LANGUAGE IN INDIA

Strength for Today and Bright Hope for Tomorrow

Volume 17:6 June 2017
ISSN 1930-2940

Managing Editor: M. S. Thirumalai, Ph.D.
Editors: B. Mallikarjun, Ph.D.
         Sam Mohanlal, Ph.D.
         B. A. Sharada, Ph.D.
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         Jennifer Marie Bayer, Ph.D.
         G. Baskaran, Ph.D.
         L. Ramamoorthy, Ph.D.
         C. Subburaman, Ph.D. (Economics)
         N. Nadaraja Pillai, Ph.D.
         Renuga Devi, Ph.D.
         Soibam Rebika Devi, M.Sc., Ph.D.
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Understanding Concentricity:
Charu Sheel Singh’s Mandala Literary Theory

Dr. Santosh Bahadur Singh, Ph.D.

Abstract

Esoteric tradition is fertile and full of the seeds of mystic ideas. It has been providing substratum to sprout those seeds of ideas into the lofty and exalted trees of language, literature and culture. In Indian tradition, Vyas, Valmiki, Panini, Mammat, Bhartrihari, cultivated the tree of knowledge. They propounded different literary theories which are universally acknowledged. Where Panini is known as the father of linguistics, Bhartrihari is famous for Sphota theory. Here, this paper explores the post-modern literary theory of Mandala propounded by Charu Sheel Singh, for understanding the literary text in oriental way. In this paper, I have focused on the ontogenesis of Charu Sheel Singh’s theory, which takes its origin from concentric imagination that originates the different shapes of poetry. Further, it discusses the body plexuses as transcending factors of thoughts which like, twelve forms of Indian deity Kali, govern all the forms of his poetry after the assimilation in the mega center (Shiva). The kinetic energy produced during this process re-generates true sublime (parma anand) in literary arts of the poets, like Vyas, Balmiki, Dadu Nanak, Ravidas among others. In the last section, I have concentrated my focus on the reader’s response that stands on the other periphery of literary art.

Keywords: Kinesthetic, Mandala, Ideas in motion, Chakras, Buddhist kayas, genealogy, genesis of mandala, rasas, senary, septenary, chhidakasha, bodhichita, Virat Swarupa, two equilateral interlased trangles, physical plane, Archetypal plane, Ida, Pingala and Sushumna, three gunas, trikal, Intersecting globes, concentric cycles, Nirvikalpa Samadhi , lyric, epic

Mandala

Literally, the term mandala is a Sanskrit word which means circle. It has different imperatives. The beginning letter “M” is very mystical. H.P Blavatsky is of the view, “the most sacred of all letter is M. It is both masculine and feminine, or androgyny, and is made to symbolize WATER, the great deep, in its origin” (Blavatsky Vol. I 384). In Oriental and Eurocentric esoteric tradition it stands for the wave. The letter MA is equivalent to, and corresponds with, number 5- composed of a binary, the symbol of the sexes separated, and of the ternary symbol of third life, the progeny of the binary. This, again, is often symbolized by the pentagon, the letter being the sacred sign, a divine monogram. MAITREYA is the secret name of fifth Buddha, and the Kalki- avatara of the Brahmans, the last Messiah who will come at the culmination of the Great Cycle. Further, this letter is the genesis of the words, like Métis, Minerva and Mut which mean ‘Divine wisdom’ in Greece and Egypt; Mary, Myrrha etc., the mother of Christian logos; Maya the mother of Buddha; Madhava, Madhavi, the most important god and goddesses in Hindu Pantheon; and finally the Mandala. The most sacred names of India begin with this letter generally- from Mahahat, the first manifested intellect and Mandara, the great mountain used by the gods to churn the Ocean down to Mandakani, the heavenly Ganga, Manu, etc. It is deeply rooted in the ontogenesis of this universe.

This is only the beginning part of the article. PLEASE CLICK HERE TO READ THE ENTIRE ARTICLE IN PRINTER-FRIENDLY VERSION.


Dr. Santosh Bahadur Singh, Ph.D.
Assistant Professor
Department of English
Lady Irwin College (University of Delhi)
Sikandra Road
Delhi- 110001
India
sbsingh9@gmail.com

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