A work of intricate beauty, it provides a unique insight into early Indian mythology, religion and culture. This selection of 18 of the hymns, chosen for their eloquence and wisdom, focuses on the enduring themes of creation, sacrifice, death, women, the sacred plant soma and the gods. Inspirational and profound, it provides a fascinating introduction to one of the founding texts of Hindu scripture, an awesome and venerable ancient work of Vedic ritual, prayer, philosophy, legend and faith.

    Written by four major saints, the greatest exponents of this poetic form, between the tenth and twelfth centuries, they are passionate lyrical expressions of the search for an unpredictable and spontaneous spiritual vision of 'now'. Here, yogic and tantric symbols, riddles and enigmas subvert the language of ordinary experience, as references to night and day, sex and family relationships take on new mystical meanings. These intense poems of personal devotion to a single deity also question traditional belief systems, customs, superstitions, image worship and even moral strictures, in verse that speaks to all men and women regardless of class and caste.

    Centuries ago, it was proclaimed of the Mahabharata: "What is not in it, is nowhere." But even now, we can use the same words about it. He who knows it not, knows not the heights and depths of the soul; he misses the trials and tragedy and the beauty and grandeur of life. The Mahabharata is not a mere epic; it is a romance telling the tale of heroic men and women, and of some who were divine. It is a whole literature in itself, containing a code of life, a philosophy of social and ethical relations, and speculative thought on human problems that is hard to rival.

    Drawing on traditional sources, Narayana presents classic tales as narrated by animals, resulting in a work that is a fascinating blend of fable and satire.

    The great poem is also called Tulsi-krit Ramayan (literally, 'Tulsi-created Ramayan' or, more loosely, 'The Ramayan of Tulsidas'.Tulsidas (who is also sometimes called Tulsidas-ji or simply Tulsi) began writing the scripture in Vikram Samvat 1631 (1574 CE) in Avadhpuri, Ayodhya. The exact date is stated within the poem as being the ninth day of the month of Chaitra, which was the birthday of Lord Ram, Ram Navami. A large portion of the poem was composed at Varanasi, where the poet spent most of his later life.Today, it is considered one of the greatest works of Hindu literature. Its composition marks the first time the story of Ramayana was made available to the common man for song and performance. Thus, the text is associated with the beginning of the storied tradition of Ramlila, the dramatic enactment of the text.

    This most human of Sanskrit plays is Shakespearian in its skilful drawing of characters and in the plot's direct clarity. One of the earliest Sanskrit dramas, "Little Clay Cart" was created in South India, perhaps in the seventh century CE. Set in the city of Ujjain, so secular and universal is the story that it can be situated in any society, and it has, including in Bollywood film and by the BBC. Charu-datta, a bankrupt married merchant, is extramaritally involved with a wealthy courtesan, Vas�nta-sena. The king's vile brother-in-law, unable to win Vas�nta-sena's love, strangles her, and accuses Charu-datta. The court decides the case hastily, condemning Charu-datta to death. Fortunately, our heroine rises from the dead to save her beloved, and all applaud their love. At this climax, the regime changes, and the rebel-turned-king makes Charu-datta lord of an adjacent city.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    Each Upanishad, or lesson, takes up a theme ranging from the attainment of spiritual bliss to karma and rebirth, and collectively they are meditations on life, death and immortality. The essence of their teachings is that truth can by reached by faith rather than by thought, and that the spirit of God is within each of us - we need not fear death as we carry within us the promise of eternal life.Older cover edition for ISBN 9780140441635.

    He reshaped Bengali literature and music, as well as Indian art with Contextual Modernism in the late 19th and early 20th centuries.

    Krishna begins his sweeping exploration ofthe tradition of Karnatik music with a fundamental question: what is music? Takingnothing for granted and addressing readers from across the spectrum - musicians, musicologists as well as laypeople - Krishna provides a path-breaking overviewof south Indian classical music.

    The Shilappadikaram has been called an epic and even a novel, but it is also a book of general education. Adigal packed his story with information: history merging into myth, religious rites, caste customs, military lore, descriptions of city and country life. And four Cantos are little anthologies of the poetry of the period (seashore and mountain songs, hunters’ and milkmaid’s song). Thus the story gives us a vivid picture of early Indian life in all its aspects.

    The Sacred Books of the East series, comprising 50 volumes, has translations of key sacred texts of Hinduism, Buddhism, Taoism, Confucianism, Zoroastrianism, Jainism & Islam. The series was edited by the famous linguist Max Muller, who also produced many of the translations & were the foundational documents for the new discipline known as the comparative science of religions. This volume contains The Laws of Manu.

    Horace Gregory, in this modern translation, turns his poetic gifts toward a deft reconstruction of Ovid's ancient themes, using contemporary idiom to bring today's reader all the ageless drama and psychological truths vividly intact. --From the book jacket

    Some of it, naturally, is in the genes; but much of it is in the environment, in the circumstances in which we grow up, in the people who come into our lives, even in the air we breathe.Had I grown up in London or Timbuktu, I would have been a different sort of person, I'm sure. My parents (and those before them) made me. But India made me too. The soil, the air, the wind, the rain, the trees, the grass, the proximity of people-all these things made me . . .Different things at different times helped to make the individual that is me, just as different things at different times helped to make you, just as they went into making your brothers and sisters, who are very different from you.'Do I contradict myself? Very well, then, I contradict myself,' said Walt Whitman.Each chapter of this memoir is a remembrance of times past, an attempt to resurrect a person or a period or an episode, a reflection on the unpredictability of life. Some paths lead nowhere; others lead to a spring of pure water. Take any path and hope for the best. At least it will lead you out of the shadows.

    K. Narayan in the Introduction to this new interpretation, 'is aware of the story of The Ramayana. Everyone of whatever age, outlook, education or station in life knows the essential part of the epic and adores the main figures in it - Rama and Sita. Every child is told the story at bedtime . . . The Ramayana pervades our cultural life.' Although the Sanskrit original was composed by Valmiki, probably around the fourth century BC, poets have produced countless variant versions in different languages. Here, drawing his inspiration from the work of an eleventh-century Tamil poet called Kamban, Narayan has used the talents of a master novelist to recreate the excitement and joy he has found in the original. It can be enjoyed and appreciated, he suggests, for its psychological insight, its spiritual depth and its practical wisdom - or just as a thrilling tale of abduction, battle and courtship played out in a universe thronged with heroes, deities and demons.