The Roar of Twilight: Sonnets on Lord Narasimha by Mahathi

The Roar at Twilight

Author: Mahathi

Review

by Prasanna Kkumar

"He's like an ascetic

who broke the bond

mundane,

and living somewhere worlds

beyond"

(Sonnet 47)

As the strings of "Mahati" are plucked by Deva Muni Narada, the cosmic interplay of stars shines forth to resonate in the hearts of so-called mundane beings.

Coincidentally, sonnets on Lord Nrusimha/Narasimha have been composed under the pen name "Mahathi" by an ardent devotee of literature and Vedic philosophy—a prolific scholar who rendered his service as a government servant. Initially, he not only etched his name as a legal advocate but also won the hearts of his superiors during his tenure in the Department of Industries as a gazetted officer.

That is his profession, to say in brief. To extend his persona or to explain what he is, I feel, is a matter of pride for me. As I believe, the one who has discharged official duties and was also keen on focusing and pursuing Puranic knowledge is what I see as a God-bestowed boon upon him.

To observe, learn, and understand is itself a cumbersome task, and to extend, put forth an idea, and enrich it with acquired knowledge comes as a secondary aspect. But to my astonishment, the author of the book has not only succeeded in attempting a classic in sonnet form but has also convincingly added flavour to it without having to let readers resort to reading the original treatise.

It is unbelievably a work that no one without any divine intervention could take forward without a touch of intuition. In fact, even the author himself at some point in time has confessed that his oeuvre is being laid out by some supernatural force, which is surprisingly beyond his comprehension.

"The Roar at Twilight" poetically takes us into a crisp yet profound sonnetary form culminating in 108 numbers.

This marvellous creation, published by Motilal Banarsidass Publishing House, Delhi, in the year 2026, first edition came in January. It is a poetry collection of its own unique style and attempt, is what I believe.

A journey of an ardent five-year-old devotee, Prahlada, and his father, who is a monster king named Hiranyakashipu—the basic outline of the treatise—is how divinity and devotion knell wickedness, cruelty, and monstrosity, finally emerging in establishing dharma, uprighteousness, and sanity. This is the broad outline of this magnum opus epic.

In short, how the Almighty comes to rescue His devotee by a call, and how Lord Vishnu transforms into a reincarnation of Nrusimha Avatara/Narasimha.

And how Lord Narasimha lunges forth out of a column to grant Moksha (salvation) to the depraved soul—and to the one who took pride in dethroning the Devaloka and the Devas. Who, with his begotten boon, thought he would never be crushed or detained, would never get death, being immortal with his possessed blessing given by Lord Brahma.

Here, the Supreme Force proves that no matter how much one thinks of attaining or dominating the eternal realms, when the times see the right moment, even the one who is believed to have attained immortality could be shown the end.

As when the indictability exceeds its limits and to establish the order of truth and dharma, the Almighty appears in the form that no one in their iota of imagination could be able to imagine.

This is where the antagonist, despite being the father of the child, wishes to get rid of the humble son and prove his supremacy over the Lord—wherein the child, who otherwise is the demon king's son, requests to surrender before the Lord. Eventually, not listening to Prahlada's plea, he met with the terrible end.

I refrained from mentioning a few lines and verses from the sonnets that the poet beautifully captured and laid in a succinct manner—a monumental epic made simple with his prudent usage of words.

It also led me to astonishment and to mull over how such a mythological lore has been weaved seamlessly in the most difficult form called the sonnet.

Not only do we get involved and engulfed in the tale of the spiritual highlight of the Avatara, Lord Narasimha, but the author has also blessed us with his researched snippets on "Sudarshana Alwar and Lord Narasimha," along with "Narada Muni" Bhakti Sutra, or what true devotion means.

To end this viewpoint of mine, all I can say is: just immerse yourself at a very glance of the book cover—a meditative trance it takes you into. Go further to imbibe the knowledge of the sacred foothold of the Divine in the ink of "Mahathi."

Yes, through the poetic lines of Mr. Mydavolu Venkata Sesha Satyanarayana ji:

"I can't remain to end my joy — immense.

I can't remain to end my praise to be terse."

Prasanna Kkumar is a Multilingual Poet, Writer, Translator, Reviewer, Editor and Social Justice Activist.