Sarja is a 11years old, sad, and angry boy. At 11, he looks big and strong for his age. His kind mother, Geeta is a rural Indian archetype: the overworked, stressed-out, barely-keeping-it-together single mother. His father is in prison for multiple robbery cases. The villagers are cold and overbearing, and his schooldays are made hellish by bullies. If this wasn’t enough, he has nightmares and uncanny callings from an age-old monstrous peepal tree that stands ominously on his way to school. The legend is that a monster called Brahma Rakshas, living under this tree, for years unknown to people, lures kids with the black devil fruits and then makes them wrestle until one dies. And, one stormy night, the legend comes true when Sarja meets the Brahma Rakshas. Set in a fictional village of Deogiri, a small haven of human civilization, away from the din of city life, thiss story is a coming-of-age story of a young boy who goes on an adventure ride filled with riddles and monster wrestling.

The aristocrat who wrote this vigorous political play eschewed sentimentality in favor of realistic characterization and forceful action. It is 316 BCE, one year after Chandra·gupta Maurya, aided by his subtle minister Chánakya, has seized the kingdom of Mágadha from the last king of the Nanda dynasty. Rákshasa, Nanda’s incorruptible minister, flees abroad and plots his vengeance, while Chánakya seeks to win him over to honor Chandra·gupta Maurya as his new king. The aristocrat who wrote this vigorous political play eschewed sentimentality in favor of realistic characterization and forceful action. It is 316 BCE, one year after Chandra·gupta Maurya, aided by his subtle minister Chanákya, has seized the kingdom of Mágadha from the last king of the Nanda dynasty. Rákshasa, Nanda's incorruptible minister, flees abroad and plots his vengeance, while Chanákya seeks to win him over to honor Chandra·gupta Maurya as his new king. Co-published by New York University Press and the JJC Foundation For more on this title and other titles in the Clay Sanskrit series, please visit http://www.claysanskritlibrary.org

She wants to kill the man whom others call God. However, love unwittingly becomes an obstacle in her sworn path. With her father's death shattering her world, Mauri is torn away from everything she had once loved. Anger has replaced every emotion within her, and she seeks only one thing-to kill her father's killer. Even if the man is none other than Krishna Vaasudeva, the man whom people worship as God. Someone is standing in the way though, reining in her bitterness when she is least prepared for it-the rakshasa prince Ghatotkacha! But by the time love sprouts within her, Mauri has gone too far in her thirst for vengeance and has endangered Kamarupa, the high seat of the Supreme Goddess. Does Ghatotkacha realise the true intentions of his lover? Can Mauri fight her own monsters and defend the temple? Can she save herself and Ghatotkacha before both their worlds are destroyed? Can Mauri fight her own monsters and defend the temple? Can Mauri save herself and Ghatotkacha before both their worlds are destroyed?

A long-lost collection of Indian fairy tales transcribed by the daughter of the British governor of Bombay. In the cold months of 1865, young Mary Frere and her father, Bartle Frere, British governor of Bombay, set out in a caravan across the Deccan province of south central India. During their journey Mary transcribed 24 popular Hindu folktales told to her by her nursemaid. That collection of tales, which she published as Old Deccan Days, not only became the first Indian folklore collection in English, it established a new genre of writing about British India. These marvelously imaginative tales from the Indian oral tradition are peopled with beautiful, smart, outspoken women; restless, adventuresome men; gods who take on human form; and animals who know the secrets of human destinies. Evil magicians cast spells on humans, changing them to plants, and demonic, ogre-like Rakshases savor human flesh.

He is the pioneer of an intellectual tradition initiated for the orderly conduct of the Indian economic, political, academic, and social system. He eliminated the enemies by his strategies. He gave a coveted position to Sanskrit literature by his sheer brilliance. He presented his entire life to others as a benchmark to be studied. He gave importance to character, pride, and commitment towards duty. The name of such a colossus is 'Chanakya'. He was endowed with a sharp intellect, strong resolution, sheer brilliance, foresight and thus a man of that era. He had only one motto in his life — 'Buddhirdasa Balam Tasya' i.e, One, who has intelligence has the might! Keeping in mind the growing popularity of Chanakya's literature among the readers, we have published this 'Combined Edition'. It is our aim to make Chanakya's invaluable wealth as a great scholar, easily available so that everyone can lead a planned and prosperous life. Also, I personally feel that everyone must read this book. – Acharya Rajeshwar Mishra

Chanakya was the first thinker among the ancients who not only authored a concept but also got it implemented by his supreme efforts. ‘He gave to the geographical entity-Aryavarta—a political or rather a national shape. This book characterizes him as the original author of the concept of ‘India—a nation’. His thinking marks a distinct change from the views of earlier thinkers. It was he who for first time exhorted the people to unite in the name of the country and not faith. One of the greatest figures of wisdom and knowledge in the Indian history is Chanakya. Chanakya is regarded as a great thinker and diplomat in India who is traditionally identified as Kautilya or Vishnu Gupta. Originally a professor of economics and political science at the ancient Takshashila University, Chanakya managed the first Maurya Emperor Chandragupta's rise to power at a young age. Instead of acquiring the seat of kingdom for himself, he crowned Chandragupta Maurya as the emperor and served as his chief advisor.

Professor Lal has provided an introduction on the history and aesthetic theory of Sanskrit drama, individual prefaces for each play, a phonetic guide to the pronunciation of the Indian names, and a selective bibliography.