{"title":"Literature","description":"","products":[{"product_id":"at-play-with-krishna-pilgrimage-dramas-from-brindavan","title":"At Play with Krishna","description":"\u003cp style=\"text-align: left;\"\u003eEvery year thousands of pilgrims travel to Brindavan, the village where Krishna is said to have lived as a child, There, in one of north India's great spiritual centres, they witness a series of religious dramas called 'Ras Lilas', whose central roles are performed by children. By translating four plays that collectively span this cycle, John Hawley provides a lively perspective on the mythology of Krishna as Hindus experience it today. His book contains an opening chapter describing the setting in which the plays are enacted and relating them to the religious and emotional world of viewers and performers, a substantial introduction to each of the four plays, and forty-eight evocative photographs.\u003c\/p\u003e\n\u003cdiv style=\"text-align: left;\" class=\"product-single__description rte\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003eReview(s)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\"The translations are very well done. The poetic compositions in Braja Bhasha that occur in the plays are rendered in lucid language. The book will go a long way to help readers understand the poetry and mysticism of the Ras plays.\" - M.L. Varadpande, N\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout the Author(s)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eJOHN STRATTON HAWLEY is a Professor of Asian Languages and Literature at the University of Washington. He is the author of Sur Das: Poet, Singer, Saint and Krishna, The Butter Theif.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eMore Than One Book has been written to tell the story of Krishna, but in this one, he will speak for himself, as he does year in and year out to audiences all over India. Only a small proportion of India’s vast population has ever been literature and even those who could read have never been satisfied that a tradition can be learned from the age of a book. Commentaries must enrich a text; and more than that, one needs a living relationship with a teacher to bring the tradition to life in oneself. Westerns, by and large, are more comfortable with the notion that religious truth comes from books, but in India religion is not an extraction from the past. The gods surround you. Through their images – now cinematic as well as static – they are visible, and through various media, they speak.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn the case of Krishna, this is especially so. The life he adopted was neither the stuff of distant legends nor a tale of inaccessible Himalayan heights. He pitched his tent with common cowherd folk. On the whole, Krishna’s world is perfectly familiar to most Indian today. Exact replicas of the bullock cart he kicked over as a tiny child creak down every country road in India. His speech, too, is that of the common people. They call it Braj Bhasa, the dialect of the Hindi family that is spoken in the Braj region just to the south of Delhi on the river Jumna. This is where Krishna chose to live, and he lives there still today. He infuses himself as a living presence into a dramatic tradition called the Ras Lila, in which native Brahmin boys take on the roles of Krishna and his lovers and friends. Led by singer-directors who as boys played the principal roles themselves, these Ras Lila troupes are at home all over India come to see them, especially in Brindavan, which is today the spiritual centre of Braj and the most important place of pilgrimage for Krishna in all of India. In other seasons the directors take their art to the people, travelling with their troupes to every corner of the subcontinent.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI have translated four of these Ras Lila here. These four are selected from the mammoth repertoire not only because they are among the most commonly performed but because they present the full span of Krishna’s sojourn in Braj, from his arrival to his departure. They ignore the mature Krishna who teaches the Bhagavad Gita and heroically conducts affairs of the state in his role as king of the western city of Dvaraka. For all the renown the Gita has attained in the last century both in India and in the West, it is Krishna in Braj that people know and love best, Krishna in his youth; these plays present four important moments in the story. One of them, “The Birth of Krishna,” has an additional significance because of its intimate relation to a principal festival in the annual calendar; another, “The Great Circle Dance,” incorporates a version of the dance sequence that daily introduces these plays, and without which they would not have the ritual force they do. By exploring such mater in the introductions to each of the plays I hope to give the reader a sense not only of the narrative line but also of the ambience that makes it possible for those who see these plays to enter into the story themselves. The first chapter, on Brindavan, has that as its entire aim.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eOne question that outsiders immediately ask – is who wrote these plays. – does not occur to anyone in Braj. These are not individual compositions, but a collective forum in which Krishna makes himself available to those who love him. In most cases, it would be extremely difficult to ascertain the author. This is a dramatic tradition at least five centuries old, and although in every generation new plays are added at the initiative of inspired persons, including the rasdharis themselves, the; singer-directors who literally “bear” or “hold together” the Ras Lila, in most instances the author, if there ever was one, has long been forgotten. Furthermore, the plays are constantly being recomposed as rasdharis introduce new songs into the music that undergirds and embellishes the Lilas, and omits old ones. Each rasdhari possesses his own written list of songs, but the dialogue is entirely an oral tradition, and although the rasdharis remember the lines from pas performances and teach them to their companies, there is also a measure of independence: performers often invent new lines on the spot. Similarly, most plays retain a very traditional plot structure, but others, like “The Great Circle Dance” included here, are more modern attempts to bring tradition to life. All this being the case, it has been essential to translate these drams from actual performance rather than from any written text. I have occasionally summarized a sense or two in the interest of brevity, but the dialogue that appears, save for the omission of a few interjections and rhetorical repetitions, is an unabridged rendering of what I actually heard.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eOne important element, however, is missing – the music – and its absence sometimes has the effect of leaving exposed what is not very good verse, lines intended more to structure the drama than to be savoured for a poetic rim bare and density of their own. On occasion, in fact, the removal of the melody almost totally robs the poetry of its aesthetic effect, and when that happens it has seemed wise to supplement the literal sense scarcely be possible to convey the charm that the alternation of song and speech continually lends to these dramas. There are other times – when the composition of the medieval poets Sur Das or Raskhan is quoted, for example – when one can expect much more, but on the whole one should remember that this is largely a folk idiom, in which songs are intended to be understood by many at a single hearing rather than pondered by a few connoisseurs.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThese four plays were formed in the summer months of 1976 by a single company of a single state. The troupe is unusual in that two rasdharis, or svamis as they are popularly called, have joined forces to create it. Their cooperation aptly symbolizes the fact that, while ancient, this tradition is constantly changing. In every generation, it is infused with new blood as handsome and clever boys are recruited from outside the old rasdharis’ immediate families to play Krishna or his beloved Radha when there are no suitable candidates in the family itself. Svami Natthi Lal, who plays the drums, comes from an old line of rasdhari and hails from Kamain, one of the villages in which the Ras Lila tradition is the oldest, whereas Svami Sri Ram, who leads the musicians in singing the narration was the first in his immediate family to enter the Ras Lila tradition. The troupe of Sri Ram and Natthi Lal Is neither the most famous in Braj nor the least, though recently it has gained in reputation as it has come under the patronage of one of the great religions as it has come under the patronage Gosvami.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI am grateful to all three of these men for permitting and encouraging me to tape these plays and to Murari Lal Verma for transcribing them. Premanand, the best-known and most prolific composer of Ras Lila in Brindavan today, was kind enough to correct the texts in a number of instances. Michelle Nguyen, Linda Konishi, Barbara Schuster, Georgia Lo Cornett, and Libby Sandusky have provided meticulous typing assistance, and my wife Laura Shapiro has improved the manuscript with a myriad of editorial suggestions. Norvin Hein and Radha dasi have also offered helpful corrections and comments, and to Mark Juergensmeyer I owe, after many hours of patient labour, most of what is poetic in the verse. The traditional stencil drawings come from the hands of Narayan Das and Cain Sukh Das of Mathura. The Foreign Area Program of the Social Science Research Council and the American Council of Learned Societies, Harvard University, and the National Endowment for the Humanities have all provided generous grants for research.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eProjects in pursuit of intercultural understanding often presuppose a great deal of personal interdependence, and this book is a case in point. It could scarcely have been undertaken without the help of Shrivatsa Goswami, son of Purusottam, who first welcomed me to Brindavan and introduced me to the Ras Lila, and who has aided me in various stages of my study ever since. I have tried to acknowledge my debt to him by including his name on the title page. By answering my questions as I translated, and by reviewing the final product, he has saved me from innumerable errors, and his understanding of the theological perspectives that undergird these dramas has greatly amplified and often corrected my own. I remain responsible for the text, however, and it will be evident to the reader that the commentary, aimed at outsiders, is also the work of an outsider, I can only hope that I have enough of the music of Krishna’s flute to prevent me from grossly distorting a tradition that is precious beyond telling to those who preserve it.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"10%\"\u003e \u003c\/td\u003e\n\u003ctd width=\"80%\"\u003eList of Illustrations\u003c\/td\u003e\n\u003ctd width=\"10%\"\u003exi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePreface\u003c\/td\u003e\n\u003ctd\u003exiii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eTransliteration\u003c\/td\u003e\n\u003ctd\u003exvii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eChapter I\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePilgrimage to Brindavan\u003c\/td\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eChapter II\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Birth of Krishna\u003c\/td\u003e\n\u003ctd\u003e52\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eChapter III\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Theft of the Flute\u003c\/td\u003e\n\u003ctd\u003e106\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eChapter IV\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Great Circle Dance\u003c\/td\u003e\n\u003ctd\u003e155\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eChapter V\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Coming of Akrur\u003c\/td\u003e\n\u003ctd\u003e227\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eNotes\u003c\/td\u003e\n\u003ctd\u003e275\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eGlossary\u003c\/td\u003e\n\u003ctd\u003e311\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eBibliography\u003c\/td\u003e\n\u003ctd\u003e321\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIndex\u003c\/td\u003e\n\u003ctd\u003e333\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e","brand":"John Stratton Hawley","offers":[{"title":"Paper Back","offer_id":41330830803082,"sku":"","price":645.0,"currency_code":"INR","in_stock":true},{"title":"Hard Bound","offer_id":41330830835850,"sku":"","price":825.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/51pFMYlrXzL.jpg?v=1657183224"},{"product_id":"battle-bards-and-brahmins-papers-of-the-13th-world-sanskrit-conference-volume-ii","title":"Battle, Bards and Brahmins","description":"\u003cp style=\"text-align: left;\"\u003eThis volume, the second in the Proceedings of the 13th World Sanskrit Conference (Edinburgh, July 2006), reflects the continued increase in interest in the Sanskrit epics seen in recent years, containing no less than 19 articles (a  number than in the corresponding volume from the 12th WSC at Helsinki) by a number of distinguished scholars in the section devoted to the Sanskrit pics. The great majority of the articles focus on the Mahabharata but some also focus on the Ramayana, as well as one on the Harivamua. The variety of approaches adopted by their authors underlines the vitality of this area of research and collectively these articles make a major contribution to our understanding of the history of these massive works, their relationship to each other, and their place in the total field of Sanskrit literature and indeed of Indian literature and culture as a whole.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe articles are grouped according to the text that they are mainly focussing on (in the order Mahabharata, Harivamsa, Ramayana) and within that in an order which seeks to bring related topics together, beginning with the genealogical issues that underpin all of the narratives in each of the texts and ending with the study of a retelling of one of them, the Ananda Ramayana. The editor has ensured a degree of uniformity of appearance and bibliographic reference but had no wish to rein in the diversity of expression and approach to be found in the feast of articles here assembled.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eAbout the Author\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eJohn Brociungton is an emeritus Professor of Sanskrit at the University of Edinburgh, U.K., Secretary General (2000-2012) and now a Vice President of the International Association of Sanskrit Studies, and the author or editor of several books and numerous articles, mainly on the Sanskrit epics and the history of Hinduism. His published books include Righteous Rama: the evolution of an Epic (1985), The Sanskrit Epics (1998) and Epic Threads: John Brockington on the Sanskrit Epics (2000); he is the translator with Mary Brockington of Rama the Steadfast: An Early Form of the Rãmäyana (2006) and a major contributor to Epic and Puranic Bibliography (up to 1985) (1992 and now online).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Thirteenth World Sanskrit Conference was held in Edinburgh, Scotland on the 10th—l4th July 2006. To the delight of the organisers, it was attended by a record number of participants from all parts of the world. At a time when the study of Sanskrit and related Indological subjects is becoming increasingly embattled in certain countries, such regular gatherings assume particular importance in confirming scholarly solidarity as well as disseminating the most recent fruits of research.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe conference was divided into fourteen subject sections, each chaired by two scholars: 1. Veda; 2. Epics; 3. Purnas; 4. Agamas and Tantra; 5. Vyakarana; 6. Linguistics; 7. Poetry, Drama and Aesthetics; 8. Scientific Literature; 9. Buddhist Literature; 10. jaina Studies; 11. Philosophy; 12. History, Epigraphy and the Arts; 13. Law and Society; and 14. Culture and Society.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAs now customary, arrangements for the publication of the proceedings became the responsibility of the conference organisers. To this end, the various section chairs were requested to edit the proceedings volume of their subject after inviting the submission of papers from participants and then submit a manuscript to the general editors for inspection and final formatting. It should be noted that the chairs of two thematic subpanels of the Philosophy section (‘sastrarambha-Philosophical Introduction’ and ‘New Directions in the Study of Yoga’), of History, Epigraphy and the Arts, and of Law and Society, wished to, make their own arrangements for publication elsewhere. In addition, it was decided that papers in the Culture and Tradition section which had been invited for publication should be placed in appropriate volumes of the proceedings.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe general editors would like to thank Petteri Koskikallio and Lumi Sammallahti for taking expert control of the final, matting and technical production of the proceedings. It is anticipated that these Proceedings of the Thirteenth World Sanskrit Conference will reveal the impressive breadth and depth of Indological research at the present time and gain the appreciation of the interested scholarly world.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eThe range and diversity of the Sanskrit epics themselves were reflected in the diversity of the papers delivered in the epics section of the 13th World Sanskrit Conference held at Edinburgh in July 2096, while the number of participants testifies to the strength of epic studies within the discipline of Sanskrit studies as a whole. Papers were presented by 25 scholars in all and 19 of those are included in this volume in revised form, taking account of the active discussion which they prompted during the conference. In addition, the following papers are being published elsewhere: Robert P. Goldman’s ‘Rules of Engagement: War Crimes, Raksasa rights and the Political and Military Strategies of the Great Sanskrit Epics’ (in srutimahati, a felicitation volume for Professor R. K. Sharma, the retiring President of the International Association of Sanskrit Studies), John Smith’s ‘Consistency and character in the Mahabharata’ (in the Bulletin of the School of Oriental and African Studies), Przemyslaw Szczurek’s ‘Juggling with atman: Remarks on the Bhagavadgita 6.5—6’ (in the felicitation volume for Professor M. K Byrski), and Laurie L. Patton’s ‘“How do you conduct yourself?”: dialogical gender in the Mahabharata’, which she had intended to present at the conference but was unable to give for personal reasons (in Gender and Narrative in the Mahabharata, ed. by Simon Brodbeck \u0026amp; Brian Black, 2007).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eInevitably, there was an overlap with the section on Puranas and, while Yaroslav Vassilkov’s paper on the boar myth in the epics and Puranas were included in the section of the epic and so appears in this volume, that by André Couture on the grouping of the four Vrsni heroes in the Harivarna was presented in the Purana section (and has since been published in the Journal of Indian Philosophy 34 [2006]: 57 1—585). The majority of the articles in this volume relate primarily to the Mahabharata but there are also five on the Ramayana if Vidyut Aklujkar’s article relating to the Anandaramayarza is included under that head, and a single article on the Hariva,náa, which is still the poor relation of epic studies, despite the efforts at the 3rd Dubrovnik International Conference on the Sanskrit Epics and Puranas to generate greater interest in it.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eApproaches to the epics were indeed extremely varied. While this was only to be expected from the broad group of scholars assembled in Edinburgh from all over the world, it has made the task of arranging the papers into a coherent and meaningful order a problematic one. There are of course certain themes which either form the main subject of certain papers or underlie the discussion in others. Textual issues are addressed most directly in the article by Wendy Phillips-Rodriguez on constructing a stemma for Mahabharata manuscripts making use of techniques drawn from the natural sciences and statistics (phylogenetics and cladistics) but they form an element in several others. Two articles, those by Nick Allen and Simon Brodbeck, examine genealogical issues. AIf Hiltebeitel charts the terminology of friendship in relation to the concept of bhakti. Narrative techniques are discussed along rather different lines by James Hegarty in relation to the narrative on tirthas in the Maha. bhãrata and by Mary Brockington in relation to the plot of the Ramayana. What is superficially a traditional word study by Sven Sellmer on hard and related terms is enriched in fact by understandings drawn from modern psychology, while Antonella Cosi looks at the way that similes are used in speeches in two books of the Mahabharata.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWhereas these articles look at the texts in terms of their structure and their major themes, others concentrate more on content. Individual characters and episodes form the focus of several articles. Thus we have studies of Bhima’s quest for the saugandhika flowers by Danielle Feller and of Uttanka’s quest for the earrings by Paolo Magnone, Duryodhana’s truths by Angelika Malinar, the story of Visvamitra by Adheesh Sathaye, of Nikumbhila and her grove by Sally Sutherland Goldman and — though they are less individualised — of Krsna’s many wives by Horst Brinkhaus. Jim Fitzgerald examines one of the pairs of udhyayas devoted to Samkhya and Yoga in the Moksadharmaparvan (Mbh 12.289—290). John Brockington surveys again the weapons mentioned in the early Ramayana, while Urmi Shah documents the relationship of the pronouncements on rãjaniti found in certain sargas of the Ramayana with those of the later text, the Nitiprakasika of Vaisampayana.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe articles are grouped according to the text that they are mainly focussing on (in the order Mahabharata, Harivamsa, Ramayana) and within that in an order which seeks to bring related topics together, beginning with the genealogical issues that underpin all of the narratives in each of the texts and ending with the study of a retelling of one of them, the Anandaramayana. The editor has ensured a degree of uniformity of appearance and bibliographic reference but had no wish to rein in the diversity of expression and approach to be found in the feast of articles here assembled.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"80%\"\u003eGeneral Preface\u003c\/td\u003e\n\u003ctd width=\"20%\"\u003eVII\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIntroduction\u003c\/td\u003e\n\u003ctd\u003eVII\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVaisampayana's Mahabharata Patrilline\u003c\/td\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eBharata Genealogy: The close parental Generation Males\u003c\/td\u003e\n\u003ctd\u003e39\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDuryodhana's Truths: Kingship and Divinity\u003c\/td\u003e\n\u003ctd\u003e51\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eBhima's Quest for the golden lotuses\u003c\/td\u003e\n\u003ctd\u003e79\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eUttanka's quest\u003c\/td\u003e\n\u003ctd\u003e101\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eWhat need has he of the waters of puskara? The narrative construction of tirtha in the Sanskrit Mahabharata\u003c\/td\u003e\n\u003ctd\u003e129\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMapping bhakti through hospitality and friendship in the Sanskrit epics\u003c\/td\u003e\n\u003ctd\u003e157\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMagic cows and cannibal kings: The textual performance of the visvamitra legends in the Mahabharata\u003c\/td\u003e\n\u003ctd\u003e195\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eUnrooted Trees: A way around the Dilemma of recession\u003c\/td\u003e\n\u003ctd\u003e217\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eUpamas occurring in speeches: Abusive similes in the sabhaparvan and karnaparvan\u003c\/td\u003e\n\u003ctd\u003e231\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eThe Heart in the Mahabharata\u003c\/td\u003e\n\u003ctd\u003e247\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eThe samkhya-yoga manifesto at Mahabharata\u003c\/td\u003e\n\u003ctd\u003e259\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eThe boar shakes the mud off A specific motif in the varahakatha of the great epic and Puranas\u003c\/td\u003e\n\u003ctd\u003e301\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eThe 16,108 Wives of Krsna in the Harivamsa\u003c\/td\u003e\n\u003ctd\u003e315\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSurprise, surprise authors' stratagems and audiences' Expectations in the Ramayana\u003c\/td\u003e\n\u003ctd\u003e329\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eThen in his warlike wrath Rama bent his bow: Weaponry of the early Ramayana\u003c\/td\u003e\n\u003ctd\u003e349\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eNilkumbhila grove: Raksasa rites in valmiki's ramayana\u003c\/td\u003e\n\u003ctd\u003e359\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eA comparative study of polity in the nitiprakasika and the Ramayana\u003c\/td\u003e\n\u003ctd\u003e385\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eThe locus of the Anandaramyana\u003c\/td\u003e\n\u003ctd\u003e415\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eContributors\u003c\/td\u003e\n\u003ctd\u003e433\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIndex of epic passages cited\u003c\/td\u003e\n\u003ctd\u003e437\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGeneral Index\u003c\/td\u003e\n\u003ctd\u003e457\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"John Brockington,","offers":[{"title":"Default Title","offer_id":41278063640714,"sku":"","price":745.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/17871_2048x2048_db2d380e-962e-45ad-ba87-a2530bbca7e7.jpg?v=1660385136"},{"product_id":"a-catalogue-of-vaisnava-literature","title":"A Catalogue of Vaisnava literature","description":"\u003cp style=\"text-align: left;\"\u003eThe tragic loss of precious, ancient or old copies of writings from India's religious heritage continues into the twenty-first century. When we undertook this microfilm project in the early 1980s, our specific task in the field was to film rare books and manuscripts of the Ramanuja, Madhva, Nimbarka, Vallabha, and Gaudiya traditions, as well as texts of other Sampradays and individual authors. Our purpose was to try to preserve at least a representative group of such writings, otherwise bound to destruction through lack of proper conservation. A small team o photographers and researchers spent a total of eighteen months in India, locating, identifying and photographing numerous hand-printed, paper and palm-leaf manuscripts as well as some printed editions from the Vaisnava traditions.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIt is on the basis of this collection, that we have selectively developed the present Vaisnava Literature Catalogue: Microfilms in the Adyar Library, the Bodleian Library and the American University Library.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cb\u003eAbout the Author\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eCharles S.J. White (Ph.D. University of Chicago) is a professor emeritus of philosophy and religion at the American University in Washington, D.C., USA. He was visiting professor and fellow at the Oxford Center for Hindu Studies at Oxford University, U.K. He is the author of The Caurasi Pad of Sri Hit Harivamsa, Ramakrishna's Americans, and co-author of The Religious Quest and Joseph Campbell: Transformations of Myth through Time.\u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/div\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Materials presented here form a part of the original Vaisnava Literature Conservation Project, funded by a grant from the Smithsonian Institution and the Institute for Vaisnava Studies. Dr. Graham M. Schweig, Ph.D., Director, Indic Studies Program; Associate Professor of Religious Studies; Senior Editor, Journal of Vaishnava Studies, Department of Philosophy and Religious Studies, Christopher Newport University, Virginia, while still a graduate student, together with colleagues, originated the proposal to the Smithsonian Institution that began this endeavour. Mr. Gregory Jay (Gaurakeshava) was the Operations Manager in India. Francine Berkowitz directed the South Asia grants of the Smithsonian Institution. The total extent of the present Catalogue includes 1679 entries. The organization of the files and the preparation of the first entries in the Catalogue received support from the American Institute of Indian Studies and the Institute for Vaisnava Studies. We wish to express special thanks to the Director General of the American Institute of Indian Studies, Dr. Pradeep Mehendiratta, for supplementary financing. Our deep appreciation goes to Mrs. Radha Burnier, International President of the Theosophical Society, and to Mrs. Parvati Gopalaratnam, the Librarian of the Adyar Library, for allowing us to deposit a complete set of the microfilms in the Adyar Library and to carry out the organization of the files (numbering twenty-five volumes, and the immediate source of the Catalogue), the printing from the microfilm reader printer and preliminary work connected with the preparation of the Catalogue. Thanks are also due to the Honorary Director of the Adyar Library, Dr. K.K. Raja for his support of this work. Dr. William Deadweiler and Mr. Robert Cohen made special contributions to creating the Catalogue project. Mr. R. Laxman and Ms. K. Jayasree, and other members of the Adyar Library staff, were of great assistance in the preparation of the Catalogue files. We thank Dr. V.K. Chari for his help in the Telugu consultation. Mr. S. Venkatesh, in charge of the computer section of the Adyar Library, and Mr. Christopher Raj gave indispensable aid in the printing of the Catalogue draughts. Our deepest thanks go to Srimati Savitridasi, who created the diacritical marks for the typing of the Catalogue and also provided the alphabetized index. Thanks to Gopiparanadhana Dasa for his assistance in formatting the diacritical text. We appreciate, too, the cooperation of The American University Librarian Ms. Patricia A. Wand and The Archivist Mr. George D. Arnold, assisted by Mr. Ignacio Moreno and Mr. Christopher Lewis of Media Services. Thanks go also to Dr. Gllian Evison and Ms. Lesley Forbes, of the Bodleian Library of Oxford University for their assistance in making the microfilms available in the United Kingdom. I also express my thanks to Mr. Shaunaka Rishi Das of the Oxford Center for Vaisnava and Hindu Studies for his cooperation and to Dr. Allen W. Thrasher, Senior Reference Librarian of the Southern Asian Section of the Library of Congress, who kindly agreed to review the Catalogue.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe work rendered by Dr. S. Jayasree in annotating and Mr. S.A. Lokesh in transcribing data on the microfilms in this Catalogue was of utmost importance. The microfilm titles, listed in the Catalogue are available for consultation in the Libraries as mentioned in the front of the book.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"80%\"\u003e\u003c\/td\u003e\n\u003ctd width=\"20%\"\u003ePage\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePreface\u003c\/td\u003e\n\u003ctd\u003eix\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAbbreviations\u003c\/td\u003e\n\u003ctd\u003exi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIntroduction\u003c\/td\u003e\n\u003ctd\u003e1-16\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eA Catalogue of Vaisnava Literature\u003c\/td\u003e\n\u003ctd\u003e17-109\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAlphabetical Index\u003c\/td\u003e\n\u003ctd\u003e111-202\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eLetter of Allen W. Thrasher, PhD.\u003c\/td\u003e\n\u003ctd\u003e203\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Charles S. J. White","offers":[{"title":"Default Title","offer_id":41278100439178,"sku":"","price":475.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9338_2048x2048_605fc4d8-c06f-478a-a009-b2402b7c91c9.webp?v=1658139097"},{"product_id":"essays-on-the-mahabharata","title":"Essays on the Mahabharata","description":"\u003cp style=\"text-align: left;\"\u003e\u003cstrong\u003e\u003c\/strong\u003eThis book is a classic study of a monumental work, the Mahabharata, perhaps the largest \u003cbr data-mce-fragment=\"1\"\u003eepic in world literature. It is an epic study of the epic on account of the voluminous size it has itself attained, the kaleidoscopic variety of the themes it covers, the great diversity of approaches it canvasses, and the wide array of contributions it includes, and the high standard of scholarship it achieves.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThis volume, like the epic it deals with, passed through several stages before assuming its present form. Originally some of these essays appeared in the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eJournal of South Asian Literature\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(XX: 1:1-168). I would like the take this opportunity to thank Professor Carlo Coppola for inviting me to edit the section of that issue devoted to the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMahabharata \u003c\/i\u003eand for permitting me to incorporate it into this volume.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eNot everyone who wanted to write could do so in time for the issue, and so the idea of a book emerged. In due course, the alchemy of patience (and repeated requests) gradually transformed promises into finished products. Thus, after several years of a merely notional existence, the book is now in your hands. But then some things are worth waiting for -a sentiment I hope the appearance of this volume will confirm.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cem\u003eReadership: Students and specialists of Hinduism, comparative religion, comparative literature, comparative mythology, and classics.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout The Author\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp style=\"text-align: left;\"\u003eArvind Sharma is the Birks Professor of Comparative Religion at Mcgill University, Montreal, Canada. He is the author of numerous books including The Philosophy of Religion: A Buddhist Perspective 1995 and Classical Hindu Thought: An Introduction (2000).\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePreface\u003c\/td\u003e\n\u003ctd\u003eix\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eI\u003c\/td\u003e\n\u003ctd\u003eManuscripts used in the Critical Edition of the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMahabharata:\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eA Survey and Discussion\u003c\/td\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eJOHN DUNHAM\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eII\u003c\/td\u003e\n\u003ctd\u003eThe\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMahabharata:\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eStylistic Study, Computer Analysis and Concordance\u003c\/td\u003e\n\u003ctd\u003e19\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eDANIEL H. H. INGALLS \u0026amp; DANIEL H. H. INGALLS, JR.\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIII\u003c\/td\u003e\n\u003ctd\u003e\n\u003ci\u003eKarnabhara:\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eThe Trail of Karna\u003c\/td\u003e\n\u003ctd\u003e57\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eBARBARA STOLER MILLER\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIV\u003c\/td\u003e\n\u003ctd\u003e\n\u003ci\u003eUrubhanga:\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eThe Breaking of the Thighs\u003c\/td\u003e\n\u003ctd\u003e68\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eEDWIN GEROW\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eV\u003c\/td\u003e\n\u003ctd\u003eEpic Parthenogenesis\u003c\/td\u003e\n\u003ctd\u003e84\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eMARY CARROLL SMITH\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVI\u003c\/td\u003e\n\u003ctd\u003eTwo Krsnas, Three Krsnas, Four Krsnas, More Krsnas: Dark Interactions in the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMahabharata\u003c\/i\u003e\n\u003c\/td\u003e\n\u003ctd\u003e101\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eALF HILTEBEITEL\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVII\u003c\/td\u003e\n\u003ctd\u003eThe Original Daksa Saga\u003c\/td\u003e\n\u003ctd\u003e110\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eKLAUS KLOSTERMAIER\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVIII\u003c\/td\u003e\n\u003ctd\u003eThe\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSauptika\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eEpisode in the Structure of the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMahabharata\u003c\/i\u003e\n\u003c\/td\u003e\n\u003ctd\u003e130\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eRUTH KATZ\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIX\u003c\/td\u003e\n\u003ctd\u003eIndia's Fifth Veda: The\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMahabharata's\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ePresentation of Itself\u003c\/td\u003e\n\u003ctd\u003e150\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eJAMES L. FITZGERALD\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eX\u003c\/td\u003e\n\u003ctd\u003e\n\u003ci\u003eSantarasa\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ein the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMahabharata\u003c\/i\u003e\n\u003c\/td\u003e\n\u003ctd\u003e171\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eGARY A. TUBB\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXI\u003c\/td\u003e\n\u003ctd\u003eThe Epic's Two Grandfathers, Bhisma and Vyasa\u003c\/td\u003e\n\u003ctd\u003e204\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eBRUCE M. SULLIVAN\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXII\u003c\/td\u003e\n\u003ctd\u003eArjuna's Combat with the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eKirata: Rasa and\u003cspan\u003e Bhakti\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ein Bharavi's\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eKiratarjuniya\u003c\/i\u003e\n\u003c\/td\u003e\n\u003ctd\u003e212\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eINDIRA V. PETERSON\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXIII\u003c\/td\u003e\n\u003ctd\u003eThe Jaina\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMahabharata\u003c\/i\u003e\n\u003c\/td\u003e\n\u003ctd\u003e251\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eB .N. SUMITRA BAI AND ROBERT J. ZYDEBOS\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXIV\u003c\/td\u003e\n\u003ctd\u003eRitual and Performance in the Pandavalila of Garhwal\u003c\/td\u003e\n\u003ctd\u003e274\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eWILLIAM SAX\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXV\u003c\/td\u003e\n\u003ctd\u003eRaksasa Bhima: Wolfbelly among Ogeres and Brahmans in the\u003cspan\u003e Sanskrit \u003c\/span\u003e\u003ci\u003eMahabharata\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eVenisamhara\u003c\/i\u003e\n\u003c\/td\u003e\n\u003ctd\u003e296\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eDAVID L. GITOMER\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXVI\u003c\/td\u003e\n\u003ctd\u003eSavitri: Old and New\u003c\/td\u003e\n\u003ctd\u003e324\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eVIDYUT AKLUJKAR\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXVII\u003c\/td\u003e\n\u003ctd\u003eThe Epic Context of the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBhagvadgita\u003c\/i\u003e\n\u003c\/td\u003e\n\u003ctd\u003e334\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eMADHAV M. DESHPANDE\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXVIII\u003c\/td\u003e\n\u003ctd\u003eThe Battle of Kuruksetra in Topological Transposition\u003c\/td\u003e\n\u003ctd\u003e349\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eVICTORIA URUBSHUROW and T. R. SINGH\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXIX\u003c\/td\u003e\n\u003ctd\u003e\n\u003ci\u003eArthasastra\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eCategories in the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMahabharata:\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efrom\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDandaniti to Rajabharma\u003c\/i\u003e\n\u003c\/td\u003e\n\u003ctd\u003e369\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eBRAJ M. SINHA\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXX\u003c\/td\u003e\n\u003ctd\u003eSnakes,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSattras\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMahabharata\u003c\/i\u003e\n\u003c\/td\u003e\n\u003ctd\u003e384\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eCHRISTOPHER MINKOWSKI\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXI\u003c\/td\u003e\n\u003ctd\u003eKrsna: In Defence of a Devious Divinity\u003c\/td\u003e\n\u003ctd\u003e401\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eBIMAL\u003cspan\u003e KRISHNA\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003eMATILAL\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXII\u003c\/td\u003e\n\u003ctd\u003eRepetition in the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMahabharata\u003c\/i\u003e\n\u003c\/td\u003e\n\u003ctd\u003e419\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eA. K. RAMANUJAN\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXIII\u003c\/td\u003e\n\u003ctd\u003eHimalayan Variations on the Epic Theme\u003c\/td\u003e\n\u003ctd\u003e444\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eJOHN LEAVITT\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eContributors\u003c\/td\u003e\n\u003ctd\u003e475\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIndex\u003c\/td\u003e\n\u003ctd\u003e479\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter\u003e\u003c\/center\u003e","brand":"Arvind Sharma","offers":[{"title":"Default Title","offer_id":41283083305098,"sku":"","price":650.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/ESSAYONTHEMAHABHARATA.jpg?v=1660387209"},{"product_id":"krishna-hari-a-play","title":"Krishna Hari: A Play","description":"\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThis book is a dramatic presentation in three Acts about one of the most significant episodes of the Shrimad Bhagavatam the birth of Lord Krishna. It is a story about the atrocities committed by King Kamsa and his subsequent fall and death by Krishna.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eACT ONE deals with the tragic fate of Devaki and Vasudeva, Krishna's parents, and their incarceration in prison.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eACT TWO is a joyous account of Krishna's early childhood and his divine relationship with the Gopis and Radha.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eACT THREE sees the culmination of the divine prophecy and the death of Kamsa.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eAbout The Author\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eNandlal Tulsiram, a Canadian citizen, whose ancestors left India a century ago, was born in South Africa in 1926. He studied in South Africa and at Carleton University in Canada. He taught English language, literature and linguistics at schools, colleges and universities in six countries for thirty-seven years.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eNow retired, the author spends his time travelling, writing and delivering lectures on various social and religious topics. He has written, produced and directed many plays on Indian and African themes. Apart from his numerous productions he wrote and produced Krishna Hari and With Love From Luangwa for the Festival of Zambia Theatre Arts. He also wrote, produced and directed Scenes from the Ramayana at the University of Tripoli, Libya. He has written several papers on Hindu religion and philosophy and is now working on the 'Poetic Imagery of Tulasidasa's Ramacharitamanasa'. He has most recently written a paper on 'Mahatma Gandhi in South Africa' and is planning to write a novel soon.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eForeword\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eKrishna Hari, one of the most readable plays ever written on the themes of Kamsa's atrocities and the birth of Krishna, reveals the mastery the dramatist has of Indian mythological materials. His knowledge of Indian scriptures, especially of Shrimad Bhagavatam, is both extensive and deep, one of the most welcome fruits of which is the display, a dramatization of one of the most important episodes in what is one of the greatest of the Hindu Puranas. That the play is enormously stageable will be apparent to every reader.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eTulsiram, its author, is a familiar name in Africa-it's a name associated with the production of more than a score of plays centring around diverse themes, mostly culled from Indian mythology and tradition. The report goes that every member of the audience has appreciated Tulsiram's plays, his dialogues, his technique and art of characterization, his natural- ism and realism and his profound knowledge of dramatic art. In so far as Krishna Had is concerned, it is remarkable for its pithy dialogues and crisp, lively sentences decorously suited to the characters, matching their character and personality. As he has already produced and directed no less than twenty-four plays, Tulsiram knows the taste of his audiences as he also knows what the stage requirements indeed are. There- fore, there are no loose ends here; instead, we have a well-knit plot, skilfully engineered and possessed of a remarkable organic unity in the Aristotelian sense of the term. The author writes with commendable ease bordering on spontaneity and consummate expertise. The book, I am sure, will be popular and readily welcome for its readability, interesting themes, and dramatic art. Those who are interested in getting firsthand information about one of the most significant episodes of the Shrimad Bhagavatam, its symbolically charged meaning, and its spiritual significance, will find in this play a remarkable contribution, in fact, the only dramatic contribution ever made in English. Therefore, I would recommend it to all lovers of English drama.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"10%\"\u003e \u003c\/td\u003e\n\u003ctd width=\"80%\"\u003eAcknowledgements\u003c\/td\u003e\n\u003ctd width=\"10%\"\u003evii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eForeword\u003c\/td\u003e\n\u003ctd\u003eix\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eCharacters\u003c\/td\u003e\n\u003ctd\u003exiii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eAct 1\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 1\u003c\/td\u003e\n\u003ctd\u003eMaharaja Kamsa's Palace--Mathura\u003c\/td\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 2\u003c\/td\u003e\n\u003ctd\u003eAt the Foot of the Himalayas\u003c\/td\u003e\n\u003ctd\u003e11\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 3\u003c\/td\u003e\n\u003ctd\u003ePrison in Mathura\u003c\/td\u003e\n\u003ctd\u003e16\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 4\u003c\/td\u003e\n\u003ctd\u003ePrison in Mathura\u003c\/td\u003e\n\u003ctd\u003e21\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eAct 2\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 1\u003c\/td\u003e\n\u003ctd\u003eNand and Yashoda's Abode-Gokula\u003c\/td\u003e\n\u003ctd\u003e27\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 2\u003c\/td\u003e\n\u003ctd\u003eNand and Yashoda's Abode-Gokula\u003c\/td\u003e\n\u003ctd\u003e33\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 3\u003c\/td\u003e\n\u003ctd\u003eNand and Yashoda's Abode-The Courtyard: Gokula\u003c\/td\u003e\n\u003ctd\u003e38\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 4\u003c\/td\u003e\n\u003ctd\u003eAlong the Banks of the Yamuna-Vrindavan\u003c\/td\u003e\n\u003ctd\u003e45\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 5\u003c\/td\u003e\n\u003ctd\u003eNand and Yashoda's Abode-The Courtyard: Vrindavan\u003c\/td\u003e\n\u003ctd\u003e52\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eAct 3\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 1\u003c\/td\u003e\n\u003ctd\u003eAlong the Banks of the Yamuna-Mathura\u003c\/td\u003e\n\u003ctd\u003e65\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 2\u003c\/td\u003e\n\u003ctd\u003eA Street Scene-Mathura\u003c\/td\u003e\n\u003ctd\u003e70\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 3\u003c\/td\u003e\n\u003ctd\u003eDhanuryajna-The Secred Bow Festival: The Sacrificial Arena\u003c\/td\u003e\n\u003ctd\u003e78\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 4\u003c\/td\u003e\n\u003ctd\u003eThe Wrestling Tournament-The Wrestling Arena\u003c\/td\u003e\n\u003ctd\u003e83\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eScene 5\u003c\/td\u003e\n\u003ctd\u003ePrison-Mathura\u003c\/td\u003e\n\u003ctd\u003e91\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eGlossary\u003c\/td\u003e\n\u003ctd\u003e99\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter\u003e\u003c\/center\u003e","brand":"Nandlal Tulsiram","offers":[{"title":"Hardbound","offer_id":41545014739082,"sku":"","price":200.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/78_2048x2048_00343fc3-af88-44cd-9e6a-3e46d98d7180.jpg?v=1658743067"},{"product_id":"the-debate-of-king-milinda-an-abridgement-of-the-milinda-panha","title":"The Debate of King Milinda","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe Milinda Panha is, with good reason, a famous work of Buddhist literature, probably compiled in the first century B.C. It presents Buddhist doctrine in a very attractive and memorable form as a dialogue between a Bactrian Greek king, Milinda, who plays the 'Devil's Advocate' and a Buddhist sage, Nagasena. The topics covered include most of those questions commonly asked by Westerners such as \"If there is no soul, what is it that is reborn?\" and \"If there is no soul, who is talking to you now?\" This abridgement provides a concise presentation of this masterpiece of Buddhist literature. The introduction outlines the historical background against which the dialogues took place, indicating the meeting of two great cultures-that of ancient Greece and the Buddhism of the Indus valley which was a legacy of the great Emperor Asoka. It is hoped that the adequate references, glossary, index and list of Pali quotations will provide readers with an incentive to read further from the translations of the Pali texts.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cb\u003eAbout the Author\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eBhikkhu Pesala is an English monk ordained in 1979 by Venerable Mahasi Sayadaw of Burma while the Venerable Sayadaw was on a mission to the United Kingdom to teach Vipassana Meditation.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eBhikkhu Pesala has visited Burma three times to train in Mahasi Sayadaw's Vipassana method.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAfter returning to the UK in 1985 he worked closely with Venerable Hammalawa Saddhatissa, helping him to prepare a number of publications including:\u003c\/p\u003e\n\u003cul style=\"text-align: left;\"\u003e\n\u003cli\u003e'A Buddhist Manual',\u003c\/li\u003e\n\u003cli\u003e'Abhidhammatthavibhavini-tika',\u003c\/li\u003e\n\u003cli\u003e'Pali Literature of South-East Asia'\u003c\/li\u003e\n\u003cli\u003eand 'Facets of Buddhism'\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cspan\u003eIn 1995, Bhikkhu Pesala founded the \"Association for Insight Meditation\" to promote the Venerable Mahasi Sayadaw's teaching and meditation method.\u003c\/span\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eForeword\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Milinda Pamha is a Pali Book written in about the 1st century B.C. King Milinda a Bactrian king who ruled the northeast of India met a learned monk called Nagasena and the king put a number of questions on the philosophy psychology and ethics of Buddhism I presume this debate was conducted in the Bactrian greek language but was later translated into Palin and\u003cspan\u003e Sanskrit\u003c\/span\u003e\u003ca href=\"https:\/\/www.exoticindiaart.com\/book\/Hindu\/sanskrit\/\"\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThis well known Pali book called Milinda Pamha or question of king Milinda has twice been translated into English in 1890 and in 1969. both translations are literary and in many places literal therefore they were mainly confined to scholars. This present work is however not a literal but a free rendering making an abridgement and aimed at the reader who prefers to take a short cut rather than the long way not notwithstanding that the latter may be very beautiful.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe framework remains the same as the original but in many cases the number of similes used to make point has been reduced.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe author Bhikku pesala is a Buddhist monk who had training in Burma and Thailand whose knowledge of Pali has enabled him to check areas of ambiguous translation to compile this concise and readable work in elegant modern English while his knowledge of Buddhism has enabled him to clarify some obscure ideas.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThis book will certainly serve its intended aim by the uncomplicated presentation of the original work.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Milinda Pañha is an ancient and much venerated book of the Buddhists, indeed regarded so highly as to be included by the Burmese in the Pall Canon. In the Pali book it says that the conversations between King Milinda and Nagasena took place five hundred years after the Parinibbana of the Buddha. Mr. T.W. Rhys Davids, the most able translator of the Pali texts) regarded the Milinda Panha very highly. He said, j venture to think that the Questions of King Milinda’ is undoubtedly the masterpiece of Indian prose; and indeed the best book of its class, from a literary point of view, that had been produced in any country.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe style of the Milinda Pañha is very much like a Platonic dialogue) Nagasena playing the part of Socrates and winning over King Milinda to the Buddhist view point by his sound reasoning and his fitting similes. The author is not known but it is almost certain that he lived in the far northwest of India or in the Punjab, since he mentions no place in the interior of India south of the Ganges. This is supported by what is definitely known about King Menander, a Bactrian king identified with Milinda.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eMuch more is known about King Menander. Many of his coins have been found over a wide area of northern India, as far west as Kabul, as far east as Mathura and as far north as Kashmir. The portrait is sometimes of a young man and other times that of a very old man. Plutarch says, “Menander was a king noted for justice who enjoyed such popularity with his subjects that upon his death, which took place in camp, diverse cities contended for the possession of his ashes. The dispute was settled by the representatives of the different cities agreeing to divide the relics, and then erecting separate monuments to his memory”\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe recent publication of the Mir Zakah treasure confirms the rule of Menander in Ghazni and adjoining areas of the Kabul valley in the north (there are 521 coins of Menander in that treasure). The discovery of an Attic Tetradrachm of Menander sets speculation at rest; he must have ruled over the Kabul region. In the north he occupied Hazara and the Swat valley.2 So Menander was one of the most important of those Greek kings who continued in Bactria the dominion founded by Alexander the Great. He probably reigned from about 150 to 10 B.C. (thus dating his conversations not much more than 400 years after the Parinibbana of the Buddha). Strabo, draws attention in passing to the remarkable way in which the kingdom of Bactria expanded beyond its original limits, and he mentions incidentally that the kings chiefly responsible were Demetrius and Menander... But Menander left a far deeper mark on the tradition of India than did Demetrius.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eMenander annexed the Indus delta, the peninsula of Surastra (Kathiavar), occupied Mathura on the Jumna, besieged Madyamika (Nagari near Chitor) and Saketam in southern Oudh, arid threatened the capital, Patahputta. But the invasion was repulsed and Menander was forced to return to his own country. Since the Bactrians later became Buddhists there can be little doubt that King Menander is indeed the King Milinda referred to in the book. However, the conversations may be just a literary device-the author used to add interest, His primary aim is to clarify Buddhist doctrine and to refute the wrong views promulgated by various opponents of Buddhism.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe introductory story in the Milinda Panha concerning Nagasena’s upbringing is almost identical to the story of the young Moggaliputta Tissa, which is told in the Mahavamsa, the Ceylon Chronicles. Moggaliputta Tissa Thera lived about a hundred years before Menander and is mentioned twice in the text [Miln. pp 3,71] so it is probably his story that is the older of the two. However, the Mahãvamsa was written much later, by Mahãnãma at the beginning of the 6th century AD., so the story could have been borrowed by Mahãnama from the Milinda Pañha, which was by then a venerable book edited by Buddhaghosa. (In the Milinda Tika, a commentary on the Milinda Panha, it is stated that several verses of prologue and epilogue in the Milinda Pañha were composed by Buddhaghosa).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eFrom the supposed conversation that Milinda has with Purana Kassapa, Makkhali Gosala and other ascetics3 it is obvious that this introductory story was fabricated by the author since these ascetics were contemporaries of the Buddha. The story is based on the Samanña Phala Sutta of the Digha Nikaya. One point of difference is noteworthy: in the Sãmanna Phala Sutta,4 Prince Ajatasattu goes to see the Buddha but is unable to recognize him; whereas in the introduction to the Milinda Panha, King Milinda says of Nagasena, There is no need to point him out to me,” thus showing his great superiority to Prince Ajatasattu.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cb\u003eThe Rise of the Magadha Kingdom\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003ein the Mahaparinibbana Sutta the Buddha predicted that the city of Pataliputta, which was founded shortly before his death, would become a great city, “Ananda, among the towns and cities that are centres of congregation and commerce of people of the Aryan race, this new town will become the greatest city called Pataliputta, a place where goods are unpacked, sold and distributed, but it will be in danger from flood, fire and internal I The Magadha Kingdom, of which Pataliputta (modern Patna) was the capital, gradually became the most powerful in all India.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn the mid 4th century B.C. a Sudra named Mahapadma Nanda usurped the throne of the kingdom of Magadha and became the ruler of a kingdom stretching from the Brahmaputra river in the east to the Beas in the west. But beyond the Beas were several small kingdoms.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eDuring this period, Alexander the Great conquered Persia and crossed the Hindu Kush into Bactria (Northern Afghanistan). It took him two years to subdue these inhospitable regions, but in so doing he founded several cities penetrating as far north as Samarkand and Leninabad (in the USSR). Another city has been identified at Charikar (north of Kabul). Hearing about the rivet Indus he recrossed the Hindu Kush in 327 B.C. and pushed eastwards to Taxila (Taklcasila), but when he reached the) helum river he encountered the Paurava rajah who had war elephants. Even the veterans of Macadonia were unable to continue against such opposition so Alexander was forced to retreat down the Indus river and thence back through Persia, where he died at Babylon in 323 B.C. Nevertheless, he had left behind him the foundations of the Bactrian kingdom and had surveyed the Jhelum and Indus rivers.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAfter Alexander’s death, Chandragupta, the founder of the Mauryan dynasty, was able to drive away the Greek garrisons from the Indus valley. In 321 B.C. he defeated Nanda and became the ruler of the Magadha kingdom from the capital at Pãlalipurta. Alexander’s successor, Seleukos 1 Nikator, led an expedition against the Indians in 311 B.C. hoping to regain the Punjab. However, he was up against the might of Chandragupta. So, by 304 B.C., Seleukos was glad to conclude a treaty with him, giving his daughter in marriage and ceding large areas of what is now Baluchistan and Afghanistan in exchange for 500 war elephants. Seleukos sent his ambassador, Magasthenes, to Pataliputta and from what remains of his writings we know something about the size of the army and the strength of the fortifications there. Chandragupta ruled for 24 years and his son Bindusra, about whom we know very little, ruled for 28 years until his death in 269 B.C.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAt the time of Bindusara’s death his eldest son was the viceroy at Takkasila and his younger son, Asoka, was the viceroy at Ujjeni in the south. Asoka fought with his brother for the right to ascend to the throne, and when his brother was killed in battle, Asoka became the ruler of a vast empire from Bengal to Afghanistan. However, he was still not satisfied and it was only in the ninth year of his reign, after the bloody conquest of the Kalinga kingdom (Orissa) that he gave up warfare and became a devoted follower of Buddhism. Emperor Asoka sent missions of monks to the border areas of his great empire. Asokan inscriptions have been found in the Kabul valley written in Greek and Aramaic, and elsewhere his inscriptions say that he had made Dhamma conquests in Egypt, Syria, Macedonia, Greece, Cyprus, Bactria, Kashmir, Gandhãra, etc. The Mahavarnsa says that missionaries were sent to Kashmir, Gandhãra, Bactria, the Himalayas, Sindh (Gujarat), and inscriptions on relic caskets found in stupas at Sanchi record the success of those missions to the Himalayas. Unfortunately, the other stüpa records have been vandalised, but we can be sure that the missions to Kashmir and Gandhãra were successful since even in the Buddha’s time Takkasila was a renowned centre of learning. The Mahavarnsa also records that at the consecration of the Great Stupa in 157 B.C. monks came from Alasanda (Charika) in Yona (Bactria).\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"10%\"\u003e\u003c\/td\u003e\n\u003ctd width=\"80%\"\u003eForeword by Series Editor\u003c\/td\u003e\n\u003ctd\u003ev\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eForeword\u003c\/td\u003e\n\u003ctd\u003evii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eEditor’s Preface\u003c\/td\u003e\n\u003ctd\u003eix\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eMilinda’s India\u003c\/td\u003e\n\u003ctd\u003exvi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eIntroduction\u003c\/td\u003e\n\u003ctd\u003exvii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eThe Rise of the Magadha Kingdom\u003c\/td\u003e\n\u003ctd\u003exix\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eThe Rise of the Bactrian Kingdom\u003c\/td\u003e\n\u003ctd\u003exx\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eComparison with the Chinese text\u003c\/td\u003e\n\u003ctd\u003exxi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eThe Arrangement of the Pali book\u003c\/td\u003e\n\u003ctd\u003exxiii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eAbbreviations\u003c\/td\u003e\n\u003ctd\u003exxiv\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Debate of King Milinda\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003ePrologue\u003c\/td\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Great Chapter\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eA question of Concepts\u003c\/td\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Long Journey\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eContinuity of Dhamma\u003c\/td\u003e\n\u003ctd\u003e10\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eSustained Application\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eBeginning the journey\u003c\/td\u003e\n\u003ctd\u003e13\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eNibbana\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eSeparation of Phenomena\u003c\/td\u003e\n\u003ctd\u003e17\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Buddha\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eDid the Buddha Exist?\u003c\/td\u003e\n\u003ctd\u003e20\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eMindfulness\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eAttachment to the body\u003c\/td\u003e\n\u003ctd\u003e22\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eMentality is hard to Discern\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eMemory\u003c\/td\u003e\n\u003ctd\u003e25\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Resolution of Paradoxes\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003ePreliminary discussion\u003c\/td\u003e\n\u003ctd\u003e29\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003ctd\u003eOn Honors paid to the Buddha\u003c\/td\u003e\n\u003ctd\u003e30\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2\u003c\/td\u003e\n\u003ctd\u003eThe Omniscience of the Buddha\u003c\/td\u003e\n\u003ctd\u003e31\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003ctd\u003eDevadatta’s ordination\u003c\/td\u003e\n\u003ctd\u003e33\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003ctd\u003eCauses of earthquakes\u003c\/td\u003e\n\u003ctd\u003e33\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5\u003c\/td\u003e\n\u003ctd\u003eAsseveration of truth\u003c\/td\u003e\n\u003ctd\u003e34\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6\u003c\/td\u003e\n\u003ctd\u003eThe Paradox of conception\u003c\/td\u003e\n\u003ctd\u003e35\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7\u003c\/td\u003e\n\u003ctd\u003eThe Duration of the Religion\u003c\/td\u003e\n\u003ctd\u003e35\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8\u003c\/td\u003e\n\u003ctd\u003ePurity of the Buddha\u003c\/td\u003e\n\u003ctd\u003e36\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9\u003c\/td\u003e\n\u003ctd\u003ePerfection of the Buddha\u003c\/td\u003e\n\u003ctd\u003e37\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10\u003c\/td\u003e\n\u003ctd\u003eEquanimity of the Buddha\u003c\/td\u003e\n\u003ctd\u003e38\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Schism Chapter\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11\u003c\/td\u003e\n\u003ctd\u003eThe Minor and lesser precepts\u003c\/td\u003e\n\u003ctd\u003e39\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12\u003c\/td\u003e\n\u003ctd\u003eThe Esoteric teaching\u003c\/td\u003e\n\u003ctd\u003e39\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13\u003c\/td\u003e\n\u003ctd\u003eThe Fear of death\u003c\/td\u003e\n\u003ctd\u003e40\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14\u003c\/td\u003e\n\u003ctd\u003eProtection from death\u003c\/td\u003e\n\u003ctd\u003e41\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15\u003c\/td\u003e\n\u003ctd\u003eThe power of Mara\u003c\/td\u003e\n\u003ctd\u003e41\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16\u003c\/td\u003e\n\u003ctd\u003eKnowledge of wrong doing\u003c\/td\u003e\n\u003ctd\u003e42\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17\u003c\/td\u003e\n\u003ctd\u003eThe Buddha is not possessive\u003c\/td\u003e\n\u003ctd\u003e42\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18\u003c\/td\u003e\n\u003ctd\u003eThe Unity of the order\u003c\/td\u003e\n\u003ctd\u003e43\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Dismissal Chapter\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19\u003c\/td\u003e\n\u003ctd\u003eDhamma is best\u003c\/td\u003e\n\u003ctd\u003e44\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20\u003c\/td\u003e\n\u003ctd\u003eThe compassion of the Buddha\u003c\/td\u003e\n\u003ctd\u003e44\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e21\u003c\/td\u003e\n\u003ctd\u003eThe modesty of the Buddha\u003c\/td\u003e\n\u003ctd\u003e45\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e22\u003c\/td\u003e\n\u003ctd\u003eThe Buddha’s perfect speech\u003c\/td\u003e\n\u003ctd\u003e46\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e23\u003c\/td\u003e\n\u003ctd\u003eThe Talking tree\u003c\/td\u003e\n\u003ctd\u003e46\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e24\u003c\/td\u003e\n\u003ctd\u003eThe last meal\u003c\/td\u003e\n\u003ctd\u003e47\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e25\u003c\/td\u003e\n\u003ctd\u003eAdoration of Relics\u003c\/td\u003e\n\u003ctd\u003e47\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e26\u003c\/td\u003e\n\u003ctd\u003eThe Buddha’s foot is injured\u003c\/td\u003e\n\u003ctd\u003e48\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e27\u003c\/td\u003e\n\u003ctd\u003eThe true recluse\u003c\/td\u003e\n\u003ctd\u003e48\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e28\u003c\/td\u003e\n\u003ctd\u003eThe Boasting of the Buddha\u003c\/td\u003e\n\u003ctd\u003e48\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e29\u003c\/td\u003e\n\u003ctd\u003eWho deserves Punishment?\u003c\/td\u003e\n\u003ctd\u003e49\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e30\u003c\/td\u003e\n\u003ctd\u003eDismissal of the order\u003c\/td\u003e\n\u003ctd\u003e49\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Omniscience Chapter\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e31\u003c\/td\u003e\n\u003ctd\u003eThe Murder of Moggallana\u003c\/td\u003e\n\u003ctd\u003e50\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e32\u003c\/td\u003e\n\u003ctd\u003eSecrecy of the Vinaya\u003c\/td\u003e\n\u003ctd\u003e50\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e33\u003c\/td\u003e\n\u003ctd\u003eIntentional lying\u003c\/td\u003e\n\u003ctd\u003e51\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e34\u003c\/td\u003e\n\u003ctd\u003eInvestigations of the Bodhisatta\u003c\/td\u003e\n\u003ctd\u003e51\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e35\u003c\/td\u003e\n\u003ctd\u003eOn Suicide\u003c\/td\u003e\n\u003ctd\u003e52\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e36\u003c\/td\u003e\n\u003ctd\u003eProtection by loving kindness\u003c\/td\u003e\n\u003ctd\u003e52\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e37\u003c\/td\u003e\n\u003ctd\u003eWhy did devadatta prosper?\u003c\/td\u003e\n\u003ctd\u003e53\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e38\u003c\/td\u003e\n\u003ctd\u003eThe Weakness of women\u003c\/td\u003e\n\u003ctd\u003e53\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e39\u003c\/td\u003e\n\u003ctd\u003eVenerable Ananda’s courage\u003c\/td\u003e\n\u003ctd\u003e54\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e40\u003c\/td\u003e\n\u003ctd\u003eThe Buddha’s change of heart\u003c\/td\u003e\n\u003ctd\u003e54\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Dwelling place chapter\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e41\u003c\/td\u003e\n\u003ctd\u003eOn Dwelling places\u003c\/td\u003e\n\u003ctd\u003e55\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e42\u003c\/td\u003e\n\u003ctd\u003eRestraint of the stomach\u003c\/td\u003e\n\u003ctd\u003e55\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e43\u003c\/td\u003e\n\u003ctd\u003eThe Best of Men\u003c\/td\u003e\n\u003ctd\u003e56\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e44\u003c\/td\u003e\n\u003ctd\u003eThe Ancient path\u003c\/td\u003e\n\u003ctd\u003e56\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e45\u003c\/td\u003e\n\u003ctd\u003eThe Bodhisatta’s weakness\u003c\/td\u003e\n\u003ctd\u003e57\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e46\u003c\/td\u003e\n\u003ctd\u003eRespect for the robe\u003c\/td\u003e\n\u003ctd\u003e57\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e47\u003c\/td\u003e\n\u003ctd\u003eThe Merit of the potter\u003c\/td\u003e\n\u003ctd\u003e58\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e48\u003c\/td\u003e\n\u003ctd\u003eKing or Brahman?\u003c\/td\u003e\n\u003ctd\u003e58\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e49\u003c\/td\u003e\n\u003ctd\u003eRight Livelihood\u003c\/td\u003e\n\u003ctd\u003e59\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e50\u003c\/td\u003e\n\u003ctd\u003eThe Reluctance of the Buddha\u003c\/td\u003e\n\u003ctd\u003e59\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e51\u003c\/td\u003e\n\u003ctd\u003eThe Buddha’s teachers\u003c\/td\u003e\n\u003ctd\u003e60\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eQuestions solved by Inference\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003ctd\u003eTwo Buddhas Cannot exist together\u003c\/td\u003e\n\u003ctd\u003e61\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2\u003c\/td\u003e\n\u003ctd\u003eGifts to the order\u003c\/td\u003e\n\u003ctd\u003e61\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003ctd\u003eThe Advantages of a Recluse’s life\u003c\/td\u003e\n\u003ctd\u003e62\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003ctd\u003eThe Practice of Austerities\u003c\/td\u003e\n\u003ctd\u003e63\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5\u003c\/td\u003e\n\u003ctd\u003eReverting to Laylife\u003c\/td\u003e\n\u003ctd\u003e63\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6\u003c\/td\u003e\n\u003ctd\u003eThe mastery of the arahants\u003c\/td\u003e\n\u003ctd\u003e64\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7\u003c\/td\u003e\n\u003ctd\u003eHeinous crimes\u003c\/td\u003e\n\u003ctd\u003e65\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8\u003c\/td\u003e\n\u003ctd\u003eThe Unvirtuous\u003c\/td\u003e\n\u003ctd\u003e65\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9\u003c\/td\u003e\n\u003ctd\u003eIs water alive?\u003c\/td\u003e\n\u003ctd\u003e66\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Impediments Chapter\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10\u003c\/td\u003e\n\u003ctd\u003eBe Without impediments\u003c\/td\u003e\n\u003ctd\u003e67\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11\u003c\/td\u003e\n\u003ctd\u003eThe Lay Arahant\u003c\/td\u003e\n\u003ctd\u003e67\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12\u003c\/td\u003e\n\u003ctd\u003eThe Offences of Arahants\u003c\/td\u003e\n\u003ctd\u003e67\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13\u003c\/td\u003e\n\u003ctd\u003eWhat is not found in the world\u003c\/td\u003e\n\u003ctd\u003e68\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14\u003c\/td\u003e\n\u003ctd\u003eThe uncaused\u003c\/td\u003e\n\u003ctd\u003e68\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15\u003c\/td\u003e\n\u003ctd\u003eModes of production\u003c\/td\u003e\n\u003ctd\u003e69\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16\u003c\/td\u003e\n\u003ctd\u003eDemons\u003c\/td\u003e\n\u003ctd\u003e69\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17\u003c\/td\u003e\n\u003ctd\u003eLaying down of rules for monks\u003c\/td\u003e\n\u003ctd\u003e70\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18\u003c\/td\u003e\n\u003ctd\u003eThe Heat of the sun\u003c\/td\u003e\n\u003ctd\u003e70\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19\u003c\/td\u003e\n\u003ctd\u003eThe winter Sun\u003c\/td\u003e\n\u003ctd\u003e70\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Vessantara Chapter\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20\u003c\/td\u003e\n\u003ctd\u003eThe Gift of Vessantara\u003c\/td\u003e\n\u003ctd\u003e71\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e21\u003c\/td\u003e\n\u003ctd\u003eAusterities\u003c\/td\u003e\n\u003ctd\u003e72\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e22\u003c\/td\u003e\n\u003ctd\u003eThe power of Evil\u003c\/td\u003e\n\u003ctd\u003e73\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e23\u003c\/td\u003e\n\u003ctd\u003eSharing of Merit\u003c\/td\u003e\n\u003ctd\u003e74\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e24\u003c\/td\u003e\n\u003ctd\u003eDreams\u003c\/td\u003e\n\u003ctd\u003e75\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e25\u003c\/td\u003e\n\u003ctd\u003ePremature Death\u003c\/td\u003e\n\u003ctd\u003e76\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e26\u003c\/td\u003e\n\u003ctd\u003eMiracles at shrines of Arahants\u003c\/td\u003e\n\u003ctd\u003e76\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e27\u003c\/td\u003e\n\u003ctd\u003eCam everyone understand the Dhamma??\u003c\/td\u003e\n\u003ctd\u003e77\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e28\u003c\/td\u003e\n\u003ctd\u003eThe Bliss of Nibbana\u003c\/td\u003e\n\u003ctd\u003e77\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e29\u003c\/td\u003e\n\u003ctd\u003eDescription of Nibbana\u003c\/td\u003e\n\u003ctd\u003e78\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e30\u003c\/td\u003e\n\u003ctd\u003eThe Realisation of Nibbana\u003c\/td\u003e\n\u003ctd\u003e79\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e31\u003c\/td\u003e\n\u003ctd\u003ewhere is Nibbana\u003c\/td\u003e\n\u003ctd\u003e80\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Inference Chapter\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e32\u003c\/td\u003e\n\u003ctd\u003eA Question solved by inference\u003c\/td\u003e\n\u003ctd\u003e81\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e33\u003c\/td\u003e\n\u003ctd\u003eThe Ascetic practices\u003c\/td\u003e\n\u003ctd\u003e84\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Similes\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003ctd\u003eThe Donkey\u003c\/td\u003e\n\u003ctd\u003e87\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2\u003c\/td\u003e\n\u003ctd\u003eThe Cockerel\u003c\/td\u003e\n\u003ctd\u003e87\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003ctd\u003eThe female panther\u003c\/td\u003e\n\u003ctd\u003e87\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7\u003c\/td\u003e\n\u003ctd\u003eThe Bamboo\u003c\/td\u003e\n\u003ctd\u003e88\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10\u003c\/td\u003e\n\u003ctd\u003eThe Monkey\u003c\/td\u003e\n\u003ctd\u003e88\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12\u003c\/td\u003e\n\u003ctd\u003eThe Lotus\u003c\/td\u003e\n\u003ctd\u003e88\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20\u003c\/td\u003e\n\u003ctd\u003eThe Ocean\u003c\/td\u003e\n\u003ctd\u003e88\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e21\u003c\/td\u003e\n\u003ctd\u003eThe Eartj\u003c\/td\u003e\n\u003ctd\u003e88\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e22\u003c\/td\u003e\n\u003ctd\u003eWater\u003c\/td\u003e\n\u003ctd\u003e89\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e27\u003c\/td\u003e\n\u003ctd\u003eThe moon\u003c\/td\u003e\n\u003ctd\u003e89\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e30\u003c\/td\u003e\n\u003ctd\u003eThe Universal Monarch\u003c\/td\u003e\n\u003ctd\u003e89\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e35\u003c\/td\u003e\n\u003ctd\u003eThe Mongoose\u003c\/td\u003e\n\u003ctd\u003e89\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e40\u003c\/td\u003e\n\u003ctd\u003eThe Elephant\u003c\/td\u003e\n\u003ctd\u003e90\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e46\u003c\/td\u003e\n\u003ctd\u003eThe Indian crane\u003c\/td\u003e\n\u003ctd\u003e90\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e47\u003c\/td\u003e\n\u003ctd\u003eThe Bat\u003c\/td\u003e\n\u003ctd\u003e90\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e48\u003c\/td\u003e\n\u003ctd\u003eThe Leech\u003c\/td\u003e\n\u003ctd\u003e90\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e50\u003c\/td\u003e\n\u003ctd\u003eThe Rock Snake\u003c\/td\u003e\n\u003ctd\u003e90\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e60\u003c\/td\u003e\n\u003ctd\u003eThe Carpenter\u003c\/td\u003e\n\u003ctd\u003e90\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e61\u003c\/td\u003e\n\u003ctd\u003eThe waterpot\u003c\/td\u003e\n\u003ctd\u003e91\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eBibliography\u003c\/td\u003e\n\u003ctd\u003e’2\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eGlossary\u003c\/td\u003e\n\u003ctd\u003e93\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eQuotations\u003c\/td\u003e\n\u003ctd\u003e98\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eIndex\u003c\/td\u003e\n\u003ctd\u003e107\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Bhikkhu Pesala","offers":[{"title":"Default Title","offer_id":41588550762634,"sku":"","price":450.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/DEBATEOFKINGMILINDA.jpg?v=1660390379"},{"product_id":"garland-of-divine-flowers-selected-devotional-lyrics-of-saint-jnaneswara","title":"Garland of Divine Flowers","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe present work is a collection of selected poems written in the 13th cent. poet-saint Sri Jnanesvara. His devotional Lyrics are called 'Abhangas'. Herein one hundred and ten devotional poems of his called abhangas, have been selected for translation and study.\u003c\/p\u003e","brand":"P. V. Bobde","offers":[{"title":"Default Title","offer_id":41643979669642,"sku":"","price":200.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120804005.jpg?v=1660726006"},{"product_id":"geometry-in-ancient-and-medieval-india","title":"Geometry in Ancient and Medieval India","description":"\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eBook is a geometrical survey of the Samskrt and Prakrt scientific and quasi-scientific literature of India beginning with the Vedic literature and ending with the early part of the 17th century. It deals in detail with the Sulbasutras in the Vedic literature, with the mathematical parts of Jaina works and of the Hindu and with the contributions to geometry made by the astronomer- mathematicians Aryabhata I \u0026amp; II, Sripati, Bhaskara I \u0026amp; II, Sangamagrama Madhava, Paramesvara, Nilakantha, his disciples and a host of others. The works of the mathematicians Mahavira, Sridhara and Narayana Pandita and the Bakshali Manuscript have also been studied.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe work seeks to explode the theory that the Indian mathematical genius was predominantly algebraic and computational and that it eschewed proofs and rationales. There was a school in India which delighted to demonstrate even algebraical results geometrically. In their search for a sufficiently good approximation for the value of p Indian mathematicians had discovered the tool of integration, which they used equally effectively for finding the surface area and volume of a sphere and in other fields. This discovery of integration was the sequel of the inextricable blending of geometry and series mathematics.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAbout the Author\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eDr. T.A. Saraswati Amma took her basic degree in Physics and Mathematics from the University of Madras. She took her Master’s degree in\u003cspan data-mce-fragment=\"1\"\u003e Sanskrit\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003efrom B.H.U. and her Master’s degree in English Literature from Bihar University.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThis book is her doctoral thesis on which she was awarded the Ph.D. degree by Ranchi University. Equipped as she is with a good knowledge of, both Mathematics and Sanskrit she was eminently suitable to carry on research on this very important topic.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eShe has made extensive contributions in the field of Sanskrit and Mathematics by way of publications, papers, post-doctoral research and participation in various national and international conferences.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eForeword\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eWhen the author of the present Thesis came y to me to do research, I did not want her to take up any subject in the over- worked fields of Alamkara, Vedanta or general literature and wanted to know if she was prepared, to work in fields which were neglected or in which few young scholars were inclined to put forth their efforts. On further enquiry I found that she was qualified in mathematics, having taken her first degree in physics and mathematics and decided that she should specialise in the field of Indian contribution to mathematics, algebra and geometry.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe originality and antiquity of Indian contribution to these branches of science have been questioned by some of the historians of mathematics. For example while it is generally believed that the credit of having discovered the place value and decimal system goes to India, some distinguished modern writers do not accept this. But in the case of geometry, we are on more Solid grounds. Not only are the Sulba Sutra earlier in date to Pythagoras but the entire sacrificial system and the fire altars, vedic for which the Sulba Sutras were intended, are already pre- supposed by the Rigvedic hymns. The biased view of the ancient Hindu contribution, either for or against, has been aggravated, as observed by an eminent modern Indian scientist, by the inadequate publication of the original documents. Needham says \"future research on the history of science and technology in Asia, will, in fact, reveal that the achievements of these peoples contribute far more, in all pre-renaissance periods, to the development of world science than has yet been realised.\" This study to be useful could be undertaken only by those who have scientific equipment, and if these have the additional grounding of a knowledge of Sanskrit, the best possible results could be! expected. The material available should be interpreted in terms of modern knowledge in the concerned sciences. It is in this respect that work such as the one being introduced here is important.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eDr. Sarasvati has examined ancient Indian geometry as seen in the Vedic period and its Sulba Sutras and in the texts of the classical and post-classical periods of Sanskrit literature, as also in the Jain texts like the Surya, Candra and Jambudvipa Prajnaptis. The work was recommended for the Doctorate Degree by Judges who were mathematicians and its publication will be an addition to the meagre expositions available on the scientific aspects of Sanskrit literature.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe efforts of the section of the Ministry of Education dealing with the history of Science in India and of the Association for the History of Science and their Journal have been helpful for the development of researches in this field. Special emphasis was laid by the First International Sanskrit Conference held recently by the Ministry of Education, on Sanskrit and Science and Technology and it revealed the talent available for tackling subjects in this area. However it cannot be said that, as in the case of Philosophy, Professors of the different sciences in the Indian Universities have become interested in this subject; as I have pleaded the history in India of the respective sciences should form a regular complementary part of the study of modern sciences in the Universities and should form legitimate subjects for research degrees for Science graduates.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eI hope that the author will continue her investigations in this specialised field and will make further contributions to the elucidation of the Sanskrit literature on mathematics.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePreface\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThis book is the third in a series of books on Indian Mathematics. The first two, History of Hindu Mathematics by B.B. Datta and A.N. Singh, Part I first published in 1935 and Part II published in 1938, concern themselves with Arithmetic and Algebra in Pre-British India. The present book, the author’s doctoral thesis, has geometry in the India of the same period as its theme. A similar history of Indian Trigonometry has been compiled by Dr. R.C. Gupta of the Birla Institute of Technology as his doctoral thesis under the guidance of the present author, who has also collected some materials for a history of series Mathematics in India. She hopes to be able to present them in a book form before the research world. A comprehensive history of Indian astronomy is another desideratum to complete the picture of the development of Mathematics in ancient and medieval India.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eIndeed the last one should have been the nucleus around which the other sections are to be grouped. For, at least after the Sulbasutra period, the main developments in Indian mathematics were oriented towards and inspired by the needs of astronomy. The word, Jyotisa (the science of the luminaries) covered all branches of mathematics The word, ‘ganita’ (calculations) which combined with Pati (calculating board), Bija (algebraical elements) and Ksetra (held or figure), denotes arithmetic, algebra and geometry respectively has also got an astronomical colouring, since the root ‘gan’ has always had a Special association with astronomical computations.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eGeometry, as remarked above, is designated as Ksetragainita in most Indian mathematical works. Ksetra means a closed figure whether it be a field or a figure drawn on the calculating board. In the Sulbasutras and in the Buddhist works rajju or Pujjuganita (calculations with the cord) stands for geometrical Calculations. It is only very late that we come across the use of the term Rekhaganita, calculations connected with the line.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eKsetraganita does not include the calculation of volumes, which is generally given under a separate heading Khatavyavahara section dealing with excavations. Rasiganita, calculations connected with heaps also has some geometrical interest. The present work is mainly based on the Ksetra and Khata sections of available mathematical texts, Rasiganita is rarely made use of, since these calculations are usually approximations. Most astronomical calculations being based on geometry, the purely astronomical texts also will yield geometrical material. But such material is not included in this study. In some of the texts like the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eGanitasarasamgraha, Mahasiddhanta\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eand the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eGanitakaumudi\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003erules or formulae are given for computing the areas of figures which are not basic geometric, figures, but which can be cut up into basic geometric figures like the segment and the triangle. Examples are the figures called Yam (barley corn), muraja (a sort of drum) and Sabkha (conch shell). These are also omitted in this study unless they have some special geometrical interest.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe completion of this work as planned is primarily due to the help and encouragement received from my guide, Dr. V. Raghavan, Professor of Sanskrit (since retired), Madras University. I am extremely grateful for his guidance and for gracing this book with his valuable Foreword. I also acknowledge with grateful thanks the help given to me by Prof. T.S. Kuppanna Sastrigal, retired Professor of Sanskrit, Sanskrit College, Madras, Dr. K. Kunchunni Raja, Professor of Sanskrit, Madras University, Prof. C.T. Rajagopal, retired Director, Ramanujam Institute, Madras, Sri Rama Verma (Maru) Tampuran (Joint editor of the Yuktibhasa), Dr. K.V. Sharma, (now) Reader in Sanskrit, Punjab University, in procuring books and manuscripts- and in unravelling the meaning of obscure mathematical passages, and the help of my friends and colleagues Smt. C. P. Parvati, Smt. Helen Barnard and Sri K. R. Prabhakar in correcting the typescript and in typing and proof—reading.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eI thank the Government of India for granting me a Humanities Research Scholarship and for sanctioning 50% of the publication cost, though I could not make use of the promised help in time and so forfeited it. I am grateful to the Ranchi University for subsidising this publication in part and to Motilal Banarsidass, Publishers and Book-sellers, for bringing out this work, which, by its very nature, has scant commercial value.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eExcerpts from reviews:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003e“The book under review is an almost exhaustive survey of geometry in Sanskrit and Prakrit literature right from the vedic times down to the early part of the seventeenth century A.D. The contributions to geometry made by Sulba Sutras, Hindu The contributions to geometry made by Sulba Sutras, Hindu Siddhanta, Jaina Canonical works, Bakshali manuscript as also by eminent mathematicians, Aryabhata I \u0026amp; II, Sripati, Bhaskaracharya I \u0026amp; II, Mahavira, Sridhara, Nilakanta and a few others have been dealt with critically.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe present book has filled more than adequately the long gap after the publication of an equally authentic, exhaustive source book, History of Hindu Mathematics in two Volumes (1935-1938), by B.B. Datta and A.N. Singh, which deals with ancient Indian arithmetic and algebra.”\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003eS. Balachandra Rao\u003cbr data-mce-fragment=\"1\"\u003eDeccan Herald Magazine,\u003cbr data-mce-fragment=\"1\"\u003eSunday, October 21, 1979\u003c\/center\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003e“An admirable feature of the book is the impartial scholarly attitude to the study and a complete absence of parochialism. The book is supplemented with an exhaustive Bibliography, a Glossary of Geometrical Terms and an Index.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eA higly commendable treatise, the work is very useful as a text book of Hindu geometry.”\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003eD.G. Dhavale\u003cbr data-mce-fragment=\"1\"\u003eAnnals of B.O.R. Institure\u003cbr data-mce-fragment=\"1\"\u003eVol. LXIX (1988), Poona 1988.\u003c\/center\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003e“This book is a geometrical survey of Sanskrit and Prakrit scientific literature beginning from the Sulba-sutras (VIth-Vth century B.C.) and ending with the early of XVIIth century A.D…\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eAs pointed out by the author in the preface “the book is the third in a series of books on Indian mathematics….In fact, this book considerably.”\u003c\/p\u003e\n\u003cp style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eCONTENTS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ctable width=\"100%\" data-mce-fragment=\"1\"\u003e\n\u003ctbody data-mce-fragment=\"1\"\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd width=\"80%\" data-mce-fragment=\"1\"\u003eForeword V. Raghvan\u003c\/td\u003e\n\u003ctd width=\"10%\" data-mce-fragment=\"1\"\u003ev\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePreface\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003evii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter I. Introduction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eGeometry as the branch of Indian mathematics with the earliest recorded development - the change from constructional character to circle-orientedness - lack of proofs explained - utilitarian character of Indian mathematics - general survey of the history of geometry and mathematics in India.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter II. Sulbasutra Geometry\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e14\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe number of Sulbasutras - their date - the term sulba - analysis of the contents of the Sulbasutras - the theorem of the square of the diagonal - determining the east-west line - to draw the perpendicular bisector of a given line - construction of squares, rectangles and trapezia - transformation of figures - combination and subtraction of areas - geometrical truths implied in the constructions - properties of similar figures - areas - rational right triangles - early geometrical terminology - the Sulbasutras and later ages.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter III. Early Jaina Geometry\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e61\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe impetus for the study of geometry - the very early works - the value 10 for solid figures - the trapezium and the trapezoidal solid.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter IV. The Trapezium\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e70\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe treatment in early Jaina literature, by Aryabhata I, by Brahmagupta, by Sridhara, by Mahavira, by later Jaina authors, by Aryabhata II, by Sripati, by Bhaskara II, by Narayana Pandit.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter V. The Quadrilateral\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e81\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe cyclic quadrilateral verses the non-cyclic-Suciksetras - non-cyclic quadrilaterals - Narayana Pandit’s treatment of the cyclic quadrilateral - Paramesvara’s expression for the circumradius and the Kriyakramakari proof for it - the Yuktibhasa proof for trigonometrical identities and for Brahmagupta’s expressions for the diagonals and area of a cyclic quadrilateral.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter VI. The Triangle\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e117\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eEarly mention of - treatment by Aryabhata, by Brahmagupta etc. - Nilakantha’s logical demonstration for the concurrence of the perpendicular bisectors of a triangle - the theorem of the square on the hypotenuse and its proof.-rational rectilinear figures - the rational cyclic quadrilateral - Narayana’s treatment of the rational trapezium-the rational right triangle in the Aryabhata school.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter VII. The Circle\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e154\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe circle in early work - Aryabhata I’s value of p by the method of exhaustion - series for p and close approximations to the value of p - finding the area of a circle - the segment and the chord - Madhava’s discovery of Gregory’s series - the common chord and its arrows - inscribed polygons - mutually touching circles.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter VIII. Volumes and Surfaces of Solids\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e195\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eVolume in early works - the pyramid - Aryabhata I’s rue for the volume of a tetrahedron - pyramid-frustum and con-frustum - the sphere - the surface-area and volume of a sphere by integration.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter IX. Geometrical Algebra\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e218\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIn the Sulbasutras - in the commentaries of Bhaskara II’s works - in the Aryabhata School Citrabhanu’s geometrical demonstrations of algebraical identities - sredhiksetras.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter X. Shadow problems and other problems\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e251\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eGlossary of Geometrical Terms\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e261\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBibliography\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e267\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIndex\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e273\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e","brand":"T. A. Saraswati Amma","offers":[{"title":"Default Title","offer_id":41644345852042,"sku":"","price":695.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/GEOMETRYINANCIENTANDMEDIEVALINDIA.jpg?v=1660734776"},{"product_id":"history-of-indological-studies-papers-of-the-12th-world-sanskrit-conference-vol-11-2","title":"History of Indological Studies Vol. 11.2","description":"\u003cdiv class=\"product-single__description rte\" data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eHardbound Edition (274 Pgs.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe history of Western knowledge of Indian began about 2500 years ago, but the history of Indology was only about 230 years ago. It happened in Kolkata, as a fusion of colonial and scholarly interests, but also not uninfluenced by the scholarly traditions of India. In the next 75 years, Indological chairs were founded in important universities in most European countries. The present volume contains a general introduction to the history of South Asian studies, a bibliography and six case studies of different aspects, including early Indological studies in India, Indological traditions in Sweden and Denmark, Sanskrit studies in Russian cultural history, Ukrainian translations from Sanskrit and the Sanskrit correspondence between the French Indologist Sylvain Levi and the Nepalese scholar Hemaraja Sarma.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe papers included in this volume only discuss the same rather narrow parts of Indology. Prof. Enrica Garzilli continues her studies of the contacts of some Western Indologists with Nepalese scholars. Klaus Karttunen has papers on two quite different topics. The first is about the role of Indian pandits and scholars in the early history of Indology, while the second traces the development of Indian studies in Sweden. Prof. Sergei Serebriany presents an interesting attempt of combining Indology in Russian with some trends in Russian cultural history. Dr Yuriy ZavhorodniyÍs contribution to the Ukrainian translations of Indian classics contains much little-known information. The article of Prof. Kenneth Zysk was mentioned above and the book concludes with a bibliography of the history of Indology by the editor himself.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout the Author(s)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eKlaus Karttunen has been the Professor of South Asian and Indo-European Studies at the University of Helsinki. He has published many studies about the relations between ancient Indian and the Graeco-Roman West, the history of South Asian studies and the ideas of nature in Indian literature.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Klaus Karttunen","offers":[{"title":"Default Title","offer_id":41644534530186,"sku":"","price":900.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/HISTORYOFINDOLOGICALSTUDIES.jpg?v=1660735596"},{"product_id":"pali-metre-a-contribution-to-the-history-of-indian-literature","title":"Pali Metre","description":"\u003cdiv aria-expanded=\"true\" class=\"a-expander-content a-expander-partial-collapse-content a-expander-content-expanded\" data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eHardbound Edition (265 Pgs.)\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv aria-expanded=\"true\" class=\"a-expander-content a-expander-partial-collapse-content a-expander-content-expanded\" data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\n\u003cstrong\u003eAbout The Book:pali\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv aria-expanded=\"true\" class=\"a-expander-content a-expander-partial-collapse-content a-expander-content-expanded\" data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv aria-expanded=\"true\" class=\"a-expander-content a-expander-partial-collapse-content a-expander-content-expanded\" data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe present work is a study of the problems presented by the metres in the Pali Canon, seen in their historical setting as representing the Early Middle Indian phase in the development of Indian metrics. During this phase, which is regarded as corresponding to a turning point in the linguistic transition from Old Indian (Vedic) to Late Middle Indian (Apabhramsa), a number of new metres appeared and an entirely new technique of versification was developed, differing in principle from the old Vedic technique. The new technique was adopted alike for the Sanskrit and Prakrit literature of the following centuries and its understanding should lead to a better appreciation of that phase of Indian poetry too. The attempt is made to collect and assess all previous contributions to the study of the ancient Indian metres and closely related subjects. The interrelations between these connected fields have been sought, leading to mutual elucidation of problems. The language of the Pali Canon presents many difficulties which have to be investigated before we can tackle the problems of scansion, whilst the linguistic and metrical trends constantly interacted. The most significant feature of the new metres was their close connection with music, the study of which has proved to be indispensable in our research on the history of Indian literature. Pali Text Society, Ancillary Works\u003c\/span\u003e\u003c\/div\u003e","brand":"A. K. Warder","offers":[{"title":"Default Title","offer_id":41652199587978,"sku":"","price":425.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/palimetre.jpg?v=1660892844"},{"product_id":"themes-and-tasks-in-old-and-middle-indo-aryan-linguistics","title":"Themes and Tasks in Old and Middle Indo-Aryan Linguistics","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eHardbound Edition (335 Pgs.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout The Book:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe present volume contains twelve of the sixteen papers presented at the Linguistics Section of the 12th World Sanskrit Conference (Helsinki, Finland, 13-18 July 2003). The papers span a wide range of topics and time depth, extending from Common Indo-Iranian all the way to Modern Indo-Aryan.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout the Author(s):\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eBertil Tikkanen is a lecturer in Indian Languages and docent of South Asian Linguistics at the Institute for Asian and African Studies of the University of Helsinki.\u003c\/p\u003e","brand":"Bertil Tikkanen","offers":[{"title":"Default Title","offer_id":41668716363914,"sku":"","price":600.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/THEMESANDTASKSINOLDANDMIDDLEINDOARYANLINGUISTICS.jpg?v=1661242332"},{"product_id":"the-abhijnanasakuntalam-of-kalidasa","title":"The Abhijnanasakuntalam of Kalidasa","description":"\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe Abhijnanasakuntalam is an unparalleled work of the great poet and playwright Kalidasa, the brightest star in the firmament of Indian poetry. No other component of this poet displays more the richness of poetical genius, the warmth and play of fancy, and the profound knowledge of the human heart than this masterly production. The present edition is unique in several essentials. The editor has adopted the most popular and appropriate version of the text. He has put the variants in the footnotes. He has added a short Sanskrit commentary, copious notes, an exhaustive introduction and several useful appendices. The English translation of the text is literal as well as idiomatic. It is hoped that this edition will meet the long-felt requirement of university students and the general reader alike.\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePrefatory Note to the Tenth Edition\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe present edition is reprint of the ninth edition with addition of an extract from the\u003cspan data-mce-fragment=\"1\"\u003e Mahabharata\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e– ‘Shakuntalo-pakhyana’ which was omitted in the eighth and ninth editions and an appendix No. VI at the end. Some portion in the introduction viz. pages 22 to 38 and 60 to 89, was already included in the 9th edition for help of those who have to study this work of the great poet Kalidasa for their examination. In this way the book is now made uptodate for students and general readers also. In notes I have substituted the page numbers of the latest edition of the author.I am thankful to Shri Sundralal Jain,\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003ethe publisher, who willingly in-corporate above changes in this edition to bring the work of the author uptodate.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePREFACE TO THE FIFTH EDITION.\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe continuous demand for my edition of the Abhijnanasakuntala is a gratifying proof that it has been favourably received by the public. Material changes have been effected in the present (fifth) edition to make it still more useful, particularly to university students who have to read this play as an examination text—book. At the same time care has been taken to preserve its original features, and to include all critical matter that would interest and help the general reader as well. To keep up uniformity with other plays edited by me, the Sanskrit rendering of Prakrit speeches has been here printed as part of the text, the original Prakrit being printed below. The reader will find this method to be of great practical convenience. The various readings also have been given at the foot of each page, the variants of the Bengali Edd. being given together at the end of the text. Some unnecessary matter has been omitted from the com. and some additions made here and there. The English Notes and translation have been thoroughly revised and recast. It is hoped that in the present form the edition will be found increasingly helpful by those for whom it is intended. I am indebted to the editions of Prof. 1Ionier Williams and Prof Patankar, among others, for much suggestive criticism, although have had frequent occasions to differ from them. Prof Ray’s Ed. was also useful to me in solving some intricate points of Grammar.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eEXTRACT FROM THE PREFACE TO THE FIRST EDITION.\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eSakuntala is admittedly the most celebrated play of the most celebrated of India’s poets. It has found a place in Sir _john Lubbock (now Lord Avebury’s) Hundred Best Books of the World. It has evoked sentiments of most enthusiastic admiration from western scholars. It furnishes a perpetual appeal to our heart. Its perusal sweetens the home atmosphere. And I can assert, without being open to the charge of partiality for the work, that no Indian library can be complete without a copy of it.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe present edition of the Abhijananakuntala has been based on :—(l) The Calc. Edd. of Messrs. Iswarachandra Vidyasagar and jivanand; (2) Sir M. Williams excellent Ed. of the play; (3) Prof. Patankar’s Ed.; (4) the Nirnayasagara Ed.; and (5) two MSS, one in my own possession and the other with the com. of Raghavabhatta, procured for me from Dharwar by Mr. G.V. Manerikar, Drawing Master, from Mr. Dikshit’s library. By the light of this MS. of the com. Iwas able to correct a few errors in the Nirn. Ed. I have adopted the Devanagari recension. Except in a few cases Raghavabhatta’s text has been kept unaltered. The readings which I thought preferable I have pointed out in the Notes. As regards the com. I have omitted from it such matter as I considered quite unnecessary for the P. E. students. The variac lectianrs, and what are generally regarded as interpolations in the Bengali recension, have been given separately. I tender my heart-felt thanks to all those learned editors whose works I have consulted in the preparation of this edition.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eBefore concluding I must freely admit that I am quite aware of the many shortcomings and defects of the present edition, and it is not without many misgivings about its success that it has been offered to the public. Any suggestions as to improvement, corrections \u0026amp;c. will be gratefully received.\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ctable width=\"100%\" data-mce-fragment=\"1\" style=\"height: 392.046px;\"\u003e\n\u003ctbody data-mce-fragment=\"1\"\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd width=\"10%\" data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eS.No\u003c\/td\u003e\n\u003ctd width=\"70%\" data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eTitle\u003c\/td\u003e\n\u003ctd width=\"20%\" data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003ePage no\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003ePrefatory Note to the Tenth Edition\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003ev\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003ePreface to the Fifth Edition\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003evii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 39.2045px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 39.2045px;\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 39.2045px;\"\u003eExtract from the Preface to the First Edition\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 39.2045px;\"\u003eix\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eIntroduction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003exiii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eImportant Abbreviations\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eciii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eSanskrit Introduction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003ecv\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eDramatic Personae\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003ecxxv\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eText, Commentary and Translation\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eNotes\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e299\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eAppendices\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 39.2045px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 39.2045px;\"\u003eI.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 39.2045px;\"\u003e(A) The Subhashitas Occuring in the Play\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 39.2045px;\"\u003e487\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e(B) Slokas\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e488\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 39.2045px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 39.2045px;\"\u003eII.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 39.2045px;\"\u003eThe Metres Used in the Play, Their Definitions and Schemes\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 39.2045px;\"\u003e490\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eIII.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eImpressions of Previous Existence\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e493\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eIndex of Verses\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e495\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003eIndex of Important Words.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" style=\"height: 19.6023px;\"\u003e499\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ch2 data-mce-fragment=\"1\"\u003e\u003cspan size=\"5\" color=\"#000000\"\u003e\u003cu\u003eSample Pages\u003c\/u\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/center\u003e","brand":"M. R. Kale","offers":[{"title":"Paperback","offer_id":41669514952842,"sku":"","price":500.0,"currency_code":"INR","in_stock":true},{"title":"Hardbound","offer_id":41669514985610,"sku":"","price":700.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/ABHIJNANASAKUNTALAM.jpg?v=1661249564"},{"product_id":"an-anthology-of-indian-english-prose","title":"An Anthology of Indian English Prose","description":"\u003cp style=\"text-align: left;\"\u003eMeant as this anthology of Indian English prose is for students studying for their Honours examination in English, it includes representative writings by some of the celebrated Indian writers -celebrated not only for their extra-literary attainments but also for their mastery of a variety of English which has come to be christened Indian English. We assume that there is not a reader, however ignorant, in any of the universities of India who is not familiar with these authors, some of whom are now an integral part of Indian political history. These remarks, however, do not imply that there's no God's plenty here. Though Vivekananda, Aurobindo, Gandhi and Radhakrishnan may be grouped together-they are often grouped together-each of them has his own characteristic manner of using his medium and evinces qualities of his mind and personality so distinct from those of the others. This is applicable to storytellers as well. They recount stories but each in his own individual style, competent, muscled, vigorous, adroit and perspicuous.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eTheir inclusion in this anthology has been guided by these inimitable qualities which the discerning reader will find only in the great story-tellers of the West-Maupassant, Chekhov, Henry James, Tolstoy, O'Henry, Somerset Maugham, Lawrence and Huxley, to name only a few out of myriads of master craftsmen of the art of storytelling. Vivekananda's prose, like his personality, is thoroughly instinctive with simplicity and evinces an intellect both spiritual and sublime. His endeavour to appeal to as many readers as possible determines the quality of his impassioned prose which is often as aphoristic as Seneca's or Lucan's. For prose of a complex kind full of cumulative passion and force, yet, subtly argumentative we shall have to turn to Sri Aurobindo, whose profound scholarship leaves its stamp upon every argument, whatever the subject matter.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eTo Gandhi goes the credit for simplifying Indian English, for loading every idea with spirituality and for fusing thought with feeling. It is Gandhi's unified sensibility that can amalgamate disparate tendencies: politics and religion, art and science, etc. The very opening lines of his essay reveal the comprehensiveness of his interests and the mastery with which he brings to bear the topic about which he is writing. Gandhi's prose is the prose of conviction and confidence; it is the prose of one who can write with as much ease and facility as any English writer. Rajagopalachari puts forth new ideas in appropriate garb, imposing though utterly simple. His \"buts\" and \"ifs\" exhibit an alertness for which Rajaji has been rightly famous. His prose is revelatory of an acute mind and an exceedingly sharp intellect and preoccupation, both moral and historical.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eHis accent on the spiritual needs of school children provides the key to his mind and personality. As a prose writer, Radhakrishnan needs no introduction. Gifted with an analytical mind, subtle and scientific, he delights in providing pithy definitions and, before embarking upon a threadbare discussion of his theme, in taking the readers into full confidence. If Jawaharlal Nehru also achieves this purpose, the contributory factors are his utter humility and suavity coupled with his confessional tone and sensitivity. His is the prose of a self-conscious writer deeply involved in his experience and often sounding much too personal. The transparencies of his prose, however, and the limpidity of his ideas cast a spell upon the reader who would pounce upon his writings with uncontrollable avidity. Himself a man of inimitable culture, Nehru writes on culture with the insight of a seer and the acumen of a scholar. Nirad C. Chaudhari has recently won notoriety for his diatribes against the intellectuals of the continent of Circe, but say what you will, he is a confident writer, well-read, intelligent and mature, a writer whose prose has been hailed as near-English-man's, vigorous and lively, an appropriate vehicle of his iconoclasm.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe essay we have included in this anthology overflows with so many I's and reveals his personal concerns if not his idiosyncrasies. No reader will however miss the learning with which the arguments are buttressed and the prose enlivened. Minoo Masani, whose political and economic commitments are well known, is often literary, allusive and, for the ordinary reader, abstruse. For the learned, he is consummate, adult and often justifiably journalistic. The storytellers, all writers of repute, deal with diverse themes in diverse manners, each embodying his vision in a concrete, narrative form, and exploring an objective correlative for his experience. Since these stories are well known all attempts at their elucidation or evaluation are deemed futile, an exercise likely to affect their appreciation by the reader who must not be allowed to foster any prejudice nor forced to eulogise the authors.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003e\u003cspan\u003eAbout the Author(s):\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan face=\"arial, helvetica, sans-serif\"\u003eDR. R. C. PRASAD was a University Professor of English at Patna University where he taught for about three decades. He was an eminent author, translator and editor. He had a good number of books to his credit.\u003c\/span\u003e\u003c\/p\u003e","brand":"R. C. Prasad, J. P. Singh","offers":[{"title":"Default Title","offer_id":41669556142218,"sku":"","price":175.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120805330.jpg?v=1661249929"},{"product_id":"the-gitagovinda-of-jayadeva-love-song-of-the-dark-lord","title":"The Gitagovinda of Jayadeva: Love Song of the Dark Lord","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout The Book (254 Pgs.):\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eJayadeva's dramatic lyrical poem Gitagovinda is a unique work in Indian literature and a source of inspiration in both medieval and contemporary Vaisnavism. It concentrates on Krsna's love with the Cowherdess Radha. Intense earthly passion is the example Jayadeva uses to express the complexities of divine and human love.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIt describes the loves of Krsna and Radha in twelve cantos containing twenty-four songs. The songs are sung by Krsna or Radha or Radha's maid and are connected by a brief narrative of descriptive passages. The appropriate musical mode and rhythm for each song are noted in the text. This poem is really a kind of drama, of the ragakavya type, since it is usually acted.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eCritical acclaim for the poem has been high, but its frank eroticism has led many Indian commentators to interpret the love between Radha and Krsna as an allegory of the human soul's love for God. Learned and popular audiences in India and elsewhere have continued to appreciate the emotional lyricism the poem expresses in its variations on the theme of a separated lover's passion.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout the Author(s):\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eBarbara Stoler Miller was a Professor of Oriental Studies at Barnard College, Columbia University. She was a student of the late Professor W. Norman Brown. She had travelled widely throughout the Indian subcontinent and lived here to study Sanskrit and Indian music and art. Dr Miller's other published works include The Hermit and the Love-Thief: Sanskrit Poems of Bhartrihari and Bilhana and Theater of Memory: The Plays of Kalidasa. She also edited Exploring India's Sacred Art: Selected Writings of Stella Karmrisch published by Motilal Banarsidass.\u003c\/p\u003e","brand":"Barbara Stoler Miller","offers":[{"title":"Default Title","offer_id":41669578162314,"sku":"","price":395.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/GITAGOVINDAOFJAYADEVA.jpg?v=1661250118"},{"product_id":"halas-sattasai-gatha-saptasati-in-prakrit-poems-of-life-and-love-in-ancient-india","title":"Hala's Sattasai (Gatha Saptasati in Prakrit)","description":"\u003cdiv class=\"product-single__description rte\" data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout The Book (219 Pgs.):\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eAn elegant translation of the Sattasai (or Seven Hundred), India's earliest collection of lyric poetry, this book deals with love in its many aspects. Mostly narrated by women, the poems reveal the world of local Indian village life sometime between the third and fifth centuries. The Sattasai offers a more realistic counterpart to that notorious theoretical treatise on love, the Kamasutra, which presents a cosmopolitan and calculating milieu. Translators Peter Khoroche and Herman Tieken introduce the main features of the work in its own language and time. For modern readers, these short, self-contained poems are a treat: the sentiments they depict remain affecting and contemporary while providing a window into a world long past.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eReview(s)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThese self-contained couplets are as sexy as they are tender; they are lively and playful, melancholy and haunting, often very funny, and continually startling. - Lee Siegel, author of Love in a Dead Language\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout the Author:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003ePeter Khoroche is a former lecturer in Sanskrit at the Univ. of London and has previously translated Arya Sura's Jatakamala.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Peter Khoroche, Herman Jacobi","offers":[{"title":"Default Title","offer_id":41669603721354,"sku":"","price":445.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120837010.jpg?v=1661250342"},{"product_id":"himalayan-voices-an-introduction-to-modern-nepali-literature","title":"Himalayan Voices","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eHardbound Edition (333 Pgs.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eHimalayan Voices provides admirers of Nepal and lovers of literature with their first glimpse of the vibrant literary scene in Nepal today. An introduction to the two most developed genres of modern Nepali literature-poetry and the short story-this work profiles eleven of Nepal's most distinguished poets and offers translations of more than eighty poems written from 1916 to 1986. Twenty of the most interesting and best-known examples of the Nepali short story are translated into English for the first time by Michael Hutt. All provide vivid descriptions of Life in twentieth-century Nepal. This book should appeal not only to admirers of Nepal but to all readers with an interest in non-Western literature.\u003c\/p\u003e","brand":"Michael James Hutt","offers":[{"title":"Default Title","offer_id":41669644157066,"sku":"","price":395.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120811560.jpg?v=1661250587"},{"product_id":"the-hitopadesa-of-narayana-edited-with-a-sanskrit-commentary-marma-prakasika-and-notes-in-english","title":"The Hitopadesa of Narayana","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout The Book (283 Pgs.):\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis work aims at teaching the principles of polity guided by morality, presenting them in the agreeable form of stories written mainly in prose interspersed with verse. It belongs to that class of compositions which imparts instructions through fables inspired by the wisdom of its place and time. Yet every fable in this work and every maxim drawn from it can still be applied to human characters irrespective of time and place.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe work is divided into four books: The book describes how to win friends. Book II deals with the circumstances leading to the loss of friends. Book III relates to war and book IV to conciliation. The object of the work is to train the young mind in the chief affairs of life by acquainting them with the accumulated experiences of past ages. The work is very interesting as well as instructive.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis edition contains the text, the Sanskrit commentary \"Marma Prakasika\", a full translation and notes in English. All difficult words and expressions have been explained in easy Sanskrit and English. A few slokas have been interpreted in a new way and an attempt has been made to give meaning to a few quotations from Kamandaka, hitherto given up by commentators as knotty.\u003c\/p\u003e","brand":"M. R. Kale","offers":[{"title":"Default Title","offer_id":41669678563466,"sku":"","price":350.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/HITOPADESAOFNARAYANA.jpg?v=1661250797"},{"product_id":"kadambari-of-bana-puravabhaga-complete-ed-with-new-skt-comm-tattvaprakasika-introd-notes-and-a-literal-eng","title":"Kadambari of Bana","description":"\u003cp class=\"cat-txt\" data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout The Book:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis collection of literature attempts to compile many of the classic, timeless works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.\u003c\/p\u003e\n\u003cp class=\"cat-txt\" data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout The Author:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eM. R. Kale is famous for his excellence in Indian literature, linguistics and Sanskrit plays such as The Mrichchhakarika of Sudraka, Abhijnana of Sakuntala, Meghaduta of Kalidasa etc\u003c\/p\u003e","brand":"M. R. Kale","offers":[{"title":"Default Title","offer_id":41669709594762,"sku":"","price":750.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/BANAKADAMBARI.jpg?v=1661250984"},{"product_id":"karpura-manjari-of-raja-cekhara-a-drama-by-the-indian-poet-rajacekhara-about-900-a-d","title":"Karpura-Manjari of Raja-Cekhara","description":"\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003eHardbound Edition (288 Pgs.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eRaja-Cekhara has been highly esteemed for his proficiency in the Prakrit. This volume presents the first critical edition of the only Prakrit Drama extant, for here none of the characters speaks Sanskrit. The interest of the play is largely philological, likely to throw light on the linguistic History of India, though, not without its importance for the History of Indian Drama. It abounds in the material which may well engage the attention of the student of Antiquities and Folk-lore. The Sacred Scriptures of the Jaina Religion are written in Prakrit. And, considering the extreme dearth of books for students of that tongue, it is hoped that this volume, in connection with Jacobi's Handbook, may prove highly serviceable as an introduction to the language of that very ancient religion. The chief aim of this edition is a linguistic one and the vocabulary is composed with the aim to serve students learning Prakrit. The Karpura-Manjari Contains four Acts called Javanikantara. It tells us how the king Candapala marries Karpura-Manjari and contains four Acts called Javanikantara. It tells us how king Candapala marries Karpura-Manjari, the daughter of the Kuntala King, and thus becomes a paramount sovereign. The jealousy of the queen, and the machinations that bring the king and the heroine together, from the plot of the Play, the Adbhuta Rasa is represented by the sorcerer Bhairvananda and his tricks. It is an earlier play of the poet and was not, like his other plays, acted at the request of the king, but by the wish of the poet's wife Avantisundari.\u003c\/p\u003e","brand":"Sten Konow, C. R. Lanman","offers":[{"title":"Default Title","offer_id":41669754421386,"sku":"","price":650.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120811485.jpg?v=1661251366"},{"product_id":"malavikagrimitra-of-kalidasa-devadhar-text-eng-tr","title":"Malavikagrimitra of Kalidasa (Devadhar)","description":"\u003cstrong\u003e328 Pgs.\u003c\/strong\u003e","brand":"C. R. Devadhar","offers":[{"title":"Default Title","offer_id":41669773820042,"sku":"","price":500.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/MALAVIKAGNIMITRAMOFKALIDASAbyCRDevadhar.jpg?v=1661251548"},{"product_id":"the-niti-and-vairagya-satakas-of-bhartrhari-edited-with-sanskrit-commentary-and-annotation-with-english-translation","title":"The Niti and Vairagya Satakas of Bhartrhari","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout The Book (277 Pgs.):\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe Satakas are original works. They are three in number, viz. Sringara, Niti and Vairagya. They must have been composed by the poet after he had renounced the world. Probably the Niti Sataka was written first, then followed the Sringara and lastly the Vairagya Sataka.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIn the Niti Sataka Bhartrhari inculcates certain principles intended to guide men in their daily life. The first and foremost of these is Self-respect. He points out the value of independence and asks his readers not to lose self-respect in the midst of even overwhelming difficulties and trials in slokas couched in very impressive language. Another virtue to which the poet draws attention is perseverance. Men of firm minds, says he, carry to a successful conclusion whatever they undertake. A third virtue that he holds up for our admiration and imitation is Benevolence or service to our fellow men. This lofty virtue he inculcates in verses which are at once beautiful and instructive.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIn the Vairagya Sataka the poet inculcates the principle of renunciation. He tells us to undermine desire, in verses which hold out the greed of worldly men to ridicule and the arrogance of the rich to contempt. He exhorts his readers to turn from worldly pleasures which give not lasting happiness but often disappoint and to seek mental calm in the solitude of the forest. The poet often draws a glowing picture of the perfect happiness which men who have renounced the world enjoy.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis volume comprises two of the three famous Satakas (collection of one hundred stanzas) of the famous poet-philosopher Bhartrhari. The first of them the Niti Sataka is proposed to guide people in their daily life and it lays emphasis on moral virtues such as self-respect, perseverance, benevolence and moral courage etc. In the second, Vairagya Sataka exhorts the readers to turn away from worldly pleasures and seek mental calm in the solitude of the forest. It is edited by M. R. Kale who has added a simple commentary in Sanskrit and English translation and copious notes.\u003c\/p\u003e","brand":"M. R. Kale","offers":[{"title":"Default Title","offer_id":41669810585738,"sku":"","price":375.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/NITIANDVAIRAGYASATAKASOFBHARTRHARI.jpg?v=1661251835"},{"product_id":"the-plays-of-kalidasa-theatre-of-memory","title":"The Plays of Kalidasa","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003e399 Pgs.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout the Author(s):\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eBarbara Stoler Miller was a Professor of Oriental Studies at Barnard College, Columbia University. She was a student of the late Professor W. Norman Brown. She had travelled widely throughout the Indian subcontinent and lived here to study Sanskrit and Indian music and art. Dr Miller's other published works include The Hermit and the Love-Thief: Sanskrit Poems of Bhartrihari and Bilhana and Theater of Memory: The Plays of Kalidasa. She also edited Exploring India's Sacred Art: Selected Writings of Stella Karmrisch published by Motilal Banarsidass.\u003c\/p\u003e","brand":"Barbara Stoler Miller","offers":[{"title":"Default Title","offer_id":41669823627402,"sku":"","price":500.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120816817.jpg?v=1661251963"},{"product_id":"prabodhacandrodaya-of-krsna-misra-sanskrit-text-with-eng-tr-a-critical-introduction-and-index","title":"Prabodhacandrodaya of Krsna Misra","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis is an allegorical drama wherein the awakening is treated as a sort of spiritual realization. Here Purusa (Man), who had forgotten his identity with the Supreme Being, Paramesvara, and had fallen as it were, into a deep slumber, is awakened by Vidya or knowledge to realize his identity.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe central character in the drama, though appearing on the stage only in the last act, is Purusa. The spiritual or philosophical sense of the word, to which the allegory points, is the true self of man as understood by monistic Vedanta, taken to be identical with the Supreme Self (Paramatman), the Supreme Lord (Paramesvara), or Brahman. Accordingly, the Purusa of the play is a supreme sovereign, excelling even the king in dignity.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003ePurusaÍs wife is Maya, Illusion. Her son is Manas, Mind. Manas has two wives, Pravrtti and Nivrtti, Activity and Resignation. Pravrtti gives birth to Moha or Delusion and Nivrtti to Viveka or Discrimination.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eManas, accompanied by Ahamkara or Egoism, has bound Purusa. Delusion and others have strengthened this bond. Under the influence of Ahamkara, Purusa has fallen a victim to delusions. He dreams as if he were sleeping. Maya deludes him by producing illusory things. He can be brought back to his real nature only by the rise of Vidya or Knowledge and Prabodha or spiritual awakening.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003ePrabodhacandrodaya of Krsna Misra is a profound philosophical allegory, in six acts, of the whole life of man. The author succeeds to a remarkable degree in giving us an ingenious picture of the spiritual struggle between virtue and vice the two forces of the human mind in a dramatic form. There is lively satire too. On the devotional side, there is an attempt to synthesise Advaitic Vedanta with Visnubhakti. Of all the allegorical plays in Sanskrit, this must be singled out as an attractive work of real merit.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe introduction in this book forms a part of the thesis submitted by the translator for a PhD degree at the University of Bonn. While translating the text an attempt has been made to keep close to the original and to preserve the spirit of the text without violating the English expression.\u003c\/p\u003e","brand":"S. K. Nambiar","offers":[{"title":"Default Title","offer_id":41669852659850,"sku":"","price":275.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/PRABODHACANDRODAYAOFKRSNAMISRA.jpg?v=1661252291"},{"product_id":"a-slice-of-life-an-anthology-of-short-stories","title":"A Slice of Life","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe present anthology of stories has been prepared for students at the tertiary and undergraduate levels. The anthology introduces to the reader some of the best short stories written by famous authors of recent times. These stories are representative of the fine art of story writing and the different techniques adopted by the masters of story-telling. They bring out the morals and values that are held in high esteem by all.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe stories have been specially designed to suit the needs of students for whom English is a second language. Brief biographies of the authors and a comprehensive glossary have been added as study aids. We are confident that teachers will enjoy teaching the fascinating stories here and students will enjoy and appreciate the works of our best writers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eWe will consider our efforts amply rewarded if the present work conveys the message embedded in these priceless reflections of the human mind.\u003c\/p\u003e","brand":"Radha Mohan Singh, Satya Brat Singh, Muniba Sami","offers":[{"title":"Default Title","offer_id":41669876646026,"sku":"","price":125.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/SLICEOFLIFE.jpg?v=1661252431"},{"product_id":"history-of-classical-sanskrit-literature","title":"History of Classical Sanskrit Literature","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe present work is an analytical account of classical Sanskrit literature from its historical perspective. It is divided into six books, of several chapters, each dealing with a particular branch of Sanskrit learning. Book I deals with the great epics of India-the Ramayana and the Mahabharata as well as the Puranas and the Tantras; Book II with the Kavya and its varieties; Book III with Kathanaka, Brhatkatha, Pancatantra and other tales; Book IV with Gadyakavya and Campu literature and Book V with the dramatic literature and Book VI with the Alankara, Sangita, Kama and Chandas literature.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe work is full of references; the footnotes refer to a variety of sources, legendary, inscriptional numismatic, architectural and literary. The writer has exploited all the relevant material from the journals, catalogues, annals, reports and other documents in discussing the vexed problems of the date, place, genealogy of the authors and the literary tendencies of their compositions. His methodology of literary criticism is rationalistic and bears the stamp of the modern scientific age. The elaborate index, the critical introduction, the exhaustive bibliography, the list of abbreviations, the table of transliteration and a supplement are the most useful additions to this interesting and instructive work of literary history.\u003c\/p\u003e","brand":"M. Krishnamachariar","offers":[{"title":"Default Title","offer_id":41676710903946,"sku":"","price":1950.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/HISTORYOFCLASSICALSANSKRITLITERATURE.jpg?v=1661329732"},{"product_id":"a-history-of-sanskrit-literature","title":"A History of Sanskrit Literature","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIt is undoubtedly a surprising fact that down to the publication of this book, the history of Sanskrit literature as a whole has been written in English. For not only does that literature possess much intrinsic merit, but the light it sheds on the life and thought of the population which were of particular interest to the British nation. Owing chiefly to the lack of an adequate account of the subject, few, even of the young men who left Britain every year to be its future rulers, required connected information about the literature in which the civilisation of Modern India can be traced to its sources, and without which that civilisation cannot be fully understood.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe work presents a complete history of Sanskrit literature in a condensed and succinct form. It embodies a general study of the Vedic, Epic Puranic, Classical and Philosophical Literature. It sheds light on the life and thought of Ancient and Medieval India as reflected in the literary productions of those periods. The brief epitome is given in the Appendix on Technical Literature including Law, Science and Arts and instructive. The bibliographical notes and index appended at the end add to the value and render the work most useful to the reader. Even in this, even the outstanding research of eminent antiquarians has become outdated, the utility of this small work has not diminished by the passing away of three-quarters of a century.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eABOUT THE AUTHOR\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eARTHUR ANTHONY MACDONELL (1854- 1930), born in India was educated at Gottingen University. He matriculated in 1876 at Corpus Christi College, Oxford, and gained three scholarships for German, Chinese, and the Boden Scholarship for Sanskrit. He graduated with classical honours in 1880 and was appointed Taylorian Teacher of German at Oxford. In 1883 he obtained his Ph.D. from the University of Leipzig and then became Deputy Professor of Sanskrit at Oxford in 1888, and Boden Professor of Sanskrit in 1899. He edited various Sanskrit texts, wrote the grammar, compiled a dictionary, and published a Vedic grammar, a Vedic Reader, and a work. Vedic Mythology; he also wrote a history of Sanskrit.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAmong his works include A History of Sanskrit Literature, The Brhad-Devata Attributed to Saunaka: A Summary of the Deities and Myths of the Rgveda-critically edited in the original Sanskrit with an introduction and seven appendices and translated into English with critical and illustrative notes, A Vedic Grammar for Students; History of Vedic Mythology, A Practical Sanskrit Dictionary with Transliteration, Accentuation, and Etymological Analysis, A Sanskrit Grammar for Students, and A Vedic Reader for Students.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePREFACE\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eIt is undoubtedly a surprising fact that down to the present time, no history of Sanskrit literature as a whole has been written in English. For not only does that literature possess much intrinsic merit, but the light it sheds on the life and thought of the population of our Indian Empire ought to have a peculiar interest for the British nation. Owing chiefly to the lack of an adequate account of the subject, few, even of the young men who leave these shores every year to be its future rulers, possess any connected information about the literature in which the civilisation of Modern India can be traced to its sources, and without which that civilisation cannot be fully understood. It was, therefore, with the greatest pleasure that I accepted Mr. Gosse's invitation to contribute a volume to this series of Literatures of the World; for this appeared to me to be a peculiarly good opportunity for diffusing information on a subject in which more than twenty years of continuous study and teaching had instilled into me an ever-deepening Interest.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eProfessor Max Muller's valuable History of Ancient Sanskrit Literature is limited in its scope to the Vedic period. It has long been out of print, and Vedic research has necessarily made great strides in the forty years which have elapsed since its publication.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe only book accessible to the English reader on the history of Sanskrit literature, in general, has hitherto been the translation of Professor Weber's Academical Lectures on Indian Literature, as delivered nearly half a century ago in Berlin. The numerous and often very lengthy notes in this work supply the results of research during the next twenty-five years; but as these notes often modify, or even cancel, the statements of the unaltered original text of 1852, the result is bewildering to the student. Much new light has been thrown on various branches of Sanskrit literature since 1878, when the last notes were added to this translation, which, moreover, is not in any way adapted to the wants of the general reader. The only work on the subject appealing to the latter is the late Sir M. Monier Williams's Indian Wisdom. That book, however, although it furnishes, in addition to the translated specimens, some account of the chief departments of Sanskrit literature, is not a history. There is thus distinctly a twofold demand in this country for a history of Sanskrit literature. The student is in want of a guide setting forth in a clear and trustworthy manner the results of research down to the present time, and the cultivated English reader looks for a book presenting in an intelligible end attractive form information which Inuit have a special interest to us owing to our close relations with India.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eTo lack space, no less than to the scope of the present series, is due to the exclusion of a full account of the technical literature of law, science, and art which contains much that would interest even the general reader; but the brief epitome given in the Appendix will, I hope, suffice to direct the student to all the most important authorities.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAs to the bibliographical notes, I trust that, though necessarily restricted in extent, they will enable the student to find all further information he may want on matters of detail; for instance, the evidence for approximate dates, which had occasionally to be summarily stated even in the text.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn writing this history of Sanskrit literature, I have dwelt more on the life and thought of Ancient India; which that literature embodies, than would perhaps have appeared necessary in the case of European literature. This I have done partly because Sanskrit literature, as representing an independent civilisation entirely different from that of the West, requires more explanation than most others; and partly because, owing to the remarkable continuity of Indian culture, the religious and social institutions of Modern India are constantly illustrated by those of the past.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eBesides the above-mentioned works of Professors Max Muller and Weber, I have made considerable use of Professor L. von Schroeder's excellent Indians Literature and culture (1887). I have further consulted in one way or another nearly all the books and monographs mentioned in the bibliographical notes. Much of what I have written is also based on my own studies of Sanskrit literature.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAll the quotations which I have given by way of illustration I have carefully selected from the original works. Excepting the short extracts on page 281 from Cowell and Thomas's excellent translation of the Harsacarita, all the renderings of these are my own. In my versions of Rgvedic stanzas I have, however, occasionally borrowed a line or phrase from Griffith. Nearly all my renderings are as close as the use of metre permits. I have endeavoured to r(.produce, as far as possible, the measures of the original, except in the quotations from the dramas, where I have always employed blank verse. I have throughout refrained from rhyme, as misrepresenting the original Sanskrit.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn the transliteration of Sanskrit words, I have been guided by the desire to avoid the use of letters which might mislead those who do not know Sanskrit. I have, therefore, departed in a few particulars from the system on which Sanskrit scholars are now almost unanimously agreed, and which I otherwise follow myself. Hence for c and ch I have written ch and chh respectively, though in the rare cases where these two appear in combination I have retained cch (instead of chchh). I further use sh for the lingual, s-, and c for the palatal 1 and ri for the vowel r. I have not thought it necessary to distinguish the guttural ri and the palatal 71 by diacritical marks, simply printing, for instance, anga and Mancha. The reader who is unacquainted with Sanskrit will thus pronounce all words correctly by simply treating all the consonants as in English, remembering only that the vowels should be sounded as in Italian, and the e and o are always long.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI am indebted for some suggestions to my friend Mr. F.C.S. Schiller, Fellow and Tutor of Corpus Christi College, who looked through the final proof of the chapter on Philosophy. To my pupil Mr. A. B. Keith, Boden Sanskrit scholar and Classical scholar of Balliol, who has read all the final proofs with great care, I owe not only the removal of a number of errors of the press but also several valuable criticisms regarding matters of fact.\u003c\/p\u003e","brand":"Arthur Anthony Macdonell","offers":[{"title":"Default Title","offer_id":41676721913994,"sku":"","price":450.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/HISTORYOFSANSKRITLITERATUREbyAAMackonell.jpg?v=1661330266"},{"product_id":"a-history-of-sanskrit-literature-1","title":"A History of Sanskrit Literature","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eTaken in conjunction with Sanskrit Drama, published in 1924, this work covers the field of Classical Sanskrit Literature, as opposed to Vedic Literature, the epics, and the Puranas. To bring the subject matter within the limits of a single volume has rendered it necessary to treat the scientific literature briefly, and to avoid discussions of its subject matter which appertain rather to the historian of grammar, philosophy, law, medicine, astronomy, or mathematics, than to the literary historian. This mode of treatment has rendered it possible, for the first time in any treatise in English on Sanskrit Literature, to pay due attention to the literary qualities of the Kavya. Though it was to Englishmen, such as Sir William Jones and H. T. Colebrooke, that our earliest knowledge of Sanskrit poetry was due, no English poet shared Goethe's marvellous appreciation of the merits of works known to him only through the distorting medium of translations, and attention in England has usually been limited to the Vedic literature, as a source for comparative philology, the history of religion, or Indo-European antiquities; to the mysticism and monism of Sanskrit philosophy; and to the fables and fairy-tales in their relations to western parallels. The neglect of Sanskrit Kavya is doubtless natural. The great poets of India wrote for audiences of experts; they were masters of the learning of their day, long trained in the use of language, and they aim to please by subtlety, not simplicity of effect. They had at their disposal a singularly beautiful speech, and they commanded elaborate and most effective metres. Under these circumstances, it was inevitable that their work should be difficult, but of those who on that score pass them by it may fairly be said ardua dum metuunt amittunt vera viai.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIt is in the great writers of Kavya alone, headed by Kalidasa, that we find a depth of feeling for life and nature matched with the perfection of expression and rhythm. The Kavya literature includes some of the great poetry of the world, but it can never expect to attain wide popularity in the West, for it is essentially untranslatable German poets like Ruckert can, indeed, base excellent work on Sanskrit originals, but the effects produced are achieved by wholly different means, while English efforts at verse translations fall invariably below a tolerable mediocrity, their diffuse tepidity contrasting painfully with the brilliant condensation of style, the elegance of metre, and the close adaptation of sound to a sense of the originals. I have, therefore, as in my Sanskrit Drama, illustrated the merits of the poets by Sanskrit extracts, adding merely a literal English version, in which no note is taken of variations of text or renderings. To save space I have in the main dealt only with works earlier than A.D. 1200, though especially in the case of the scientific literature important books of a later date are briefly noticed. This book was sent in completed for the press, in January 1926 but the pressure of work at the University Press precluded printing until the summer of 1927\\ when it was deemed best, in order not to delay progress, to assign to this preface the notice of such new discoveries and theories of 1926 and 1927 as might have a permanent interest.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/div\u003e\n\u003cp style=\"text-align: left;\"\u003eTAKEN in conjunction with my\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.exoticindiaart.com\/book\/Hindu\/sanskrit\/\"\u003eSanskrit\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eDrama, published in 1924, this work covers the field of Classical Sanskrit Literature, as opposed to the Vedic Literature, the epics, and the Puranas. To bring the subject—matter within the limits of a single volume has rendered it necessary to treat the scientific literature briefly, and to avoid discussions of its subject matter which appertain rather to the historian of grammar, phi1osophy, law, medicine, astronomy, or mathematics, than to the literary historian. This mode of treatment has rendered it possible, for the first time in any treatise in English on Sanskrit Literature, to pay due attention to the literary qualities of the Kavya. Though it was to Englishmen, such as Sir William Jones and H. T. Cole-brooke, that our earliest knowledge of Sanskrit poetry was due, no English poet shared Goethe’s marvellous appreciation of the merits of works known to him only through the distorting medium of translations, and attention in England has usually been limited to the Vedic literature, as a source for comparative philology, the history of religion, or Indo—European, antiquities; to the mysticism and monism of, Sanskrit philosophy; and to the fables and fairy-tales in their relations to western parallels.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe neglect of Sanskrit Kavya is doubtless natural. The great poets of India wrote for audiences of experts; they were masters of the learning of their day, long trained in the use of language, and they aim to please by subtlety, not simplicity of effect. They had at their disposal a singularly beautiful speech, and they- commanded elaborate and most effective metres. ‘Under these circumstances it was inevitable that their works should be difficult, but of those who on that score pass them by it may fairly be said\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eardua dum metuunt amittunt vera viai.\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eIt is in the great writers of Kavya alone, headed by Kalidasa, that we find a depth of feeling for life and nature matched with the perfection of expression and rhythm. The Kavya literature includes some of the great poetry of the world, but it can never expect to attain wide popularity in the West, for it is essentially untranslatable;\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eGerman poets like Ruckert can, indeed, base excellent work on Sanskrit originals, but the effects produced are achieved by wholly different means, while English efforts at verse translations fall invariably below a tolerable mediocrity, their diffuse tepidity contrasting painfully with the brilliant condensation of style, the elegance of metre, and the close adaptation of sound to a sense of the originals. I have, therefore, as in my Sanskrit Drama, illustrated the merits of the poets by Sanskrit extracts, adding merely a literal English version, in which no note is taken of variations of text or renderings. To save space l have in the main dealt only with works earlier than A.D. 1200, though especially in the case of the scientific literature important books of a later date are briefly noticed.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThis book was sent in, completed for the press, in January 1926, but the pleasure of work at the University Press precluded printing until the summer of 1927, when it was deemed best, in order not to delay progress, to assign to this preface the notice of such new discoveries and theories of 1926 and 1927 as might have a permanent interest.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eOn the early development of the Kavya welcome light has been thrown by Professor H. Luders’s edition of the fragments found in Central Asia of the Kalpanamanditika of Kumaralata, which is the true description of the work hitherto known to us through a Chinese translation as the Sutralamkara of Acvaghosa. That work, it is suggested, was very different in character from Kumaralata’s. It may have been an exposition in verse, possibly with prose additions, of the Canon of the Sarvastivadins, and it may be represented by fragments still extant; this suggestion can be supported by Asa1aga’s choice of title, Mahayanasutra-lamkara, for his exposition of Mahayana tenets. But that is still merely a conjecture, and even less proved is the view that Subandhu’s famous allusion Bauddhasamgatim ivalamkarabhusitam is to such a text as that ascribed to Acvaghosa. Kumaralata may well have been a younger contemporary of Acvaghosa, who lived after the death of Kaniska, a fact which explains an old crux, the difficulty of ascribing to Acvaghosa the references in the Sutralamkara which seemed inconsistent with the traditional relation of the patriarch and that king. How the Chinese version of the Kalpanamanditika, ‘that which is adorned by poetic invention’, came to bear the style Sutralamkara, remains an unexplained problem.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe fragments shed a very interesting light on the development of the style of prose mingled with verses which appear in a more elaborate form in the Jatakamala. The narratives, eighty in number, which, with ten parables, make up the work, begin with the enunciation of some doctrine, which is then established by means of an appropriate narrative; unlike the Jatakamala, the text does not follow a stereotyped plan of drawing out at the close of each tale the moral which it inculcates. The stanzas used are normally portions of the speeches of the dramatis personae; there is a complete breach with the tradition of the canonical texts which introduce such verses by the term bhasam bhasate; but of course, this does not mean that Kumaralata, or Arya Cura who follows this plan in the Jatakamala, is the author of all the verses used; doubtless, he often adopts or adapts current maxims. Narrative or descriptive stanzas are rare, and they are marked out for the benefit of the reciter by the words vaksyate hi. Arya Cura, on the other hand, shows a distinct advance; he uses descriptive or narrative stanzas to the extent of over a fifth of his total number of verses, and omits any introduction, inserting them freely to beautify his prose narration. The parables take a different form: in them, a prose parable (drstanta) is simply followed by a prose exposition (artha). The language shows the same adherence to correct Sanskrit, with occasional lapses, as in Acvaghosa, and there is a rich variety of metres, including the earliest Aryas in Kavya so far datable with reasonable certainty; the Cloka, Upajati, Vasantatilaka, and Cardulavikridita are affected. Very important is the fact that Prakrit lyric written in the Prakrit of the grammarians (Middle Prakrit) is preluded in two Prakrit Aryas, written in Old Cauraseni, which already manifest that affection for long compounds which is carried to excess in the Gaudavaha.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eCONTENTS\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"10%\"\u003e\u003c\/td\u003e\n\u003ctd width=\"80%\"\u003ePreface\u003c\/td\u003e\n\u003ctd width=\"10%\"\u003evii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eKumaralata and the early Kavya, Sanskrit, and Prakrit\u003c\/td\u003e\n\u003ctd\u003eviii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eKalidasa’s Date and Place of Birth\u003c\/td\u003e\n\u003ctd\u003ex\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eGreek and Indian Fables.\u003c\/td\u003e\n\u003ctd\u003ex\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eThe Dramas of Bhasa\u003c\/td\u003e\n\u003ctd\u003exii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eDandin and the Avantisundarikata\u003c\/td\u003e\n\u003ctd\u003exvi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eThe Authenticity of the Arthacastra\u003c\/td\u003e\n\u003ctd\u003exvii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eThe Dates of the Philosophical Systems\u003c\/td\u003e\n\u003ctd\u003exx\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eMedical Fragments from Turkestan\u003c\/td\u003e\n\u003ctd\u003exxiii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eThe Indian Origin of the Numerals\u003c\/td\u003e\n\u003ctd\u003exxiii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eSanskrit as a vernacular\u003c\/td\u003e\n\u003ctd\u003exxiv\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003ePART I. THE LANGUAGE\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eI.\u003c\/td\u003e\n\u003ctd\u003eSanskrit, Prakrit, and Apabhranca.\u003c\/td\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Origin of Sanskrit\u003c\/td\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Character and Extent of the Use of Sanskrit\u003c\/td\u003e\n\u003ctd\u003e8\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Characteristics and Development of Sanskrit in Literature\u003c\/td\u003e\n\u003ctd\u003e17\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eThe Prakrits\u003c\/td\u003e\n\u003ctd\u003e26\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eApabhranca\u003c\/td\u003e\n\u003ctd\u003e32\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003ePART II. BELLES-LETTRES AND POETICS\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eII.\u003c\/td\u003e\n\u003ctd\u003eThe Origin and Development of Kavya Literature\u003c\/td\u003e\n\u003ctd\u003e39\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Sources of the Kavya\u003c\/td\u003e\n\u003ctd\u003e39\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Testimony of the Ramayana\u003c\/td\u003e\n\u003ctd\u003e42\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Evidence of\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.exoticindiaart.com\/book\/details\/study-of-patanjali-IDF929\/\"\u003ePatanjali\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eand Pingala\u003c\/td\u003e\n\u003ctd\u003e45\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eKavya in Inscriptions\u003c\/td\u003e\n\u003ctd\u003e48\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eThe Kamasutra and the Poet’s Milieu\u003c\/td\u003e\n\u003ctd\u003e51\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIII\u003c\/td\u003e\n\u003ctd\u003eAcvaghosa and Early Buddhist Kavya\u003c\/td\u003e\n\u003ctd\u003e55\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eAcvaghosa’s Works\u003c\/td\u003e\n\u003ctd\u003e55\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eAcvaghosa’s Style and Language\u003c\/td\u003e\n\u003ctd\u003e59\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Avadanas\u003c\/td\u003e\n\u003ctd\u003e64\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eArya Cura and later Poetry\u003c\/td\u003e\n\u003ctd\u003e67\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIV.\u003c\/td\u003e\n\u003ctd\u003eKalidasa and the Guptas\u003c\/td\u003e\n\u003ctd\u003e74\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Guptas and the Brahmin Revival\u003c\/td\u003e\n\u003ctd\u003e74\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eHarisena and Vatsabhatti\u003c\/td\u003e\n\u003ctd\u003e77\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eKalidasa’s Life\u003c\/td\u003e\n\u003ctd\u003e79\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eThe Rtusamhara\u003c\/td\u003e\n\u003ctd\u003e82\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eThe Meghaduta\u003c\/td\u003e\n\u003ctd\u003e84\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eThe Kumarasambhava\u003c\/td\u003e\n\u003ctd\u003e87\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eThe Raghuvanca\u003c\/td\u003e\n\u003ctd\u003e92\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eKalidasa’s Thought\u003c\/td\u003e\n\u003ctd\u003e98\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eKalidasa’s Style and Metre\u003c\/td\u003e\n\u003ctd\u003e101\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eV.\u003c\/td\u003e\n\u003ctd\u003eBharavi, Bhatti, Kumaradasa, and Magha\u003c\/td\u003e\n\u003ctd\u003e199\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eBharavi\u003c\/td\u003e\n\u003ctd\u003e109\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eBhatti\u003c\/td\u003e\n\u003ctd\u003e109\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eKumaradasa\u003c\/td\u003e\n\u003ctd\u003e119\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eMagha\u003c\/td\u003e\n\u003ctd\u003e124\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVI.\u003c\/td\u003e\n\u003ctd\u003eThe Lesser Epic Poets\u003c\/td\u003e\n\u003ctd\u003e132\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVII.\u003c\/td\u003e\n\u003ctd\u003eHistorical Kavya\u003c\/td\u003e\n\u003ctd\u003e144\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eIndian Historical Writing\u003c\/td\u003e\n\u003ctd\u003e144\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Beginnings of History\u003c\/td\u003e\n\u003ctd\u003e147\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eBilhana\u003c\/td\u003e\n\u003ctd\u003e153\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eKalhana’s Life and Times\u003c\/td\u003e\n\u003ctd\u003e158\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eThe Rajatarangini and its Sources\u003c\/td\u003e\n\u003ctd\u003e161\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eKalhana as a Historian\u003c\/td\u003e\n\u003ctd\u003e164\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eKalhana’s Style\u003c\/td\u003e\n\u003ctd\u003e169\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eMinor Historical Kavya\u003c\/td\u003e\n\u003ctd\u003e172\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVIII.\u003c\/td\u003e\n\u003ctd\u003eBhartrhari, Amaru, Bilhana, and Jayadeva\u003c\/td\u003e\n\u003ctd\u003e175\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eBhartrhari\u003c\/td\u003e\n\u003ctd\u003e175\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eAmaru\u003c\/td\u003e\n\u003ctd\u003e183\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eBilhana\u003c\/td\u003e\n\u003ctd\u003e188\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eJayadeva\u003c\/td\u003e\n\u003ctd\u003e190\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIX.\u003c\/td\u003e\n\u003ctd\u003eLyric Poetry and the Anthologies\u003c\/td\u003e\n\u003ctd\u003e199\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eSecular Poetry\u003c\/td\u003e\n\u003ctd\u003e199\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eReligious Poetry\u003c\/td\u003e\n\u003ctd\u003e210\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Anthologies\u003c\/td\u003e\n\u003ctd\u003e222\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003ctd\u003ePrakrit Lyrics\u003c\/td\u003e\n\u003ctd\u003e223\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eX.\u003c\/td\u003e\n\u003ctd\u003eGnomic and Didactic Poetry\u003c\/td\u003e\n\u003ctd\u003e227\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eGnomic Poetry\u003c\/td\u003e\n\u003ctd\u003e227\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eDidactic Poetry\u003c\/td\u003e\n\u003ctd\u003e236\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXI.\u003c\/td\u003e\n\u003ctd\u003eThe didactic Fable\u003c\/td\u003e\n\u003ctd\u003e242\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Origin of the Fable\u003c\/td\u003e\n\u003ctd\u003e242\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Reconstruction of the Pancatantra and its Origin\u003c\/td\u003e\n\u003ctd\u003e246\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Subject-matter of the Pancatantra\u003c\/td\u003e\n\u003ctd\u003e248\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eThe Style and Language of the Pancatantra\u003c\/td\u003e\n\u003ctd\u003e255\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eThe Derivative Forms of the Pancatantra\u003c\/td\u003e\n\u003ctd\u003e259\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eThe Hitopadeca\u003c\/td\u003e\n\u003ctd\u003e263\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXII.\u003c\/td\u003e\n\u003ctd\u003eThe Brhatkatha and its Descendants\u003c\/td\u003e\n\u003ctd\u003e266\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eGunadhya and the Brhatkatha\u003c\/td\u003e\n\u003ctd\u003e266\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Brhatkathaclokasamgraha of Budhasvamin\u003c\/td\u003e\n\u003ctd\u003e272\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Kashmirian Brhatkatha\u003c\/td\u003e\n\u003ctd\u003e275\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eKsemendra’s Brhatkathamanjari\u003c\/td\u003e\n\u003ctd\u003e276\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eSomadeva’s Kathasaritsagara\u003c\/td\u003e\n\u003ctd\u003e281\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXIII.\u003c\/td\u003e\n\u003ctd\u003eThe Romantic and the Didactic Tale\u003c\/td\u003e\n\u003ctd\u003e288\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Romantic Tale\u003c\/td\u003e\n\u003ctd\u003e288\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Didactic Tale\u003c\/td\u003e\n\u003ctd\u003e293\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXIV.\u003c\/td\u003e\n\u003ctd\u003eThe Great Romances\u003c\/td\u003e\n\u003ctd\u003e296\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Age and Works of Dandin\u003c\/td\u003e\n\u003ctd\u003e296\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Dacakumaracarita\u003c\/td\u003e\n\u003ctd\u003e297\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Content and Style of the Dacakumaracarita\u003c\/td\u003e\n\u003ctd\u003e299\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eSubandhu\u003c\/td\u003e\n\u003ctd\u003e307\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eThe Vasavadatta\u003c\/td\u003e\n\u003ctd\u003e308\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eBana’s Life and Works\u003c\/td\u003e\n\u003ctd\u003e314\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eThe Harsacarita\u003c\/td\u003e\n\u003ctd\u003e316\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eThe Kadambari\u003c\/td\u003e\n\u003ctd\u003e319\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eBana’s Style\u003c\/td\u003e\n\u003ctd\u003e326\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXV.\u003c\/td\u003e\n\u003ctd\u003eThe Aims and Achievement of Sanskrit Poetry\u003c\/td\u003e\n\u003ctd\u003e338\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Romances\u003c\/td\u003e\n\u003ctd\u003e331\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Achievement\u003c\/td\u003e\n\u003ctd\u003e344\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXVII.\u003c\/td\u003e\n\u003ctd\u003eThe West and Indian Literature\u003c\/td\u003e\n\u003ctd\u003e352\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Fables and Marchen of Greece and India\u003c\/td\u003e\n\u003ctd\u003e352\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Translations of the Pancatantra\u003c\/td\u003e\n\u003ctd\u003e357\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Cukasaptati\u003c\/td\u003e\n\u003ctd\u003e359\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eOther Cases of Contact between East and West\u003c\/td\u003e\n\u003ctd\u003e359\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eThe Romance in Greece and India\u003c\/td\u003e\n\u003ctd\u003e365 359\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eThe Hexameter and Indian Metre\u003c\/td\u003e\n\u003ctd\u003e370\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXVIII.\u003c\/td\u003e\n\u003ctd\u003eTheories of Poetry\u003c\/td\u003e\n\u003ctd\u003e372\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Beginnings of Theory on Poetry\u003c\/td\u003e\n\u003ctd\u003e372\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Early Schools of Poetics\u003c\/td\u003e\n\u003ctd\u003e375\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Doctrine of Dhvani\u003c\/td\u003e\n\u003ctd\u003e375\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eThe Critics and Supporters of the Doctrine of Dhvani\u003c\/td\u003e\n\u003ctd\u003e391\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003ccenter\u003ePART III. SCIENTIFIC LITERATURE\u003c\/center\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXIX\u003c\/td\u003e\n\u003ctd\u003eThe Origin and Characteristics of the Scientific Literature\u003c\/td\u003e\n\u003ctd\u003e403\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Origin of the Castras\u003c\/td\u003e\n\u003ctd\u003e403\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Characteristics of the Scientific Literature\u003c\/td\u003e\n\u003ctd\u003e406\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXX.\u003c\/td\u003e\n\u003ctd\u003eLexicography and Metrics\u003c\/td\u003e\n\u003ctd\u003e412\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Origin and Characteristics of Sanskrit Lexicography\u003c\/td\u003e\n\u003ctd\u003e412\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Extant Lexica\u003c\/td\u003e\n\u003ctd\u003e413\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eTreatises on Metre\u003c\/td\u003e\n\u003ctd\u003e415\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eThe Metres of Classical Poetry\u003c\/td\u003e\n\u003ctd\u003e417\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXI.\u003c\/td\u003e\n\u003ctd\u003eGrammar\u003c\/td\u003e\n\u003ctd\u003e422\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Beginnings of Grammatical Study\u003c\/td\u003e\n\u003ctd\u003e422\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003ePanini and his Followers\u003c\/td\u003e\n\u003ctd\u003e423\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Later Schools\u003c\/td\u003e\n\u003ctd\u003e431\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eGrammars of Prakrit\u003c\/td\u003e\n\u003ctd\u003e433\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXII.\u003c\/td\u003e\n\u003ctd\u003eCivil and Religious Law (Dharmacastra)\u003c\/td\u003e\n\u003ctd\u003e437\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Origin of the Dharmacastras\u003c\/td\u003e\n\u003ctd\u003e437\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Smrti of Manu\u003c\/td\u003e\n\u003ctd\u003e439\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Later Smrtis\u003c\/td\u003e\n\u003ctd\u003e445\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eThe Digests of Law\u003c\/td\u003e\n\u003ctd\u003e448\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXIII.\u003c\/td\u003e\n\u003ctd\u003eThe Science of Politics and Practical Life (Arthacastra, Niticastra)\u003c\/td\u003e\n\u003ctd\u003e450\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Origin of the Arthacastra\u003c\/td\u003e\n\u003ctd\u003e450\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Content and Form of the Kautiliya Arthacastra.\u003c\/td\u003e\n\u003ctd\u003e452\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Authenticity of the Arthacastra\u003c\/td\u003e\n\u003ctd\u003e458\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eLater Treatises\u003c\/td\u003e\n\u003ctd\u003e462\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eAncillary Sciences\u003c\/td\u003e\n\u003ctd\u003e464\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXIV.\u003c\/td\u003e\n\u003ctd\u003eThe Science of Love (Kamacastra)\u003c\/td\u003e\n\u003ctd\u003e467\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXV.\u003c\/td\u003e\n\u003ctd\u003ePhilosophy and Religion\u003c\/td\u003e\n\u003ctd\u003e471\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Beginnings of Indian Philosophy\u003c\/td\u003e\n\u003ctd\u003e471\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Purvamimansa\u003c\/td\u003e\n\u003ctd\u003e472\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Vedanta\u003c\/td\u003e\n\u003ctd\u003e474\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e(a) The Doctrine of Non-duality and Illusion\u003c\/td\u003e\n\u003ctd\u003e475\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e(b) The Purvamimansa\u003c\/td\u003e\n\u003ctd\u003e472\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e(c) Other Commentators\u003c\/td\u003e\n\u003ctd\u003e479\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eTheology and Mysticism\u003c\/td\u003e\n\u003ctd\u003e479\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eLogic and Atomism\u003c\/td\u003e\n\u003ctd\u003e482\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eThe Samkhya and Yoga Schools\u003c\/td\u003e\n\u003ctd\u003e487\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eBuddhism\u003c\/td\u003e\n\u003ctd\u003e491\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eJainism\u003c\/td\u003e\n\u003ctd\u003e497\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eCarvakas or Lokayatas\u003c\/td\u003e\n\u003ctd\u003e498\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eHistorians of Philosophy\u003c\/td\u003e\n\u003ctd\u003e499\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eGreece and Indian Philosophy\u003c\/td\u003e\n\u003ctd\u003e500\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXVI\u003c\/td\u003e\n\u003ctd\u003eMedicine\u003c\/td\u003e\n\u003ctd\u003e505\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Development of Indian Medicine\u003c\/td\u003e\n\u003ctd\u003e505\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Older Samhitas\u003c\/td\u003e\n\u003ctd\u003e506\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Medical Tracts in the Bower MS.\u003c\/td\u003e\n\u003ctd\u003e509\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eLater Medical Works\u003c\/td\u003e\n\u003ctd\u003e510\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eGreece and Indian Medicine\u003c\/td\u003e\n\u003ctd\u003e513\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXVII.\u003c\/td\u003e\n\u003ctd\u003eAstronomy, Astrology, and Mathematics\u003c\/td\u003e\n\u003ctd\u003e516\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe pre-scientific Period\u003c\/td\u003e\n\u003ctd\u003e516\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Period of the Siddhantas\u003c\/td\u003e\n\u003ctd\u003e517\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eAryabhata and later Astronomers\u003c\/td\u003e\n\u003ctd\u003e521\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eAryabhata and later Mathematicians\u003c\/td\u003e\n\u003ctd\u003e523\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eGreece and Indian Mathematics\u003c\/td\u003e\n\u003ctd\u003e525\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eVarahamihira and early Astrologers\u003c\/td\u003e\n\u003ctd\u003e528\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eGreece and Indian Astrology\u003c\/td\u003e\n\u003ctd\u003e530\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eVarahamihira’s Poetry\u003c\/td\u003e\n\u003ctd\u003e532\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eCarvakas or Lokayatas\u003c\/td\u003e\n\u003ctd\u003e498\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eHistorians of Philosophy\u003c\/td\u003e\n\u003ctd\u003e499\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eGreece and Indian Philosophy\u003c\/td\u003e\n\u003ctd\u003e500\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXVI.\u003c\/td\u003e\n\u003ctd\u003eMedicine\u003c\/td\u003e\n\u003ctd\u003e505\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe Development of Indian Medicine\u003c\/td\u003e\n\u003ctd\u003e505\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Older Samhitas\u003c\/td\u003e\n\u003ctd\u003e506\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eThe Medical Tracts in the Bower MS.\u003c\/td\u003e\n\u003ctd\u003e509\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eLater Medical Works\u003c\/td\u003e\n\u003ctd\u003e510\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eGreece and Indian Medicine\u003c\/td\u003e\n\u003ctd\u003e513\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXVII.\u003c\/td\u003e\n\u003ctd\u003eAstronomy, Astrology, and Mathematics\u003c\/td\u003e\n\u003ctd\u003e516\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eThe pre-scientific Period\u003c\/td\u003e\n\u003ctd\u003e516\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe Period of the Siddhantas\u003c\/td\u003e\n\u003ctd\u003e517\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eAryabhata and later Astronomers\u003c\/td\u003e\n\u003ctd\u003e521\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eAryabhata and later Mathematicians\u003c\/td\u003e\n\u003ctd\u003e523\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eGreece and Indian Mathematics\u003c\/td\u003e\n\u003ctd\u003e525\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eVarahamihira and early Astrologers\u003c\/td\u003e\n\u003ctd\u003e528\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eGreece and Indian Astrology\u003c\/td\u003e\n\u003ctd\u003e530\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eVarahamihira’s Poetry\u003c\/td\u003e\n\u003ctd\u003e532\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eLater Works on Astrology\u003c\/td\u003e\n\u003ctd\u003e534\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eENGLISH INDEX\u003c\/td\u003e\n\u003ctd\u003e537\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eSANSKRIT INDEX\u003c\/td\u003e\n\u003ctd\u003e559\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"A. B. Keith","offers":[{"title":"Paperback","offer_id":41677043433610,"sku":"","price":850.0,"currency_code":"INR","in_stock":true},{"title":"Hardbound","offer_id":41677043466378,"sku":"","price":1000.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/HISTORYOFSANSKRITLITERATURE.jpg?v=1661331434"},{"product_id":"a-history-of-sanskrit-literature-classical-period","title":"A History Of Sanskrit Literature","description":"\u003cp class=\"cat-txt\" style=\"text-align: left;\"\u003e\u003cstrong\u003e\u003c\/strong\u003eSanskrit is indeed the language not only of kavya or literature but of all the Indian sciences and excepting the Pali of the Hinayana Buddhists and the Prakrit of the Jains, it is the only language in which the last 2 or 3 thousand years and it has united the culture of Indian and given it a synchronous form in spite of general differences of popular speech, racial and geographical, economical and other differences, It is the one ground that has made it possible to develop the idea of Hindu nationhood in which kinship of culture plays the most important part. Under the shadow of one Vedic religion, there had indeed developed many subsidiary religions, Saiva, Vaisnava, Sakta, etc. and within each of these, there had been many sects and subsects which have often emphasised the domestic quarrel, but in spite of it all, there is a unity of religions among the Hindus, for the mother of all religious and secular culture had been Sanskrit.\u003cbr\u003e\u003cbr\u003eMaurice Winterintz's work in three volumes seems to be the most comprehensive treatment of Sanskrit Literature. Prof. S.N. Dasgupta was approached for the English translation of its 3rd Volume, after Winternitz's death. Later he was approached by Calcutta University to undertake his own work on the subjects that formed the content of Volume 3rd of Professor Winternitz's work. Volume I deals with Kavya and Alamkara and Volume II is expected to deal with other Technical Sciences.\u003c\/p\u003e\n\u003cp class=\"cat-txt\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout The Author:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eSurendranath Dasgupta was born to a Vaidya family in Kushtia, Bengal (now in Bangladesh), on Sunday, October 18, 1885, corresponding to Dashami Shukla (i.e., the tenth day) of the month of Āśvin and coinciding with the festivals of Dussehra and Durga Visarjan. His ancestral home was in the village of Goila in the Barisal District. He studied at Ripon College in Calcutta and graduated with honours in Sanskrit. Later, in 1908, he received his master's degree from Sanskrit College, Calcutta. He got a second master's degree in Western philosophy in 1910 from the University of Calcutta.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eProf. Dasgupta married Himani Devi, the younger sister of Himanshu Rai, India's pioneer film director and founder of the Bombay Talkies movie studios. They had six children together: three daughters, Maitreyi Devi (Sen) (1914-1989), Chitrita Devi (Gupta) — both of whom became famous writers — and Sumitra Majumdar; and three sons, Subhayu Dasgupta, Sugata Dasgupta and Prof. Subhachari Dasgupta, who also left behind works valuable to nation-building. Sumitra Majumdar, the youngest and last surviving child, died in Goa in September 2008.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eDasgupta earned the Griffith Prize in 1916 and his doctorate in Indian philosophy in 1920. Maharaja Sir Manindra Chandra Nandi now urged him to go to Europe to study European philosophy at its sources and generously bore all the expenses of his research tour (1920–22). Dasgupta went to England and distinguished himself at Cambridge as a research student in philosophy under Dr J. M. E. McTaggart. During this time the Cambridge University Press published the first volume of the \u003cem\u003eHistory of Indian Philosophy\u003c\/em\u003e (1921). He was also appointed lecturer at Cambridge and nominated to represent Cambridge University at the International Congress of Philosophy in Paris.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eHis participation in the debates of the Aristotelian Society, London, the leading philosophical society of England, and of the Moral Science Club, Cambridge, earned him the reputation of being an almost invincible controversialist. Great teachers of philosophy like Ward and McTaggart, under whom he studied, looked upon him not as their pupil but as their colleague. He received his Cambridge doctorate for an elaborate thesis on contemporary European philosophy.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe impressions that he had made by his speeches and in the debates at the Paris Congress secured him an invitation to the International Congress at Naples in 1924, where he was sent as a representative of the Bengal Education Department and of the University of Calcutta; later on, he was sent on deputation by the Government of Bengal to the International Congress at Harvard in 1926. In that connection, he delivered the Harris Foundation lectures at Chicago, besides a series of lectures at about a dozen other Universities in the United States and at Vienna, where he was presented with an illuminated address and a bronze bust of himself. He was invited in 1925 to the second centenary of the Academy of Science, Leningrad, but he could not attend for lack of Government sanction. In 1935, 1936 and 1939 he was invited as visiting professor to Rome, Milan, Breslau, Königsberg, Berlin, Bonn, Cologne, Zurich, Paris, Warsaw and England.\u003c\/p\u003e","brand":"Surendra Nath Dasgupta","offers":[{"title":"Paperback","offer_id":41677055099018,"sku":"","price":1000.0,"currency_code":"INR","in_stock":true},{"title":"Hardbound","offer_id":41677055131786,"sku":"","price":1250.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/historyofsanskritliteratureclassicalperiod.jpg?v=1661332448"},{"product_id":"the-origin-of-the-life-of-a-human-being-conception-and-the-female-according-to-ancient-indian-medical-and-sexological-literature","title":"The Origin Of The Life Of a Human Being","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis study attempts to determine how the ancient Indian medicinal and sexological texts would answer a non-medical question but also social and religious relevance namely: what happens in a woman's body\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eat the time of conception? To this end, numerous relevant texts were exhaustively analysed, along with several secondary sources and other traditional medicinal systems.\u003c\/p\u003e","brand":"Rahul Peter Das","offers":[{"title":"Default Title","offer_id":42232318460042,"sku":"","price":1250.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120819986.jpg?v=1662461237"},{"product_id":"raghuvamsa-of-kalidasa-davadhar-edited-with-critical-introduction-english-translation-and-notes","title":"Raghuvamsa of Kalidasa (Davadhar)","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe Raghuvamsa sings of the great solar race of Iksvaku in which Visnu was pleased to become incarnate as Rama, that he might destroy the demon Ravana and free the gods and men from his tyranny. This supremacy he had won through the favour of Brahman whom he had won over by his austerities. When, therefore, his yoke had become too hard to bear, when the gods themselves were enslaved or banished, they went to Visnu and sought his help. This the God readily agreed to do by becoming incarnate as Rama, DasarathaÍs son; for the overweening demon, when he prayed to Brahman to be made invulnerable, had omitted to secure himself against mere human foes.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis story of the Ramayana forms the central theme of our poem. The first nine cantos trace the fortunes of RamaÍs four immediate predecessors, cantos X to XV the story of Rama himself, his wonderful birth, his noble youth and manhood, his marriage with Sita, the latterÍs abduction by Ravana, RamaÍs victory over Ravana and his happy reign, and the touching narrative of the bandon- ment of Sita upto the very end as we have it in the Ramayana; and cantos XVI to XIX carry on the tale of the kings who came after Rama to a sad decline in Agnivarna, \"a worthless libertine whose excesses had the merit of hastening his death.\" His widowed queen who was pregnant ascends the throne as regent in behalf of her unborn son, and the poem as we have it abruptly ends on this note of hope.\u003c\/p\u003e","brand":"C. R. Devadhar","offers":[{"title":"Default Title","offer_id":42239654690954,"sku":"","price":500.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/RaghuvamsaofKalidasabyCRDevadhar_a4630498-ab22-4531-bb9a-274b0b8de990.jpg?v=1743059594"},{"product_id":"barahmasa-in-indian-literature-songs-of-the-twelve-months-in-indo-aryan-literatures","title":"Barahmasa in Indian Literature","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis monograph attempts an exploration of the Indian psyche at the fold level which finds its expression in a poetic form known as Barahmasa--songs of the twelve months.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIn Part One the author makes a penetrating analysis of the essential core of Barahmasa literature that occupies a distinguished position in Indo-Aryan vernaculars. Different types of Barahmasas, their origin and development, are brought under the purview of discussion. Central to the corpus\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eof Barahmasa literature is the Varaha type which revolves around the theme of the painful separation of the beloved from her lover. The Viraha type, symbolizing the pangs of the human soul for divine love, is cultivated by Indian Sufis and Sants and turned into a type known as 'Religious' Barahmasa. Part Two provides a selection of Barahmasa texts from Indian literary sources in Devanagari script, accompanied by their English translation.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe monograph is a pioneering scholarly work on an untapped recess of the Indian psyche. Written in a simple racy style, it appeals equally to researchers and general readers.\u003c\/p\u003e","brand":"Charlotte Vaudville","offers":[{"title":"Default Title","offer_id":42250613686410,"sku":"","price":395.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120801851.jpg?v=1662709864"},{"product_id":"bhoga-karika-of-sadyojyoti-with-the-commentary-of-aghira-siva","title":"Bhoga Karika of Sadyojyoti","description":"\u003cp data-mce-fragment=\"1\"\u003eThe Bhoga Karika is a collection of Sanskrit verses by the renowned Saivite teacher and writer Sadyojyoti of the eighth century A. D. This translation of the Bhoga karika also includes a short commentary by the similarly renowned Aghora Siva of the twelfth century. In a lively and engaging manner, the Bhoga Karika defends the Agamic Saivite theology epistemology and ontology of bhoga or mundane worldly experience against the attacks of rival schools notably the Naiyayikas Samkhyas carvakas and Buddhists.\u003c\/p\u003e","brand":"W. A. Reddy","offers":[{"title":"Default Title","offer_id":42250662871178,"sku":"","price":395.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120829352.jpg?v=1662711128"},{"product_id":"mystical-verses-of-a-dalai-lama","title":"Mystical Verses Of A Dalai Lama","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIt is a wonderfully heartfelt and readable study of the works of the Dalai Lamas. The Second Dalai Lama's mystical poems and lyrical visions are permeated with the ecstasy of enlightenment and born of selflessness.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe Tibetan tradition of the mystical verse is brought stunningly to life by renowned translator Glenn Mullin through these spontaneous outpourings of the ecstasy of enlightenment. Prefaced by a readable and comprehensive introduction to the life and times of this wise exponent of spiritual knowledge, these poems are shining, lyric illuminations of Buddhist life. Each is prefaced by a translator's preamble.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout the Author(s)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eGlenn H. Mullin is a member of the Library of Tibetan Works and Archives Research and Translation Bureau and has published numerous books and monographs. His special focus has been the lives and works of the Dalai Lamas.\u003c\/p\u003e","brand":"Glenn H. Mullin","offers":[{"title":"Default Title","offer_id":42303021154442,"sku":"","price":495.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/mysticalversesofdalailama.jpg?v=1663840564"},{"product_id":"harmony-of-religions-vedanta-siddhanta-samarasam-of-tayumanavar","title":"Harmony of Religions","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe present work is an in-depth study of Tayumanavar, a seventeenth-century poet-philosopher, mystic and saint of Tamil Nadu. His profoundly philosophical hymns were the poet's creative response to the contesting creeds of his time, reflecting his own intimate religious and mystical experience of God, Siva (Sivanubhava).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe present study of Vedanta Siddhanta Samarasam as God-experienced by Dr Thomas Manninezhath will no doubt, awaken a new interest in the hymns of Tayumanavar and the legacy of religious experience they bequeath to us. A religious experience (anubhava), supported by reason and enriched by reflection, has to be the meeting ground for the followers of World Religions today.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIt is fascinating to see how Tayumanavar sought to bring about the harmony of two opposed traditions through a re-reading of his own tradition and a re-interpretation of the scholastic Advaita in favour of a more religiously inspiring popular Advaita.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe work illustrates how many of our contemporary concerns enshrined in such concepts as Comparative Religion, Ecumenism Religious Dialogue etc. were also a concern within the 'household' of Hinduism even as early as seventeenth century A.D. The author's interpretation of Vedanta Siddhanta Samarasam of Tayumanavar offers a unique basis for religious tolerance and co-existence even in our present-day context of a plurality of religions and creeds. That, indeed, speaks volumes for the actuality and relevance of the work.\u003c\/p\u003e","brand":"Thomas Manninezhath","offers":[{"title":"Default Title","offer_id":42320570777738,"sku":"","price":700.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120810013.jpg?v=1664193762"},{"product_id":"the-rtusamhara-of-kalidasa","title":"The Rtusamhara of Kalidasa","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBy ekah of course is meant Kalidasa, the author of Abhijna'nas'akuntala, Raghuwamsa, etc., and it is him we are here concerned with. Of his personal history, very little is definitely known. The name itself signifies a servant of the goddess Durga' it is probable that like so many other names it was bestowed without any reference to its original signification. But on it is based a tradition which represents him to have been an illiterate person, till by the favour of the goddess he suddenly found himself endowed with the poetic gift. Kalidasa is curiously reticent about himself in his works; nor are any records of him by other hands now available. Whatever we can say about his life is based on external and secondary sources and must necessarily remain a matter of more or less guesswork. His birthplace was probably somewhere in Malwa and from his glowing description of Ujjayini, it would appear that he was a resident of that city. Legends are current about his having been a court poet of King Vikramaditya, (a matter to which we shall refer further on); and his works, it is true, shows considerable acquaintance with court life. He was a Brahmana by caste and a devout worshipper of Siva, though by no means a narrow-minded sectarian. He seems to have travelled a great deal throughout India; his graphic description of the Himalayan scenes reads very much like that of an eye-witness.\u003c\/span\u003e\u003c\/p\u003e","brand":"M. R. Kale","offers":[{"title":"Default Title","offer_id":42341986074762,"sku":"","price":225.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120800311.jpg?v=1664446585"},{"product_id":"pancatantra-of-visnusarman","title":"Pancatantra of Visnusarman","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe present edition is meant for such students who do not have the means of securing private assistance. A full English translation has been given of all difficult verses. But in the case of easier ones, the translation stops after giving a rendering of the unintelligible parts only. The same has been done with regard to the difficult prose passages. Thus there is scope left for the boys to exercise their own brain power. A short commentary explaining all difficult compounds and giving the prose order of difficult verses has been added. In the case of intricate passages the editor has added, sometimes a word, at others, a sentence or two to make the sense clear. The exigencies of space, however, did not permit him to add full explanations. But what is given is sufficient to make the text intelligible to a student of ordinary understanding. A special feature of the present edition is this-that it gives different readings and some additional verses found in two MSS consulted by me.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe student will observe that the reflections and citations which are so profusely interspersed in the first three Tantras become much less copious in the last two-a circumstance which, However, much adds to the interest, if not to the utility, of the compilation.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe Panchatantra is a famous literary work of Visnusarman the Court-Pandit of Kind Amarasakt of Mahilaropya in the south. Originally it was intended by the author to educate the princes of his patron in the science of politics and practical life. The work comprises five tantras consisting of stories interspersed with verses which are full of political maxims applicable to the exigencies of life. The present edition contains besides the text, copious notes and literal translation in English.\u003c\/p\u003e","brand":"M. R. Kale","offers":[{"title":"Default Title","offer_id":42342017466506,"sku":"","price":595.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120802209.jpg?v=1664447342"},{"product_id":"the-three-boys-and-other-buddhist-folktales-from-tibet","title":"The Three Boys","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eA virtuous young woman journeys to the land of the Dead to retrieve the still-beating heart of a king; a wily corpse-monster tricks his young captor into setting him free, the king falls under a curse that turns him into a cannibal; a shepherd who understands the speech of animals saves a princess from certain death. These are just a few wondrous tales that await readers of this collection of Tibetan Buddhist Folktales. Fifteen stories are told for modern readers in a vivid, accessible style that reflects a centuries-old tradition of storytelling in the monasteries and marketplaces of Tibet.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eAs a child growing up in a Buddhist monastery, Yeshi Dorjee would often coax the elderly lamas into telling him folktales. By turns thrilling, mysterious, clever, and often hilariously funny, the stories he narrates here also teach important lessons about mindfulness, compassion, and other critical Buddhist principles. They will delight readers of all ages, scholars and students, Buddhists and non-Buddhists alike.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout the Author(s)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eYeshi Dorjee was born in Bhutan in1960. At nine, he moved to Karnataka, India, and entered Gyudmed Tantric University, where he received a geshe ngarampa (doctorate) degree in 1995. He is currently a teacher-in-residence at the Land of Compassion Buddha Center in West Covina, California.\u003c\/p\u003e","brand":"Yeshi Dorjee , John S. Major","offers":[{"title":"Default Title","offer_id":42426222608522,"sku":"","price":250.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788178223513.jpg?v=1666083645"},{"product_id":"venisamhara-of-bhatta-narayana","title":"Venisamhara of Bhatta Narayana","description":"\u003cdiv class=\"product-single__description rte\" data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eVenisamhara is essentially a heroic play. The plot is mainly taken from the Mahabharata and covers the period which elapses between the return of the Pandavas to Indraprastha after their 13 years of exile and Yudhistira's accession to the throne after the great war. Its main sentiment is the heroic or Vira.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"M. R. Kale","offers":[{"title":"Paperback","offer_id":42620165619850,"sku":"","price":450.0,"currency_code":"INR","in_stock":true},{"title":"Hardbound","offer_id":42620165652618,"sku":"","price":650.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120805873.jpg?v=1670839699"},{"product_id":"the-sahityadarpana-paricchedas-i-ii-x-arthalankaras-with-exhaustive-notes","title":"The Sahityadarpana","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eWritten in a simple and flowing style this book contains a thorough disquisition on the technicalities of the dramatic art and forms found in the Natya-sastra of Bharata and the Dasarupaka of Dhananjaya. In the 1st Pariccheda, the author speaks of the fruits of poetry, discusses the definitions of Kavya proposed by different writers and gives his own definition and illustrates it. In the second after defining a sentence and a word, the author deals at great length with the three powers of a word and in the tenth he explains both Sabdalankaras and Arthalankaras in detail.\u003c\/p\u003e","brand":"Dr. P. V. Kane","offers":[{"title":"Default Title","offer_id":42620181119114,"sku":"","price":725.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120812789.jpg?v=1670840801"},{"product_id":"the-meghaduta-of-kalidasa","title":"The Meghaduta of Kalidasa","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Meghaduta is a little lyrical poem written uniformly in the Mandakranta metre and consisting of 121 stanzas. It is divided into two parts: the Purvamegha and the Uttaramegha.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA certain Yaksha condemned to banishment for neglect of his duty by his master Kubera, the god of wealth, takes up his abode on Ramagiri in the Vindhya mountains. After spending there eight-month\u003c\/span\u003e\u003c\/p\u003e","brand":"M.R. Kale","offers":[{"title":"Default Title","offer_id":42650332627082,"sku":"","price":250.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/MEGHADUTAOFKALIDASA.jpg?v=1672227652"},{"product_id":"the-mrichchhakatika-of-sudraka-with-introduction-critical-essays-and-a-photo-essay","title":"The Mrichchhakatika of Sudraka","description":"\u003cp style=\"text-align: left;\"\u003eHailed as a Shakespearean play, written a few centuries before Shakespeare, Sudraka's Mrichchhakatika is one of the most significant Sanskrit dramas for more than a few reasons. Set in the ancient city of Ujjayani, Mrichchhakatika is \"rife with romance, comedy, intrigue and a political subplot detailing the overthrow of the city's despotic ruler by a shepherd, [and] is notable among extant Sanskrit drama for its focus on a fictional scenario rather than on a classic tale or legend. Mrichchhakatika also departs from the traditions enumerated in the Natyashastra that specify that dramas should focus on the lives of the nobility and instead incorporates a large number of middle and lower-caste characters who speak a wide range of Prakrit dialects.\" Much celebrated in the West because of its plot structure, following several successful nineteenth-century translations and stage adaptations, Mrichchhakatika remains a prominent drama in Sanskrit, widely translated, adapted, and performed internationally. This volume includes the text translated by M. R. Kale along with relevant background essays and criticism, to enable students of literature to understand the long tradition of theatre in India on one hand; and on the other, its subsequent negotiations with the West, traversing, accommodating, negotiating and becoming what we call Modern Indian Drama today.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the Author:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eM. R. Kale is famous for his excellence in Indian literature, linguistics, and Sanskrit plays such as The Mrichchhakarika of Sudraka, Abhijnana of Sakuntala, Meghaduta of Kalidasa, etc.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"M. R. Kale","offers":[{"title":"Paperback","offer_id":42654344216714,"sku":"","price":270.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/MRICHCHHAKATIKAOFSUDRAKA.jpg?v=1672383868"},{"product_id":"the-siva-purana-4-volumes-j-l-shastri","title":"The Siva Purana: 4 Parts in Set (AITM Vols. 1 to 4)","description":"\u003cp style=\"text-align: left;\"\u003eThe Purana is a class of literature that treats ancient religion, philosophy, history, sociology, politics, and other subjects. It is an Encyclopaedia of various branches of knowledge and ancient wisdom. It has been defined as a class of literature that contains material on the topics of Creation, Dissolution of Manus, Ages of Manus, Genealogies, and the History of glorious kings. For dealing primarily with these subjects it has been called Pancalaksana a little that was incorporated in the Puranas themselves and had become popular by the Fifth Century A.D., for it was included by Amarasimha in his lexicon 'Amarakosa'. But as the process of interpolation continued, the Pancalaksana definition was found inadequate. The Puranic redactors adopted a Dasalaksana definition that suited the contemporary text. Still, the dynamic forces were at work and the process of insertion, modification, and abridgment went on it was soon discovered that the Dasalaksana definition too fell short of an actual fact. It was found that the Puranas contained certain aspects that were not covered by any of the five or ten characteristics. Besides some of the characteristics covered by the Pancalaksana or Dasalaksana definition were not found in certain Puranas. In fact, the Purana as a class represents the different phases and aspects of the life of diverse ages. It is impossible to adopt a standard definition for the class of literary composition that contains heterogeneous phases and aspects. Moreover, a definition framed on the numerical basis of points is bound to be imperfect.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Puranas are divided into two classes the Mahapuranas and the Upapuranas. Each class consists of eighteen Puranas. Thus the number of Puranas is thirty-six. The Mahapuranas are classified into different categories – Vaisnava, Brahma, Saiva, etc. in proportion as they accord preferential treatment to Visnu, Brahma,\u003cspan\u003e Siva\u003c\/span\u003e, and others. Sivapurana, as its title signifies is a Saiva Purana. It derives its designation from the fact that it eulogizes the glory and greatness of Siva, describes the ritual and philosophical principles of the Siva cult, embodies descriptions, sermons, and dissertations on the greatness of his divinity, recounts his emblems, attributes, exploits, and incarnations, narrates legends on the origin and importance of his phallic image and dwells upon the merit of installing and consecrating that image. In brief, Siva-Purana is a sacred treatise of Siva's legends and rituals.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe extant text of Sivapurana is arranged into seven Samhitas designated as Vidyesvara, Rudra, Satarudra, Kotirudra, Uma, Kailasa, and Vayaviya. The second of these, Rudrasamhita, is divided into five sections, viz. Creation, the narrative of Sati, the biography of Parvati, the birth and adventures of Kumara and Siva's battles. The seventh Samhita-Vayaviya- has two parts (Purvabhaga and Uttarabhaga). It is called Vayaviya, for though it was recited by the Suta at the Naimisa Forest, it was originally proclaimed by Vayu at the advent of Svetakalpa.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAccording to the records of the Vayaviya, the original Sivapurana consisted of twelve Samhitas. That is to say, in addition to the extant seven, there were five more Samhitas viz. Vainayaka, Matr, Rudraikadasa, Sahasrakoti and\u003cspan\u003e Dharma\u003c\/span\u003e. The complete group of twelve Samhitas comprised one hundred thousand Slokas. But five of the group were dropped in the course of reconstruction and abridgment of the Puranas. The extant Sivapurana is an abridged edition and comprises twenty-four thousand Slokas. The redaction was made by the sage Krsna Dvaipayana Vyasa himself.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAs previously stated, the Mahapuranas are eighteen in number. The Puranic scholars agreed upon the authenticity of the seventeen Mahapuranas but in regard to the eighteenth, there is a difference of opinion. Most of the Puranas include Sivapurana in the list while a few others substitute Vayu for Siva. The substitution of either was inevitable, for the traditional number had to be maintained. Therefore some voted in favor of Siva, and some in favor of Vayu. Neither of the parties could agree on which of the two was actually a Mahapurana.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eNow let us examine if any solution could at all be possible. We know that Sivapurana is divided into seven Samhitas, one of which is the Vayaviya. We have the testimony of Sivapurana itself that the original Sivapurana consisting of one hundred thousand slokas was abridged into twenty-four thousand slokas. On the strength of this evidence, it cannot be unreasonable to suppose that there was a proto-Sivapurana and a proto-Vayaviya. It is not unlikely that there was a close affinity between the extant Vayupurana and the proto-Vayaviya or that the extant Vayupurana is a recension of the proto-Vayaviya and thus a part of Sivapurana itself. The solution lies in assuming the identicality of the two on the basis of this suggestion, not in accepting the one and rejecting the other.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eSivapurana has all the characteristics of a Mahapurana. According to the ancients, a Mahapurana contained five main characteristics that concerned either early religion or traditional history. Of these, the origin of the universe (Sarga) is an important feature of every religion. As a Mahapurana and a sacred work of the Siva cult, Sivapurana possesses this important trait. It discusses the origin of the universe which it traces to Siva, the eternal god who though devoid of attributes still has an inherent Energy that manifests itself in the form of three principles – Sattva, Rajas, and Tamas personified as the three deities Visnu, Brahma, and Rudra. The three have their respective energies called Laksmi, Sarasvati, and Kali, in collaboration with whom they create, maintain, and dissolve the universes.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAccording to this account, the work of creation is entrusted to Brahma who creates the cosmic egg is insentient at first but when Visnu pervades it, it goes in motion. Then different kinds of creation are evolved out of it.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eSivapurana classifies creation into three categories: Primary, Secondary, and Primary-Secondary. The three categories are arranged in the following table.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003cp align=\"left\" style=\"text-align: center;\"\u003e\u003cb\u003eCreation\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003ctable cellspacing=\"7\" border=\"0\" style=\"margin-left: 0px; margin-right: auto;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003ePrimary\u003c\/td\u003e\n\u003ctd width=\"40%\"\u003eSecondary\u003c\/td\u003e\n\u003ctd\u003ePrimary-Secondary\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIntellect and Ego\u003c\/td\u003e\n\u003ctd\u003eInsentient objects\u003c\/td\u003e\n\u003ctd\u003eMind-born sons\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSubtle elements\u003c\/td\u003e\n\u003ctd\u003eAnimals\u003c\/td\u003e\n\u003ctd\u003eof Brahma\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFive organs of action\u003c\/td\u003e\n\u003ctd\u003eDivine beings\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAnd five organs of\u003c\/td\u003e\n\u003ctd\u003eHuman beings\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eKnowledge, Manas\u003c\/td\u003e\n\u003ctd\u003eSentient feelings.\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp style=\"text-align: left;\"\u003eAccording to Sivapurana, the ninefold creation was unable to proceed with the work of creation. The mind-born sons of Brahma refused to obey the creator and remained celibate. Then out of his body, Brahma produced eleven sons: Marici from the eyes, Bhrgu from the heart, Angiras from the head, Pulaha, Pulastya, Vasistha, Kratu from his breath, Atri from his ears, Narada from his lap, and Kardama from his shadow. When still the creation made no progress, Brahma divided himself into two-one halves in the form of a woman and the other half in the form of a man. In that half-from of a woman, he created a couple – Svayambhuva Manu and Satarupa who complied with the wishes of the creator and began the work of creation.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAfter all, the creation of the universe is not a permanent feature, for all creations end in dissolutions which in turn give place to re-creation. The description of this process constitutes one of the five main features of a Mahapurana. Sivapurana takes up this topic but withholds details.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe process of dissolution is complicated, for several dissolutions occur before the universe is completely dissolved. As the Puranas relate, a creation lasts for a day of Brahma equal to the age of fourteen Manvantaras. At the end of each Manvantara, there occurs dissolution. Thus a day of Brahma contains fourteen dissolutions. But these are partial dissolutions. At the end of fourteen Manvantaras, equal to a day of Brahma that lasts for a kalpa there occurs a great dissolution. Thus during the life of the creator, several creations and dissolutions take place. There occurs a complete dissolution when the creator has completed his lifetime. The elements are dissolved and merged into the body of the creator. The creator takes rest for some time and then starts the process of recreating the Universe. Thus we have a series of dissolutions and re-creations succeeding each other.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe description of the ages of Manus (Manvantaras) is another characteristic of a Mahapurana. Sivapurana mentions fourteen Manus by name. They are Svayambhuva, Svarocisa, Uttama, Tamasa, Raivata, Caksusa, Vaivasvata, Savarni, Raucya, Brahma-Savarni, Dharma-Savarni, Rudra-Savarni, Deva-Savarni, Indra-Savarni. Each Manvantara comprises 4,32,00 human years or 1\/14th day of Brahma. The fourteen Manvantaras make up one whole day of Brahma. Each of the fourteen Manvantaras is presided over by its own gods, seers, and king. This scheme of Creation and Dissolution repeats itself from one age of Manu to another and is described in all the Mahapuranas. Sivapurana is no exception to the rule.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn the Pancalaksana character of the Mahapurana, genealogies, and deeds of glorious kings play an important part. The Sutas were the custodians of genealogical records which they learned by rote and which they recited at sessional sacrifices in exchange for the gifts they obtained from their patrons. But in the course of oral transmission from one generation to another some interpolations entered into these records. There were traditional variations too, for different versions existed in different families of the Sutas. When the records were incorporated into the Puranas, the interpolations and the traditional variations also settled therein. This explains the difference that exists in the genealogical records of the Puranas.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003ePargiter has prepared a list of royal genealogies on the consensus of versions occurring in the Puranas. On comparing this list with that of Sivapurana we find a marked difference. By way of illustration: (i) Pargiter's list of the Ayodhya dynasty places Kakutstha as the direct descendant of Vikuksi-Sasada while in Sivapurana Kakutstha is the immediate descendant of Ayodha who is not mentioned in Pargiter's list. (ii) Arinabha of Sivapurana is substituted by Anenas in Pargiter. (iii) After Purukutsa Pargiter mentions Trasadasyu, Sambhuta, Anaranya, Trasadasva, Haryasva, Vasumanas and Tridhanvan. These names are omitted in Sivapurana which mentions Trayyaruni as the immediate descendant of Purukutsa. Siva-Purana mentions Anaranya, Mundidruha, and Nisadha after Sarvakarman or Sarvasarman while these are omitted in Pargiter. Instead, Pargiter mentions a series of eleven kings who are not found in Sivapurana at all.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWith these variations, Sivapurana proceeds with the statement of genealogies and deeds of glorious monarchs. But the statements are meager, for Sivapurana is not interested in furnishing details. Still, in regard to the solar dynasty of Ayodhya, it supplies detailed information. The genealogical records of this dynasty are arranged chapter-wise in three groups: (1) from Manu to Satyavrata (ii) from Satyavrata to Sagara (iii) from Sagara to Sumitra. There is another sort of grouping also based on the sequence of time. The dynasties from Iksvaku to Marut belong to the past. The reigning period of Marut, father of Agnivarna, is called the present time when this Purana is said to have been written. The reigning period of the Kings from Agnivarna to Sumitra is called the future time that presupposes the existence of this work.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe genealogical lists are interspersed with the deeds of some illustrious monarchs. For it is a characteristic of the Mahapurana to record the deeds of some famous kings. Usually, the deeds comprise the personal history of the ruler but are sometimes related to the conditions of his reigning period. Sivapurana is interested in the records of the solar dynasty of Ayodhya ad as such it recounts the deeds of some monarchs of that house. Of these Kuvalasva-Dhundhumara, Satyavrata-Trisanku, and Sagara figure prominently. The accounts of Vikuksi-Sasada, Bhagiratha, Nisadha, Hiranyanabha, and others occupy a secondary place.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe above analysis clearly demonstrates that Sivapurana possesses the conventional characteristics of a Mahapurana in common with its other colleagues. These entitle it to the status of a great Purana. But its real greatness lies in expounding the philosophical background of the Siva ritual. The Purana conceives Siva as the eternal principle, the supreme god, the cosmic soul, and the support of all existence. But the ignorant aspirant bound in the meshes of illusion goes in quest for knowledge and imagines that his Lord has a personal form possessed of attributes distinct from his self, who in moments of distress responds to his prayers and bestows grace. The devotee then aspires for spiritual enlightenment and takes to ritual for self-purification. Sivapurana enjoins several rites of worship and acts of homage, comprising a series of physical and spiritual practices in accompaniment with the\u003cspan\u003e Tantra\u003c\/span\u003e, Yantra, and Mantra appliances. He starts with the threefold devotion viz. hearing, glorifying, and deliberating the attributes of God a process that requires, according to Sivapurana, the same steady attention as in sexual intercourse. In this connexion, Rudrasamhita mentions eight means for attaining mental concentration and spiritual enlightenment. Further, the aspirant is asked to control the six chakras located in the spinal canal called Susanna that lies between Ida and Pingala-two of the vessels of the body. That is possible only by taking recourse to the means of knowledge, by the purification of six pathways, the performance of traditional rites and yogic practices The aspirant has to pass through this series of activities before he reaches another state of experience wherein he finds a perfect accord between his own self and his personal deity, yet there is an awareness of separateness from his deity till he reaches the last state of experience wherein all distinctions are obliterated and his self unites with his godhead.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003ccenter\u003e\n\u003cb\u003eCONTENTS\u003c\/b\u003e\n\u003cp\u003e\u003cb\u003ePART I\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/center\u003e\n\u003ctable width=\"100%\" cellspacing=\"10\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePage\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd colspan=\"2\"\u003e\u003ci\u003eIntroduction\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd\u003exi-xviii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eTHE GLORY OF SIVAPURANA\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Sivapurana\u003c\/td\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eLiberation of Devaraja\u003c\/td\u003e\n\u003ctd\u003e6\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eCancula's disillusion and detachment\u003c\/td\u003e\n\u003ctd\u003e9\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eCancula's salvation\u003c\/td\u003e\n\u003ctd\u003e14\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eBinduga's salvation\u003c\/td\u003e\n\u003ctd\u003e18\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eRules for listening to Sivapurana\u003c\/td\u003e\n\u003ctd\u003e24\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eInjunctions and prohibitions\u003c\/td\u003e\n\u003ctd\u003e29\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSIVAPURANA: VIDYESVARA SAMHITA\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eDoubt of the sages\u003c\/td\u003e\n\u003ctd\u003e34\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eAnswers to the doubts\u003c\/td\u003e\n\u003ctd\u003e38\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eAchievable and the means of achievement\u003c\/td\u003e\n\u003ctd\u003e44\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eThe excellence of listening and deliberation\u003c\/td\u003e\n\u003ctd\u003e46\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eThe greatness of the phallic emblem of Siva\u003c\/td\u003e\n\u003ctd\u003e49\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eThe battle between Brahma and Visnu\u003c\/td\u003e\n\u003ctd\u003e52\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eSiva manifests himself as a column of fire in the battlefield\u003c\/td\u003e\n\u003ctd\u003e54\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eSiva's forgiveness of Brahma\u003c\/td\u003e\n\u003ctd\u003e57\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eProclamation of Siva as the great lord\u003c\/td\u003e\n\u003ctd\u003e60\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eFivefold activities and the Omkara-mantra\u003c\/td\u003e\n\u003ctd\u003e64\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eMode of worshipping the phallic form of Siva and making gifts\u003c\/td\u003e\n\u003ctd\u003e67\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12.\u003c\/td\u003e\n\u003ctd\u003eThe narrative of Siva's holy centres and temples\u003c\/td\u003e\n\u003ctd\u003e73\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13.\u003c\/td\u003e\n\u003ctd\u003eDescription of good conduct\u003c\/td\u003e\n\u003ctd\u003e78\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14.\u003c\/td\u003e\n\u003ctd\u003eDescription of fire-sacrifice\u003c\/td\u003e\n\u003ctd\u003e87\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15.\u003c\/td\u003e\n\u003ctd\u003eQualification, time and place for Devayajna\u003c\/td\u003e\n\u003ctd\u003e91\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16.\u003c\/td\u003e\n\u003ctd\u003eModes of Worship of clay idols and their results\u003c\/td\u003e\n\u003ctd\u003e96\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17.\u003c\/td\u003e\n\u003ctd\u003eThe syllable Om and the five-syllabled mantra\u003c\/td\u003e\n\u003ctd\u003e106\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18.\u003c\/td\u003e\n\u003ctd\u003eBondage and liberation: The glorification of the phallic emblem of Siva\u003c\/td\u003e\n\u003ctd\u003e118\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19.\u003c\/td\u003e\n\u003ctd\u003eGlorification of the worship of Siva's Earthen phallic image\u003c\/td\u003e\n\u003ctd\u003e131\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20.\u003c\/td\u003e\n\u003ctd\u003eMode of worshipping an earthen phallic image by changing Vedic mantras\u003c\/td\u003e\n\u003ctd\u003e135\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e21.\u003c\/td\u003e\n\u003ctd\u003eNumber of phallic images of Siva used in worship\u003c\/td\u003e\n\u003ctd\u003e142\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e22.\u003c\/td\u003e\n\u003ctd\u003eOn the partaking of the Naivedya of Siva and the greatness of Bilva\u003c\/td\u003e\n\u003ctd\u003e146\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e23.\u003c\/td\u003e\n\u003ctd\u003eGlorification of Rudraksha and the names of Siva\u003c\/td\u003e\n\u003ctd\u003e150\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e24.\u003c\/td\u003e\n\u003ctd\u003eThe greatness of the holy ashes\u003c\/td\u003e\n\u003ctd\u003e154\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e25.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Rudraksha\u003c\/td\u003e\n\u003ctd\u003e163\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eRUDRA-SAMHITA SECTION I: CREATION\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eInquiry of the Sages\u003c\/td\u003e\n\u003ctd\u003e172\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eIndra sends Kamadeva to disturb the penance of Narada\u003c\/td\u003e\n\u003ctd\u003e175\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eNarada attends the Svayamvara of the virgin\u003c\/td\u003e\n\u003ctd\u003e180\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eNarada goes to Vaikuntha and curses Visnu\u003c\/td\u003e\n\u003ctd\u003e185\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eNarada goes to Kasi\u003c\/td\u003e\n\u003ctd\u003e191\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eDescription of the nature of the Maha pralaya and the origin of Visnu\u003c\/td\u003e\n\u003ctd\u003e194\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eDispute between Brahma and Visnu\u003c\/td\u003e\n\u003ctd\u003e199\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eDescription of the body of Sabdabrahman\u003c\/td\u003e\n\u003ctd\u003e205\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eDescription of Sivatattva\u003c\/td\u003e\n\u003ctd\u003e209\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eDescription of supreme Sivatattva\u003c\/td\u003e\n\u003ctd\u003e214\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eMode of worshipping Siva\u003c\/td\u003e\n\u003ctd\u003e217\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12.\u003c\/td\u003e\n\u003ctd\u003eThe essential and the non-essential in the worship\u003c\/td\u003e\n\u003ctd\u003e224\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13.\u003c\/td\u003e\n\u003ctd\u003eMode of worshipping Siva\u003c\/td\u003e\n\u003ctd\u003e231\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14.\u003c\/td\u003e\n\u003ctd\u003eDirection for the worship of Siva\u003c\/td\u003e\n\u003ctd\u003e237\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15.\u003c\/td\u003e\n\u003ctd\u003eManifestation of Rudra\u003c\/td\u003e\n\u003ctd\u003e244\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16.\u003c\/td\u003e\n\u003ctd\u003eDescription of the creation\u003c\/td\u003e\n\u003ctd\u003e250\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17.\u003c\/td\u003e\n\u003ctd\u003eStory of Gunanidhi\u003c\/td\u003e\n\u003ctd\u003e255\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18.\u003c\/td\u003e\n\u003ctd\u003eRedemption of Gunanidhi\u003c\/td\u003e\n\u003ctd\u003e260\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19.\u003c\/td\u003e\n\u003ctd\u003eFriendship of Siva and Kubera\u003c\/td\u003e\n\u003ctd\u003e266\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20.\u003c\/td\u003e\n\u003ctd\u003eSiva goes to Kailasa\u003c\/td\u003e\n\u003ctd\u003e269\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eRUDRA-SAMHITA SECTION II: NARRATIVE\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eSummary of Sati's life\u003c\/td\u003e\n\u003ctd\u003e274\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eAppearance of Kama\u003c\/td\u003e\n\u003ctd\u003e278\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eKama is first cursed and then blessed\u003c\/td\u003e\n\u003ctd\u003e282\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eKama's marriage\u003c\/td\u003e\n\u003ctd\u003e288\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eStory of Sandhya\u003c\/td\u003e\n\u003ctd\u003e291\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eSandhya granted a boon by Siva\u003c\/td\u003e\n\u003ctd\u003e296\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eSandhya alias Arundhati marries Vasistha\u003c\/td\u003e\n\u003ctd\u003e302\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eDescription of the form and features of Vasanta\u003c\/td\u003e\n\u003ctd\u003e304\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eThe power of Kama and the birth of his attendants\u003c\/td\u003e\n\u003ctd\u003e309\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eBrahma- Visnu dialogue\u003c\/td\u003e\n\u003ctd\u003e314\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eHymn to Durga. Brahma granted a boon\u003c\/td\u003e\n\u003ctd\u003e319\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12.\u003c\/td\u003e\n\u003ctd\u003eDaksa granted a boon\u003c\/td\u003e\n\u003ctd\u003e324\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13.\u003c\/td\u003e\n\u003ctd\u003eNarada is cursed by Daksa\u003c\/td\u003e\n\u003ctd\u003e328\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14.\u003c\/td\u003e\n\u003ctd\u003eBirth of Sati and her childish sports\u003c\/td\u003e\n\u003ctd\u003e331\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15.\u003c\/td\u003e\n\u003ctd\u003eSacred rites of Nanda and hymn to Siva\u003c\/td\u003e\n\u003ctd\u003e336\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16.\u003c\/td\u003e\n\u003ctd\u003ePrayer to Siva offered by Brahma and Visnu\u003c\/td\u003e\n\u003ctd\u003e342\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17.\u003c\/td\u003e\n\u003ctd\u003eSati granted the boon\u003c\/td\u003e\n\u003ctd\u003e347\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18.\u003c\/td\u003e\n\u003ctd\u003eMarriage of Siva and Sati\u003c\/td\u003e\n\u003ctd\u003e353\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19.\u003c\/td\u003e\n\u003ctd\u003eDescription of Siva's sports\u003c\/td\u003e\n\u003ctd\u003e357\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20.\u003c\/td\u003e\n\u003ctd\u003eShiva's marriage festival\u003c\/td\u003e\n\u003ctd\u003e364\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e21.\u003c\/td\u003e\n\u003ctd\u003eDalliance of Sati and Siva on the Himalayas\u003c\/td\u003e\n\u003ctd\u003e369\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e22.\u003c\/td\u003e\n\u003ctd\u003eDalliance of Sati and Siva on the Himalayas\u003c\/td\u003e\n\u003ctd\u003e373\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e23.\u003c\/td\u003e\n\u003ctd\u003eDescription of the power of devotion\u003c\/td\u003e\n\u003ctd\u003e379\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e24.\u003c\/td\u003e\n\u003ctd\u003eSati's test of Rama's divinity\u003c\/td\u003e\n\u003ctd\u003e384\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e25.\u003c\/td\u003e\n\u003ctd\u003eSeparation of Sati and Siva\u003c\/td\u003e\n\u003ctd\u003e389\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e26.\u003c\/td\u003e\n\u003ctd\u003eThe cause of estrangement between Daksa and Siva\u003c\/td\u003e\n\u003ctd\u003e395\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e27.\u003c\/td\u003e\n\u003ctd\u003eThe inauguration of Daksa's sacrifice\u003c\/td\u003e\n\u003ctd\u003e400\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e28.\u003c\/td\u003e\n\u003ctd\u003eSati's journey\u003c\/td\u003e\n\u003ctd\u003e405\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e29.\u003c\/td\u003e\n\u003ctd\u003eSati's statement\u003c\/td\u003e\n\u003ctd\u003e409\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e30.\u003c\/td\u003e\n\u003ctd\u003eSati's casting-off of her body and the subsequent disorder.\u003c\/td\u003e\n\u003ctd\u003e415\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e31.\u003c\/td\u003e\n\u003ctd\u003eThe celestial voice\u003c\/td\u003e\n\u003ctd\u003e417\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e32.\u003c\/td\u003e\n\u003ctd\u003eBirth of Virabhadra and Siva's advice to him\u003c\/td\u003e\n\u003ctd\u003e420\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e33.\u003c\/td\u003e\n\u003ctd\u003eMarch of Virabhadra\u003c\/td\u003e\n\u003ctd\u003e425\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e34.\u003c\/td\u003e\n\u003ctd\u003eDevas see bad omens in Daksa's sacrifice\u003c\/td\u003e\n\u003ctd\u003e428\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e35.\u003c\/td\u003e\n\u003ctd\u003eVisnu's statement\u003c\/td\u003e\n\u003ctd\u003e430\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e36.\u003c\/td\u003e\n\u003ctd\u003eDialogue between Visnu and Virabhadra\u003c\/td\u003e\n\u003ctd\u003e434\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e37.\u003c\/td\u003e\n\u003ctd\u003eDestruction of Daksa's sacrifice\u003c\/td\u003e\n\u003ctd\u003e440\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e38.\u003c\/td\u003e\n\u003ctd\u003eDialogue between Ksuva and Dadhica\u003c\/td\u003e\n\u003ctd\u003e445\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e39.\u003c\/td\u003e\n\u003ctd\u003eThe fight between Visnu and Dadhica\u003c\/td\u003e\n\u003ctd\u003e451\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e40.\u003c\/td\u003e\n\u003ctd\u003eJourney to Kailasa and the vision of Siva\u003c\/td\u003e\n\u003ctd\u003e456\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e41.\u003c\/td\u003e\n\u003ctd\u003eDevas eulogise Siva\u003c\/td\u003e\n\u003ctd\u003e460\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e42.\u003c\/td\u003e\n\u003ctd\u003eThe removal of Daksa's misery\u003c\/td\u003e\n\u003ctd\u003e465\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e43.\u003c\/td\u003e\n\u003ctd\u003eThe Arrangement in Daksa's Sacrifice\u003c\/td\u003e\n\u003ctd\u003e469\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePART II\u003c\/b\u003e\u003c\/center\u003e\n\u003ctable width=\"100%\" cellspacing=\"10\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eRUDRESVARA SAMHITA: PARVATIKHANDA\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSECTION III\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003ci\u003ePages\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eMarriage of Himacala\u003c\/td\u003e\n\u003ctd\u003e475\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eSanaka etc. curse Mena and her sisters\u003c\/td\u003e\n\u003ctd\u003e478\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eGods praise Siva\u003c\/td\u003e\n\u003ctd\u003e482\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eGoddess Durga consoles the gods\u003c\/td\u003e\n\u003ctd\u003e485\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eMena obtains the boon\u003c\/td\u003e\n\u003ctd\u003e489\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eParvati's birth\u003c\/td\u003e\n\u003ctd\u003e494\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eChildhood sports of Parvati\u003c\/td\u003e\n\u003ctd\u003e499\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eNarada-Himalaya Conversation\u003c\/td\u003e\n\u003ctd\u003e501\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eThe parent's advice to Parvati and Siva appears before Parvati in the dream\u003c\/td\u003e\n\u003ctd\u003e506\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eMars is born and raised to the status of a planet\u003c\/td\u003e\n\u003ctd\u003e510\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eSiva and Himavat meet together\u003c\/td\u003e\n\u003ctd\u003e512\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12.\u003c\/td\u003e\n\u003ctd\u003eSiva-Himavat dialogue\u003c\/td\u003e\n\u003ctd\u003e516\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13.\u003c\/td\u003e\n\u003ctd\u003eSiva-Parvati dialogue\u003c\/td\u003e\n\u003ctd\u003e520\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14.\u003c\/td\u003e\n\u003ctd\u003eBirth and Penance of Vajranga and Taraka\u003c\/td\u003e\n\u003ctd\u003e525\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15.\u003c\/td\u003e\n\u003ctd\u003ePenance and Reign of Taraka\u003c\/td\u003e\n\u003ctd\u003e528\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16.\u003c\/td\u003e\n\u003ctd\u003eBrahma consoles the Gods harassed by Taraka\u003c\/td\u003e\n\u003ctd\u003e533\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17.\u003c\/td\u003e\n\u003ctd\u003eDialogue between Indra and Kama\u003c\/td\u003e\n\u003ctd\u003e537\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18.\u003c\/td\u003e\n\u003ctd\u003eKama causes perturbation in Siva's grove\u003c\/td\u003e\n\u003ctd\u003e540\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19.\u003c\/td\u003e\n\u003ctd\u003eKama's destruction by Siva\u003c\/td\u003e\n\u003ctd\u003e544\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20.\u003c\/td\u003e\n\u003ctd\u003eThe submarine fire\u003c\/td\u003e\n\u003ctd\u003e548\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e21.\u003c\/td\u003e\n\u003ctd\u003eNarada's instructions to Parvati\u003c\/td\u003e\n\u003ctd\u003e550\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e22.\u003c\/td\u003e\n\u003ctd\u003eParvati's penance\u003c\/td\u003e\n\u003ctd\u003e554\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e23.\u003c\/td\u003e\n\u003ctd\u003eHimavat dissuades Parvati, gods go to meet Siva\u003c\/td\u003e\n\u003ctd\u003e560\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e24.\u003c\/td\u003e\n\u003ctd\u003eSiva's consent to marry Parvati\u003c\/td\u003e\n\u003ctd\u003e564\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e25.\u003c\/td\u003e\n\u003ctd\u003eParvati's test by seven celestial sages\u003c\/td\u003e\n\u003ctd\u003e571\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e26.\u003c\/td\u003e\n\u003ctd\u003eParvati-jatila dialogue\u003c\/td\u003e\n\u003ctd\u003e578\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e27.\u003c\/td\u003e\n\u003ctd\u003eFraudulent words of Brahmacarin\u003c\/td\u003e\n\u003ctd\u003e582\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e28.\u003c\/td\u003e\n\u003ctd\u003eParvati sees Siva\u003c\/td\u003e\n\u003ctd\u003e585\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e29.\u003c\/td\u003e\n\u003ctd\u003eSiva-Parvati dialogue\u003c\/td\u003e\n\u003ctd\u003e589\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e30.\u003c\/td\u003e\n\u003ctd\u003eParvati returns home\u003c\/td\u003e\n\u003ctd\u003e593\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e31.\u003c\/td\u003e\n\u003ctd\u003eSiva's magic\u003c\/td\u003e\n\u003ctd\u003e597\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e32.\u003c\/td\u003e\n\u003ctd\u003eSeven celestial sages arrive\u003c\/td\u003e\n\u003ctd\u003e602\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e33.\u003c\/td\u003e\n\u003ctd\u003eAppeasement of Himavat\u003c\/td\u003e\n\u003ctd\u003e607\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e34.\u003c\/td\u003e\n\u003ctd\u003eAnaranya\u003c\/td\u003e\n\u003ctd\u003e613\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e35.\u003c\/td\u003e\n\u003ctd\u003ePadma and Pippalada\u003c\/td\u003e\n\u003ctd\u003e617\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e36.\u003c\/td\u003e\n\u003ctd\u003eSpeeches of seven Sages\u003c\/td\u003e\n\u003ctd\u003e623\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e37.\u003c\/td\u003e\n\u003ctd\u003eLetter of betrothal despatched; arrangement for the celebration of marriage; the arrival of the mountain-invitees\u003c\/td\u003e\n\u003ctd\u003e626\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e38.\u003c\/td\u003e\n\u003ctd\u003eDescription of the dais\u003c\/td\u003e\n\u003ctd\u003e631\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e39.\u003c\/td\u003e\n\u003ctd\u003eThe arrival of the goods and Siva's preparations\u003c\/td\u003e\n\u003ctd\u003e634\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e40.\u003c\/td\u003e\n\u003ctd\u003eMarriage procession of Siva\u003c\/td\u003e\n\u003ctd\u003e639\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e41.\u003c\/td\u003e\n\u003ctd\u003eDescription of the altal-structure\u003c\/td\u003e\n\u003ctd\u003e643\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e42.\u003c\/td\u003e\n\u003ctd\u003eMeeting of Siva and Himavat\u003c\/td\u003e\n\u003ctd\u003e648\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e43.\u003c\/td\u003e\n\u003ctd\u003eSiva's wonderful sport\u003c\/td\u003e\n\u003ctd\u003e650\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e44.\u003c\/td\u003e\n\u003ctd\u003eMena regains consciousness\u003c\/td\u003e\n\u003ctd\u003e656\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e45.\u003c\/td\u003e\n\u003ctd\u003eThe jubilation of the citizens at the sight of Siva\u003c\/td\u003e\n\u003ctd\u003e664\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e46.\u003c\/td\u003e\n\u003ctd\u003eThe arrival of the bridegroom\u003c\/td\u003e\n\u003ctd\u003e668\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e47.\u003c\/td\u003e\n\u003ctd\u003eSiva enters the palace of Himavat\u003c\/td\u003e\n\u003ctd\u003e671\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e48.\u003c\/td\u003e\n\u003ctd\u003eDescription of Marriage\u003c\/td\u003e\n\u003ctd\u003e675\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e49.\u003c\/td\u003e\n\u003ctd\u003eDelusion of Brahma\u003c\/td\u003e\n\u003ctd\u003e680\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e50.\u003c\/td\u003e\n\u003ctd\u003eDescription of fun and frolic\u003c\/td\u003e\n\u003ctd\u003e685\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e51.\u003c\/td\u003e\n\u003ctd\u003eResuscitation of Kama\u003c\/td\u003e\n\u003ctd\u003e690\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e52.\u003c\/td\u003e\n\u003ctd\u003eThe marriage party is fed and Siva retires to bed\u003c\/td\u003e\n\u003ctd\u003e694\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e53.\u003c\/td\u003e\n\u003ctd\u003eDescription of Siva's return journey\u003c\/td\u003e\n\u003ctd\u003e697\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e54.\u003c\/td\u003e\n\u003ctd\u003eSiva returns to Kailasa\u003c\/td\u003e\n\u003ctd\u003e706\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eRUDRASAMHITA KUMARAKHANDA\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSECTION IV\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eDalliance of Siva\u003c\/td\u003e\n\u003ctd\u003e711\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eBirth of Siva's son\u003c\/td\u003e\n\u003ctd\u003e716\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eBoyhood sports of Karttikeya\u003c\/td\u003e\n\u003ctd\u003e722\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eSearch for Karttikeya and his talk with Nandin\u003c\/td\u003e\n\u003ctd\u003e726\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eKarttikeya is crowned\u003c\/td\u003e\n\u003ctd\u003e732\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eMiraculous Feat of Karttikeya\u003c\/td\u003e\n\u003ctd\u003e738\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eCommencement of the war\u003c\/td\u003e\n\u003ctd\u003e741\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eThe battle between the gods and Asuras\u003c\/td\u003e\n\u003ctd\u003e745\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eTaraka's fight with Indra, Visnu and Virabhadra\u003c\/td\u003e\n\u003ctd\u003e749\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eDeath of Taraka and Jubilation of the Gods\u003c\/td\u003e\n\u003ctd\u003e754\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eThe victory of Kumara and the death of Bana and Pralamba\u003c\/td\u003e\n\u003ctd\u003e758\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12.\u003c\/td\u003e\n\u003ctd\u003eGods eulogise Siva\u003c\/td\u003e\n\u003ctd\u003e761\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13.\u003c\/td\u003e\n\u003ctd\u003eBirth of Ganesa\u003c\/td\u003e\n\u003ctd\u003e765\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14.\u003c\/td\u003e\n\u003ctd\u003eGanas argue and wrangle\u003c\/td\u003e\n\u003ctd\u003e769\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15.\u003c\/td\u003e\n\u003ctd\u003eGanesa's battle\u003c\/td\u003e\n\u003ctd\u003e775\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16.\u003c\/td\u003e\n\u003ctd\u003eGanesa's head is chopped off\u003c\/td\u003e\n\u003ctd\u003e780\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17.\u003c\/td\u003e\n\u003ctd\u003eResuscitation of Ganesa\u003c\/td\u003e\n\u003ctd\u003e783\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18.\u003c\/td\u003e\n\u003ctd\u003eGanesa's crowned as the chief of Ganas\u003c\/td\u003e\n\u003ctd\u003e788\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19.\u003c\/td\u003e\n\u003ctd\u003eGanesa's marriage\u003c\/td\u003e\n\u003ctd\u003e793\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20.\u003c\/td\u003e\n\u003ctd\u003eCelebration of Ganesa's marriage\u003c\/td\u003e\n\u003ctd\u003e798\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eRUDRASAMHITA: YUDDHAKHANDA\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSECTION V\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eDescription of the Tripuras\u003c\/td\u003e\n\u003ctd\u003e802\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003ePrayer of the gods\u003c\/td\u003e\n\u003ctd\u003e809\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eVirtues of the Tripuras\u003c\/td\u003e\n\u003ctd\u003e815\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eTripuras are initiated\u003c\/td\u003e\n\u003ctd\u003e820\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eTripuras are fascinated\u003c\/td\u003e\n\u003ctd\u003e826\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003ePrayer to Siva\u003c\/td\u003e\n\u003ctd\u003e831\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eGods pray to Siva and Siva's instructions to the gods\u003c\/td\u003e\n\u003ctd\u003e836\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eConstruction of the cosmic chariot\u003c\/td\u003e\n\u003ctd\u003e840\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eSiva's campaign\u003c\/td\u003e\n\u003ctd\u003e843\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eBurning of the Tripuras\u003c\/td\u003e\n\u003ctd\u003e846\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eGod's prayer\u003c\/td\u003e\n\u003ctd\u003e850\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12.\u003c\/td\u003e\n\u003ctd\u003eGods return to their abodes\u003c\/td\u003e\n\u003ctd\u003e854\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13.\u003c\/td\u003e\n\u003ctd\u003eResuscitation of Indra\u003c\/td\u003e\n\u003ctd\u003e858\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14.\u003c\/td\u003e\n\u003ctd\u003eBirth of Jalandhara and his marriage\u003c\/td\u003e\n\u003ctd\u003e863\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15.\u003c\/td\u003e\n\u003ctd\u003eFight between the gods and Jalandhara\u003c\/td\u003e\n\u003ctd\u003e866\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16.\u003c\/td\u003e\n\u003ctd\u003eBattle of the gods\u003c\/td\u003e\n\u003ctd\u003e873\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17.\u003c\/td\u003e\n\u003ctd\u003eFight between Visnu and Jalandhara\u003c\/td\u003e\n\u003ctd\u003e877\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18.\u003c\/td\u003e\n\u003ctd\u003eDialogue between Narada and Jalandhara\u003c\/td\u003e\n\u003ctd\u003e881\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19.\u003c\/td\u003e\n\u003ctd\u003eJalandhara's emissary to Siva\u003c\/td\u003e\n\u003ctd\u003e886\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20.\u003c\/td\u003e\n\u003ctd\u003eFight between Ganas and Asuras\u003c\/td\u003e\n\u003ctd\u003e891\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e21.\u003c\/td\u003e\n\u003ctd\u003eDescription of the special war\u003c\/td\u003e\n\u003ctd\u003e896\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e22.\u003c\/td\u003e\n\u003ctd\u003eJalandhara's battle\u003c\/td\u003e\n\u003ctd\u003e900\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e23.\u003c\/td\u003e\n\u003ctd\u003eOutraging the modesty of Vrnda\u003c\/td\u003e\n\u003ctd\u003e904\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e24.\u003c\/td\u003e\n\u003ctd\u003eJalandhara is slain\u003c\/td\u003e\n\u003ctd\u003e909\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e25.\u003c\/td\u003e\n\u003ctd\u003eGod's prayer to Siva\u003c\/td\u003e\n\u003ctd\u003e914\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e26.\u003c\/td\u003e\n\u003ctd\u003eVanishing of Visnu's delusion\u003c\/td\u003e\n\u003ctd\u003e917\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e27.\u003c\/td\u003e\n\u003ctd\u003eBirth of Sankhacuda\u003c\/td\u003e\n\u003ctd\u003e923\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e28.\u003c\/td\u003e\n\u003ctd\u003ePenance and marriage of Sankhacuda\u003c\/td\u003e\n\u003ctd\u003e926\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e29.\u003c\/td\u003e\n\u003ctd\u003ePrevious birth of Sankhacuda\u003c\/td\u003e\n\u003ctd\u003e930\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e30.\u003c\/td\u003e\n\u003ctd\u003ePrayers to Siva\u003c\/td\u003e\n\u003ctd\u003e935\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e31.\u003c\/td\u003e\n\u003ctd\u003eSiva's advice to the gods\u003c\/td\u003e\n\u003ctd\u003e938\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e32.\u003c\/td\u003e\n\u003ctd\u003eSiva sends an emissary to Sankhacuda\u003c\/td\u003e\n\u003ctd\u003e943\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e33.\u003c\/td\u003e\n\u003ctd\u003eMarch of Siva\u003c\/td\u003e\n\u003ctd\u003e946\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e34.\u003c\/td\u003e\n\u003ctd\u003eMarch of Sankhacuda\u003c\/td\u003e\n\u003ctd\u003e950\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e35.\u003c\/td\u003e\n\u003ctd\u003eDialogue between Siva and the emissary of Sankhacuda\u003c\/td\u003e\n\u003ctd\u003e953\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e36.\u003c\/td\u003e\n\u003ctd\u003eMutual fight\u003c\/td\u003e\n\u003ctd\u003e957\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e37.\u003c\/td\u003e\n\u003ctd\u003eFight of Kali\u003c\/td\u003e\n\u003ctd\u003e960\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e38.\u003c\/td\u003e\n\u003ctd\u003eFight of Kali\u003c\/td\u003e\n\u003ctd\u003e963\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e39.\u003c\/td\u003e\n\u003ctd\u003eAnnihilation of the army of Sankhacuda\u003c\/td\u003e\n\u003ctd\u003e966\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e40.\u003c\/td\u003e\n\u003ctd\u003eDeath of Sankhacuda\u003c\/td\u003e\n\u003ctd\u003e970\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e41.\u003c\/td\u003e\n\u003ctd\u003eCurse of Tulasi\u003c\/td\u003e\n\u003ctd\u003e973\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e42.\u003c\/td\u003e\n\u003ctd\u003eDeath of Hiranyaksa\u003c\/td\u003e\n\u003ctd\u003e978\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e43.\u003c\/td\u003e\n\u003ctd\u003eDeath of Hiranyakasipu\u003c\/td\u003e\n\u003ctd\u003e984\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e44.\u003c\/td\u003e\n\u003ctd\u003eAndhaka attains the leadership of Ganas\u003c\/td\u003e\n\u003ctd\u003e989\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e45.\u003c\/td\u003e\n\u003ctd\u003eAndhaka sends his emissary to Siva\u003c\/td\u003e\n\u003ctd\u003e997\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e46.\u003c\/td\u003e\n\u003ctd\u003eAndhaka's fight with Siva\u003c\/td\u003e\n\u003ctd\u003e1002\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e47.\u003c\/td\u003e\n\u003ctd\u003eSwallowing of Sukra\u003c\/td\u003e\n\u003ctd\u003e1007\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e48.\u003c\/td\u003e\n\u003ctd\u003eSwallowing Sukra and his emergence\u003c\/td\u003e\n\u003ctd\u003e1012\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e49.\u003c\/td\u003e\n\u003ctd\u003eAndhaka obtains the leadership of Ganas\u003c\/td\u003e\n\u003ctd\u003e1016\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e50.\u003c\/td\u003e\n\u003ctd\u003eSukra learns Mrtasanjivani lore\u003c\/td\u003e\n\u003ctd\u003e1021\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e51.\u003c\/td\u003e\n\u003ctd\u003eNarrative of Usa\u003c\/td\u003e\n\u003ctd\u003e1026\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e52.\u003c\/td\u003e\n\u003ctd\u003eNarrative of Usa (continued)\u003c\/td\u003e\n\u003ctd\u003e1031\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e53.\u003c\/td\u003e\n\u003ctd\u003eDalliance of Usa and Aniruddha\u003c\/td\u003e\n\u003ctd\u003e1036\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e54.\u003c\/td\u003e\n\u003ctd\u003eFight among Bana, Siva, Krsna and others\u003c\/td\u003e\n\u003ctd\u003e1041\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e55.\u003c\/td\u003e\n\u003ctd\u003eChopping of Bana's arms and his humiliation\u003c\/td\u003e\n\u003ctd\u003e1047\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e56.\u003c\/td\u003e\n\u003ctd\u003eBaja attains the position of Siva's Gana\u003c\/td\u003e\n\u003ctd\u003e1051\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e57.\u003c\/td\u003e\n\u003ctd\u003eGajasura is slain\u003c\/td\u003e\n\u003ctd\u003e1054\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e58.\u003c\/td\u003e\n\u003ctd\u003eDundubhi Nirhrada is slain\u003c\/td\u003e\n\u003ctd\u003e1061\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e59.\u003c\/td\u003e\n\u003ctd\u003eVidala and Utpala are slain\u003c\/td\u003e\n\u003ctd\u003e1065\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePART III\u003c\/b\u003e\u003c\/center\u003e\n\u003ctable width=\"100%\" cellspacing=\"10\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd colspan=\"2\"\u003eSATARUDRASAMHITA.\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eFive incarnations of Siva.\u003c\/td\u003e\n\u003ctd\u003e1069\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eEight forms of Siva\u003c\/td\u003e\n\u003ctd\u003e1074\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eHalf-female incarnations of Siva\u003c\/td\u003e\n\u003ctd\u003e1075\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eStory of Rsabha\u003c\/td\u003e\n\u003ctd\u003e1078\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eNineteen incarnations of Siva\u003c\/td\u003e\n\u003ctd\u003e1081\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eIncarnations of Nandisvara\u003c\/td\u003e\n\u003ctd\u003e1086\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eCoronation and the nuptials of Nandisvara\u003c\/td\u003e\n\u003ctd\u003e1092\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Bhairava\u003c\/td\u003e\n\u003ctd\u003e1097\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eSports of Bhairava\u003c\/td\u003e\n\u003ctd\u003e1103\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eNarrative of Man-lion\u003c\/td\u003e\n\u003ctd\u003e1110\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Sarabha\u003c\/td\u003e\n\u003ctd\u003e1113\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12.\u003c\/td\u003e\n\u003ctd\u003eThe incarnation of Sarabha (continued)\u003c\/td\u003e\n\u003ctd\u003e1119\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Grhapati\u003c\/td\u003e\n\u003ctd\u003e1123\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14.\u003c\/td\u003e\n\u003ctd\u003eThe incarnation of Grhapati (continued)\u003c\/td\u003e\n\u003ctd\u003e1129\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15.\u003c\/td\u003e\n\u003ctd\u003eThe incarnation of Grhapati (continued)\u003c\/td\u003e\n\u003ctd\u003e1138\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Yaksesvara\u003c\/td\u003e\n\u003ctd\u003e1139\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17.\u003c\/td\u003e\n\u003ctd\u003eIncarnations of Siva\u003c\/td\u003e\n\u003ctd\u003e1143\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18.\u003c\/td\u003e\n\u003ctd\u003eEleven incarnations of Siva\u003c\/td\u003e\n\u003ctd\u003e1145\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19.\u003c\/td\u003e\n\u003ctd\u003eNarrative of Durvasas\u003c\/td\u003e\n\u003ctd\u003e1148\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Hanumat\u003c\/td\u003e\n\u003ctd\u003e1154\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e21.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Mahesa\u003c\/td\u003e\n\u003ctd\u003e1157\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e22.\u003c\/td\u003e\n\u003ctd\u003eHarassment by Visnu's sons and the incarnation of Bull\u003c\/td\u003e\n\u003ctd\u003e1159\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e23.\u003c\/td\u003e\n\u003ctd\u003eThe incarnation of Bull (continued)\u003c\/td\u003e\n\u003ctd\u003e1163\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e24.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Pippalada\u003c\/td\u003e\n\u003ctd\u003e1167\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e25.\u003c\/td\u003e\n\u003ctd\u003eThe incarnation of Pippalada (continued)\u003c\/td\u003e\n\u003ctd\u003e1172\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e26.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Vaisyanatha\u003c\/td\u003e\n\u003ctd\u003e1174\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e27.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Dvijesvara\u003c\/td\u003e\n\u003ctd\u003e1180\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e28.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Yatinathahamsa\u003c\/td\u003e\n\u003ctd\u003e1186\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e29.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Krsnadarsana\u003c\/td\u003e\n\u003ctd\u003e1190\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e30.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Avadhutesvara\u003c\/td\u003e\n\u003ctd\u003e1195\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e31.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Bhiksuvarya\u003c\/td\u003e\n\u003ctd\u003e1199\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e32.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Suresvara\u003c\/td\u003e\n\u003ctd\u003e1206\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e33.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Brahmacarin\u003c\/td\u003e\n\u003ctd\u003e1212\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e34.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Sunartakanata\u003c\/td\u003e\n\u003ctd\u003e1218\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e35.\u003c\/td\u003e\n\u003ctd\u003eThe incarnation of Saintly Brahmin\u003c\/td\u003e\n\u003ctd\u003e1221\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e36.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Asvatthaman\u003c\/td\u003e\n\u003ctd\u003e1224\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e37.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Kirata\u003c\/td\u003e\n\u003ctd\u003e1228\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e38.\u003c\/td\u003e\n\u003ctd\u003eDescription of Arjuna's penance\u003c\/td\u003e\n\u003ctd\u003e1234\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e39.\u003c\/td\u003e\n\u003ctd\u003eThe slaying of the demon Muka\u003c\/td\u003e\n\u003ctd\u003e1240\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e40.\u003c\/td\u003e\n\u003ctd\u003eKirata- Arjuna dialogue\u003c\/td\u003e\n\u003ctd\u003e1244\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e41.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Kirata (contununed)\u003c\/td\u003e\n\u003ctd\u003e1248\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e42.\u003c\/td\u003e\n\u003ctd\u003eTwelve Jyotirlinga incarnations\u003c\/td\u003e\n\u003ctd\u003e1253\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd colspan=\"2\"\u003eKOTIRUDRASAMHITA\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eGlory of Jyotirlingas and their Uplingas\u003c\/td\u003e\n\u003ctd\u003e1259\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Sivalingas\u003c\/td\u003e\n\u003ctd\u003e1263\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003ePenance of Anasuya and Atri\u003c\/td\u003e\n\u003ctd\u003e1265\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Atrisvara\u003c\/td\u003e\n\u003ctd\u003e1268\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eDeath of the Brahmin lady and the greatness of Nandikesvara\u003c\/td\u003e\n\u003ctd\u003e1273\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eBrahmin lady attains Heaven\u003c\/td\u003e\n\u003ctd\u003e1276\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Nandikesvara\u003c\/td\u003e\n\u003ctd\u003e1282\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Mahabala\u003c\/td\u003e\n\u003ctd\u003e1285\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eAttainment of the supreme goal by an outcaste women\u003c\/td\u003e\n\u003ctd\u003e1287\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eThe greatness of Mahabala (continued)\u003c\/td\u003e\n\u003ctd\u003e1290\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Pashupatinath\u003c\/td\u003e\n\u003ctd\u003e1294\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12.\u003c\/td\u003e\n\u003ctd\u003eWhy Siva assumed the phallic form\u003c\/td\u003e\n\u003ctd\u003e1296\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13.\u003c\/td\u003e\n\u003ctd\u003eOrigin of Vatuka\u003c\/td\u003e\n\u003ctd\u003e1301\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14.\u003c\/td\u003e\n\u003ctd\u003eOrigin of Somanatha\u003c\/td\u003e\n\u003ctd\u003e1307\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15.\u003c\/td\u003e\n\u003ctd\u003eOrigin of the second Mallikarjuna Jyotirlinga\u003c\/td\u003e\n\u003ctd\u003e1312\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16.\u003c\/td\u003e\n\u003ctd\u003eGlory of Mahakala\u003c\/td\u003e\n\u003ctd\u003e1314\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17.\u003c\/td\u003e\n\u003ctd\u003eThe glory of Mahakala (continued)\u003c\/td\u003e\n\u003ctd\u003e1319\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18.\u003c\/td\u003e\n\u003ctd\u003eGlory of Omkaresvara\u003c\/td\u003e\n\u003ctd\u003e1325\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19.\u003c\/td\u003e\n\u003ctd\u003eGlory of Kedaresvara\u003c\/td\u003e\n\u003ctd\u003e1327\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20.\u003c\/td\u003e\n\u003ctd\u003eGlory of Bhimesvara and the havoc perpetrated by Bhimasura\u003c\/td\u003e\n\u003ctd\u003e1326\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e21.\u003c\/td\u003e\n\u003ctd\u003eOrigin of Bhimesvara\u003c\/td\u003e\n\u003ctd\u003e1335\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e22.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Visvesvara, the arrival of Rudra at Kasi\u003c\/td\u003e\n\u003ctd\u003e1340\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e23.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Visvesvara (continued)\u003c\/td\u003e\n\u003ctd\u003e1343\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e24.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Trymbakesvara and Gautama\u003c\/td\u003e\n\u003ctd\u003e1348\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e25.\u003c\/td\u003e\n\u003ctd\u003ePlanned arrangement of Gautama\u003c\/td\u003e\n\u003ctd\u003e1351\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e26.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Tryambakesvara (continued)\u003c\/td\u003e\n\u003ctd\u003e1356\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e27.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Tryambakesvara (continued)\u003c\/td\u003e\n\u003ctd\u003e1362\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e28.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Vaidyanathesvara\u003c\/td\u003e\n\u003ctd\u003e1366\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e29.\u003c\/td\u003e\n\u003ctd\u003eHavoc created by Raksasas of Darukavana\u003c\/td\u003e\n\u003ctd\u003e1373\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e30.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Nagesvara\u003c\/td\u003e\n\u003ctd\u003e1377\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e31.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Ramesvara\u003c\/td\u003e\n\u003ctd\u003e1381\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e32.\u003c\/td\u003e\n\u003ctd\u003eNarrative of Sudeha and Sudharma\u003c\/td\u003e\n\u003ctd\u003e1385\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e33.\u003c\/td\u003e\n\u003ctd\u003eOrigin and glory of Ghusmesvara\u003c\/td\u003e\n\u003ctd\u003e1389\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e34.\u003c\/td\u003e\n\u003ctd\u003eAcquisition of Sudarsana by Visnu\u003c\/td\u003e\n\u003ctd\u003e1394\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e35.\u003c\/td\u003e\n\u003ctd\u003eThousand names of Siva\u003c\/td\u003e\n\u003ctd\u003e1397\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e36.\u003c\/td\u003e\n\u003ctd\u003eEfficacy of the thousand names of Siva\u003c\/td\u003e\n\u003ctd\u003e1414\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e37.\u003c\/td\u003e\n\u003ctd\u003eDevotion to lord Siva\u003c\/td\u003e\n\u003ctd\u003e1417\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e38.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Sivaratri\u003c\/td\u003e\n\u003ctd\u003e1422\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e39.\u003c\/td\u003e\n\u003ctd\u003eThe rite of Sivaratri\u003c\/td\u003e\n\u003ctd\u003e1429\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e40.\u003c\/td\u003e\n\u003ctd\u003eGlory of Sivaratri\u003c\/td\u003e\n\u003ctd\u003e1431\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e41.\u003c\/td\u003e\n\u003ctd\u003eReview of salvation\u003c\/td\u003e\n\u003ctd\u003e1439\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e42.\u003c\/td\u003e\n\u003ctd\u003eDifference between Saguna and Nirguna\u003c\/td\u003e\n\u003ctd\u003e1441\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e43.\u003c\/td\u003e\n\u003ctd\u003eReview of knowledge\u003c\/td\u003e\n\u003ctd\u003e1444\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd colspan=\"2\"\u003eUMASAMHITA\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eKrsna meets Upamanyu\u003c\/td\u003e\n\u003ctd\u003e1450\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eUpamanyu's instruction\u003c\/td\u003e\n\u003ctd\u003e1456\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eGreatness of Siva\u003c\/td\u003e\n\u003ctd\u003e1461\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eExhibition of Siva's skill\u003c\/td\u003e\n\u003ctd\u003e1468\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eGreat sins\u003c\/td\u003e\n\u003ctd\u003e1471\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eDifferent types of sins\u003c\/td\u003e\n\u003ctd\u003e1475\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003ePathway to hell and the Emissaries of Yama\u003c\/td\u003e\n\u003ctd\u003e1479\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eDescription of hell\u003c\/td\u003e\n\u003ctd\u003e1484\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003ePangs of hell\u003c\/td\u003e\n\u003ctd\u003e1488\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eMode of suffering in hell\u003c\/td\u003e\n\u003ctd\u003e1491\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eThe glory of the gift of food\u003c\/td\u003e\n\u003ctd\u003e1495\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12.\u003c\/td\u003e\n\u003ctd\u003eGlory of penance\u003c\/td\u003e\n\u003ctd\u003e1500\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13.\u003c\/td\u003e\n\u003ctd\u003eGlory of Puranas\u003c\/td\u003e\n\u003ctd\u003e1504\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14.\u003c\/td\u003e\n\u003ctd\u003eGeneral charitable gifts\u003c\/td\u003e\n\u003ctd\u003e1508\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15.\u003c\/td\u003e\n\u003ctd\u003eDescription of the Nether Worlds\u003c\/td\u003e\n\u003ctd\u003e1511\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16.\u003c\/td\u003e\n\u003ctd\u003eUplift from hell\u003c\/td\u003e\n\u003ctd\u003e1514\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17.\u003c\/td\u003e\n\u003ctd\u003eDescription of the Jambudvipa\u003c\/td\u003e\n\u003ctd\u003e1518\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18.\u003c\/td\u003e\n\u003ctd\u003eSeven continents\u003c\/td\u003e\n\u003ctd\u003e1522\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19.\u003c\/td\u003e\n\u003ctd\u003eWorlds and planets\u003c\/td\u003e\n\u003ctd\u003e1529\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20.\u003c\/td\u003e\n\u003ctd\u003eA special Mantra\u003c\/td\u003e\n\u003ctd\u003e1533\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e21.\u003c\/td\u003e\n\u003ctd\u003eFruits of righteous war\u003c\/td\u003e\n\u003ctd\u003e1537\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e22.\u003c\/td\u003e\n\u003ctd\u003eOrigin and development of the body\u003c\/td\u003e\n\u003ctd\u003e1541\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e23.\u003c\/td\u003e\n\u003ctd\u003eInfancy and other stages; impurity of the body\u003c\/td\u003e\n\u003ctd\u003e1545\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e24.\u003c\/td\u003e\n\u003ctd\u003eWomen's nature\u003c\/td\u003e\n\u003ctd\u003e1551\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e25.\u003c\/td\u003e\n\u003ctd\u003eAscertainment of the time of death\u003c\/td\u003e\n\u003ctd\u003e1555\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e26.\u003c\/td\u003e\n\u003ctd\u003eDodging of Kala\u003c\/td\u003e\n\u003ctd\u003e1560\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e27.\u003c\/td\u003e\n\u003ctd\u003eEscaping death \u0026amp; realization of Siva\u003c\/td\u003e\n\u003ctd\u003e1565\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e28.\u003c\/td\u003e\n\u003ctd\u003eChayapurusa\u003c\/td\u003e\n\u003ctd\u003e1568\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePART IV\u003c\/b\u003e\u003c\/center\u003e\n\u003ctable width=\"100%\" cellspacing=\"10\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd colspan=\"2\"\u003eUMASAMHITA\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e29.\u003c\/td\u003e\n\u003ctd\u003ePrimeval creation\u003c\/td\u003e\n\u003ctd\u003e1573\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e30.\u003c\/td\u003e\n\u003ctd\u003eDescription of creation\u003c\/td\u003e\n\u003ctd\u003e1575\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e31.\u003c\/td\u003e\n\u003ctd\u003eDescription of creation\u003c\/td\u003e\n\u003ctd\u003e1580\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e32.\u003c\/td\u003e\n\u003ctd\u003eFamily of Kasyapa\u003c\/td\u003e\n\u003ctd\u003e1583\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e33.\u003c\/td\u003e\n\u003ctd\u003eDescription of creation\u003c\/td\u003e\n\u003ctd\u003e1587\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e34.\u003c\/td\u003e\n\u003ctd\u003eManvantaras\u003c\/td\u003e\n\u003ctd\u003e1589\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e35.\u003c\/td\u003e\n\u003ctd\u003eDescription of Vaivasvata\u003c\/td\u003e\n\u003ctd\u003e1594\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e36.\u003c\/td\u003e\n\u003ctd\u003eNine Sons and the Race of Manu\u003c\/td\u003e\n\u003ctd\u003e1597\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e37.\u003c\/td\u003e\n\u003ctd\u003eRace of Manu\u003c\/td\u003e\n\u003ctd\u003e1602\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e38.\u003c\/td\u003e\n\u003ctd\u003eSatyavrata to Sagara\u003c\/td\u003e\n\u003ctd\u003e1607\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e39.\u003c\/td\u003e\n\u003ctd\u003eKings of the solar race\u003c\/td\u003e\n\u003ctd\u003e1612\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e40.\u003c\/td\u003e\n\u003ctd\u003ePower of the manes\u003c\/td\u003e\n\u003ctd\u003e1615\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e41.\u003c\/td\u003e\n\u003ctd\u003eSeven hunters, their attainment\u003c\/td\u003e\n\u003ctd\u003e1619\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e42.\u003c\/td\u003e\n\u003ctd\u003ePower of the Pitrs\u003c\/td\u003e\n\u003ctd\u003e1624\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e43.\u003c\/td\u003e\n\u003ctd\u003eMode of worshipping Vyasa\u003c\/td\u003e\n\u003ctd\u003e1626\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e44.\u003c\/td\u003e\n\u003ctd\u003eBirth of Vyasa\u003c\/td\u003e\n\u003ctd\u003e1627\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e45.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Mahakalika\u003c\/td\u003e\n\u003ctd\u003e1638\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e46.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Mahalaksmi\u003c\/td\u003e\n\u003ctd\u003e1645\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e47.\u003c\/td\u003e\n\u003ctd\u003eDhumraksa, Canda, Munda and Raktabuja killed\u003c\/td\u003e\n\u003ctd\u003e1650\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e48.\u003c\/td\u003e\n\u003ctd\u003eManifestation of Sarasvati\u003c\/td\u003e\n\u003ctd\u003e1655\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e49.\u003c\/td\u003e\n\u003ctd\u003eManifestation of Uma\u003c\/td\u003e\n\u003ctd\u003e1660\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e50.\u003c\/td\u003e\n\u003ctd\u003eIncarnation of Sataksi\u003c\/td\u003e\n\u003ctd\u003e1663\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e51.\u003c\/td\u003e\n\u003ctd\u003eReview of holy rites\u003c\/td\u003e\n\u003ctd\u003e1667\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd colspan=\"2\"\u003eKAILASASAMHITA\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eDiscussion among Vyasa, Saunaka, and others\u003c\/td\u003e\n\u003ctd\u003e1674\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eDialogue between the God and the Goddess\u003c\/td\u003e\n\u003ctd\u003e1678\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eWay of Sannyasa\u003c\/td\u003e\n\u003ctd\u003e1680\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eDaily conduct of a Sannyasin\u003c\/td\u003e\n\u003ctd\u003e1686\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eMystic diagram of the ascetic\u003c\/td\u003e\n\u003ctd\u003e1689\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003eNyasa in the path of renunciation\u003c\/td\u003e\n\u003ctd\u003e1692\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eWorship of Siva\u003c\/td\u003e\n\u003ctd\u003e1697\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eMental worship of Siva\u003c\/td\u003e\n\u003ctd\u003e1703\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eMode of interpreting the Pranava\u003c\/td\u003e\n\u003ctd\u003e1706\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eSusta's instructions\u003c\/td\u003e\n\u003ctd\u003e1710\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eBrahma Vamadeva\u003c\/td\u003e\n\u003ctd\u003e1713\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12.\u003c\/td\u003e\n\u003ctd\u003eProcedure of Sannyasa\u003c\/td\u003e\n\u003ctd\u003e1718\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13.\u003c\/td\u003e\n\u003ctd\u003eProcedure of Renunciation\u003c\/td\u003e\n\u003ctd\u003e1725\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14.\u003c\/td\u003e\n\u003ctd\u003ePranava in the form of Siva\u003c\/td\u003e\n\u003ctd\u003e1731\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15.\u003c\/td\u003e\n\u003ctd\u003eThe idol of Siva for worship\u003c\/td\u003e\n\u003ctd\u003e1734\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16.\u003c\/td\u003e\n\u003ctd\u003eSiva's Principle\u003c\/td\u003e\n\u003ctd\u003e1738\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17.\u003c\/td\u003e\n\u003ctd\u003eNon-dualistic nature of Siva\u003c\/td\u003e\n\u003ctd\u003e1744\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18.\u003c\/td\u003e\n\u003ctd\u003eThe procedure of initiating a disciple\u003c\/td\u003e\n\u003ctd\u003e1749\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19.\u003c\/td\u003e\n\u003ctd\u003eRules of Yogapatta\u003c\/td\u003e\n\u003ctd\u003e1752\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20.\u003c\/td\u003e\n\u003ctd\u003eRules for hair-cutting and ablution\u003c\/td\u003e\n\u003ctd\u003e1757\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e21.\u003c\/td\u003e\n\u003ctd\u003eThe first ten days rite on the death of an ascetic\u003c\/td\u003e\n\u003ctd\u003e1760\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e22.\u003c\/td\u003e\n\u003ctd\u003eRites on the eleventh day of the death of an ascetic\u003c\/td\u003e\n\u003ctd\u003e1766\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e23.\u003c\/td\u003e\n\u003ctd\u003eTwelfth-day rites for Yatis\u003c\/td\u003e\n\u003ctd\u003e1769\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd colspan=\"2\"\u003eVAYAVIYASAMHITA, SECTION I\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eOrigin of the sacred lore\u003c\/td\u003e\n\u003ctd\u003e1774\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eThe problem of the sages\u003c\/td\u003e\n\u003ctd\u003e1778\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eNaimisa episode\u003c\/td\u003e\n\u003ctd\u003e1781\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eAdvent of Vayu\u003c\/td\u003e\n\u003ctd\u003e1787\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003ePrinciples of Siva cult\u003c\/td\u003e\n\u003ctd\u003e1788\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003ePrinciples of Siva cult\u003c\/td\u003e\n\u003ctd\u003e1794\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003eGlory of Time\u003c\/td\u003e\n\u003ctd\u003e1799\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eThe span of life of the Trinity\u003c\/td\u003e\n\u003ctd\u003e1802\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eCreation and sustenance\u003c\/td\u003e\n\u003ctd\u003e1804\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eDescription of Creation\u003c\/td\u003e\n\u003ctd\u003e1806\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eDescription of Creation\u003c\/td\u003e\n\u003ctd\u003e1810\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12.\u003c\/td\u003e\n\u003ctd\u003eDescription of Creation\u003c\/td\u003e\n\u003ctd\u003e1812\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13.\u003c\/td\u003e\n\u003ctd\u003eCreation of Brahma and Visnu\u003c\/td\u003e\n\u003ctd\u003e1817\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14.\u003c\/td\u003e\n\u003ctd\u003eManifestation of Rudras\u003c\/td\u003e\n\u003ctd\u003e1821\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15.\u003c\/td\u003e\n\u003ctd\u003eSong of Prayer addressed to Siva and Siva\u003c\/td\u003e\n\u003ctd\u003e1822\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16.\u003c\/td\u003e\n\u003ctd\u003eManifestation of divine Sakti\u003c\/td\u003e\n\u003ctd\u003e1825\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17.\u003c\/td\u003e\n\u003ctd\u003eNarrative of Creation\u003c\/td\u003e\n\u003ctd\u003e1827\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18.\u003c\/td\u003e\n\u003ctd\u003eAbandonment of the body by Sati\u003c\/td\u003e\n\u003ctd\u003e1831\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19.\u003c\/td\u003e\n\u003ctd\u003eOrigin of Virabhadra\u003c\/td\u003e\n\u003ctd\u003e1836\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20.\u003c\/td\u003e\n\u003ctd\u003eDestruction of Daksa's sacrifice\u003c\/td\u003e\n\u003ctd\u003e1841\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e21.\u003c\/td\u003e\n\u003ctd\u003ePunishment of the Gods\u003c\/td\u003e\n\u003ctd\u003e1844\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e22.\u003c\/td\u003e\n\u003ctd\u003eDestruction of Daksa's sacrifice\u003c\/td\u003e\n\u003ctd\u003e1847\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e23.\u003c\/td\u003e\n\u003ctd\u003eSiva's Fury\u003c\/td\u003e\n\u003ctd\u003e1852\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e24.\u003c\/td\u003e\n\u003ctd\u003eSiva's sports on the Mandara mountain\u003c\/td\u003e\n\u003ctd\u003e1857\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e25.\u003c\/td\u003e\n\u003ctd\u003eGoddess attains a fair complexion\u003c\/td\u003e\n\u003ctd\u003e1862\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e26.\u003c\/td\u003e\n\u003ctd\u003eAttainment of higher status by the tiger\u003c\/td\u003e\n\u003ctd\u003e1865\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e27.\u003c\/td\u003e\n\u003ctd\u003eGauri's embellishment\u003c\/td\u003e\n\u003ctd\u003e1868\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e28.\u003c\/td\u003e\n\u003ctd\u003eGlory of Bhasma\u003c\/td\u003e\n\u003ctd\u003e1871\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e29.\u003c\/td\u003e\n\u003ctd\u003eAnalysis of Vag-Artha\u003c\/td\u003e\n\u003ctd\u003e1872\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e30.\u003c\/td\u003e\n\u003ctd\u003ePrinciple of Siva\u003c\/td\u003e\n\u003ctd\u003e1875\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e31.\u003c\/td\u003e\n\u003ctd\u003eInstruction in perfect wisdom\u003c\/td\u003e\n\u003ctd\u003e1879\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e32.\u003c\/td\u003e\n\u003ctd\u003eDescription of excellent practice\u003c\/td\u003e\n\u003ctd\u003e1887\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e33.\u003c\/td\u003e\n\u003ctd\u003eRules Governing Pasupativrata\u003c\/td\u003e\n\u003ctd\u003e1891\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e34.\u003c\/td\u003e\n\u003ctd\u003ePenance of Upamanyu\u003c\/td\u003e\n\u003ctd\u003e1899\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e35.\u003c\/td\u003e\n\u003ctd\u003eStory of Upamanyu\u003c\/td\u003e\n\u003ctd\u003e1904\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd colspan=\"2\"\u003eVAYAVIYASAMHITA, SECTION II\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eAcquisition of sons by Srikrsna\u003c\/td\u003e\n\u003ctd\u003e1910\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eGlory of lord Siva\u003c\/td\u003e\n\u003ctd\u003e1912\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eUpamanyu's advice to Srikrsna\u003c\/td\u003e\n\u003ctd\u003e1916\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eThe magnificence of Gauri and Siva\u003c\/td\u003e\n\u003ctd\u003e1919\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5.\u003c\/td\u003e\n\u003ctd\u003eKnowledge of the Pasupati principle\u003c\/td\u003e\n\u003ctd\u003e1926\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6.\u003c\/td\u003e\n\u003ctd\u003ePrinciple of Siva\u003c\/td\u003e\n\u003ctd\u003e1929\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7.\u003c\/td\u003e\n\u003ctd\u003ePrinciple of Siva\u003c\/td\u003e\n\u003ctd\u003e1932\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8.\u003c\/td\u003e\n\u003ctd\u003eIncarnations of Vyasa\u003c\/td\u003e\n\u003ctd\u003e1935\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9.\u003c\/td\u003e\n\u003ctd\u003eSiva Yogacarya\u003c\/td\u003e\n\u003ctd\u003e1938\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10.\u003c\/td\u003e\n\u003ctd\u003eDevotion to Siva\u003c\/td\u003e\n\u003ctd\u003e1940\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11.\u003c\/td\u003e\n\u003ctd\u003eSaivite knowledge\u003c\/td\u003e\n\u003ctd\u003e1946\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12.\u003c\/td\u003e\n\u003ctd\u003eGlory of the mantra of Siva\u003c\/td\u003e\n\u003ctd\u003e1951\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13.\u003c\/td\u003e\n\u003ctd\u003eGlory of the mantra of Siva\u003c\/td\u003e\n\u003ctd\u003e1954\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14.\u003c\/td\u003e\n\u003ctd\u003eThe glory of the mantra of Siva\u003c\/td\u003e\n\u003ctd\u003e1959\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15.\u003c\/td\u003e\n\u003ctd\u003eThe greatness of the preceptor\u003c\/td\u003e\n\u003ctd\u003e1965\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16.\u003c\/td\u003e\n\u003ctd\u003eConsecration of the disciple\u003c\/td\u003e\n\u003ctd\u003e1971\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17.\u003c\/td\u003e\n\u003ctd\u003eRules of Saivite Initiation\u003c\/td\u003e\n\u003ctd\u003e1977\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18.\u003c\/td\u003e\n\u003ctd\u003ePurification of the six paths\u003c\/td\u003e\n\u003ctd\u003e1980\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19.\u003c\/td\u003e\n\u003ctd\u003eConsecration of the aspirant and the greatness of the Mantra\u003c\/td\u003e\n\u003ctd\u003e1985\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e20.\u003c\/td\u003e\n\u003ctd\u003eSpecial consecration\u003c\/td\u003e\n\u003ctd\u003e1988\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e21.\u003c\/td\u003e\n\u003ctd\u003eNitya and Naimittika rites\u003c\/td\u003e\n\u003ctd\u003e1991\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e22.\u003c\/td\u003e\n\u003ctd\u003eCompulsory and optional Saiva rites\u003c\/td\u003e\n\u003ctd\u003e1995\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e23.\u003c\/td\u003e\n\u003ctd\u003eRules of worship\u003c\/td\u003e\n\u003ctd\u003e1999\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e24.\u003c\/td\u003e\n\u003ctd\u003eRitual of lord Siva\u003c\/td\u003e\n\u003ctd\u003e2001\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e25.\u003c\/td\u003e\n\u003ctd\u003eWorship of Siva\u003c\/td\u003e\n\u003ctd\u003e2007\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e26.\u003c\/td\u003e\n\u003ctd\u003eWorship of Siva with the ancillary rites\u003c\/td\u003e\n\u003ctd\u003e2013\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e27.\u003c\/td\u003e\n\u003ctd\u003eRite of sacrifice\u003c\/td\u003e\n\u003ctd\u003e2014\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e28.\u003c\/td\u003e\n\u003ctd\u003eCompulsory and optional rites\u003c\/td\u003e\n\u003ctd\u003e2021\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e29.\u003c\/td\u003e\n\u003ctd\u003eKamya rites\u003c\/td\u003e\n\u003ctd\u003e2024\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e30.\u003c\/td\u003e\n\u003ctd\u003eKamya rites\u003c\/td\u003e\n\u003ctd\u003e2027\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e31.\u003c\/td\u003e\n\u003ctd\u003eHymn to lord Siva\u003c\/td\u003e\n\u003ctd\u003e2034\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e32.\u003c\/td\u003e\n\u003ctd\u003eRites for bliss hereafter\u003c\/td\u003e\n\u003ctd\u003e2047\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e33.\u003c\/td\u003e\n\u003ctd\u003eRites for bliss hereafter\u003c\/td\u003e\n\u003ctd\u003e2054\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e34.\u003c\/td\u003e\n\u003ctd\u003eDelusion of Visnu and Brahma\u003c\/td\u003e\n\u003ctd\u003e2056\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e35.\u003c\/td\u003e\n\u003ctd\u003eDelusion of Visnu and Brahma\u003c\/td\u003e\n\u003ctd\u003e2059\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e36.\u003c\/td\u003e\n\u003ctd\u003eInstallation of Siva\u003c\/td\u003e\n\u003ctd\u003e2065\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e37.\u003c\/td\u003e\n\u003ctd\u003eGoal of Yoga\u003c\/td\u003e\n\u003ctd\u003e2070\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e38.\u003c\/td\u003e\n\u003ctd\u003eObstacles in the Path of Yoga\u003c\/td\u003e\n\u003ctd\u003e2075\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e39.\u003c\/td\u003e\n\u003ctd\u003eSaivite Yoga\u003c\/td\u003e\n\u003ctd\u003e2081\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e40.\u003c\/td\u003e\n\u003ctd\u003eJourney of the Naimisa sages\u003c\/td\u003e\n\u003ctd\u003e2086\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e41.\u003c\/td\u003e\n\u003ctd\u003eInstructions of Vvasa\u003c\/td\u003e\n\u003ctd\u003e2089\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eINDEX\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e2095\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"J. L. Shastri","offers":[{"title":"Default Title","offer_id":42654680219786,"sku":"","price":4000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/The-Siva-Purana-Set-of-4-Vols._1.jpg?v=1772697998"},{"product_id":"siva-purana-volume-1","title":"Siva Purana: Part 1 (AITM Vol. 1)","description":"\u003cp style=\"text-align: left;\"\u003eThe Purana is a class of literature that treats ancient religion, philosophy, history, sociology, politics, and other subjects. It is an Encyclopaedia of various branches of knowledge and ancient wisdom. It has been defined as a class of literature that contains material on the topics of Creation, Dissolution of Manus, Ages of Manus, Genealogies, and the History of glorious kings. For dealing primarily with these subjects it has been called Pancalaksana a little that was incorporated in the Puranas themselves and had become popular by the Fifth Century A.D., for it was included by Amarasimha in his lexicon 'Amarakosa'. But as the process of interpolation continued, the Pancalaksana definition was found inadequate. The Puranic redactors adopted a Dasalaksana definition that suited the contemporary text. Still, the dynamic forces were at work and the process of insertion, modification, and abridgement went on it was soon discovered that the Dasalaksana definition too fell short of an actual fact. It was found that the Puranas contained certain aspects that were not covered by any of the five or ten characteristics. Besides some of the characteristics covered by the Pancalaksana or Dasalaksana definition were not found in certain Puranas. In fact, the Purana as a class represents the different phases and aspects of the life of diverse ages. It is impossible to adopt a standard definition for the class of literary composition that contains heterogeneous phases and aspects. Moreover, a definition framed on the numerical basis of points is bound to be imperfect. The Puranas are divided into two classes the Mahapuranas and the Upapuranas. Each class consists of eighteen Puranas. Thus the number of Puranas is thirty-six.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"J. L. Shastri","offers":[{"title":"Default Title","offer_id":42654695751818,"sku":"","price":1000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/SHIVAPURANA1_9067991d-5150-4981-8ba9-047228f9b6ee.jpg?v=1672391820"},{"product_id":"siva-purana-volume-2","title":"Siva Purana: Part 2 (AITM Vol. 2)","description":"\u003cp style=\"text-align: left;\"\u003eThe Purana is a class of literature that treats ancient religion, philosophy, history, sociology, politics, and other subjects. It is an Encyclopaedia of various branches of knowledge and ancient wisdom. It has been defined as a class of literature that contains material on the topics of Creation, Dissolution of Manus, Ages of Manus, Genealogies, and the History of glorious kings. For dealing primarily with these subjects it has been called Pancalaksana a little that was incorporated in the Puranas themselves and had become popular by the Fifth Century A.D., for it was included by Amarasimha in his lexicon 'Amarakosa'. But as the process of interpolation continued, the Pancalaksana definition was found inadequate. The Puranic redactors adopted a Dasalaksana definition that suited the contemporary text. Still, the dynamic forces were at work and the process of insertion, modification, and abridgement went on it was soon discovered that the Dasalaksana definition too fell short of an actual fact. It was found that the Puranas contained certain aspects that were not covered by any of the five or ten characteristics. Besides some of the characteristics covered by the Pancalaksana or Dasalaksana definition were not found in certain Puranas. In fact, the Purana as a class represents the different phases and aspects of the life of diverse ages. It is impossible to adopt a standard definition for the class of literary composition that contains heterogeneous phases and aspects. Moreover, a definition framed on the numerical basis of points is bound to be imperfect. The Puranas are divided into two classes the Mahapuranas and the Upapuranas. Each class consists of eighteen Puranas. Thus the number of Puranas is thirty-six.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"J. L. Shastri","offers":[{"title":"Default Title","offer_id":42654715740298,"sku":"","price":1000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/SHIVAPURANA2.jpg?v=1672392251"},{"product_id":"siva-purana-volume-3","title":"Siva Purana: Part 3 (AITM Vol. 3)","description":"\u003cp style=\"text-align: left;\"\u003eThe Purana is a class of literature that treats ancient religion, philosophy, history, sociology, politics, and other subjects. It is an Encyclopaedia of various branches of knowledge and ancient wisdom. It has been defined as a class of literature that contains material on the topics of Creation, Dissolution of Manus, Ages of Manus, Genealogies, and the History of glorious kings. For dealing primarily with these subjects it has been called Pancalaksana a little that was incorporated in the Puranas themselves and had become popular by the Fifth Century A.D., for it was included by Amarasimha in his lexicon 'Amarakosa'. But as the process of interpolation continued, the Pancalaksana definition was found inadequate. The Puranic redactors adopted a Dasalaksana definition that suited the contemporary text. Still, the dynamic forces were at work and the process of insertion, modification, and abridgement went on it was soon discovered that the Dasalaksana definition too fell short of an actual fact. It was found that the Puranas contained certain aspects that were not covered by any of the five or ten characteristics. Besides some of the characteristics covered by the Pancalaksana or Dasalaksana definition were not found in certain Puranas. In fact, the Purana as a class represents the different phases and aspects of the life of diverse ages. It is impossible to adopt a standard definition for the class of literary composition that contains heterogeneous phases and aspects. Moreover, a definition framed on the numerical basis of points is bound to be imperfect. The Puranas are divided into two classes the Mahapuranas and the Upapuranas. Each class consists of eighteen Puranas. Thus the number of Puranas is thirty-six.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"J. L. Shastri","offers":[{"title":"Default Title","offer_id":42654731829386,"sku":"","price":1000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/SHIVAPURANA3.jpg?v=1672392572"},{"product_id":"siva-purana-volume-4","title":"Siva Purana: Part 4 (AITM Vol. 4)","description":"\u003cp style=\"text-align: left;\"\u003eThe Purana is a class of literature that treats ancient religion, philosophy, history, sociology, politics, and other subjects. It is an Encyclopaedia of various branches of knowledge and ancient wisdom. It has been defined as a class of literature that contains material on the topics of Creation, Dissolution of Manus, Ages of Manus, Genealogies, and the History of glorious kings. For dealing primarily with these subjects it has been called Pancalaksana a little that was incorporated in the Puranas themselves and had become popular by the Fifth Century A.D., for it was included by Amarasimha in his lexicon 'Amarakosa'. But as the process of interpolation continued, the Pancalaksana definition was found inadequate. The Puranic redactors adopted a Dasalaksana definition that suited the contemporary text. Still, the dynamic forces were at work and the process of insertion, modification, and abridgement went on it was soon discovered that the Dasalaksana definition too fell short of an actual fact. It was found that the Puranas contained certain aspects that were not covered by any of the five or ten characteristics. Besides some of the characteristics covered by the Pancalaksana or Dasalaksana definition were not found in certain Puranas. In fact, the Purana as a class represents the different phases and aspects of the life of diverse ages. It is impossible to adopt a standard definition for the class of literary composition that contains heterogeneous phases and aspects. Moreover, a definition framed on the numerical basis of points is bound to be imperfect. The Puranas are divided into two classes the Mahapuranas and the Upapuranas. Each class consists of eighteen Puranas. Thus the number of Puranas is thirty-six.\u003c\/p\u003e","brand":"J. L. Shastri","offers":[{"title":"Default Title","offer_id":42654751588490,"sku":"","price":1000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/SHIVAPURANA4.jpg?v=1672392976"},{"product_id":"saundarya-lahari-ek-bhaav-yatra-in-hindi","title":"Saundarya Lahari","description":"\u003cp style=\"text-align: left;\"\u003eSaundarya Lahiri-Ek Bhaav Yatra is a rare book based on Shankaracharya's classical treatise \"Saundarya Lahri”. It is written by Govind Gunjan. The author invites us on a voyage of exploring the highest peaks of divine beauty which is the primary source of our incessant life and of our universe. The goddess Tripur Sundari is the mother of the universe from whom life descends with the beauty of love. Explaining elaborately the secrets hidden behind the words and human languages, the content is rendered in poetic form and puts a question mark on some modern thoughts which betray us from our source of universal beauty and life becomes wretchedly gloomy and down. This mantle voyage takes us to the shore of the ocean of beauty and our souls find the way to true happiness. A very inspiring and worth reading book for those whose heart is ready to explore the true essence of beauty without which the savour of being alive is lost.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"Govind Gunjan","offers":[{"title":"Default Title","offer_id":42654850089098,"sku":"","price":375.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/SAUNDARYALAHIRI.jpg?v=1672394694"},{"product_id":"shri-ramacharitamanasa-of-tulasidasa-the-holy-lake-of-the-acts-of-rama-compact-edition","title":"Shri Ramacharitamanasa of Tulasidasa","description":"\u003cp style=\"text-align: left;\"\u003eKeeping in mind people's ever-increasing quest for the epic, this unique edition of the Ramacharitamanasa with verse-to-verse Hindi and English translations along with Tulsidasa's original text has been prepared. The translation rendered by an accomplished scholar maintains the intrinsic richness of the original. Special care has been taken for making it useful to the Indian brethren living abroad to whom the dialect of Tulsidasa's original may be somewhat incomprehensible. There has been a long-standing demand from the vast Indian community settled abroad for a standard and authentic edition of the Ramacharitamanasa. The present edition has been designed to meet their requirement by using the most modern printing and processing techniques to make it a work of an international standard. A special feature of this edition is the inclusion of Lavakushakanda, Shri Hanuman Chalisa, and Shri Ramashalaka Prashnavali. The mode of its recitation is given as a separate appendix. Adding to its uniqueness is the inclusion of an important section containing Indian, European, and American scholars' criticisms of Tulsidasa's Ramacharitamanasa. A glossary of important proper nouns and epithets is given at the end.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDR. R. C. PRASAD was a University Professor of English at Patna University where he taught for about three decades. He was an eminent author, translator, and editor. He had a good number of books to his credit.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"R.C. Prasad","offers":[{"title":"Default Title","offer_id":42656356925578,"sku":"","price":695.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/ShriRamacharitamanasaofTulasidasa.jpg?v=1672489153"},{"product_id":"gods-sages-and-kings-vedic-secrets-of-ancient-civilization-1","title":"Gods, Sages and Kings","description":"\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\" style=\"text-align: center;\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003eBook Description\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-details-description\" style=\"text-align: left;\"\u003e\n\u003ccenter\u003e\u003cb\u003eForeword\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eBy Vyaas Houston\u003cbr\u003eDavid Frawley's book Gods, Sages and Kings is, as the author himself acknowledges in its preface, not a conservative book. It calls into question our entire view of human history, and therefore our primary understanding of who we are as human beings inhabiting the planet earth. Although the book on one level is a fascinating and colorful revelation of a highly developed ancient culture, it is much more significantly a truly spiritual vision of where we come from and who we are. Gods, Sages and Kings is a very important book. It fills a major void in our understanding of human history, and grants us the possibility of actually redefining our- selves in the light of our origins.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eTwenty years ago, I had the good fortune of discovering the world's oldest living language: Sanskrit, the language of ancient India and Vedic civilization. It was an unmistakable homecoming, a return to a spiritual source. It was perfectly clear to me that I had come upon a perfect language, a language that invokes the spirit, an inexhaustible wellspring of spiritual inspiration. The ancients called it devavani, the language of the gods.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWhere did it come from? - a language infinitely more sophisticated than any of our modern tongues. How could language have been so much more refined in ancient times, especially among a people, the Vedic Aryans, whom scholars tell us were nomadic barbarians from the north? The discrepancy between the language and what has been traditionally offered as its origin is so great that either we have been thoroughly at a loss, or have tended at times to resort to supernatural explanations. The obvious truth is that there must have been an equally refined and advanced civilization, which evolved along with the language over a very long period of time. Gods, Sages and Kings is the first book I have seen that skillfully uncovers precisely how time and cultural bias have obscured this fact. This was possible because we do have a perfectly preserved account of that ancient culture, the Vedas, and because David Frawley, more than any other researcher to date, has been able to fathom its spiritual symbolism, as well as its historical and cultural orientation and chronol- ogy.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThis book also solves a long standing dilemma, encountered by those who have cherished a spiritual vision of life. Whereas, on the one hand, we have inherited a lofty spiritual vision through the Sanskrit language and an inspired body of literature, we have at the same time seemingly had no historical source, no established order by which we could ground this vision, and bring it to earth. The predominant elements of our historical identity have been war, technology and trade. Our human identity has been captured in a belief in domination by force as a necessary condition of survival. Under such circumstances, spiritual life, be it yoga and meditation, or prayer and devotion has tended to be largely a means of escaping domination - hence life denying and therefore unfruitful. What should be obvious to us after millennia of spiritual striving with limited success is that we have had no foundation on which to build. Yet it is not that we have really lacked a spiritual foundation - but that we have not recognized the one which existed.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Sanskrit language alone is a certain testimony that it did exist, and at that, for a very long time. We simply have never turned on the light to see that it has always been there, in the Vedas themselves, the world's oldest, most perfectly preserved and comprehensive scriptural history. David Frawley has turned on the light in a big way. For the first time we see a rich and radiant vision of the origins of human civilization in a spiritual culture, based upon yogic knowledge. Rather than taking pride in our technological and intellectual progress, it would serve us fir more and be much closer to the truth to acknowledge that we are the children of great seers, rishis, and we have somewhat lost our way. It is indeed a great reassurance, even more, a healing balm to our souls and minds to know that for at least 5,000 years, in the relatively recent past (c. 6000-1000 Be), a culture based upon the yogic knowledge of the absolute oneness of all life flourished.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eDavid Frawley is not the first to expostulate a spiritual interpretation of the Vedas. But he is the first to give us the full panoramic view of their magnificence, revealing layer by layer the culture, the politics, the ritual, the astrology, the geography, and the deep spiritual understanding which connected it all so perfectly. No one to my knowledge has ever presented us with such a convincing and thorough proof of the spiritual origins of civilization.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI am deeply grateful to David Frawley for writing this book. Even more than a remarkable piece of brilliant scholarship, it is a work which reflects Dr. Frawley's deep commitment to the awakening of self knowl- edge for all human beings, and the reemergence of our true spiritual heritage. For me personally, it has put some very large and nagging doubts to rest, once and for all. At the same time, it has brought into the light of\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eThere is much ground for believing that ancient India was more central to the origins of civilization than is presently considered, that it may be the source of civilization as we know it. This has been the main belief of the Hindu and Buddhist traditions, and many Western mystical and occult groups like the Theosophists have held similar ideas. A few Western historians have also inclined to this view. Though most Western scholars and the current view of history still see a Middle Eastern origin for civilization, much new information is coming out that may challenge this view.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eGods, Sages and Kings proposes the idea of an ancient Indian and Himalayan home for world civilization. It proceeds primarily through a reexamination of the Vedic literature of ancient India and proposes a new decipherment of Vedic symbolism on three levels:\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003col type=\"1\" style=\"text-align: left;\"\u003e\n\u003cli style=\"text-align: left;\"\u003eThe Rig Veda, the oldest of the Vedic texts, portrays the geography of north India as it was thousands of years ago, probably before 3000 Be.\u003cbr\u003eThe Veda shows a very early era prior to the coming into being of the Rajasthan desert of western India when a mighty river - the Vedic Saraswati - flowed through what was then the cen- tral Vedic land. The existence and extent of this river has now been proved by modem research, which has traced its ancient course from the Himalayan foothills to the Rann of Kutch on the Arabian Sea.\u003cbr\u003eThe Vedic rivers can be identified with the main rivers of modem India and Pakistan. The J1?da also shows a maritime culture that knew of and travelled on more than one sea.\u003c\/li\u003e\n\u003cli style=\"text-align: left;\"\u003eThe Vedic people had a calendar based upon astronomical sightings relative to the equinoctial positions going back from 2000 Be to at least 6000 Be, from the age of Taurus to that of Cancer.\u003cbr\u003eThis Vedic calendar was modified periodically according to precessional changes which can be documented up to the posi- tions found in Hindu calendars today. It indicates that astron- omy and astrology may have originated in India.\u003c\/li\u003e\n\u003cli style=\"text-align: left;\"\u003eThe Vedic hymns reflect the practice of Yoga and meditation, including a knowledge of the seven chakras of the subtle body - the foundation of all later yogic practices both Hindu and Buddhist.\u003cbr\u003eThis indicates a profound spiritual culture existing at the dawn of human history and a spiritual rather than materialistic origin for human culture as a whole.\u003cbr\u003eGods, Sages and Kings also examines the different kings and dynasties of ancient India and the regions they ruled. On this basis, it attempts to reveal how the peoples of the ancient world relate to and may be descendants of the Vedic people. This includes peoples of similar languages to the Vedic, like the Iranians and Europeans, and people of similar religions, like the ancient Egyptians and Babylonians. It can be extended perhaps to include all the peoples of the ancient world. Ancient civilization as a whole was probably much more advanced, particularly along spiritual lines, and older than prevalent scholarly models today propose.\u003c\/li\u003e\n\u003cli style=\"text-align: left;\"\u003eI approach the ~das here not primarily from an academic standpoint, as an historian, archaeologist or linguist. Though aspects of these studies are brought into play, the approach is primarily of one who perceives the spiritual nature of ancient culture and takes their teachings seriously, not as primitive utterances but as the secret wisdom of the sages. In the course of nearly twenty years of study, whenever I found something in the ~das that appeared superstitious, primitive or irrational I have never just accepted it as such. I always looked deeper as to whether such apparent primitiveness may merely reflect my own lack of under- standing of the background or orientation of the ancient mind. So doing, I found that what may appear to be a deficiency in the ancients is usually a lack of empathy and insight in the modem mind which distorts the ancient language according to the superficial framework of modem thought. It is our own failure to understand the ancient language of mantra, myth and symbol that causes us to see ancient teachings as primitive. The wisdom of the ancient seers, like that of the deeper psyche, proceeds by a poetic and imagistic expression, not by the rational terms of the surface mind.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e","brand":"David Frawley","offers":[{"title":"Paperback","offer_id":42659652927626,"sku":"","price":415.0,"currency_code":"INR","in_stock":true},{"title":"Hardbound","offer_id":42659652960394,"sku":"","price":615.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/GODS_SAGESANDKINGS.jpg?v=1672646020"},{"product_id":"arjuna-in-the-mahabharata-where-krishna-is-there-is-victory","title":"Arjuna in the Mahabharata","description":"\u003cp style=\"text-align: left;\"\u003eIt is a work of unusual breadth and depth that will attract readers in religious studies, comparative literature, Sanskrit, Asian studies and humanities in general. The book is a thorough study of the great Indian hero, the Achilles of India, Arjuna, as portrayed in the epic poem Mahabharata, including its world famous subsection, the Bhagavadgita. Different aspects of Arjuna's Character has been discussed.\u003c\/p\u003e","brand":"Ruth Cecily Katz, Daniel H.H. Ingalls","offers":[{"title":"Default Title","offer_id":42665486811274,"sku":"","price":750.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/ArjunaintheMahabharata.jpg?v=1672913364"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/collections\/literature-270376.jpg?v=1748421304","url":"https:\/\/www.motilalbanarsidass.com\/en-us\/collections\/literature.oembed?page=20","provider":"Motilal Banarsidass","version":"1.0","type":"link"}