SUPREME LIGHT OF GRACE - RAMALINGA MUSICAL DRAMA.

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An e.mail has come from Samuel to Office@aumra-trust.org on Nov,20, 2011. i.e. the District Sanmarga Association President, Thiru T.R.Jawaharlal’s son’s e.mail.

The contents of the e.mail is furnished below:

Ramalinga Musical Drama.

Dear Madam/Sir,

During my stay in India some years ago, I came across St.Ramalinga who became the protagonist in the play Supreme Light of Grace. Before leaving India I obtained a number of publications on St.Ramalinga, among which were those of T.R. Thulasiram. I have not been able to find a theater here in Switzerland interested in producing the play. I was told that this mystic was unknown here, the cast too large and therefore to costly to consider.
Conditions in India differ and my play may be of interest or possibly even as a cinema production. I also have permission to include a longer quote from His Holidness the Dalai Lama, at the end of the play, which confirms the dematerialization of the bodies of rate Tibetan saints referred to as in the rainbow body in that tradition. That Timetan tradition no doubt introduced into ibet by Tamil Siddhas.

Your Organisation might well know of a theater or cinema producer who could be interested in taking on the project. In which case I would be delighted to submit the manuscript, which is in English.

Attached the play’s resume.

Samuel.

Page 2.

SUPREME LIGHT OF GRACE.

This work is a historically based musical play in two Acts. Act I (5 scenes) and Act II (5 scenes) consisting of 41 typed pages.

Ramalinga was a 19^th century poet, mystic, radical social reformer, and scholar from Tamil Nadu in South India. His major work “Songs of Divine Grace” contains 6,000 poems, lyrics and prose writings.

Ramalinga is a genuie representative of the world’s major mystics and religious personages, in that he went beyond the religious imaginery and limitations of his own culture, to that formless “Ground” common to all great mystical insight worldwide. In doing so, he made revolutionary pronouncements, bringing down the wrath of the religious establishment of his time upon himself.

The drama consists of dialogue in prose and verse (which includes 21 translations of Ramalinga’s writings) and six chorus numbers, Included in these chorus numbers are four dances narrated by the chorus. These introduce the prime characters who personify Ramalinga’s struggle with the fear of death, desire, and his spiritual aspirations. These characters are Kama god of desire, Yama god of death, Murugan god of war, and cosmic dancer Siva-Nataraja. Ramalinga dominates the play throughout. Towards the end of his life, he admits that the religious world he believed in, was due to his incomplete understanding. He then abandons the mythology of his culture and claims that the Ground of existence is light (or energy), which he calls the Supreme Light of Grace. In the last scene, Ramalinga locks himself in the Hermitage of Perfection and dematerializes his body, as a sacrificial offering for the spiritual development of humanity. This process ends with his bodies, breakdown into radiant, luminous, dust-like particles; effeced by a glowing light which ignites from his heart. This event is accompanied by chorus. An appropriate musical composition is essential to the success of the play. As a number of Ramalinga’s communications and yearnings are to be sung, it would be ideal if the actor playing his part could also sing.

S.Gfeller,

Bern, May, 5, 1999.

Revised 2009.

The e.mail received from Thiru Samuel is also attached below: