Olga's story - interpretation
lylayer
<satyanarayana_veeramachineni@y...> wrote:
>
> "చెత్త" అన్న పదం ఆవిడ వ్యంగంగా వాడారు,
> సీరియస్గా కాదు. చెత్త పాటలు అని రాసింది ఆవిడకి
> నచ్చిన పాటలని అర్థం. నేను ఇలా అర్థం చేసుకున్నాను.
>
> - సత్యనారాయణ
>
After all there is an after life!!
We are still getting posts from Satyanarayana Veeramacineni garu!
That is good . I like it.
Racchabanda is under a huge banyan tree. Communications are possible
with extra terrestrial life, souls and what not.
Satyanarayana garu did not believe in all this good stuff in his
previous incarnation. Now he is offering himself as the proof.
I am not afraid. After seeing the movies 'sixth sense', and 'the
village' by Night Syamalan ( not to mention the novels of Yandamuri
Veerendra Naadh, nor the writer-Ranganayakamma who got
a 'punarjanma' by taking up marxism ), I am ready to talk to any soul.
Satyanarayana garu! if you are still getting 'telugu naadi' where
ever you are, Did you read the story 'Samagam' by Olga?
If you did, is Olga's story a satire? Is she making fun of Sita or
Surpanakha or both or us -the readers? what is she saying? How did
you understand the story?
Thanks
lyla.
P.S: you may have some other priorities, other unfinished rb posts
and do not let this post deter you. :-)
Courtesy: http://www.kanneganti.com/
vnagarjuna
> Thank you. I will get to Olga's story at some point, after we finish
> these discussions. no rush at all :-)
>
> regards
> lyla.
As Lyla permitted tangential discussions, I have one question:
I have heard many times on this group that a writer should stick to
one "ism" and if he/she appears to espouse a different philosophy in a
subsequent (or even same) publication, they have sold out. I don't see
why it should be true - particularly for some one who writes fiction.
Can someone who denounces Yandamuri for selling out explain this to me?
Why I don't buy the above argument:
Good fiction for me is something where the author is unobtrusive
letting the story and the characters stand for themselves. I
understand that the author's viewpoint will always color it to some
extent, but those that do excessively tend to be pedantic.
Thanks,
nagarjuna
Courtesy: http://www.kanneganti.com/
Srikanth Bandi
>From: "Suresh Kolichala" <suresh_kolichala@y...>
>Reply-To: racch...@yahoogroups.com
>
>
>Regards,
>Suresh " vEToori, sirivennela, and yanDamoori are just above-average
>commercial writers"
When someone asked Sri Sri about his opinion on yanDamoori, he said
"vEDi vEDi pesaraTTu"
-srikanth
>
>
>
>
_________________________________________________________________
Express yourself with cool new emoticons http://www.msn.co.uk/specials/myemo
Courtesy: http://www.kanneganti.com/
Naveen Kumar
all), in my opinion Yandamoori would definitely be in the forefront
amongst the writers.
The other day I walked into Vishalandhra Bookhouse to casually
browse the new arrivals. I saw a few, considered buying a couple of
them, but walked out with Yandamoori's recent novel "rendu gundela
chappudu". If someone has doubts about my taste, well I don't have a
problem considering myself "very ordinary". I enjoyed Gopichand's
అసమర్థుని జీవయాత్ర as well as yandamoori's అంతర్ముఖం. I
don't prefer to read రాక్షసుడు or మరణమృదంగం now, but when
I read them in the past, I enjoyed them. And I'm sure even if I pick
them up now, Yandamoori's style would made me read on. What the heck?
If someone believes that every writer should stick to certain "ism"
and try injecting it in every form of writing he/she does, then I
have nothing to say. It is up to them, but they can't speak for
others.
A few writers write for society as a whole, and a few target just a
specific section of people. When weighing a writer's capability, I'd
consider who he is writing for and what he is trying to achieve...
in what category does he fit into. If a writer writes for children
(say a story రాజు చచ్చాడు, ప్రజలు గెలిచారు ;-), and fills it up
with marxism instead of fantasy, would you call him a great writer
just because he believes it would be good for society as a whole?.
Many people may not believe a particular "ism", but they would like
to know what it is about. When I wear a feminism-study cap I'd read
Ranganayakamma but when I don't carry any cap, I am not ashamed of
reading Yandamoori's so-called 'crap'.
Yandamoori writes in one of his books that he doesn't understand why
a book that serves just as a good passtime, isn't considered a
goodbook. When mythological movies can figure out in the top ten
movies' list, (considering that a good movie should have social
responisbility, a "ism" etc.,) why not consider a simple and
readable book a good one?
Yandamoori has variety, good style, but may be he smells like a
capitalist. But that shouldn't be a problem considering that he is
not trying to prove otherwise.
In a lighter vein:
మనకు ఆకలేసినప్పుడు దగ్గరున్న వజ్రం (ఎంత విలువైనదైనా)
ఉన్నఫలాన కడుపు నింపదు. అప్పుడు పెసరట్టు దొరికితే
మహదానమ్దంఏ ;-)
(మహానుభావులు శ్రీ శ్రీ గారికి క్షమాపణలతో...)
నవీన్ నంబూరి
PS:please read my first sentence before aiming your guns ;-)
Courtesy: http://www.kanneganti.com/
Suresh Kolichala
(Moderator's note: Those interested in exchanging views on Ayn Rand can continue outside the group; Further discussion of yanDamoori - or even Olga's story - can, of course, continue here).
--- In racch...@yahoogroups.com, "lylayer" <lylayfl@a...> wrote:
> I am interested to know what problems you see in Ayn Rand's
> objectivism. ( another rbite also has a question for you on this I
> notice).
Sharada gAru and lylA gAru,
I am not sure if we could discuss Rand in details on this forum, but
I will try to explain a couple of issues I have with her theories:
1. She doesn't explain away the how causality and free will are
compatible
As you may be aware, after the era of enlightenment, the philosophers
has been wrestling with the problem of asserting human freedom (free
will) in the light of great scientific advances (newton, darwin,
fraud). If mind is matter and just made up of atoms, then it should
follow the causal laws, that means every action we take could be
precalculated, which implies that we have no free will.
Philosophers for more than three centuries tried to resolve this
conundrum - on one extreme we have Spinoza and Laplace who thought
free will is an illusion. On the other extreme we have
existentialists, chaos theorists who argue that we are condemned to
be free, and/or even the material word is not causal (or that
causality is an illusion). Some where in the middle are German
idealists, who found the compatibility of causality and free will:
Kant explained using the distinction of noumenon/phenomenon, Hegel
used Geist, and Schopenhauer used Vedantic concepts of World as Will
(his arguments were similar to the ontological idealism of Buddhism
or Advaitic Vedanta. Note that ViSishTaadvaita was critical of
Advaitic idealism and as you know Raamajuna was a realist,
ontologically).
Rand asserts both causality and free will, but doesn't bother to
explain how they could be compatible. She doesn't appear to show that
she has a grasp or understanding of this issue. That probably is the
prime reason why no academic departments of philosophy treat her as a
philophoser.
2. Her ethics directly contradict her epistemology
Her epistemology says there are no conflicts of interest in a
rational society (A is A for every rational being). Her ethics
dictate rational egoism, that is, each person ought rationally to
hold, "My own happiness is the sole good." As G. E. Moore (Principia
Ethica) points out the contradiction here "What egoism holds,
therefore, is that each man's happiness is the sole good - that a
number of different things are each of them the only good thing there
is - an absolute contradiction!"
Checkout
Why I am not an Objectivist (http://home.sprynet.com/~owl1/rand.htm)
A Review of Rand in LA Times
(http://www.geocities.com/suresh_kolichala/rand.htm)
Sharada Murali further asks:
> By the way, Suresh, did you mean to attirbute the adjective "quack
philosophy" to Rand's philosophy or Veerendranath's conveniently
using it? (Just curious :-)
As it must be clear now, Rand is a quack philosopher :-).
veerendranaath is no doubt veera bhakta of Rand, but he displays his
intellectual dishonesty by conveniently writing novels with
revolutionary themes in: cengalva poodanDa, rakta sindhooram etc.
Regards,
Suresh.
Courtesy: http://www.kanneganti.com/
Sharada Murali
I think he became that because during the course of his career, he got totally confused in his ideas. He also seem to have become insecure and tried to make a quick buck writing trash. He tried to use randian objectivism just to justify his lack-of-scruples while belting out trash!
In any case, who ever saw the third rate films made out of his books (which themselves were second rate, anyway) cannot accuse him of partiality towards rand's philosophy :-)
By the way, Suresh, did you mean to attirbute the adjective "quack philosophy" to Rand's philosophy or Veerendranath's conveniently using it? (Just curious :-)
Yandamoori could have become a good writer, had shown some talents
for it, but by embracing the quack-philosophy of randian objectivism,
he lost himself in the commercial
---------------------------------
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[Non-text portions of this message have been removed]
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Suresh Kolichala
> a 'punarjanma' by taking up marxism
అనేక అవతారాలెత్తటమ్లో వీరేంద్ర నాథ్ ని తక్కువ అంచనా
వేయకండి. ఒక నవలలో ఆయన కరుడుగట్టిన కమ్యునిస్టులాగా
ఎర్రజండా నినాదాలు వల్లించగలడు. మరో నవలలో భూత ప్రేత
పిశాచాల చేత మాట్లాడించే మాత్రికుడు కాగలడు. మరో చోట
ఋగ్వేదన్ని, కఠొపనిషత్తును, పురాణాలని కలగలపే వీర
సంప్రదాయవాదిగా అవతారం ఎత్తగలడు. మరోచోట Capitalism ని
ఉగ్గడిస్తూ వైయుక్తిక సిద్ధాంతాలు ప్రవచించ గలడు
The only positive I see in his books is the readability aspect of his
writing style, which even many good writers tend to overlook.
Yandamoori could have become a good writer, had shown some talents
for it, but by embracing the quack-philosophy of randian objectivism,
he lost himself in the commercial world. The last yvnath's book that
I completely read was in 1989 when I was still a teenager.
Regards,
Suresh " vEToori, sirivennela, and yanDamoori are just above-average
commercial writers"
Courtesy: http://www.kanneganti.com/
lylayer
>
> but by embracing the quack-philosophy of randian objectivism,
> he lost himself in the commercial world. The last yvnath's book
Hi Suresh garu!
I am interested to know what problems you see in Ayn Rand's
objectivism. ( another rbite also has a question for you on this I
notice)
I have enjoyed couple of books of veerendranath's initially.
afterwards i thought he was copying may be American writers. Do not
remember connecting him to Ayan Rand. But it is really many years ago
i read yandamuri's books. I still have couple of them. i will look
into them.
another question. there was a movie song - 'Aagadulae nimushamu nee
kosamu, aagithe saagadu ee lokamu...' Is that Veerendranadh's song?
Thank you. I will get to Olga's story at some point, after we finish
these discussions. no rush at all :-)
regards
lyla.
Courtesy: http://www.kanneganti.com/
lylayer
<andhraputhra@y...> wrote:
> I wish to differ on two counts.
>
> Yes, there were occasions when I had written the same feature in
two ways and got them published / broadcast with variations. This was
essentially because I had felt that my first work was not the best
and I could have bettered it.
>
>
That is interesting. Do both versions remain available? How did the
public respond? Do you get any feed back at all? and as time passed
do you look back and check your own impressions about the original
and revision?
Thanks
lyla
Courtesy: http://www.kanneganti.com/
Hemantha Kumar
Best wishes
Hemantha Kumar
lylayer <lylayfl@a...> wrote:
<snip>
That is interesting. Do both versions remain available? How did the public respond? Do you get any feed back at all? and as time passed do you look back and check your own impressions about the original and revision?
Thanks
lyla
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Hemantha Kumar
1) Not all authors might have felt that they were gospel. I am sure that some of the initial writers (now when is initial :-)? I would count, for this argument, that this time might be mid 20th century (at least I mean writers of that period).
Pedestals. YES. I do think that every creator wishes a special place. Be it on the podium or among people. I would prefer to call it "Preofessional Conceit".
2) Why should one think that a writer is being pompous by attempting to better his/her/its works. Yes, there were occasions when I had written the same feature in two ways and got them published / broadcast with variations. This was essentially because I had felt that my first work was not the best and I could have bettered it.
Here my aim was not at all to take the readers/audience for a ride but just to rectify myself.
Best wishes
Hemantha Kumar
P.S: I know I have entered the Arena among Lions (read Stalwarts) but I have the satisfaction that I am doing it at the encouragement given by some Lions/Lionesses. :-)
So Gladiators, welcome, here I stand.
lylayer <lylayfl@a...> wrote:
<snip>
My feeling is the writers in Andhra were/are considering themselves as gospel, and putting themselves on pedestels,......
<snip>
When a writer pulls back some books which were already well liked by the readers, because the writer thinks they were badly written, and they can be improved because the writer had matured, particularly in reference to fiction - in my opinion the writer is turning pompous and reating the readers as cattle, that need to be led from one
pasture to the other, and be shown which grass is better to graze on.
<snip>
Thanks
lyla.
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srini_nagul
<naveennamboori@g...> wrote:
> In a lighter vein:
> మనకు ఆకలేసినప్పుడు దగ్గరున్న వజ్రం (ఎంత విలువైనదైనా)
> ఉన్నఫలాన కడుపు నింపదు. అప్పుడు పెసరట్టు దొరికితే
> మహదానమ్దంఏ ;-)
> (మహానుభావులు శ్రీ శ్రీ గారికి క్షమాపణలతో...)
Me too in a lighter vein:
విలువైన వజ్రం ఎందుకు కడుపు నింపదండీ? ఆ పెసరెట్లేసే
హోటలో, దుకాణమో, దేన్నైనా ఇట్టే కొనిపారేయ గలదు.
ఒక్క వేడి పెసరెట్టు ఎంతసేపుంటుందేమిటి తిన్న తరువాత?
ఒక కథలో విద్యార్థికి ధనం కావాలా, విద్య కావాలా
అని అడిగితే ధనమే కావాలన్నాట్ట. ఎందుకురా ధనం కోరావూ,
విద్యనెందుకు కోరలేదని టీచరంటే, సరే ఎవ్వరికి ఏది
తక్కువైతే అది కోరుకుంటారన్నాడత. ఇది అంతే. పెసరెట్టు
కావాలో, వజరం కావాలో, ఎవరికి ఏది అవసరమైతే అదే
కోరుకుంటారు. ర.బ లో వద్దనుకున్న వజ్రాలను ఇటు
పంపించండి. మాకు hurricane వస్తుందంట, సామెత కాదు
నిజంగానే కొంపలు కూలిపోయాయి, వజ్రాలే అవసరం పెసరెట్టంటే
తెలియని ఆ ఇళ్ళను మళ్ళీ నిలబెట్టడానికి.
(శ్రీ శ్రీ గారికి కృతజ్ఞతలతో) :-)
Regards
-Srinivas Nagulapalli
From jkmrao@y... Fri Sep 24 11:57:11 2004
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From: "J. K. Mohana Rao" <jkmrao@y...>
Subject: Re: [racchabanda] Re: Vandanamu
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--- seshavadapalli <seshavadapalli@y...> wrote:
>
> "శ్రీ సూర్యరాయాంధ్ర నిఘంటువు" --
>
> దము : ఉపపద సమాసాంతరమునందు - ఇచ్చునది (జలదము, సుఖదము,
> ధనదుఁడు)
>
>
My two cents worth:-)
I am still worried about this interpretation. If this
were the case, I expect SrIdA, instead of SridamA. If it
is SrIdamA with this meaning, it looks as if the gender
is not masculine. - m
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lylayer
wrote:
>
> I have one question:
>
> I have heard many times on this group that a writer should stick to
> one "ism" and if he/she appears to espouse a different philosophy
in a
> subsequent (or even same) publication, they have sold out. I don't
see
> why it should be true - particularly for some one who writes
fiction.
> Can someone who denounces Yandamuri for selling out explain this to
me?
>
When I am throwing my hissy fits about a writer,or more, generally it
is when the writers send signals that the whole society's welfare is
on their shoulders. And if they behave, as though they know every
thing about every thing, because they can put two sentences together.
This seems to be a tendency with some writers. Paricularly so with
writers in Andhra.
When the writers get a little above themselves,in America the readers
definitely bring them down to earth. for instance Jonathan franzen's
book 'corrections' won a national book award in 2001 or so. When
Oprah selected it for her book club, he said he does not want her
stamp, the readership that his book is aimed at is different. that
certainly made some other prize winning writers like Tony Morrison,
C.j. Oats etc, who were choices of Oprah before, quite mad. And also
lot of readers were offended because the author is judging the
intelligence of the readers. After a bitter battle J.Franzen had his
own - ego corrections.
My feeling is the writers in Andhra were/are considering themselves
as gospel, and putting themselves on pedestels, correcting their own
bios so that they look good for posterity, writing their own eulogies
as they want them to be. The readers/society to some extent were/are
fanning their egos, and literally using books as manuals to conduct
the machinery of their personal life/society.
I think it is ridiculous to award social responsibility to any
writer. If writing is one's profession, if they can earn their own
living, by being able to sell their books, it is good enough. they
are being socially responsible.
When a writer pulls back some books which were already well liked by
the readers, because the writer thinks they were badly written, and
they can be improved because the writer had matured, particularly in
reference to fiction - in my opinion the writer is turning pompous
and treating the readers as cattle, that need to be led from one
pasture to the other, and be shown which grass is better to graze on.
(I as a reader take full control, and like or dislike a piece of
writing, pick up a book or reject a book as I like. i don't mind
discussing them, telling others what I like, but not with an aim to
judge others taste. The more the differences in the tastes the
merrier the life is. Vive la difference!)
A fiction writer can take any number of turns, so long as the writer
is readable and really no explanations are necessary. Writers don't
have to justify their life thru their books. In their anxiety to
validate their own actions, and personal necessity to gain
acceptence from the society, they should not turn into pretentious
preachers. The writer and the society - both should be free and
should not pressure or subjugate the other.
These are some of my thoughts, and may offer some clarifications of
my prior posts on one or more writers.
Thanks
lyla.
P.S:
'There are no moral or immoral books. Books are either well written
or badly written. That's all.'
Oscar Wilde.
From jkmrao@y... Fri Sep 24 18:55:35 2004
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From: "J. K. Mohana Rao" <jkmrao@y...>
Subject: Re: [racchabanda] Re: iMTi pEru okkaTE ayitE peLLi cEsukOkUDadA?
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రెండు మూడు రోజులకు ముందు కవిజనాశ్రయపు పుటలను
త్రిప్పుచుండగా అక్కడ కవి పేరు మల్లియ రేచన అని ఉండినది.
కవి పేరు రేచన, తండ్రి పేరు మల్లియ. కావున అతని పేరు
మల్లియ రేచన ఐనది. ఆ కాలములో తండ్రి పేరు ముఖ్యము
కాబోలు. కాని ఇక్కడ ఎక్కడ ఇంటి పేరు గాని వంశము పేరు
గాని లేదు. గ్రంథములలో ఆశ్వాసాంతములో కవులు ఎట్లు
తమ నామములను వ్రాసినారో పరిశీలించ దలచాను. దాని
ఫలితమే ఇది. శ్రీ వేంకటేశ్వర రావు గారు చెప్పినట్లు
నన్నయభట్టు ఊరి పేరు గాని వంశము పేరు గాని లేదు.
మహాభారతములో నన్నయభట్టు తన్ను గుఱించి చెప్పుకొన్నది-
ఇది సకల సుకవిజన వినుత నన్నయభట్ట ప్రణీతంబైన
శ్రీమహాభారతంబునం దాది పర్వంబున ....
ఎఱ్ఱాప్రెగడ నన్నయ వ్రాసినట్లే భారతము వ్రాసెను,
ఆశ్వాసాంతములో నన్నయ పేరినే ఉపయోగించెను.
నన్నెచోడుడు కుమారసంభవములో ఇట్లు చెప్పుకొనెను-
ఇది శ్రీమజ్జంగమ మల్లికార్జునదేవ దివ్య శ్రీపాదపంకజ
భ్రమరాయమాణ కవిరాజశిఖామణి నన్నెచోడదేవ
ప్రణీతంబైన కుమారసంభవంబను కథయందు ....
తిక్కన భారతములో చెప్పుకొన్నది-
ఇది శ్రీమదుభయకవిమిత్త్ర కొమ్మనామాత్యపుత్త్ర
బుధారాధనవిరాజి తిక్కన సోమయాజి ప్రణీతంబయిన
శ్రీమహాభారతంబున విరాటపర్వంబునందు ...
రేచన కవిజనాశ్రయములో (భీమనఛందము) చెప్పినది-
ఇది వాదీంద్రచూడామణి చరణ సరసీరుహ మధుకరాయమాన
కవిజనాశ్రయ శ్రావకాభరణాంక విరచితంబైన కవిజనాశ్రయ-
చ్ఛందంబునందు ....
శ్రీనాథునికి ఇంటి పేరున్నదో లేదో తెలియదు నాకు. అతడు చెప్పినది-
ఇది శ్రీమత్కమలనాభ పౌత్త్ర మారయామాత్య పుత్త్ర వినయవిధేయ
శ్రీనాథ నామధేయ ప్రణీతంబైన హరవిలాసంబను మహా
ప్రబంధమునందు ....
బమ్మెర పోతన బమ్మెర యని తాను వ్రాసికొనలేదు-
ఇది శ్రీపరమేశ్వర కరుణాకలిత కవితా విచిత్ర కేసనమంత్రి పుత్త్ర,
సహజపాండిత్య, పోతనామాత్య ప్రణీతంబైన, శ్రీమహాభాగవతంబను
మహాపురాణంబునందు ....
అల్లసాని పెద్దన తన తండ్రి పేరికి ముందు అల్లసాని అని వాడెను-
ఇది శ్రీమదాంధ్రకవితా పితామహ సర్వతోముఖాంశ పంకజాక్ష
పాదాంబుజాధీన మానసేందిందిర నందవరపుర వంశోత్తంస
శఠకోప తాపస ప్రసాదాపాదిత చతుర్విధకవితామతల్లి కాల్లసాని
చొక్కయామాత్య పుత్త్ర పెద్దనార్య ప్రణీతంబైన స్వారోచిష
మనుసంభవం బను మహాప్రబంధంబునందు ....
మొల్ల తన ఇంటి పేరును చెప్పుకొన్నది-
ఇది శ్రీగౌరీశ్వర వరప్రసాద లబ్ధ గురు జంగమార్చన వినోద
సూరిజన వినుత కవితా చమత్కా రాతుకూరి కేసనసెట్టి తనయ మొల్ల
నామధేయ విరచితంబైన శ్రీరామాయణ మహాకావ్యంబునందు ...
ప్రబంధయుగ కాలమునకు ముందు వెనుక కొన్ని సంవత్సరముల
సమయములో ఇంటి పేరు వాడుకలో నున్నట్లున్నది. తండ్రి పేరు, గోత్రము
పేరు ముఖ్యము కాబోలు ఆ కాలములో.
విధేయుడు - జెజ్జాల కృష్ణ మోహన రావు
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lylayer
<Srinivas.Nagulapalli@c...> wrote:
> I must admire the courage and farsightedness to kick a giant while
> standing on that one's shoulders, unless the giant happens to be
> a giant tree :-)
usually when we are on some one's shoulders, we are little kids, and
the person who is carrying us is indulgent enough. Occassionally the
kid kicks, if the view is not good, if the perch is not comfortable
etc, and the giant generally takes it in good stide. and also knows
when to put the kid down.
similar scenarios with lions and cubs. or a huge bull dog and lot of
little poodles, pugs, and itsy bitsy lap dogs. they run up and down
the big one and have lot of fun but one growl, they start behaving.
it is really cute to watch these scenes. i love these scenes.
one scenario i strongly dislike is the story in which- the old man
who twines his legs around sinbad's shoulders and has a strangle hold
on him and make him carry all over the island. ..
satya pamarthy may have a totally different view point.:-)
regards
lyla.
P.S:-) glad we both have power. Is this the last hurricane for this
season for us the rb-floridians.
taking advantage of the hurricane and reading Yandamuri
veerendranadh's book. will comment on his book and olga's story soon,
very soon.
From gaddeswarup@y... Sun Sep 26 17:46:56 2004
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Dear folks,
After a two day conference in Vanderbilt Uni, Nashville I will be in Ann Arbor
from 18th October to 19th November (in Lamp Post Inn where I can cook
Andhra food). If anybody is interested in making copies for themselves, I can
bring the following (these are probably easily available in various web sites if
one knows where to look for};
1)Shavukaru DVD (which Parusuchuri Sreenivas seems to like very much),
2) eight cassettes of film songs of Arudra's lyrics (probably incomplete)
prepared by a fan of Arudra,3) eight ashtapadis by M. Balamuralikrishna as
well as his "ShriNavagrahaSuprabhatam", "ShriAdisankaracharya
suprabhatam" and such, 4)four ashtapadis by Ghantasala 5) Kannakkudi's
"Thiruvadisaranam" and such 6) Nitya's "Harinamame" and such 7) Alanati
Andaalu of RBD and TS 8) old song cassettes of M.S.rama Rao, A.P.Komala,
S.Varalakshmi, L.R.Eswari, T.Suryakumari, 9)Kaliki Chilukulu, telugu folk
songs by Vaddepalli Srinivas , and a few others.
Swarup
P.S. I have just included www.tomdispatch. com among my favourite web
sites. It is possible that I may not be let in.
Courtesy: http://www.kanneganti.com/
lylayer
<pamarty@h...> wrote:
> > The giants I had in mind when I said that sentence are scientists
and
> philosophers who are long but gone. They are more or less like
trees now.
> Standing on their shoulders was to mean that I am willing to
learn/borrow at
> least some of their knowledge. What I meant by kicking them was,
> discarding/giving up some of their views that don't seem to fit in
an
> ever-changing jigsaw puzzle called life. :-)
>
>
Story time!
Who are the above giants who are being referred to?
Newton to Hooke, 1676.
' What Des-Cartes did was a good step. You have added much several
ways, especially in taking ye colours of thin plates into
philosophical consideration. If I have seen further it is by standing
on ye shoulders of giants.'
Newton, Hooke, Descartes - all are
philosopher/physicist/mathematecian/../../.. from 17th century who
made important contributions.
Newton was saying - If i have found some new things they are not all
my own. You and many other guys are the giants, and only because of
you giants, i had a better vantage point.
Did Issac Newton really mean that? Did he think his colleagues past
or present as giants? Probably not. I think he was being sarcastic.
why do I say that? Because I have read too much Oscar Wilde and I am
a cynic?
May be. May be more because of stories I heard from my teachers, of
Newton that while a great scientist, yet had human frailities and had
a temper and had crushed other scientists work.
May be because I have observed a great number of professionals at
work and noted more of -fear, suppression of others' work, total
avoidance than acknowledgement, colloboration, agreement.
Hopefully human behaviour is improving over centuries, inspite of
Bertrand Russel, my favorite, saying there is no such hope.
Any way when Satya Pamarty used the phrase 'standing on giants
shoulders' and gave a little twist of his own, i enjoyed it and I was
having more fun with S.N.'s subsequent post, using the words and
concepts to spin more visual tales.
Regarding the origin of the phrase, 'standing on giants shoulders',
whether there was a story from Odyssy or some other epic, or what
made Newton invoke it - i know not. for that the giants on this forum
if interested can comment.
Meanwhile I got to go finish this novel of Veerendra Nadh. Only a few
more pages left.:-)
have fun.
lyla.
P.S: The standard rule to apply with any mistakes I make on rb -
correct, correct& correct with out any hesitation and trepidation, so
i can continue to stimulate my brain and enjoy life. thanks.
Courtesy: http://www.kanneganti.com/
lylayer
> Instead, if the followers choose to stand under the umbrella of a
> dwarf like meek sheep without question, I think it will be a bad
choice.
> I would always prefer to stand on the shoulders of giants (following
> Isaac Newton) and kick those giants too, once in a while, if they
> don't behave.
A response right after my heart. Naturally i give an 'A'
And a small telugu poem of mine to boot. :-)
*
SATYA PAMARTY.
imta rakti
okinta virakti
marinta aasakti
navvante anurakti
amdaripai bhakti
prejudice vimukti
kalaa chinnavadu
anduke na
gumdeloe komchem
khaali bharti!!!
*
lyla
with regards, to Satya Pamarthy.
From Srinivas.Nagulapalli@c... Sun Sep 26 10:56:22 2004
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--- In racch...@yahoogroups.com, "s_pamarty" <pamarty@h...> wrote:
> I would always prefer to stand on the shoulders of giants (following
> Isaac Newton) and kick those giants too, once in a while, if they
> don't behave.
I must admire the courage and farsightedness to kick a giant while
standing on that one's shoulders, unless the giant happens to be
a giant tree :-)
With regards
-Srinivas Nagulapalli
Courtesy: http://www.kanneganti.com/
Satyanarayana Pamarty
------
SATYA PAMARTY.
imta rakti
.....
------
Are all these things true? I don't think so. :-)
I know for a truth that when one gives in to the temptation of self-praise,
one stops the process of self-raise.
Also, if I believe and eat these words, I will, like "Alice in Wonderland",
immediately become a dwarf so small, that I will pass through that key hole
to discover not so much of a wonderland on
the other side. :-)
For every person who might think I am okay, I suspect that there will be ten
who might think that I am a complete moron. I must confess that I sometimes
act and feel like a moron myself.
Therefore, my lords! I am exercising my self-control (whatever little
remains after listening to those words!) to politely, humbly, and firmly
deny these attributes and plead "not guilty" of their possession. :-)
Even if I won't, I am thankfully blessed with enough external controls in
the form of my wife and family who think that I am an absolute bore. Given
their proximity to me, I am also inclined to believe that their analysis and
assessment should be more accurate too. :-)
-------
one scenario i strongly dislike is the story in which- the old man who
twines his legs around sinbad's shoulders and has a strangle hold on him and
make him carry all over the island. ..
satya pamarty may have a totally different view point.:-)
-------
I dislike that scenario as well, particularly since I am a kid. I would not
like to transfer my contagious nappy rash into a pain in their neck...
The giants I had in mind when I said that sentence are scientists and
philosophers who are long but gone. They are more or less like trees now.
Standing on their shoulders was to mean that I am willing to learn/borrow at
least some of their knowledge. What I meant by kicking them was,
discarding/giving up some of their views that don't seem to fit in an
ever-changing jigsaw puzzle called life. :-)
Have fun!
With best wishes
satya
P.S.: I am very grateful to Dr. Lyla for her kind and generous words however
undeserving I might be. Thank you. I hope that the latest hurricane isn't
affecting her or our other friends in Florida so much.
_________________________________________________________________
Check out Election 2004 for up-to-date election news, plus voter tools and
more! http://special.msn.com/msn/election2004.armx
Courtesy: http://www.kanneganti.com/
lylayer
--- In racch...@yahoogroups.com, "lylayer" <lylayfl@a...> wrote:
> Meanwhile I got to go finish this novel of Veerendra Nadh. Only a
few
> more pages left.:-)
> have fun.
> lyla.
>
>
Mission accomplished. I finished reading one yandamuri novel. ready
to talk. How ever...
Many in Andhra Pradesh- students, teachers, writers, you name them-
seem to want to use their own dialect, just so that they are
understood.
The following is a dialect too… that some use…. So why not?
here we
go..:-)
`An in depth study of Yandamuri's novel `Anaitikam'
Objectives: a candid self exploration of inherent masochistic,
sadistic and narcissistic tendencies of a veteran reader.
Back ground: persisting desire to make electronic trips to
racchabanda, where occasional proof of one's Telugu identity and
loyalty is required.
Abstract: `Anaitikam' is a story of three Telugu women who
are the symbols of the micro, macro, and neo aspects of feminism- as
per the writer of the novel.
Key words: moral, man, woman, bavagaaru, home, bed room, doors, bed.
Methods: (employed to understand and finish the book) –
a)Looking at some photos from an African safari trip- the sex scenes
of zebras, hippos and elephants.
b)Reading ` Pinocchio' for cleansing the palate between the
many courses of unappetizing sex served on different platters
by `Yandamuri'.
Conclusions: Strengthening impression that Telugu books at some
point of time have turned into message boards for `isms.'
Some writers seem to be self appointed social welfare workers, and
some seem to be pide pipers.
(I don't think astute rbites would have missed the lack of
connection between the objectives and conclusions in this study. but
that is perfectly o.k.)
You know friends! , I think I will change the dialect. It is too
bland. It is not sexy enough to discuss Yandamuri.
Plus I see an invitation from Viplav. it is not nice for a reader to
turn down a young writer's invitation. So thanks and, i accept. I
will do the yakking about Yandamuri's novel in his thread. viplav!
You can get your Budweiser and I will get my Coors light... Any
others who care to join please do.
Olga's story will not be forgotten in that process, and will be
in this thread…
thanks
lyla.
From pamarty@h... Mon Oct 04 23:29:17 2004
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Subject: Re: Olga's story - interpretation
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--- In racch...@yahoogroups.com, "lylayer" <lylayfl@a...> wrote:
----------
> Conclusions: Strengthening impression that Telugu books at some
> point of time have turned into message boards for `isms.'
> Some writers seem to be self appointed social welfare workers, and
> some seem to be pied pipers.
----------
Great piece!
The pied pipers in this case are "paid" pipers unlike the original
one; right?
There is no problem if a pied piper leads rats up and down the alleys
to drown them. The problem starts when he eventually leads little
children...
Have a nice day!
With best wishes
Satya
P.S.: I am looking forward to the change in dialect and to having
more fun; this time with appendices, acknowledgements, bibliography,
etc. :-)
Courtesy: http://www.kanneganti.com/
lylayer
>
> Olga's story will not be forgotten in that process, and will be
> in this thread…
>
> thanks
> lyla.
Dear rbites
Many posts ago I mentioned a story of Olga - సమాగమం which I read
in recent తెలుగునాడి. and I said i will discuss it.I don't know how
old this story is.
Since we are now having discussions on telugu Literary tastes -
this may be a good time to talk about Olga's story.
I am not sure what total number of readers for this story will be in
this forum. May be 5 or 6 at the most.
So i have to give the story in brief. It is about Sita meeting
Surpanakha in the forest. Sita is abandoned by Rama, and is raising
her sons in Valmiki's Asramam. The twins accidentally find a
beautiful garden in the forest and tell their mother about seeing a
disfigured woman there. Sita suspects it is Surpanakha and she with
her sons goes to the garden and sees her.
They then have some small talk, rig up some mutual sympathies and
admiration. Surpanakha shows Sita her new boy friend. She invites
Sita to live in her garden. Sita takes a rain check and they part on
a very friendly note.
My comments: పిచ్చి కుదిరింది, రొకలి తలకు చుట్టమన్నరుట. వ్హత్
హప్పెనెద్ తొ ఓల్గ. షె ఉసెద్ తొ బె సుచ్ అ గ్రీత్ గిర్ల్. సొ సెన్సిబ్లె.
రీల్ల్య్ హద్ సొమె ఒరిగినల్ థౌఘ్త్. వ్రొతె సొమె గూద్ స్తొరిఎస్. ఎవెన్
థౌఘ్ థెయ్ మొస్త్ల్య్ అరె దొమెస్తిచ్ తలెస్ స్పున్ అరౌంద్ హుస్బంద్,విఫె మొథెర్
ఇన్ లవ్ కింద్ ఒఫ్ స్తుఫ్ఫ్, స్తిల్ల్ సెన్సిబ్లె. శొమె సొలుతిఒన్స్ ఒఫ్ఫెరెద్ తొ
ఉందెర్స్తంద్ అంద్ అవొఇద్ థె త్రప్స్ ఇన్ థెసె ఇంతెర్ పెర్సొనల్ రెలతిఒన్షిప్స్.
బుత్ ఇన్ థిస్ స్తొర్య్ - ఈత్ ఇస్ థె ఫెమినిస్ం పంథెర్ స్త్రికింగ్ అగైన్. ఈత్
మదె మె లౌఘ్ థత్ ఒల్గ చన్ ఫింద్ అ ఫెమినిస్తిచ్ ప్లొత్ అన్య్ వ్హెరె అంద్
ఎవెర్య్ వ్హెరె. షె స్తిల్ల్ అర్రంగెస్ థె స్తొర్య్ నీత్ల్య్ - థిస్ ఎయె ఒపెనింగ్
ఎంచౌంతెర్ బెత్వీన్ థెసె త్వొ దెజెచ్తెద్ అంద్ రెజెచ్తెద్ వొమెన్.భ్రింగ్స్ ఇన్ హెర్
పిత్చ్ థత్ ంఎన్ అరె సింప్ల్య్ ఎగొఇస్త్స్. ఠె దిస్ఫిగురింగ్ ఒఫ్ శుర్పనఖ,
థె అబ్దుచ్తిఒన్ ఒఫ్ సిత ఇస్ అల్ల్ దుఎ తొ థె ఎనెమిత్య్ బెత్వీన్ మెన్. ఇత్ ఇస్
అల్ల్ దొనె తొ షౌ థె ఎగొస్ అంద్ పౌఎర్ స్త్రుగ్గ్లె ఒఫ్ ఋఅమ అంద్ ఋఅవన. భొథ్
వొమెన్ వెరె సింప్ల్య్ పవ్న్స్, అంద్ థెయ్ రెచొగ్నిజెద్ థిస్ గొల్దెన్ త్రుథ్ అత్
థిస్ బీఉతిఫుల్ రెఉనిఒన్.
ఈ ఫెల్త్ ఇత్ ఇస్ అ ఉసెలెస్స్ దిస్తొర్తిఒన్ ఒఫ్ ఎపిచ్ చరచ్తెర్స్. ఆంద్ ఫొర్ థె
వ్రితెర్ తొ థింక్ అ గెత్ తొగెథెర్ ఒఫ్ శిత అంద్ శుర్పనఖ ఇస్ అ చ్లెవెర్
స్పిన్ ఇస్ నొత్ సొ చ్లెవెర్. అంద్ తొ ఉసె ఇత్ తొ ప్రీచ్ హెర్ పొఇంత్ ఒఫ్ విఎవ్ థత్
మెన్ అరె బద్, వొమెన్ అరె సింప్ల్య్ ఉసెద్, ఇస్ తూ ఒబ్విఔస్ అంద్ ఫైల్స్.
ఈ జుస్త్ చౌల్ద్ నొత్ సీ ఇత్ థె వయ్, ఓల్గ సవ్ ఇత్. ఈ వస్ నొత్ రెపుల్సెద్ బ్య్
హెర్ స్పిన్. ఈ థౌఘ్త్ ఇత్ ఇస్ జుస్త్ సిల్ల్య్. ఒల్గ గెనెరల్ల్య్ దోస్ నొత్
దిసప్పొఇంత్ బుత్ థిస్ తిమె షె దిద్.
టొ మె థింగ్స్ దొణ్త్ లూక్ కొషెర్. ఎమినిస్ం సీంస్ తొ బె రున్నింగ్ అముచ్క్.
ంఅయ్ బె థిస్ స్తొర్య్ ఇస్ తూ ఒల్ద్. అంద్ సొమె బెత్తెర్ స్త్రిఎస్ విథ్ ఔత్ ఇస్ంస్-
బైంగ్ హమ్మెరెద్ ఇంతొ ఔర్ హీద్స్ హవె ఎమెర్గెద్. ంఅయ్ బె థె రెచెంత్ల్య్
రెలీసెద్ ఆమెరిచ ఖధనిక ఇన్ వంగురీస్ తెలుగు చొన్ఫెరెంచె హస్ బెత్తెర్
వ్రితింగ్ ఇన్ ఇత్.
ఈ విల్ల్ వైత్ ఫొర్ మ్య్ బూక్.
రెగర్ద్స్
ల్య్ల.
Courtesy: http://www.kanneganti.com/
mam7621
--- In racch...@yahoogroups.com, "lylayer" <lylayfl@a...> wrote:
Hello Lyla,
I have to agree to disagree with your "interpretation"… while
mentioning that I did not read this particular story by Olga. So,
whatever I state is my opinion of your opinion.. :)
I apologize, upfront, if I sound caustic at anytime.
well..,
I feel it's the reader who assigns any 'ism' status to this kind
of literary work. I, as a reader, do see feminism in the story
because "I, the reader" want to see it. However, I do not find the
theme to be laughable or useless (or that it is hammering its 'ism'
into my lil head), just as I did not find Ranganaayakamma's "Ramayana
VishaVriksham" being laughable or useless.
I observed gender egoism/egotism in both men and woman. And out
of my little experience, I concluded that male egoism is more
prominent and above all, it is out right abusive in many cases. But
that doesn't mean that I am stating that All Men are
egoistic/abusive. (I "know" few wonderful men). I think, same is the
case with Olga's story. Olga mentions Rama and Ravana, however, not
to forget/disregard the mention of Surpanakha's boy friend. Olga need
not elaborate that this boy friend is not egoistic/not bad. A
boy-friend, at this point of Surpanakha's life, is someone who knows
the woman well, understands her, has no concerns for her
appearance/past. Well, there is a good Man in Olga's story too. yay!!
And about distortion... how sure are we that we know the original
version of Ramayana?
After reading good number of books(not including plagiarized
works), to me this story theme is no where near the 'junk' I came
across.
On a Personal note - I do not see any Panther pouncing from the
story, at least in as much as you have mentioned, let alone The Amok.
I feel, in this postmodern era, attributing animal instincts to
feminism is totally out dated. Its just like branding Che as a
murderer. One needs to tell what needs to be told..through a story or
a fist or a hammer/sickle or a gun!
~Mamatha
PS: I hope I did not make a mistake in understanding your comments on
feminism (linked to Olga's story).. if I did.. I apologize :)
Courtesy: http://www.kanneganti.com/
mam7621
--- In racch...@yahoogroups.com, "lylayer" <lylayfl@a...> wrote:
Hey Lyla :)
> But You did not read the story,Did you not read vishavriksham also?
> Good for you.
Well, I did not miss out an important literary work of
Ranganaayakamma (besides her "Janaki Vimukti", "Sweet home" etc), so
I read "VishaVriksham". Ranganayakamma portrays Surpanakha as a
beautiful woman, I thought thats a clever twist.
At any rate, as I stated before, my message was my opinion of your
opinion, and it includs only a portion of Olga's story(that too
whatever was mentioned by you), and a bit of whatever I know of
Olga/her work... I was mainly considering your remarks on Feminism.
I missed out on Olga's story as I missed out on all the recent
writings in Telugu. Trying to catch up on them over here. I must
thank you for bringing up this topic. :)
> So is she a feminist writer or not?
How about this?
Olga is a writer who happens to be a feminist/feminist who happens
to be a writer. So, I think she is a feminist-writer/writer-
feminist ;) ... As you see I am not too good at branding people :D
> But i am lost on this one.A good man should not be concerned
about
> appearence, or past of Surpanakha? I think he should, particularly
in
> this case when there is the danger of being eaten alive? :-)
Was talking about a good man.. not a clever man (kidding!). On a
serious note:
May be that boy friend is also a Rakshasa? I hope not.. we need a
classless society.. would be glad if Olga did not create a Rakshas
boy friend just because Surpanakha is assumed to be a rakshasi...
Alright, I shall stop. I should not be talking.. I did not read the
story (though I am NOT talking about the story) :D
> It is only a fun reference - throwing in the title of
movie 'pink
> panther strikes again'
Gladly/safely, I did take the literary meaning. Did not imagine a
panther jumping on me from the story.. Gee :)
Friendly, :)
~Mamatha
Courtesy: http://www.kanneganti.com/
lylayer
--- In racch...@yahoogroups.com, Krishna Rao Maddipati
<maddipati@w...> wrote:
>
> > I liked the story. At the request of Prof. Paula Richman of
Oberlin College,
> Oberlin, OH, I translated it into English recently (may not be
suitable for
> Telugu readers! ;-) ).
>
Why unsuitable for telugu readers. We were able to read the telugu
story and survive. Krishna Rao garu! What did you do with the English
version??
> First of all the imagination of a reunion between సీత and
శూర్పణఖ
> itself was very cleaver. It was like science fiction. You take what
is
> known, imagine some,
The story does not require much imagination. There is no Aladdin and
magic lamp here. Two women are in same forest. It is quite a physical
possibility.
Olga is a very concrete girl and brings every thing down to earth.
For her things are very black and white. She is very logical and
argues stories as court cases. Imagination is not one of her assets.
myth, magic are not her turf.
I would not put this meeting of these two women in the category of
science fiction at all. It just is a regular village story where two
women meet and show their bruises, show their plants, give a little
sympathy, try to act brave, tell each other oh! i am doing fine, and
try to convince each other things are not bad.
> > separating the grain from the chaff.
That is what happens to me in these rewritten stories.
I am left with chaff. Gone is the glowing Sita. Gone is the lustful
Surpanakha. And the bitter animosity that led to an epic war.
I am left with two lusterless women who are totally out of character.
instead of being at each other's throats, pluck each others eyes out,
are showing partial amnesia, and becoming chums by the minute. (
ofcourse the writer can do character modulation too, why not? and
justify the changes in character with time and circumstances.)
I wonder -What would the sequel be - a love triangle in the garden
of Surpanakha? Don't forget Surpanakha is ugly and Sita is still
beautiful. And there is that handsome lucky man who will just come
when he is asked and leaves when told to leave.
Who knows what is in store for us readers!
lylayer
--- In racch...@yahoogroups.com, "mam7621" <mam7621@y...> wrote:
>
>
>> Hello Lyla,
>
> I have to agree to disagree with your "interpretation"…
while
> mentioning that I did not read this particular story by Olga. So,
> whatever I state is my opinion of your opinion.. :)
>
> I apologize, upfront, if I sound caustic at anytime.
Oh! Don't apologize. Why should you not disagree.:-)
But You did not read the story,Did you not read vishavriksham also?
Good for you.
I would have been reprimanded, if i did that so i started reading,
before talking.
>
>> I feel it's the reader who assigns any 'ism' status to this
kind
> of literary work. I, as a reader, do see feminism in the story
> because "I, the reader" want to see it. However, I do not find the
> theme to be laughable or useless (or that it is hammering its 'ism'
> into my lil head), just as I did not find
Ranganaayakamma's "Ramayana
> VishaVriksham" being laughable or useless.
You are right this particular story of Olga did not hammer it in. It
is done very delicately, in the pleasant surroundings of forest and a
garden.
I read this little boxed introduction of Olga, in తెలుగునాడి that
Olga has a permanent place in telugu literature as a feminist writer.
That might have set me up. So is she a feminist writer or not?
> boy-friend, at this point of Surpanakha's life, is someone who
knows
> the woman well, understands her, has no concerns for her
> appearance/past. Well, there is a good Man in Olga's story too.
yay!!
>
That last sentence is funny.:-)
But i am lost on this one.A good man should not be concerned about
appearence, or past of Surpanakha? I think he should, particularly in
this case when there is the danger of being eaten alive? :-)
That's what happens when the story is distorted. Now we don't know
whether Surpanakha is a రాక్షసి or a regular woman like me and
Olga.
r>> On a Personal note - I do not see any Panther pouncing from
the
>
It is only a fun reference - throwing in the title of movie 'pink
panther strikes again'
> ~Mamatha
>
> PS: I hope I did not make a mistake in understanding your comments
on
> feminism (linked to Olga's story).. if I did.. I apologize :)
the forum is friendly. I love hearing all kinds of views, and get a
better understanding of different things. Comment as you wish. i am
glad you did.
Krishna Rao Maddipati
On 10/29/04 3:50 AM, "lylayer" <lylayfl@a...> wrote:
>
> I am not sure what total number of readers for this story will be in
> this forum. May be 5 or 6 at the most.
>
first appeared in ఆంధ్రజ్యోతి, it was discussed on RB. As can be expected,
there were people who liked it and those who didn¹t. You can search the
archives of RB for the views.
>
> I felt it is a useless distortion of epic characters. And for the
> writer to think a get together of Sita and Surpanakha is a clever
> spin is not so clever. and to use it to preach her point of view that
> men are bad, women are simply used, is too obvious and fails.
>
I liked the story. At the request of Prof. Paula Richman of Oberlin College,
Oberlin, OH, I translated it into English recently (may not be suitable for
Telugu readers! ;-) ).
First of all the imagination of a reunion between సీత and శూర్పణఖ
itself was very cleaver. It was like science fiction. You take what is
known, imagine some, and extrapolate it to weave a story that is plausible.
>From the very రామాయణం, we read that శూర్పణఖ lived in the forests.
సీత was abandoned to the forests. The imagination of a reunion of these
two women is not too far fetched an idea.
One need not agree with every reinterpretation of a story that was told and
retold for hundreds if not thousands of years. Same with Olga¹s. From what
little I know of రామాయణం, the way I see is that రాముడు entered into
a land that was controlled by రావణుడు, శూర్పణఖ was mutilated just for
her advances towards రాముడు, రావణుడు got mad and took revenge by
abducting సీత, సీత was asked walk through fire to prove that she
remained chaste during abduction, and eventually రాముడు abandoned సీత
bowing to the rumor mongers. The story was told for centuries portraying
రాముడు as the innocent bystander who had to act that way. What Olga was
doing, IMO, is taking the incidents and suggesting that we look at them in a
different angle (similar to the latest DVDs where you can watch the movie
from different camera angles than that selected by the Director). Granted
that this is the 21st century view of events that happened however many
centuries ago, I see the story and commentary as a logical interpretation
separating the grain from the chaff. There are at least two ways of
connecting the events: a religious way that was done for centuries or a
sociopolitical way as Olga did. You can call the later feminism,
rationalism, communism, or some other Œism. The fundamental point here is,
is it a plausible interpretation or not? Again, some agree some don¹t. Even
the controlled experimental observations are subject to different
interpretations. Fortunately, with the scientific theories you can gather
more data and eventually one interpretation gains acceptance over the other.
In this case, you have to work with what you¹ve got - centuries old data!
(Although not sure of the integrity of the data during the aging process!)
Side bar:
This story సమాగమం was actually an off-shoot of a కూచిపూడి ballet
named యుద్ధము - శాంతి also written by Olga. In this ballet, Olga attacked
the common portrayal of women like సీత and ద్రౌపది as the causes of
wars. Her point was that these women, including శూర్పణఖ, were mere
pawns in the political games of the empires and emperors. This ballet became
very popular and దూరదర్శన్ wanted to telecast it but only if the
శూర్పణఖ character was eliminated saying that the శూర్పణఖ was a
రాక్షసి and her love for రాముడు was illegal and the suffering of
శూర్పణఖ was nothing compared to that of సీత. Olga¹s long arguments
with దూరదర్శన్ could not convince them to broadcast the ballet. I
believe, this gave her the inspiration to write this story.
End Side bar.
>
> To me things don't look kosher. Feminism seems to be running amuck.
>
May be. How about humanism? :-)
Krishna Rao