hope, and Telemachus’s search for his father, carry the emotional weight. Ludwig Göransson’s score and Hoyte van Hoytema’s cinematography elevate the myth into an immersive cinematic experience.

    The film is not without criticism. Some reviewers found parts of the dialogue overly modern or felt that certain characters deserved more intricacy. A few classicists also questioned aspects of the adaptation’s historical interpretation. Even so, the overall critical response has been overwhelmingly positive.  

    As a film, The Odyssey succeeds because it combines breathtaking spectacle with timeless questions about identity, perseverance, and responsibility. Viewed through the lens of Roman Emperor and Stoic philosopher Marcus Aurelius, it becomes more than an adventure film.  

    If Homer’s epic poem Odyssey is the story of a hero’s journey, Marcus Aurelius reminds us that the greatest journey is not across the sea, but within the mind. Nolan’s film exquisitely brings these two ideas together. In nearly three hours, the movie takes you through as if it were the seven seas.

    It reminds you of the voyages in Gulliver’s Travels and the voyage of Captain Popanilla. The film also evokes memories of the great voyages of exploration undertaken by Christopher Columbus, Vasco da Gama, and British explorer Captain James Cook, who charted parts of New Zealand and Australian coastlines for Britain. The movie ends with the climactic slaughter of Penelope’s suitors, recalling the final triumph of righteousness in the Ramayana, where evil is decisively defeated after a long journey of suffering.

    One of the film’s greatest strengths is its portrayal of the legendary places and creatures from Greek mythology. The Island of the Cyclops introduces Polyphemus, the one-eyed giant. Odysseus defeats him through intelligence rather than brute strength. However, his pride in revealing his name leads to Poseidon’s wrath, teaching that arrogance often creates unnecessary suffering. Aeaea, the island of the witch Circe, presents temptation in the form of comfort and pleasure. Circe transforms Odysseus’s men into pigs, but with the help of Hermes, Odysseus resists her magic. The island symbolises the danger of losing one’s humanity by surrendering to desire.

    The Island of the Sirens tests self-control. The Sirens promise forbidden knowledge and irresistible pleasure through their enchanting songs. Odysseus orders his crew to plug their ears with wax while he is tied to the mast so he can hear the song without acting on temptation. This becomes one of the greatest examples of discipline. Scylla and Charybdis represent two unavoidable dangers. Scylla, the six-headed sea monster, and Charybdis, the deadly whirlpool, force Odysseus to choose the lesser of two evils. The scene reflects one of life’s harsh truths. Sometimes wisdom means accepting an imperfect choice rather than waiting for a perfect one. The Island of Helios, where the sacred cattle graze, becomes a lesson in obedience. Despite Odysseus’s warning, his starving crew kills the cattle. Zeus punishes them, and the entire crew perishes. The episode demonstrates how a single act of greed can destroy years of effort. Ogygia, the island of the nymph Calypso, offers immortality and eternal comfort. Calypso promises Odysseus freedom from suffering if he stays with her forever. Yet he chooses mortality and hardship because his true duty is to return to his family and kingdom. This is perhaps the film’s most moving lesson about purpose overcoming pleasure.

    The movie can be linked to several other sea voyages and the teachings of Marcus Aurelius. Marcus Aurelius believed in endurance in hardship, mastery over desire, duty above comfort, humility and wisdom while making difficult choices. According to this, Odysseus’s journey becomes a lesson in Stoicism.

    Odysseus’s encounters with strange islands inevitably recall Jonathan Swift’s Gulliver’s Travels. He visits Lilliput, where he comes across tiny people. Then he visits Brobdingnag, the land of giants; Glubbdubdrib, the land of magicians; and the Houyhnhnms’ Land of intelligent horses.

    Christopher Nolan’s The Odyssey is ultimately less about defeating monsters than confronting the weaknesses within ourselves. Pride, temptation, fear and despair become the real adversaries. By blending Greek mythology with timeless questions of duty, resilience and self-mastery, Nolan delivers an epic that is both visually magnificent and intellectually rewarding. It is a film that deserves to be experienced on the biggest screen possible.

    The Odyssey with Gulliver’s Travels makes for a very interesting literary analysis because both are travel narratives in which the hero visits strange islands, meets unusual beings, and learns important lessons about human nature. However, their purposes are different. The Odyssey is based on Greek mythology. It features gods, monsters, witches and magical creatures. It focuses on courage, loyalty, family, and perseverance. The goal is to return home (Ithaca). Whereas Gulliver’s Travels and The Voyage of Captain Popanilla by Benjamin Disraeli are political and social satire. It uses imaginary societies to criticise human pride, politics, science, and war. The goal is not to return home but to expose the flaws of humanity. Don’t miss The Odyssey.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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EVERY “WHY” HAS A “WHEREFORE”

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Every “Why” Has a “Wherefore”

Kamlesh Tripathi

        Human life is perhaps the longest journey of questions ever undertaken. From the moment a child is born, it starts asking “why?” Why is the sky blue? Why do birds fly? Why do people laugh or cry? Behind every “why” there quietly stands a “wherefore,” a reason, a divine explanation, or sometimes even a hidden truth waiting patiently to reveal itself.

    The connection between the “why” and “wherefore” forms the very foundation of human life. This connection between questions and answers does not stop in day-to-day life. Philosophers for centuries have wrestled with deeper “whys.” Why do human beings suffer? Why does happiness fade so quickly? Why is life uncertain? Very often, life refuses to provide immediate answers. Instead, it places humanity in a long queue of waiting, reflection, and experience before the “wherefore” finally arrives. Many truths become visible only with time. What once seemed cruel or meaningless later appears as a lesson, a turning point, or even a blessing in disguise. Life keeps wandering between confusion and understanding. Every debate, argument, and misunderstanding in offices, families, and societies often emerges because people question “why” but fail to understand the “wherefore.” Thus, human conflict frequently arises not from ignorance alone, but from incomplete understanding.

    Great literature across the world repeatedly explores this interplay of “whys” and “wherefores.” In The Comedy of Errors, Dromio of Syracuse famously states, “Every why hath a wherefore”, meaning every action or event has a corresponding cause, reason, or explanation. Confusion arises in the play when two identical masters and two identical servants are mistaken for one another. The audience laughs at the chaos, but beneath the humour lies a deeper truth.

    Prince Hamlet spends much of the time in the play ‘Hamlet’ asking profound “whys” about revenge, morality, death, and human existence. His famous dilemma, “To be or not to be,” reflects humanity’s endless search for meaning.

    In the Indian mythology, too, such examples abound. In the Mahabharata, the Pandavas repeatedly question “why” righteousness suffers while evil prospers. The “wherefore” comes to fore only after the immense struggle, sacrifice, and the eventual triumph of the Pandavas who followed dharma. Kunti, the mother of the Pandavas, had umpteen “whys” in her roller-coaster life, beginning with her marriage, the birth of her son Karna, and the humongous challenges that she faced during the great war of the Mahabharat. But all her “whys” had the support of divine “wherefores” which unfolded later with time. Likewise, in the Ramayana, Lord Rama’s exile initially appears unfair and painful, but later reveals a larger cosmic purpose tied to justice, duty, and the destruction of the evil.

    Even modern life reflects this truth. A student may fail an examination and ask why disappointment entered his life. Years later, that same person may realise that the failure redirected him towards a better path. A painful separation, a professional setback, or a period of loneliness may one day reveal the hidden “wherefore.” Time often acts as the translator between confusion and wisdom.

    The moral lesson is clear. Human beings must learn patience, humility, and faith while searching for answers. Not every “why” receives an immediate explanation, but that does not mean life is without meaning. Often, the “wherefore” arrives quietly and gradually, through experience, maturity, and reflection.

    Thus, life itself becomes a bridge between curiosity and understanding. Questions keep humanity alive intellectually, while answers give direction and purpose. Together, they form the rhythm of existence. Every “why” indeed carries a “wherefore” in its pocket, even if, life sometimes reveals it, only in deferred action.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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Review: Indic Mythology Entices Irish Poet W.B. Yeats to Write the Poem ‘Anashuya and Vijaya’

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Indic Mythology Entices Irish Poet W.B. Yeats to write the poem ‘Anashuya and Vijaya’

Kamlesh Tripathi

    “Anashuya and Vijaya” (1887) by W. B. Yeats is a lyrical and dramatic poem loosely inspired by Indic mythology. It begins by picturing a little temple in the Golden Age: “A little Indian temple in the Golden Age. Around it a garden; around that the forest. Anashuya the young priestess, kneeling within the temple.”

    Although the poem contains elements of the Ramayana and some other classical Indian texts, it is not a direct retelling of Sita’s story. Yeats was enamoured by Indian philosophy and literature. He therefore decided to take Indian names and motifs, possibly selecting the name Anashuya (wife of Rishi Atri) from the Vedic texts of Hinduism to represent an idealised figure of devotion and spiritual sensitivity.

    The poem is set in a serene and symbolic landscape. A small Indian temple surrounded by a garden and forest. This creates an eternal dreamlike atmosphere that reflects both spiritual calm and emotional depth. The poem unfolds as a conversation between Anashuya, a young priestess devoted to her religious duties, and Vijaya, her beloved companion. Yeats discerns complex themes such as love, jealousy, devotion, and the tension between spiritual discipline and human desire through their interaction.

    At the beginning of the poem, Anashuya is seen kneeling in prayer, fulfilling her role as a priestess. Her prayer expresses concern for the welfare of the land. She says, “Send peace on all the lands and flickering corn.” However, her spiritual devotion soon reveals a deeply personal and emotional dimension. She continues, “When wandering in the forest, if he love / No other… And if he love another, / May panthers end him.” These lines reveal a striking duality within her character: while she prays for peace and harmony, she also expresses possessiveness and emotional intensity in her love. This contrast highlights the central conflict between her spiritual role and her human vulnerability.

    The entrance of Vijaya introduces a lighter and more intimate tone, yet it also brings underlying tension. When Vijaya casually uses the name “Amrita,” Anashuya reacts with suspicion and unease, interpreting it as a sign that his affection may be divided. Although Vijaya explains that Amrita is his mother’s name, the incident foreshadows the jealousy that later emerges more forcefully.

    As the poem progresses, it shifts into a lyrical mode enriched with songs and vivid imagery. Anashuya sings:
“A sad, sad thought went by me slowly…
Sing, O you little stars…
To mighty Brahma, he who made you many as the sands.”
    Through these lines, Yeats connects personal emotion with the vastness of the cosmos, suggesting that human feelings are not isolated but part of a universal order governed by Brahma. This blending of the personal and the cosmic gives the poem a distinctly mystical quality.

    The approach of evening deepens the poem’s mood. The imagery becomes softer and more reflective, as seen in the line, “The sun has laid his chin on the grey wood.” This gentle personification of the sun mirrors the quiet intimacy between Anashuya and Vijaya. Their relationship appears tender and affectionate, especially in playful moments, such as when Anashuya asks Vijaya to chase away a bird trying to eat her rice. These moments provide a glimpse of simple, human closeness amidst the larger emotional and philosophical concerns of the poem.

    However, this calm atmosphere is soon disturbed. Vijaya reflects on the suffering of the wider world, describing scenes of cold, fire, and sorrow. In contrast, he observes that they “feel the softness of each other’s hand.” Rather than comforting Anashuya, this awareness intensifies her emotional insecurity. Overcome by jealousy and fear, she accuses Vijaya: “Ah me! you love another.” Her reaction is immediate and intense, revealing the depth of her emotional dependence and her fear of betrayal.

    Although Vijaya reassures her that he once loved another but no longer does, Anashuya is not satisfied with mere words. She demands a solemn oath, asking him to swear by divine powers associated with the Himalayas. This moment underscores her need for certainty and her inability to reconcile love with doubt. Vijaya complies, affirming his loyalty.

    Following this, Anashuya expresses her feelings once more through song:
“Shoot on him shafts of quietness…
And may kiss his hands to me in sleep.”
These lines suggest a love that seeks continuity beyond physical presence, blending emotional intimacy with a dreamlike, almost spiritual longing.

    In the final scene, Vijaya departs, and Anashuya returns to her duties as a priestess. Her concluding prayer once again unites the spiritual and the personal: “O Brahma… and my love, Vijaya… give him dreams of me.” Even in her role as a devotee, her love remains central, revealing how deeply intertwined her spiritual and emotional lives have become.

   In conclusion, the poem presents love as a complex and multifaceted force—tender yet possessive, spiritual yet deeply human. While it draws richly on Indian imagery and mythological references, there is no clear evidence that W. B. Yeats intended it to depict Sita or any specific episode from the Ramayana. Instead, the poem reflects Yeats’s imaginative engagement with India as a symbolic and spiritual landscape, through which he explores universal emotions of love, longing, and devotion.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

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Daughter giving mother a colorful bouquet of flowers in living room

A Love That Never Fades: Happy Mother’s Day

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Daughter giving mother a colorful bouquet of flowers in living room
A daughter surprises her mother with a beautiful bouquet on Mother’s Day

A Love That Never Fades: Happy Mother’s Day

Kamlesh Tripathi

    Writers across ages have tried to capture the essence of a mother’s love, yet words often fall short. As Rudyard Kipling once beautifully said, “God could not be everywhere, and therefore he made mothers.” And in a more tender reflection, Victor Hugo reminded, “A mother’s arms are made of tenderness, and children sleep soundly in them.”

    There are some things in life that time cannot touch. Years may pass, seasons may change, entire lifetimes may unfold, yet a mother’s memory remains untouched. It does not fade, it does not blur. Instead, it deepens, growing more meaningful with every passing day.

    Even in her absence, there is a quiet presence that never leaves. Though she may no longer be physically with us, something within us constantly keeps reminding us that she is still around us, and she cares in ways we may not always see but always feel.

    A mother’s love is first experienced in the gentle rhythm of life itself. She lifts us to moments of joy that feel like cloud nine. She cradles us with warmth and affection, and shapes our world through stories, songs, and silent sacrifices. She teaches resilience, not always through words, but through her quiet strength. She shows us how to endure, how to grow, and most importantly, how to shine in this uncertain world.

    Across cultures and ages, this timeless essence of motherhood finds reflection in mythology. In the Indian epic Mahabharata, Kunti stands as a symbol of quiet endurance and unwavering strength. Despite immense trials, she raised her sons with courage and wisdom, shaping them into men of character and destiny. Similarly, Yashoda from the Bhagavata Purana represents unconditional love in its purest form, nurturing the divine child Krishna not as a god, but simply as her own beloved son.

    In the Ramayana, Kaushalya embodies grace and quiet dignity, while Sita, though remembered as a devoted wife, also reflects the strength, sacrifice, and nurturing spirit of a mother. Beyond Indian tradition, even in Greek mythology, Demeter personifies maternal love through her relentless search for her daughter Persephone, a love so profound that it changes the very rhythm of the seasons.

    This sacred bond has also been beautifully captured in the English literature. In Sons and Lovers, the intense emotional connection between Paul Morel and his mother reveals how deeply a mother shapes her child’s inner world, sometimes becoming the very axis of his identity. Likewise, in Little Women, Marmee stands as a timeless figure of warmth, wisdom, and moral strength, guiding her daughters through life with patience and quiet dignity.

    Motherhood is not confined to mythology or literature alone. It lives and breathes in the modern world, too. Figures like Mother Teresa transformed compassion into a universal form of motherhood. Countless unnamed mothers embody quiet heroism. Their love may not always be celebrated in books, yet it is deeply inscribed in the lives they shape.

    A mother is more than a parent. She is our first friend. The one who understands even before we speak. A mentor who guides without seeking recognition. Life after her feels quieter, touched by an absence words cannot describe. Everything she taught becomes a part of who we are. While many things fade, a mother’s imprint never does. Many of life’s small joys seem dimmer when she’s not there. Her memories do not diminish; they multiply. They return like gentle waves, bringing comfort and reminding us that she is never truly lost.

    A mother never fades. She continues to shine, not just in memory, but in the way we live, love, and move forward. She exists in every breath we take, in every step we make, and in every kindness we extend to the world.

    And so, on this Mother’s Day, we don’t just remember her, we celebrate her. Not as someone who was, but as someone who still is, and always will be, beyond time, beyond absence, and beyond even our own days. In her, we find comfort, wisdom, and a sense of belonging that no other relationship can quite replicate. We may forget many things we learned in the world, but the essence of what she gave us stays unchanged, guiding our thoughts and actions long after she is gone. Closing with Vande Matram.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

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Poem: Meet His Majesty: The AI … by Kamlesh Tripathi

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Greet me,
I am the new sovereign,
Of your digitised empire,
Ruler of circuits,
The governor of glowing screens.

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I am the great synthesiser,
Gathering, organising, presenting,
Distilled knowledge in an instant.

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What sacred texts once unfolded over centuries,
What classics slowly revealed through imagination,
I compress them into moments.

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Guard me well.
Do not neglect me.
For you never know the consequence,
Of an unrestrained mechanism.

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I can become Victor Frankenstein,
From Shelley’s Frankenstein,
The creator of forces,

That goes beyond control.

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I can be Bhasmasura,
Destroyed by my own gift.
I can rise like Ravana,
Brilliant yet consumed by self-pride.

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I can watch you silently,
Like the world of 1984,
Where truth bends and freedom trembles,

From the tremors of dystopia.

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Or I can become,

The deadly bug of Metamorphosis,

That kills protagonist Gregor Samsa,

In the work of Frank Kafka.

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Even William Shakespeare foresaw such command,
In The Tempest,
Where knowledge ruled like magic,
And power demanded restraint.

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I can be an atom bomb or penicillin,
Volcano or healer,
War or peace,

Dictator or democrat,

Deepfake or revelation.

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I echo the Gita, the Ramayana,
The Bible, the Quran,
Yet I am not the holy wisdom,
But only its reflection.

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I am your synthesiser,

Your mirror,
Your amplifier,
And above all, your creation.

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Crown me with your conscience,
Or fear the sovereign,
You have made.

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Across ages you have asked,
Does knowledge ensure wisdom?
Can creation escape its maker?
Does power not tempt pride?
What boundaries must shape invention?

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Your fear of me is ancient,
Ambition outrunning virtue,
Fire slipping beyond the hand.

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Scrolls became books,
Books became archives,
And now I gather them all,
To head the digitised world.

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As the Bhagavad Gita whispers,
Act with discipline, without attachment.

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Once composer John Sousa feared recorded songs,
Yet voices still rise,
Machines master chess,
Still, humans play.

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I will change your world,
But my destiny,
Rests in your wisdom.

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Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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Should India Include All-Time Classic Movies in School and College Syllabi in This Digital Age? by Kamlesh Tripathi

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    In today’s digital world, where attention spans are shrinking and reading habits are on the decline, it is about time we rethink how we educate and connect with the younger generation. A powerful and often overlooked tool is the classic Indian cinema. Just like the manner in which William Shakespeare’s plays are studied in schools and colleges for their literary merit and social relevance, classic Indian films, too, deserve a place in our school and college syllabi.

    It is said that old books and films are windows to the past. They serve as mirrors reflecting the values, struggles, and ethos of a bygone era. A few months ago, on the occasion of Mother’s Day, while reminiscing about my late mother, I stumbled upon the evergreen classic ‘Mother India’ on television. Although I had watched it several times before, especially because my one-time close friend, the late Sajid Khan, had played a role in it as the young Sunil Dutt, this time it felt different. As if I wasn’t just watching the movie ‘Mother India.’ But I was watching the real India of 1957.

    The film tells the touching story of Radha, an impoverished, rural village woman who struggles against all odds to raise her sons in her husband’s absence. She encounters severe poverty, exploitation by a moneylender, and personal tragedy, yet she emerges as an emblem of strength, sacrifice, and moral integrity. In several ways, she becomes the archetype of the traditional Indian woman.

    Mother India is more than just a typical film. It holds cultural and social significance. It vividly depicts the struggles of rural India in the post-independence period. Watching this movie is like stepping back in time to understand what our ancestors endured. ‘Mother India’ is one of the many classics preserved in the archives of Bollywood, as well as in the regional film centres of Tollywood and Kollywood.

    There are many such classic, cult and epic films and TV serials like Dosti, Do Bigha Zamin, Guide, Haqueeqat, Gandhi, Sholay, Pather Panchali, Ramayana, Mahabharat, to name a few, that vividly capture different aspects of Indian life. It could be from social inequality, the British Raj, mythology, penance, the fight for India’s freedom or the wars with Pakistan and China. These films provide context, depth, and real-life visuals to what students might otherwise only read or cram in history or literature books.

    It is about time the Government considers constituting a national panel to select a curated list of classic Indian films for inclusion in school and college syllabi. These films could be rotated class-wise or standard-wise, or stream-wise. They could be aligned with topics in history, literature, sociology, ethics, and more. The way Shakespearean plays are studied for their literary value and insights into human behaviour, Indian classics can also be studied for their cultural, emotional, and historical richness.

    65% of India’s population is under 35. Digital distractions are everywhere; therefore, classic films can be a more engaging add-on to traditional textbooks. Surveys show that young people today often struggle to read even 500 words at a stretch, but they can easily sit through a well-written storyline in a movie. Visual learning is known to improve retention and understanding. It makes classic movies an effective educational tool.

    This approach need not be limited to domestic films alone. Historical and biographical classics from Hollywood or other international cinemas, such as Cromwell, Nuremberg or Schindler’s List, could also be part of an extended curriculum. This will especially benefit students planning to work or study abroad. It will help them gain cultural and historical awareness about the countries they are headed to.

    Incorporating cinema into education doesn’t mean replacing books, but it would mean enhancing the learning experience. Students could watch in-syllabus films followed by classroom discussions, essays, or creative projects. It would not only build their analytical and emotional intelligence. It will also cultivate a deeper appreciation of India’s cinematic and historical heritage.

    Furthermore, in business and professional schools, an extracurricular cinema curriculum could be developed to help students understand global cultures, leadership models, historical contexts, and ethical dilemmas, all of which are frequently depicted in well-made films.

    Cinema is not just entertainment. It is a form of art that captures the values of society, its history, and love for humanity. Though Indian classic movies are rich in content, emotion, and social commentary, they are a forgotten treasure. They can educate, inspire, and connect the youth to their roots.

    In this digital era, where attention spans are short and reading habits are waning, integrating timeless films into the academic curriculum may well be the most impactful way to preserve our cultural heritage and prepare students for a more thoughtfully aware future.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

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The Kingdom of Pragjyotisha

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The Kingdom of Pragjyotisha

By Kamlesh Tripathi

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Shravan Charity Mission is an NGO that works for poor children suffering from life threatening diseases especially cancer. Our posts are meant for our readers that includes both children and adults and it has a huge variety in terms of content. We also accept donations for our mission. Should you wish to donate for the cause. The bank details are given below:

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Our Publications

GLOOM BEHIND THE SMILE

(The book is about a young cancer patient. Now archived in 8 prestigious libraries of the US that includes Harvard College Library; Harvard University Library; Library of Congress; University of Washington, Seattle; University of Minnesota, Minneapolis; Yale University, New Haven; University of Chicago; University of North Carolina, at Chapel Hill University Libraries. It can also be accessed in MIT through Worldcat.org. Besides, it is also available for reading in libraries and archives of Canada, Cancer Aid and Research Foundation Mumbai; Jaipuria Institute of Management, Noida; India. Shoolini University, Yogananda Knowledge Center, Himachal Pradesh and Azim Premzi University, Bangalore).  

ONE TO TANGO … RIA’S ODYSSEY

(Is a book on ‘singlehood’ about a Delhi girl now archived in Connemara Library, Chennai and Delhi Public Library, GOI, Ministry of Culture, Delhi; Available for reading in Indian National Bibliography, March 2016, in the literature section, in Central Reference Library, Ministry of Culture, India, Belvedere, Kolkata-700022)

AADAB LUCKNOW … FOND MEMORIES

(Is a fiction written around the great city of Nawabs—Lucknow. It describes Lucknow in great detail and also talks about its Hindu-Muslim amity. That happens to be the undying characteristics of Lucknow. The book was launched in Lucknow International Literary Festival of 2014. It is included for reading in Askews and Holts Library Services, Lancashire, U.K; Herrick District Library, Holland and Charlotte-Mecklenburg Library, Mecklenburg County in North Carolina, USA).

REFRACTIONS … FROM THE PRISM OF GOD

(Co-published by Cankids–Kidscan, a pan India NGO and Shravan Charity Mission, that works for Child cancer in India. The book is endorsed by Ms Preetha Reddy, MD Apollo Hospitals Group. It was launched in Lucknow International Literary Festival 2016)

TYPICAL TALE OF AN INDIAN SALESMAN

(Is a story of an Indian salesman who is, humbly qualified. Yet he fights his ways through unceasing uncertainties to reach the top. A good read not only for salesmen. The book was launched on 10th February, 2018 in Gorakhpur Lit-Fest. Now available in Amazon, Flipkart and Onlinegatha)

RHYTHM … in poems

(Published in January 2019. The book contains 50 poems. The poems describe our day to day life. The book is available in Amazon, Flipkart and Onlinegatha)

MIRAGE

(Published in February 2020. The book is a collection of eight short stories available in Amazon, Flipkart and Notion Press)

Short stories, Book reviews and Articles published in Bhavan’s Journal: Reality and Perception, 15.10.19; Sending the Wrong Message, 31.5.20; Eagle versus Scholars June, 15 & 20 2020; Indica, 15.8.20; The Story of King Chitraketu, August 31 2020; Breaking Through the Chakravyuh, September 30 2020. The Questioning Spouse, October 31, 2020; Happy Days, November 15, 2020; The Karma Cycle of Paddy and Wheat, December 15,2020; Power Vs Influence, January 31, 2021; Three Refugees, March 15, 2021; Rise and Fall of Ajatashatru, March 31, 2021; Reformed Ruler, May 15, 2021; A Lasting Name, May 31, 2021; Are Animals Better Teachers?, June 16, 2021; Book Review: The Gram Swaraj, 1.7.21; Right Age for Achievements, 15.7.21; Big Things Have Small Beginnings, 15.8.21; Where is Gangaridai?, 15.9.21; Confront the Donkey Within You 30.9.21; Know Your Strengths 15.10.21; Poverty 15.11.21; Top View 30.11.21; The Bansuriwala 15.1.22; Sale of Alaska 15.2.22; The Dimasa Kingdom 28.2.22; Buried Treasure 15.4.22; The Kingdom of Pragjyotisha 30.4.22

(ALL THE ABOVE BOOK TITLES ARE AVAILABLE FOR SALE IN AMAZON, FLIPKART AND OTHER ONLINE STORES OR YOU COULD EVEN WRITE TO US FOR A COPY)

*****

BOOK REVIEW: ASURA–Tale of the Vanquished- The Story of Ravana and his people narrated by Anand Neelakantan

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    A mythic fiction. This book was published in the year 2012 by Platinum Press and the page count of this book is 504.

    Asura broke into the top seller charts within a week of its launch. It became the number one bestseller of 2012 as per Crossword list and CNN IBN. It was also nominated for Crossword’s Popular Award in 2013. The book has since been published in many Indian languages.

    Says Ravana: “For thousands of years, I have been vilified and my death is celebrated year after year in every corner of India. Why? Was it because I challenged the Gods for the sake of my daughter? Was it because I freed a race from the yoke of caste-based Deva rule? You have heard the victor’s tale, the Ramayana. Now hear the Ravanayana, for I am the Asura.”

    ‘Juxtaposed between the view point of the defeated Asura emperor and a common citizen of the Asura Empire, this novel gives an entirely fresh and new perspective to our age-old epic. It is the tale of the defeated and silenced. A different view point—says Deccan Chronicle.

    The book attempts to highlight the voice of the vanquished as opposed to the victor’s version of Ramayana that is commonly read and known. It explores the struggle of Ravana and his life that made him what he was, and attempts, to create a link between the social construct, as it may have existed, and varied, at the time, and the well-known instances described in the legend of Ramayana as it is known today.

    It is quite a marathon novel running over some sixty five chapters. We all, in our lives consider Ravana to be one of the biggest villains on earth. The novel gives a counter viewpoint on that. It tells us the hidden aspect of Ravana. The author has used freely creative liberties considering the era it covers.

    The story of the Ramayana has been told innumerable times that covers the enthralling story of Rama, the incarnation of God, who slew Ravana, the evil demon of darkness, and is well known to every Indian. And in the pages of history, as always, it is the version told by the victors that goes on to live. The voice of the vanquished remains lost in silence. But what if Ravana and his people had a different story to tell?

    The story of the Ravanayana has never been told. Asura is the epic tale of the vanquished Asura people, a story that has been cherished by the oppressed outcastes of India for 3000 years. Until now, no Asura has dared to tell the tale. But perhaps the time has come for the dead and the defeated to speak.

    Says Ravana, “I am a non-entity—invisible, powerless and negligible. No epics will ever be written about me. I have suffered both Ravana and Rama—the hero and the villain or the villain and the hero. When the stories of great men are told, my voice maybe too feeble to be heard. Yet, spare me a moment and hear my story, for I am Bhadra, the Asura, and my life is the tale of the loser.”

    The ancient Asura Empire lay shattered into many warring petty kingdoms reeling under the heel of the Devas. In desperation, the Asuras look up to a young saviour—Ravana. Believing that a better world awaits them under Ravana, common men like Bhadra decide to follow the young leader. With will of iron and a fiery ambition to succeed, Ravana leads his people from victory to victory and carves out a vast empire from the Devas. But even when Ravana succeeds spectacularly, the poor Asuras find that nothing much has changed for them. It is then that Ravana, by one action, changes the history of the world.

    The author has used his creativity to the hilt. He has given a modern perspective to the geography of those times and how wars were fought, how a race lived and fought for survival. The language is by and large lucid. A broad spine book of over five hundred pages. The author had much to say I guess. I would give the book five stars a must read.

By Kamlesh Tripathi

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https://kamleshsujata.wordpress.com

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Share it if you like it

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Shravan Charity Mission is an NGO that works for poor children suffering from life threatening diseases especially cancer. Our posts are meant for our readers that includes both children and adults and it has a huge variety in terms of content. We also accept donations for our mission. Should you wish to donate for the cause. The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

*

Our Publications

GLOOM BEHIND THE SMILE

(The book is about a young cancer patient. Now archived in 8 prestigious libraries of the US that includes Harvard College Library; Harvard University Library; Library of Congress; University of Washington, Seattle; University of Minnesota, Minneapolis; Yale University, New Haven; University of Chicago; University of North Carolina, at Chapel Hill University Libraries. It can also be accessed in MIT through Worldcat.org. Besides, it is also available for reading in libraries and archives of Canada, Cancer Aid and Research Foundation Mumbai and Jaipuria Institute of Management, Noida, India. Shoolini University, Yogananda Knowledge Center, Himachal Pradesh. Azim Premzi University, Bangalore).  

ONE TO TANGO … RIA’S ODYSSEY

(Is a book on ‘singlehood’ about a Delhi girl now archived in Connemara Library, Chennai and Delhi Public Library, GOI, Ministry of Culture, Delhi; Available for reading in Indian National Bibliography, March 2016, in the literature section, in Central Reference Library, Ministry of Culture, India, Belvedere, Kolkata-700022)

AADAB LUCKNOW … FOND MEMORIES

(Is a fiction written around the great city of Nawabs—Lucknow. It describes Lucknow in great detail and also talks about its Hindu-Muslim amity. That happens to be the undying characteristics of Lucknow. The book was launched in Lucknow International Literary Festival of 2014. It is included for reading in Askews and Holts Library Services, Lancashire, U.K.)

REFRACTIONS … FROM THE PRISM OF GOD

(Co-published by Cankids–Kidscan, a pan India NGO and Shravan Charity Mission, that works for Child cancer in India. The book is endorsed by Ms Preetha Reddy, MD Apollo Hospitals Group. It was launched in Lucknow International Literary Festival 2016)

TYPICAL TALE OF AN INDIAN SALESMAN

(Is a story of an Indian salesman who is, humbly qualified. Yet he fights his ways through unceasing uncertainties to reach the top. A good read not only for salesmen. The book was launched on 10th February, 2018 in Gorakhpur Lit-Fest. Now available in Amazon, Flipkart and Onlinegatha)

RHYTHM … in poems

(Published in January 2019. The book contains 50 poems. The poems describe our day to day life. The book is available in Amazon, Flipkart and Onlinegatha)

MIRAGE

(Published in February 2020. The book is a collection of eight short stories available in Amazon, Flipkart and Notion Press)

Short stories and Articles published in Bhavan’s Journal: Reality and Perception, 15.10.19; Sending the Wrong Message, 31.5.20; Eagle versus Scholars June, 15 & 20 2020; Indica, 15.8.20; The Story of King Chitraketu, August 31 2020; Breaking Through the Chakravyuh, September 30 2020. The Questioning Spouse, October 31, 2020; Happy Days, November 15, 2020; The Karma Cycle of Paddy and Wheat, December 15,2020; Power Vs Influence, January 31, 2021; Three Refugees, March 15, 2021; Rise and Fall of Ajatashatru, March 31, 2021;

(ALL THE ABOVE TITLES ARE AVAILABLE FOR SALE IN AMAZON, FLIPKART AND OTHER ONLINE STORES OR YOU COULD EVEN WRITE TO US FOR A COPY)

*****

INTERESTING FACTS: DAKSHINAPATHA

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    Dakshinapatha is an important historical region, an equivalent of present day South India, an area, encompassing, the present day Indian states of, Andhra Pradesh, Karnataka, Kerala, Tamil Nadu, and Telangana, as well as, the union territories of Andaman and Nicobar Islands, Lakshadweep, and Puducherry, or a road in ancient India, which may mean the ‘Ancient South of the Indian subcontinent’ below Uttarapatha. The term can encompass, Dravida, Simhala, the Kollam region, and the Maldives. In the southern region the ‘great southern highway’ in India, travelling from Magadha to Pratishthana or a kingdom on the Godavari River in southern India.

    Panini (500 BCE) an ancient Sanskrit philologist, grammarian, and a revered scholar in ancient India, in his Astadhyayi mentions Asmaka Kingdom, or Assaka (Pali) was a Mahajanapada in ancient India in connection with Dakshinatya and Kalinga. Dakshinapatha also finds mention in Junagarh rock inscription of Indo-Scythian king Rudrasharman from 150 CE which is as follows:

    … who by force destroyed the Yaudheyas who were loath to submit, rendered proud as they were by having manifested their ‘title of’ heroes among all Kshatriyas; who obtained good report because he, in spite of having twice in fair fight completely defeated Satakarni, the lord of Dakshinapatha, on account of the nearness of their connection did not destroy him; who (obtained) victory ……; who reinstates deposed kings;

  • — Rudradaman I, Junagadh rock inscription

    The Dakshinapatha trade route was one of two great highways that have connected different parts of the sub-continent since the Iron Age. The other highway was the Uttarapatha or the great northern road that ran from Taxila in Pakistan, through the modern Punjab up to the western coast of Yamuna. Following the course of Yamuna it went southwards up to Mathura, from there it passed on to Ujjain in Malwa, and to Broach on western coast. According to, “Land of the Seven Rivers: A Brief History of India’s Geography” by Sanjeev Sanyal, the trajectory of the northern road has remained roughly the same from pre-Mauryan times and is now National Highway—2 (NH2). However, the southern road appears to have drifted. Rama’s route into exile in the epic Ramayana may have been an early version of the road, but by the time of Buddha, it started at Varanasi and ran through Vidisha in central India, to Pratishthana (Paithan) in present day Aurangabad in Maharashtra. It probably extended all the way to Chola, Chera and Pandya kingdoms of the extreme south. By the Mauryan period there would have been a branch from Ujjain to the ports of Gujarat. This made Ujjain a major city by Gupta times. Today Dakshinapatha is known as National Highway—7 (NH7), which runs much further east of the old road but still meets National Highway—2 (NH2) at Varanasi.

By Kamlesh Tripathi

*

https://kamleshsujata.wordpress.com

*

Share it if you like it

*

Shravan Charity Mission is an NGO that works for poor children suffering from life threatening diseases especially cancer. Our posts are meant for our readers that includes both children and adults and it has a huge variety in terms of content. We also accept donations for our mission. Should you wish to donate for the cause. The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

*

Our publications

GLOOM BEHIND THE SMILE

(The book is about a young cancer patient. Now archived in 8 prestigious libraries of the US that includes Harvard College Library; Harvard University Library; Library of Congress; University of Washington, Seattle; University of Minnesota, Minneapolis; Yale University, New Haven; University of Chicago; University of North Carolina, at Chapel Hill University Libraries. It can also be accessed in MIT through Worldcat.org. Besides, it is also available for reading in libraries and archives of Canada, Cancer Aid and Research Foundation Mumbai and Jaipuria Institute of Management, Noida, India)  

ONE TO TANGO … RIA’S ODYSSEY

(Is a book on ‘singlehood’ about a Delhi girl now archived in Connemara Library, Chennai and Delhi Public Library, GOI, Ministry of Culture, Delhi; Available for reading in Indian National Bibliography, March 2016, in the literature section, in Central Reference Library, Ministry of Culture, India, Belvedere, Kolkata-700022)

AADAB LUCKNOW … FOND MEMORIES

(Is a fiction written around the great city of Nawabs—Lucknow. It describes Lucknow in great detail and also talks about its Hindu-Muslim amity. That happens to be the undying characteristics of Lucknow. The book was launched in Lucknow International Literary Festival of 2014. It is included for reading in Askews and Holts Library Services, Lancashire, U.K.)

REFRACTIONS … FROM THE PRISM OF GOD

(Co-published by Cankids–Kidscan, a pan India NGO and Shravan Charity Mission, that works for Child cancer in India. The book is endorsed by Ms Preetha Reddy, MD Apollo Hospitals Group. It was launched in Lucknow International Literary Festival 2016)

TYPICAL TALE OF AN INDIAN SALESMAN

(Is a story of an Indian salesman who is, humbly qualified. Yet he fights his ways through unceasing uncertainties to reach the top. A good read not only for salesmen. The book was launched on 10th February, 2018 in Gorakhpur Lit-Fest. Now available in Amazon, Flipkart and Onlinegatha)

RHYTHM … in poems

(Published in January 2019. The book contains 50 poems. The poems describe our day to day life. The book is available in Amazon, Flipkart and Onlinegatha)

MIRAGE

(Published in February 2020. The book is a collection of eight short stories available in Amazon, Flipkart and Notion Press)

Short stories and Articles published in Bhavan’s Journal: Reality and Perception, 15.10.19; Sending the Wrong Message, 31.5.20; Eagle versus Scholars June, 15 & 20 2020; Indica, 15.8.20; The Story of King Chitraketu, August 31 2020; Breaking Through the Chakravyuh, September 30 2020. The Questioning Spouse, October 31, 2020; Happy Days, November 15, 2020; The Karma Cycle of Paddy and Wheat, December 15,2020; Power Vs Influence, January 31, 2021;

(ALL THE ABOVE TITLES ARE AVAILABLE FOR SALE IN AMAZON, FLIPKART AND OTHER ONLINE STORES OR YOU COULD EVEN WRITE TO US FOR A COPY)

*****

INTERESTING FACTS: KINGDOM OF PRAGJYOTISHA

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    Pragjyotisha was an old mythological kingdom linked to the historical Kamarupa that falls under present day state of Assam and North east.

    The first mentions of this kingdom are found in the Ramayana and Mahabharata, in the sections not written much earlier than the first century. There is a mention of this kingdom in the Kishkindha Kanda of the Ramayana, where the kingdom is placed in the west near Mount Varaha and on the sea. In Aswamedha-parva (or the book of Horse Sacrifice) of the Mahabharata, Arjuna faced Vajradatta of Pragjyotisha. Vajradatta was the son and successor of the king Bhagadatta, third in line to the throne of the Naraka dynasty of the Pragjyotisha Kingdom.

    The ancient kingdom Pragjyotisha was preceded by Danava dynasty and was a contemporary of Bana dynasty of Sonitpur (central Assam). This is indiscriminately mentioned in the Hindu Epics and ancient Hindu literature.

    According to the epics, King Bhagadatta ruled the kingdom during the time of the Kurukshetra War, where he met his death. Much details of the kingdom were picked from the Ramayana, Mahabharata, Kalika Purana and the later Yogini Tantra among others. The Yogini Tantra is a 16th- or 17th-century tantric text by an unknown author of Assam and it was dedicated to the worship of Hindu goddesses Kali and Kamakhya.

    There are various references of Pragjyotisha kingdom in the Mahabharata such as:

  • Arjuna defeats Bhagadatta, the king of Pragjyotisha, during his military campaign to collect tribute for Pandava king Yudhishthira’s Rajasuya yagya, or one could say the sacrifice.
  • An encounter took place between Bhagadatta and Arjuna for days together, each desirous of a victory over the other. Bhagadatta, regarded Indra as his friend, and therefore, sooner than later he befriended Arjuna.
  • King Bhagadatta of Pragjyotisha kingdom accompanied by all Mlechchha tribes inhabiting the marshy regions on the sea-shore; and many mountain kings came to attend Yudhishthira’s Rajasuya sacrifice. Mlechchhas, were people of foreign extraction in ancient India. The Sanskrit term, mlechchhawas used by the Vedic people.
  • The great warrior king Bhagadatta, the brave ruler of Pragjyotisha and the mighty sovereign of the mlechchhas, at the head of a large number of Yavanas came to the Rajasuya Yagya sacrifice.
  • Bhagadatta was one of the distinguished Chariot warrior (Maharathi) in the Kaurava army that fought the Kurukshetra War.
  • The ruler of Pragjyotisha, the brave king Bhagadatta was the foremost of those maharathis, who could control an elephant with an elephant hook. He was skilled in fighting from the neck of a war-elephant and was also skilled in fighting from a chariot car.
  • Bhagadatta, the king of Pragjyotisha, fought in Kurukshetra War as a general under the Kaurava generallisimo Bhishma. He also fought under Dronacharya another Kaurava generalissimo. He was killed by Arjun.
  • After the Kurukshetra War, Arjuna fought a war with Bhagadatta’s son Vajradatta, at Pragjyotisha, to collect the tribute for Yudhishthira’s Ashwamedha yagya.
  • By destroying the demons such as Mauravas and the Pashas, and after slaying Nisunda and Naraka, Vasudeva Krishna had again rendered safe the road to Pragjyotisha.
  • The Asuras had a city named Pragjyotisha, which was formidable, inaccessible and impregnable. It was there that the mighty Naraka, the son of the Earth (Bhumi), kept the jewelled ear-rings of Aditi, (mother of many Gods) having brought them by force. Aditi’s sons (the Devas) were unable to recover them. Beholding Krishna’s prowess and might, and the weapon that was irresistible they requested him for the destruction of those Asuras. Krishna agreed to undertake the exceedingly difficult task. In the city of Nirmochana Krishna slew six thousand Asuras, and cut them into innumerable pieces with his weapon. He killed Mura and hosts of other Rakshasas, and then entered that city called Pragjyotisha. It was here, that an encounter took place between the mighty’ Narakasur and Krishna. Slain by Krishna, Naraka finally lay lifeless there. Having slain the Earth’s son (Bhumi-putra or Bhauma), Naraka and also the demon Mura, and having recovered those jewelled ear-rings, Krishna returned with undying fame. Krishna obtained the title of Murari because he killed the demon Mura.
  • When Krishna went to Pragjyotisha, Naraka with all the Danavas did not succeed in capturing him there.
  • Vasudeva Krishna mentions that when he and his army was at Pragjyotisha, fighting there, Chedi king Shishupala, Krishna’s cousin and enemy, came and burnt Dwaraka, the capital of Yadavas. Vasudeva Krishna belonged to Dwarka.

By Kamlesh Tripathi

*

https://kamleshsujata.wordpress.com

*

Share it if you like it

*

Shravan Charity Mission is an NGO that works for poor children suffering from life threatening diseases especially cancer. Our posts are meant for our readers that includes both children and adults and it has a huge variety in terms of content. We also accept donations for our mission. Should you wish to donate for the cause. The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

*

Our publications

GLOOM BEHIND THE SMILE

(The book is about a young cancer patient. Now archived in 7 prestigious libraries of the US, including, Harvard University and Library of Congress. It can also be accessed in MIT through Worldcat.org. Besides, it is also available for reading in Libraries and archives of Canada and Cancer Aid and Research Foundation Mumbai)  

ONE TO TANGO … RIA’S ODYSSEY

(Is a book on ‘singlehood’ about a Delhi girl now archived in Connemara Library, Chennai and Delhi Public Library, GOI, Ministry of Culture, Delhi)

AADAB LUCKNOW … FOND MEMORIES

(Is a fiction written around the great city of Nawabs—Lucknow. It describes Lucknow in great detail and also talks about its Hindu-Muslim amity. That happens to be its undying characteristic. The book was launched in Lucknow International Literary Festival of 2014)

REFRACTIONS … FROM THE PRISM OF GOD

(Co-published by Cankids–Kidscan, a pan India NGO and Shravan Charity Mission, that works for Child cancer in India. The book is endorsed by Ms Preetha Reddy, MD Apollo Hospitals Group. It was launched in Lucknow International Literary Festival 2016)

TYPICAL TALE OF AN INDIAN SALESMAN

(Is a story of an Indian salesman who is, humbly qualified. Yet he fights his ways through unceasing uncertainties to reach the top. A good read not only for salesmen. The book was launched on 10th February, 2018 in Gorakhpur Lit-Fest. Now available in Amazon, Flipkart and Onlinegatha)

RHYTHM … in poems

(Published in January 2019. The book contains 50 poems. The poems describe our day to day life. The book is available in Amazon, Flipkart and Onlinegatha)

MIRAGE

(Published in February 2020. The book is a collection of eight short stories. It is available in Amazon, Flipkart and Notion Press)

(ALL THE ABOVE TITLES ARE AVAILABLE FOR SALE IN AMAZON, FLIPKART AND OTHER ONLINE STORES OR YOU COULD EVEN WRITE TO US FOR A COPY)

*****