Рам ки Шакти Пуджа
| Автор | Suryakant tripathi 'niraa' |
|---|---|
| Оригинальный заголовок | Рэм поклонение власти |
| Язык | Нет. |
| Жанр | Стихотворение |
Дата публикации | 1937 |
| Место публикации | Индия |
| СМИ тип | Печать |
Пуджа ( Изо : ки Лит Шакти Рам Пуджа . Рам Шакти Ки Он был опубликован в 1937 году во втором издании поэтической коллекции Нирала Анамика . Ниралы Это длинное стихотворение состоит из 312 линий, составленных в поэтическом счетчике , Шакти Пуджа - рифмузирующего счетчика из двадцати четырех слогов. Это стихотворение считается одним из лучших работ в творчестве Ниралы. Многочисленные комментарии, анализы и объяснения подтверждают его устоявшуюся литературную значимость. [ 1 ] [ 2 ] [ 3 ]
Фон
[ редактировать ]Сюжет черпает вдохновение из эпизода Рамаяны , с заметным влиянием Рамаяны Криттивасы на другие версии истории. Адаптация Ниралы показывает значительные поэтические и повествовательные отличия от Криттиваси Рамаяна . Поручение поэта по сказке включает в себя множество слоев смысла, предлагая современную перспективу. Кроме того, поэт представляет впечатляющее изображение современного сознания и психологического ландшафта самостира. [ 4 ]
Синопсис
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Rama saw—before him, the radiant form of Durga,
With her left foot on Mahishsura, right poised on the lion.
A luminous presence, adorned with ten weapons in hand,
With a gentle smile that made the world's glory timid,
Eastwards Lakshmi, and Saraswati on the west,
To the right Ganesh, Kartikeya with battle's cadence on the left
Shiva's presence crowned her. With reverence on her lotus feet,
Raghava bowed with a soft respectful greet.
The poem starts with the aftermath of the intense battle between Lord Rama and the demon king Ravana. As evening falls, weary warriors return to their camps, reflecting on the day's fierce fighting.
Rama, while resolute in his purpose, experiences a moment of vulnerability as he ponders the upcoming battle and his beloved Sita. In the midst of darkness, his mind drifts to recollections of Sita, which fortify his determination and inspire him to strengthen his resolve to rescue her.
Hanuman, devoted to Rama, notices tears in Rama's eyes. This realization awakens Hanuman's immense power, leading to confusion until Lord Shiva explains Hanuman's eternal servitude to Rama. Parvati, in the form of Hanuman's mother, reminds him of his true purpose, bringing him back to his dharma.
Vibhishana expresses concern over Rama's emotional state, urging focus and strength. Rama, acknowledging the formidable power of Ravana and his own commitment to righteousness, heeds Jambavan's advice to seek divine support through prayer.
Rama instructs Hanuman to gather 108 lotus flowers for a ritual. As Rama engages in worship of Shakti, his intense meditation and devotion over seven days culminate in a profound spiritual experience. On the eighth day, when he finds the last lotus missing, he prepares to offer one of his own eyes. Pleased with his devotion, Goddess Durga appears, stopping him and promising victory. This divine assurance signifies the triumph of righteousness through unwavering faith, contemplation, dedication, and divine grace.[7]
Analysis
[edit]Nirala has weaved together aspects of Vaishnava and Shakta traditions, his own devotion to Tulsidas, and the profound impact of his early association with the Ramakrishna Mission in Calcutta in this poem.[8]
Researchers have agreed that the poem conveys a message deeply rooted in the poet's ongoing life struggles. Nirala consistently questioned the concept of selfless action and used Rama as a medium to illustrate this principle.[9] The ideal of Rama, like the poet's own invincible spirit, remains undefeated. The poet has made Rama more relatable to the common person, depicting him in the context of profound conflicts and struggles. The narrative allegorizes Nirala's own will to prevail in the face of adversities and tragic misfortunes. [10]
The poem is also interpreted as embodying a profound sense of nationalism. Nirala's portrayal of Rama's helplessness poignantly reflects the enduring anguish of centuries of subjugation that India had endured during the British Raj. The depiction of Sita's deliverance symbolizes the liberation of the nation itself. The concluding stanza encapsulates the hope and aspiration that this liberation will be achieved in through unwavering dedication, faith, and belief.[11]
From a broader perspective, the poem explores the quest for liberation from various forms of dependence and subjugation, spanning both personal and societal dimensions. Rama is portrayed as engaged in a parallel struggle on both external and internal fronts. The conflict between Rama and Ravana represents a duality of truth versus falsehood, raising fundamental questions of allegiance. The intensity of this conflict is such that Rama faces the possibility of defeat; however, it is the unwavering belief in the ultimate triumph of truth that strengthens our allegiance. This conviction in the victory of truth is the central theme of the poem.[12]
Stage Adaptaions
[edit]The Banaras-based theatre group Roopvani staged the poem at Nagari Natak Mandali in Varanasi in 2013. Since then, the presentation has been alive, active, and ongoing for the last ten years. Directed by Vyomesh Shukla, the production featured women in the roles of Rama and Lakshmana, challenging traditional portrayals. Combining classical music and dance forms, the performance used lyrical song lyrics to bring the poem's imagery to life and showcased a modern reinterpretation of classical themes. The 94th presentation of the play was staged in Gorakhpur on November 4, 2023.[13][14]
See also
[edit]References
[edit]- ^ Suryakant Tripathi 'Nirala' (1937). "Anamika". Internet Archive. Retrieved 2024-07-21.
- ^ Shukla, Vagish (2022). छन्द छन्द पर कुङ्कुम (Chanda Chanda Para Kuṅkuma). Prabhat Paperbacks. p. 208. ISBN 9789355212504.
- ^ Stasik, Danuta (2009). The Infinite Story: The Past and Present of The Ramayanas in Hindi. Manohar Publishers. p. 174. ISBN 9788173048159.
- ^ Das, Prasanta (2009). "Making Things Happen: Poetry, Political and Cultural Change". Economic and Political Weekly. 44 (36): 42–44. JSTOR 25663515.
- ^ Kinsley, David R. (1989). The Goddesses' Mirror: Visions of the Divine from East and West. State University of New York Press. pp. 106–115. ISBN 9780887068355.
- ^ "राम की शक्ति-पूजा". Hindawi. Retrieved 2024-07-22.
- ^ Sharma, SD (2015). "Rām kī Śakti Pūjā kā sāhityik mahatva" (PDF). International Journal of Applied Research. 1 (12). Retrieved 2024-07-22.
- ^ Рубин, Дэвид (1971). «Нирала и Ренессанс поэзии на хинди» . Журнал азиатских исследований . 31 (1) . Получено 2024-07-21 .
- ^ Верма, RP (2016). "Рам ки Шакти Пуджа: Удэя Ева Сандеса" (PDF) . Международный журнал инновационных социальных наук и гуманитарных исследований . 3 (4) . Получено 2024-07-21 .
- ^ Das, Comb Kumar (1991). История индийской литературы: 1911-1956 . Академия Сахитьи. п. 199. ISBN 9788172017989 .
- ^ Пандей, Рам Дал (2018). Анализ стихотворения Нирала «Рам ки мууактти-пути-пуджа » Подкрасная Фрэйс. стр. 20–25. ISBN 9789386498700 .
- ^ Шишир, Курменд (2023). Nirrāl: обрезать Kee śact- скоро Ананья Прахан. п. 34. ISBN 9788196231231 .
- ^ «Драма преданности и справедливости» . Театр Таймс . 2017-07-08 . Получено 2024-07-22 .
- ^ « Рам ки Шакти Пуджа» заворачивает аудиторию в помещениях KVT » . Пионер . 2023-10-23 . Получено 2024-07-22 .
Внешние ссылки
[ редактировать ]- "Шорты Кис śакты в поэте: полное стихотворение " www.archive.org Получено 22 июля 2024 года .