Classic tales of courage and compassion The fabled monarch Vikramaditya is considered a model of kingly virtues, and his reign a golden age. These famous stories narrated by the thirty-two statuettes of nymphs supporting the magic throne of Vikramaditya extol his courage, compassion and extraordinary magnanimity. They are set in a framework recounting the myths of his birth, accession, adventures and death in battle, after which the throne remained concealed till its discovery in a later age. A fascinating mix of marvellous happenings, proverbial wisdom and sage precepts, these popular tales are designed to entertain as well as instruct. Many have passed into folk literature. The original author of the Simhasana Dvatrimsika is unknown. The present text is dated to the thirteenth century AD. It exists in four main recensions, from which extracts have been compiled together for the first time, in this lively and faithful translation of this celebrated classic by a renowned Sanskritist

‘If you know the answer and do not respond, your head will shatter into pieces!’ In a land of glorious kings, bloodthirsty demons and talking spirits, was born the lore of Vikram and the Vetal. After a series of mysterious events, King Vikramaditya carries the vetal, a witty ghost, on a long journey through death's playground. The vetal narrates the most fascinating tales and asks the most puzzling riddles, leaving Vikram completely stumped. Deepa Agarwal's beautiful translation brings age-old wisdom alive through the vetal's wondrous stories that are bound to confound and captivate readers even today.

Welcome to the carnival of nonsense where hankies turn into mischievous cats, a messiah is born with her feet in her mouth, you can fave hun by socking on the ree-raw and your favourite corn cakes are made of . . . are you sure you want to know? For the last eighteen hundred years Indian arts have been seen in terms of strictly classified emotional effects known as the nine rasas. The Tenth Rasa: An Anthology of Indian Nonsense celebrates, for the very first time, what Sukumar Ray called the spirit of whimsy, or the tenth rasa, through the topsy-turvy, irreverent, melodic genre of nonsense literature. This fabulous selection of poetry and prose, brilliantly translated from seventeen Indian languages across India, includes works by Rabindranath Tagore, Sukumar Ray, Vinda Karandikar, Gulzar, Dash Benhur, Manoj Das, Navakanta Barua, Mangesh Padgavkar, Sri Sri, Vaikom Mohammad Basheer, Kunjunni and other known, lesser-known and previously unpublished authors. In forms as varied as stories and songs for children and adults, lullabies, folk tales, Bollywood song lyrics and medieval court verse, the writers open doors to wildly imaginative worlds populated by peculiar characters and fantastical creatures, where only nonsense makes perfect sense. Crackling with wit, wordplay and riotous rhymes, and frequently revelling in pure gibberish, this immensely entertaining collection will delight you from start to finish.

This Volume Aspires To Be A Handy Reference Work For Users Whose Interest Is Not Limited To One Or Two Indian Language Literatures But Spreads Over Sanskrit, Tamil, Pali And The Prakrit As Well As To Asimiya, Bangla, Gujarati, Hindi, Kannada, Kashmiri, Maithili, Malayalam, Manipuri, Marathi, Oriya, Punjabi, Rajasthani, Sindhi, Telugu And Urdu. Starting With The Vedas And The Upanishads, The Coverage Spans Several Centuries Up To The Year 1850.

This book provides a detailed history of Hindu goddess traditions with a special focus on the local goddesses of Andhra Pradesh, past and present. The antiquity and the evolution of these goddess traditions are illustrated and documented with the help of archaeological reports, literary sources, inscriptions and art. Tracing the symbols and images of goddess into the brahmanical (Saiva and Vaisnava), Buddhist, and Jaina religious traditions, the book argues effectively how and with what motivations goddesses and their symbolizations were appropriated and transformed. The book also examines the evolution of popular Hindu goddesses such as Durga and Kali, discussing their tribal and agricultural backgrounds. It also deals extensively with how and in what circumstances women are deified and shows how these deified women cults share characteristics with the village goddesses.

Krishna Kumari: The Tragedy of India introduces readers to the first English language play in modern India. Written in 1826 by English Subba Rao, one of the first Indians to be schooled in English, Krishna Kumari depicts the true story of a princess of Udaipur who is forced to commit suicide in order to end a war started by her suitors, the rulers of the neighboring kingdoms of Jaipur and Jodhpur. Tragically, her death proves to be in vain because the mercenaries recruited by the contending rulers nevertheless proceed to plunder the region. All three kingdoms are then compelled to seek the protection of the East India Company, bringing their independence to an end. Sharp and witty, Krishna Kumari was intended to warn Indian principalities against the follies that led to the downfall of the Rajputs. Unfortunately, the play scarcely saw the light of day. Angered by Subba Rao's opposition to their power, the British forced him to withdraw from public life. This is why audiences have never heard of Krishna Kumari-until now. Building on extensive archival research, this volume brings Subba Rao's pioneering drama back to life. The introductory essay by Rahul Sagar, a leading scholar of nineteenth century India, familiarizes readers with the remarkable characters in the play and the violent era in which they lived. By shedding light on Subba Rao's extraordinary life and career, it also reveals how important principalities like Tanjore and Travancore were in battling colonialism and shaping modern India.

This poem recounts the life and deeds of the god-hero Rama. Legend has it that it was first inscribed on rocks by his devotee Lord Hanuman but was then thrown away into the sea on the advice of the sage Valmiki. Discovered centuries later in King Bhoja's time, its verses were carefully transcribed and fashioned into what became Hanumannataka, composed by Bhoja's court poet Damodara Mishra. This beautiful work has now been translated into English by A.N.D. Haksar and will appeal to lovers of mythology, poetry and philosophy.

Encyclopedic in scope and heroically audacious, The Novel: An Alternative History is the first attempt in over a century to tell the complete story of our most popular literary form. Contrary to conventional wisdom, the novel did not originate in 18th-century England, nor even with Don Quixote, but is coeval with civilization itself. After a pugnacious introduction, in which Moore defends innovative, demanding novelists against their conservative critics, the book relaxes into a world tour of the pre-modern novel, beginning in ancient Egypt and ending in 16th-century China, with many exotic ports-of-call: Greek romances; Roman satires; medieval Sanskrit novels narrated by parrots; Byzantine erotic thrillers; 5000-page Arabian adventure novels; Icelandic sagas; delicate Persian novels in verse; Japanese war stories; even Mayan graphic novels. Throughout, Moore celebrates the innovators in fiction, tracing a continuum between these pre-modern experimentalists and their postmodern progeny. Irreverent, iconoclastic, informative, entertaining-The Novel: An Alternative History is a landmark in literary criticism that will encourage readers to rethink the novel.