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12/23/2011 9:41:33 PM
Seshendra : A synoptic biography WHO ARE THE HEIRS OF SESHENDRA SHARMA?
The literary world is aware that my father Gunturu SeshendraSarma, eminent poet, litterateur and scholar-critic, died on 30th may 2007.Ever since he expired, there has been no mention of his parents, family membersand other personal details in the news and in the articles about him. Not onlythis, fictional lies are being spread and using money power one shady lady isbeing propagated as his wife and so on. This has been causing me, as his son, agreat mental agony. That is why, through this article, I am revealing certainfundamental truths to the literary field of this country and the civilizedsociety. I appeal to your conscience to uphold truth, justice and values of ourcomposite culture.
Seshendra Sharma’s family members are: Parents: SubrahmanyamSharma, Ammaayamma; Wife: Janaki Daughters: Vasundhara, Revathi,Sons: Vanamali,Saatyaki. Only these two are legal heirs of Seshendra Sharma, socially andmorally too.
In 1972, away from the civilized society, without the knowledge ofparents and near and dear, in a far flung village called Halebeed in Karnatakaa circus, a street play was staged. Let me make it clear that even after thisstreet play my father did not divorce my mother Mrs. G.Janaki legally. He neverhad even a faint intention of committing such as uncivilized act. On thecontrary, in all crucial Government documents he nominated my mother as hislegal heir from time to time. During his long career as Municipal Commissionerwith the Government of Andhra Pradesh, he retired 3 times. His first retirementcame in 1975 by way of compulsory retirement for his anti estrablishmentwritings during Mrs. Gandhi’s emergency. His second retirement came in 1983when the then new chief minister N.R. Rama Rao’s government reduced the age ofservice from 58 to 55 years. The third and final retirement in the year 1985 onattaining 58 years of age. On all these occasions, in all the governmentdocuments, my father Seshendra Sharma
Nominated my mother Mrs. Janaki as his legal heir. This isprecisely why the self contradictory ‘second marriage’ is a circus enacted awayfrom the society and Laws does not recognize this type of street plays asmarriage.
N.R. Rama Rao, actor turned politicial married Ms. LakshmiParvathi in 1994 and subsequently in January 1995 he came to power for thesecond time. She used to act as an extra constitutional power and run thematters of government and the party. She developed her own coterie of cohortsand started dominating the party. After NTR was toppled by his own son-in-law,most of them parted ways with her. And the remaining touts left her for goodthe day NTR breathed his last. Ms. Indira Dhanrajgir has been playing the samerole in Telugu literature over a period of more than 3 decades. In the guise ofliterature she developed her own coterie of lumpens with extra literary andmoney mongering elements – Tangirala Subba Rao, Velichala Kondala Rao (Editor,Jayanthi) Cheekolu Sundarayya (A.G.s Office, Hyderabad et al).
There are a couple of dissimilarities between these two instances.Afther the demise of NTR, L.P’s coterie of cohorts disappeared once and forall. Whereas, in Indira Dhanrajgir’s case new lumpens are entering the fieldwith the passage of time. Squandering her late father’s wealth, she is ropingin new touts. Since NTR’s wife Basava Tarakam passed away in 1984 and since hewas old and sick NTR’s marriage with LP has ethical basis and is legalcompletely. Whereas Indira Dhanrajgir’s is neither ethical nor legal. Hence itis a street play. This is the reason why after my father’s death she has beenspending money on a larger scale and indulging in false publicity andpropaganda. Bh. Krishna Murthy, Sadasiva Sharma (The then Editor of AndhraPrabha: Telugu Daily, presently with Hindi Milap) Chandrasekhara Rao (Telugulecturer: Methodist Degree College)etc. are indulging in all sorts of heinous acts to propup Indira Dhanrajgir asmy father’s wife.
My father passed away on 30 May 2007. When our family was in griefand I was performing the 11 day ritual as per my mother’s wish, the abovementioned Sadasiva Sharma went to Municipal Office on 4th June, created ruckus,played havoc telling them that he is from the Prime Minister’s Office, madesome ‘senion officials’ make phone calls to the officials concerned and got myfather’s death certificate forcibly issued. When the entire family as mourningthe death of the family head, a stranger and a lumpen S.S. – Why did he collectmy father’s death certificate forcibly from the municipal authorities? Whom didhe collect it for?
This is perhaps for the first time that the name of a lady appearsin 3 forms at a time. Perhaps in 1970, in my father’s collection of poems“PAKSHULU” her name appeared As Rajkumari India Devi Dhanrajgir. In 2006 shepublished a fake version of Kamaostav (Rewritten by a muffian CalledChandrasekhar Rao). In this book her name appears as Rajkumari India DeviDhanrajgir Prior to 1970 in Maqdoom Mohiuddeen’s (Renowned Urdu Poet) anthologyof poetry ‘bisath-E-Raks’, in Urdu as well as Hindi, at the end of two poemsher name appears as Kumari Indira Dhanrajgir. On 15th June 2007 A.P. Statecultural affairs department and Telugu University jointly heldmy father’s memorial meeting. India Dhanrajgir hijacked this meeting by issuingher own commercial advertisements in English and Telugu dailies. In theseadvertisements her name appeared as Smt. Indira Devi Seshendra Sharma and againin the commercial public notices made by her in the month of November 2007 hername appeared as Rajkumari devi etc. Why does her name appear in differentforms on different occasions? Will Indira Dhanrajgir explain? Will SadasivaSharma clarify, who forcibly took my father’s death certificate after four daysof his death? Or will Bh. Krishna Murthy clarify?
If Indira Dhanrajgir has even an iota of regard, respect for orfaith in love, or relation, the institution of marriage, immediately after‘Halebeed Circus’, she would have used my father’s family sir name and her namewould have appeared as Gunturu Indira. Since she was conscious of her goalduring all times and conditions she did not take such a hasty and mindless stepof change of her name.
Her life is totally illegal, anti-social and immoral.
Indira Dhanrajgir’s father performed her marriage withSrikishenSeth, Nephew of the then Prime Minister to Nizam, Maharaja Kishenpershad in 1945. On the day of marriage itself Indira Dhanrajgir beatSrikeshenSeth up and ran away from him. She did not stop at that. Shepropagated among his friends and relatives and near and dear that he was notenough of a man and unfit for conjugal/marital life. She filed a divorce caseagainst him and dragged it till 1969/70. Lion’s share of her husband’s life gotevaporated and was sapped completely by then. His parents used to approachIndira Dhanrajgir’s father and plead with him to preavail upon his daughter,put sense into her head and see that she either lives with their son ordissolves the marriage legally so that they can remarry off their son. ButIndira Dhanrajgir did not heed. Raja Dhanrajgir after getting disgusted withher nasty activities stipulated a mandatory condition in his will. He statedthat Indira Dhanrajgir would be entitled to get a share of his property only ifshe is married.
This is the reason why INDIRA DHANRAJGIR who has no respect forthe institution of marriage or regard or desire for marital life, in the guiseof love and love poetry inflicted indelible blemish on the institution ofmarriage which is unprecedented in the literary history of the world. After myfather’s death she has been indulging in more rigorous false publicity alongwith her coterie of touts.
With this novel Kamostav, father’s literary life came to an endfor good. He did not produce literary works worth mentioning in his later phaseof life. During those days he asked for my opinion on that novel. I told himclearly that it lacks the form and content of a novel; it does not have a storyline, plot, sequences, characters and eventually a message which every novelgives. Hence it is a trash. Several people went to court and got itspublication in a weekly stopped. INDIRA DHANRAJGIR got this very trashrewritten completely by Chandrasekhara Rao and printed it. This kind of heinousdevelopment has never taken place in the recorded history of Telugu literaturetill date. A writing which brought disrepute to my father in the literary fieldand isolated him in the society, why did she get it rewritten by somebody andpublish it claiming copyright to be hers? What is her motive? What is her aim?That is why Kamotsav is INDIRA DHANRAJGIR’s biography, story of her inner soul.
My father gifted away copyrights of his entire works along withtheir translations to me by way of birth day gift to me on 2.12.1989. Sincethen I have published several of his works during his lifetime itself.Kamostav, the version that is secretly made available is the dirty work ofcheapsters and lumpens under the leadership of INDIRA DHANRAJGIR. It is muchworse than violation of copyrights. That is the reason why I have been reluctantto take action so far. If she and her debased henchmen try to violatecopyrights of my father’s works bequeathed to me, I shall take exemplary legalaction against them.
INDIRA DHANRAJGIR made 2 public notices to the effect that myfather cancelled all his earlier transfer of copyrights and retransferred allhis rights to her. This is a palace intrigue in the modern era in our civilizedsociety.
An author can transfer copyrights of his works to any one as perher/his wish. But the Copyrights Act 1957 and the Supreme Court in its variousjudgments has clearly stipulated a procedure to revoke earlier assignment andtransferring of copyrights to somebody else subsequently. The author has toissue a notice to the 1st assignee, giving 6 months time for reply. Dependingon the reply the author can take his next step. Where as in my father’scopyrights matter he did not even inform me orally of any such cancellation.INDIRA DHANRAJGIR claims that she has a typed document of transfer ofcopyrights signed by my father on 5.1.2006. Between 5.1.2006 and 30.5.2007,leave alone issuing a notice, he did not even inform me orally.
My father who assigned copyrights to me in his own handwriting,when he was relatively young and physically fit did not require to cancel the1st assignment when he was totally dilapidated, almost bedridden and wascounting his days. Another important aspect of the matter is that I haveprinted the Xerox of my father’s document in his own works as early as 1995 andhave been doing so from time to time during his life time. Where as INDIRADHANRAJGIR claims to possess a document after my father’s death and she has notmade it public so far. Indira Dhanrajgir tried to get my father’s completeworks published in different languages by TeluguUniversity (Hyderabad:A.P.: India)by paying them Rs. 6 lakhs. I approached Telugu Universityand apprised them of facts. On the advice of legal experts, they stopped thisproject and returned Indira Dhanrajgir’s money to her. It is anincontrovertible fact that Indira Dhanrajgir’s document is a forged andfraudulent document which does not stand scrutiny before law. Court shallcertainly award her exemplary punishment. In all societies and times literaturehas been social wealth/public property from time immemorial. It should not beused as a mask to grab share of parental property illegally and unethically. Iam committed to this cause/ideal and appeal to the civilized society tostrengthen my hands in this endeavor. INDIRA DHANRAJGIR’s younger brother SriMahendra Pratapgir is the lone leage heir apparent of that family and keepinghim in dark, she is squandering her father’s wealth in Telugu literature forher nasty propaganda.
In 1997 when he suffered the 1st heart attack he was half-dead.Dr. Sudhakar Reddy, cardiologist of Medicity Hospitals (Native of Warangal,A.P.) performed angiogram and diagnosed that he had blocks in arteries and onevalve was damaged completely. He advised open heart surgery. But INDIRADHANRAJGIR averted it and got angioplasty performed. His health declinedrapidly since then and was leading the life of virtually an invalid till hebreathed his last. He suffered inexplicable mental and physical torture forabout a decade. During the last leg of his journey he was isolated from hisfamily completely. He was deserted by one and all in the literary field. Whenhis younger brother passed away, his younger sister passed away he did notvisit his ancestral home in his village and call on those families. He becametarget of jealousy and animosity in the society. He became a victim of falseimpression with the society that he was an aristocrat and rolling in luxuries.Whereas, he was deprived of even his native vegetarian food for decades together.As a silent and helpless witness to these painful happenings, I was subject tountold mental agony.
In the later half of March 2007 on one of my visits to him, I wasaghast at his condition. His entire body was swollen. His appearance was likethat of a stuffed gunny bag. I told him to get hospitalized. I told INDIRADHANRAJGIR to rush him to a hospital. But of no avail. On 30th May 2007 atabout 11 pm I got a phone call from her “Come soon/Serious” she said. As Ientered at 11.15 pm “Go inside/he is no more” she said.
“”One day when swarms of lamps vanish, in the light of a lonelylamp I ask the dumb pillars.
“Can’t you liberate me from the disgust of this existence?
I ask those stand still forest flame trees
Which blossom flowers at that very place year after year” can’tyou rescue me?
I ask those high roof tops and this Venetian furniture
Which every one feels are greater than me,
“can’t you rescue me from the disgust of this existence?”
All these answer in a melancholic voice
“We have been languishing since more than 100 years watching thesame unchanging scenes we are older prisoners than you are” (Janavamsham:Telugu: Seshendra: Page 80-81:1993: Translated by me)
My father’s first biography (in Hindi) titled “RashtrenduSeshendra: Ashesh Aayaam” by Dr. Vishranth Vasishth appeared in 1994. Touchingupon these very sensitive aspects of my father’s life he commented in that book“SONE KE PINJRE ME PANCHCHI” (A bird in a golden cage). Alarmed and agonized byhis rapidly declining health as early as June 2002, in order to bring pressureon INDIRA DHANRAJGIR, I gave a 2 cassettes long interview to Vijayaviharam ofJanaharsha group. Later on when I enquired about that interview they said thatin the raids conducted on their premises, they got destroyed.
I wanted to rescue my father and bring him back home when he wasin good health. Alas! At last, I took him to the burial ground, laid him on thefuneral pyre and consigned him to flames and returned home all alone.
G. Satyaki
S/o Late G.Seshendra Sharma
32, Janata Flats, Kanthi Sikhara Complex,
Punjagutta, Hyderabad – 500 482.
Cell: 094410 70985, 7702964402. E-mail: saatyaki@gmail.com
12/23/2011 9:43:20 PM
The Copyright Controversy about Seshendra’s Books The CopyrightControversy about Seshendra’s Books
Satyaki’s Clarification

Commercialadvertisements cannot replace facts. This time justice will win in a court oflaw.
It appearsthat the copyright of books of the noted poet, Gunturu Seshendra Sarma who passedaway in May 2007, has become a subject of controversy.
On December 2, 1989, SriSeshendra transferred completely, in a will, the copyright of his corpus ofentire works to his second and youngest son, Satyaki, in his own handwriting.
When SriSeshendra was alive, Satyaki reprinted seven books from the collection of hisnewspaper writings, Enta kalam Ee Endamavulu? (How long are theseMirages?) in June 1995 to Oohalo (In Imagination) in 2001. Withinsix months after Sri Seshendra passed away, Satayaki re-printed the modernclassic, My Country, My People.
Thebook-launching was organized on November 16. On 19-1-2001 (Monday) there appeared anadvertisement given by an advocate in a newspaper. It was stated in the commercialthat Sri Seshendra, suspending all his previous wills, delegated the copyrightsof his books to Indira Dhanarajgir on 5-1-2006. That way she has subjected the issue of copyrightsof Sri Seshendra’s books to controversy. In this background, here is aninterview with Satyaki who owned the copyright of Sri Seshendra’s books for 17years.


Q: What must be the reason for the release of this commercialad, now?
Satyaki: I was takenaback by this advertisement. She knows well that my father has bequeathed thecopyrights of all his books to me in his own handwriting and based on that Ire-printed a few of his books. If my father has transferred the copyright toIndira Dhanarajgir on 5-1-2006as she claims he would have informed me. He was hale and healthy at the age of62 when he gave the copyright to me. There was no need for him to change the copyrightsin his old age which had been given to me when he was sound in his health. Thisbetrays the conspiracy of Indira Dhanrajgir. This is a palace intrigue. Thatshe is resorting to such things when she crossed the age of 82 brings to focusher scruples and moral stature.
Q: Did you discuss the issue of copyrights with legalexperts?
Satyaki: I discussed this issue with a few legal experts.They expressed their considered opinion that the paper that she holds is of novalue and that it will not stand in a court of law.
I didn’t gofurther into details as the need did not arise. In contemporary literaryscenario there are a few instances where the copyrights of poets and writersbelonged to their children. Sri Chalam’s copyright went to his daughterSourees, that of Sri Sri to his son, Ramana. Maqdoom’s copyrights went to hisson, Susrat. On many occasions, the poets did not write a will. But n my case,there is a clear will written by my father and also its implementation duringhis lifetime.

Q. After Seshendra’s death, his did she become IndiraSeshendra?
Satyaki: In the last30, 40 years, she was not consistent in the use of her name. Around 1961 in Maqdoom Mohiuddn’s poetry anthology at theend of two poems her name appeared as Ms. Indira Dhanaragir. In 1967, in thepoetry collection, Pakshulu (Birds) published by my father, she appearedas ‘Indira Devi Dhanarajgir.’ In November 2006, when she published a novel, Kamotsav,originally written by Chandrasekhar Rao but published in my father’s name, sheincluded her name as ‘Rajkumari Indira Dhanarajgir’ as copyright owner. Afterthe death of Seshendra on May 30, when Telugu University and State Cultureministry together organised a meeting in his memory she gave commercialadvertisements to the newspapers, Eenadu, and The Hindu. Here she published hername as ‘Indiradevi Seshendra Sarma.’ Again,within a few months, in another commercial advertisement that appeared on 19-11-07 in a dailynewspaper, and the one on 26-11-07she appeared as ‘Rajkumari Indiradevi Dhanarajgir.’ Thus, there is noconsistency in the use of her name. It is changed based on the need andcontext.

Q. Will you give a counter to it?
Satyaki: Indira Dhanarajgir means enormous money power, andit is a well-known fact. I don’t have the financial capacity to compete withher in issuing newspaper advertisements each time. This is also well-known. Butas soon as I read the ad on 26-11-07,I sent my response through an advocate by registered post. I also received thereceipt for the same. I will continue the publication programme depending onthe financial assistance I get. I firmly believe that copyrights are not likemovable and immovable properties to be enjoyed, but an onerous responsibilityto be carried out. In fact, since the year 2000, whenever contacted on phone,my father would say, “I am waiting for my train to come” or “I am sitting onthe platform and waiting for my train.”
Ever since 2002, whenever contactedbetween 11 and 12, the response we got was ‘He is sleeping.’ Whenever I visitedhim at about 11 am he usedto wake up around 12/12.30, wash himself and then sit on a chair. Inhalf-an-hour he would say that his back is aching and that he needed rest. Whenhe is in such a semi conscious state, what papers he would have signed? Fullyaware? It is for the learned people to decide.

Interview: Satyanveshi
‘Visalandhra’ daily (literary supplement)
25-02-2008 (Monday)
6/17/2014 11:44:16 PM
Seshenra : Visionary Poet of the Millennium Seshendra Visionary poet of the millennium
October 20th, 1927 - May 30th , 2007
Parents: G.Subrahmanyam (Father) , Ammayamma(Mother)
Siblings: Anasuya,Devasena(Sisters),
Rajasekharam(Younger brother)
Wife: Mrs.Janaki Sharma
Children: Vasundhara , Revathi (Daughters),
Vanamaali, Saatyaki (Sons)
* * *

Seshendra Sharma better known as Seshendra is a colossus ofModern Indian poetry.
His literature is a unique blend of the best of poetry andpoetics.

Diversity and depth of his literary interests and his works
are perhaps hitherto unknown in Indian literature.

From poetry to poetics, from Mantra Sastra to Marxist politics
his writings bear an unnerving print of his rare Genius.
His scholarship and command over Sankrit, English and TeluguLanguages has facilitated
his emergence as atowering personality of comparative literature in the 20th Century Worldliterature.
T.S.Eliot , Archibald MacLeish and Seshendra Sharmaare trinity of world poetry and Poetics.

His sense of dedication to the genre he chooses to express himself and
the determination to reach the depths of subject he undertakesto explore
place him in the galaxy of world poets / worldintellectuals.
edited by saatyaki on 6/17/2014
4/6/2016 9:07:59 AM
Shodasi : Secrets of the Ramayana Shodasi : Secrets of the Ramayana
Author : Seshendra Sharma



This is a path breaking research work on Valmiki's Ramayana ,

coming ages after the sage wrote

the first epic poem of the Human civilization


For reviews and other details

please visit:

edited by saatyaki on 2/3/2017
2/3/2017 10:42:10 PM
The Golden Swan : A Critical Analysis of Sriharsha • A Great secret hidden for eight centuries
• The swan has been telling her story for 800 years but no one has identified who she is....
• Naishdha Kavya a trinity of Mantra, Yoga Vedantha Sciences
• Sriharsha a Srividya Upasaka
• Damayanthi is none other than Sri Maha Tripurasundari
• Ajapaa Gayathri Chinthamani Thiraskarani mantras treasured in this kavya....
Two Great Peaks in the world literary criticism and research
Shodasi: Secrets of The Ramayana and Swarnahamsa Harshanaishada from the mighty pen of the great Telugu poet, Gunturu Seshendra Sharma are considered to be the two great peaks in the world literary criticism and research. This is a truth most contemporary Telugu writers and readers aren’t aware of. The way Seshendra could discover Kundalini Yoga, Gayathri Mantra in Shodasi, he could discern the treasure trove of mantra yoga, Sri Mahatripurasundari, Chintamani mantra in Swarnahamsa.
At a time when our universities which are mere Degrees production Units, churn out “solid waste” in the name of research; Seshendra even while attending to his job as a Municipal Commissioner created research oriented critical volumes like a sage.
Though Shodasi was published in 1967 and Swarnahamsa in 1968; Swarnahamsa was created by him much before Shodasi was conceived. The concepts that Srinatha, Nannayya and Mallanatha, the Telugu Classical poets couldn’t decipher, Seshendra could. He humbly submits that he is most fortunate that the triumvirate had left behind some pertinent concepts only to be discovered by him at a later stage.
These two great kavyas were serialised under the editorship of late Neelamraju Venkata Seshaiah in Andhra Prabha Daily, Sunday Literary Supplements from 1963 to 1967 and Seshendra’s poems and non-fiction were published in the book forms (6) only after they appeared in serial form in Andhra Prabha.
Seshendra : Visionary Poet of the Millennium
Saatyaki , Seshendra's son's New Year Gift to Devi Upasakas

to Literary Fraternity and Book - Lovers.
In Sanskrit literature there are two well - known writers
with the name Sriharsha. One was a king (Harshavardhana
7th century AD), a follower of Buddhism and author of three
plays – Nagananda, Priyadarshika and Ratnavali. The
second Sriharsha of 12 Century AD was a Srividya Upasaka
and an eminent poet–scholar. It was he who authored the
famous book Naishadha (The story of Nala and Damayanthi)
in sanskrit. Later, in the 15th Century, Srinatha, The
Legendary Telugu poet, translated it into Telugu metrical
poetry. Srinatha was a Saivite and perhaps was not formally
initiated into the Shakteya form of worship and its praxis.
Srinatha could not decipher the hidden mystery of
Damayanthi conceived by Sriharsha as Sri Devi. It would
seem that it fell to the power of intuition of Seshendra, our
contemporary poet, to unravel the mystery after several
centuries. This is indeed a surprise. Sri Aurobindo’s ‘Savitri:
A legend and a Symbol’ is witness to his being the sacred
privy to Pristine Savitri Mantra. Very similar is Seshendra’s
Golden Swan, which transcends its apparent meaning of
being a mere commentary to niche of mystic trance
committed to words. Thus in his Shodasi: Secrets of the
Ramayana are included Trijata Swapna and Gayatri Mantra
is in itself a mystery. For, apparently in his Shodasi,
Philosopho-poetic intuition, the dream of Trijata (in the
Ashoka Vana) is verily the Gayatri Mantra as discerned by
the deep yogic sensibility of Seshendra (A nigoodha Yogi).
I have had intimate relationship for over six decades with
Seshendra. All who know him admire him for is poetic
|genius but mostly from reading his recent prose and poetry
works. Even so, how many of them who have read Golden
Swan and Shodasi: Secrets of the Ramayana will have seen
the mystic surrounding his poetic vision?
Saatyaki has now requested me to review Swarna Hamsa.
He is devoted to filial adoration. It is only because of this
that volumes of Seshendra’s works are seeing the light of the
day again.
The sacred Mantras: Ajapaa Gayatri, Chintamani are the
common heritage of many upasakas. Not all of them may
have read Sriharsha’s Kavya. Even those who might have
read only now know through Seshendra that Sriharsha is in
reality a Srividya Upasaka.
Srividya, the highest form of devotion to Enlightenment,
which gives liberation (Vimukthi) from the travails of both
the worlds, has its own trinity of Mantra, Yantra and form of
worship. Mantra is called Panchadashi. In this context it
would be helpful to study the commentary on
“chaturbis Sreekanthais Siva yuvatibhih panchabhir api
prabhinna abhis Sambor navabhir api moola prakritibhih
chatus chatwaarimsad vasu dala kalaasra trivalaya
tri raekhaabhis saartham tava Sarana konaah parinataah”
11 Sloka in Shankaracharya’s Soundarya Lahari.
Contemporary literature is beset with many diversities and
divergences. A swan, they say, can separate milk from water.
How many scholars have the calibre to do a swan,
unearthing the inner meaning of the text? Seshendra, like
that mystic swan, did it with aplomb. Because of this unique
quality Seshendra is a Golden Swan.
Prof. M. Shiva Prasad
Professor of Telugu (Retrd)
Osmania University
Karthika Purnima
edited by saatyaki on 2/3/2017
pages: 1

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