"Kalhana’s Rajatarangini is the most famous historical poem which records the oldest and fullest history of the legendary kings of Kashmir as well as gives accounts of the Kashmirian kings of the historical period. It consists of eight chapters and draws upon earlier sources, notably the Nilamata Purana.
Sir Stein recognising the inestimable value of the only work of its kind, succeeded in publishing the critical edition of the text as early as in 1892.
The interest of this treatise for Indian history generally lies in the fact that it represents a class of Sanskrit composition which comes nearest in character to the chronicles of Medieval Europe and of the Muhammadan East. Together with the later Kashmir chronicles which continue Kalhana’s narrative, it is practically the sole extant specimen of this class.
The author’s object is to offer a connected narrative of the various dynasties which ruled Kashmir from the earliest period down to his own time. The final portion of the work, considerable both in extent and historical interest, is devoted to the accounts of the events which the author knew by personal experience or from the relation of living witnesses. These events are narrated from the point of view of a more or less independent chronicler and by no means the purely panegyrical object of the court-poet."
Sir Stein recognising the inestimable value of the only work of its kind, succeeded in publishing the critical edition of the text as early as in 1892.
The interest of this treatise for Indian history generally lies in the fact that it represents a class of Sanskrit composition which comes nearest in character to the chronicles of Medieval Europe and of the Muhammadan East. Together with the later Kashmir chronicles which continue Kalhana’s narrative, it is practically the sole extant specimen of this class.
Its author’s object is to offer a connected narrative of the various dynasties which ruled Kashmir from the earliest period down to his own time. The final portion of the work, considerable both in extent and historical interest, is devoted to the accounts of the events which the author knew by personal experience or from the relation of living witnesses. These events are narrated from the point of view of a more or less independent chronicler and by no means the purely panegyrical object of the court-poet."
"The Abhijnanasakuntalam is an unparalleled work of the great poet and playwright Kalidasa, the brightest star in the firmament of Indian poetry. No other composition of this poet displays more the richness of poetical genius, the warmth and play of fancy, the profound knowledge of human heart that 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."
"Kalidasa is admired for the portrayal of human emotion on the canvas of natural loveliness. Based on an anecdote mentioned in the Mahabharata, the simple tale of Sakuntala and Dushyant has been turned into poetical painting of picturesque scenery through his wonderful imagination. No poet had a richer and fuller sense of sensuous loveliness or a more masterly command of the resources of suggestive incidents, imagery and pictorial phrasing such as would reveal that loveliness in words.
Tagore remarks there are two unions in Sakuntalam and the central motif of the play is the progress from the earlier union of the first three acts with its youthful beauty and romance through an interval of separation and intense and speechless agony to the ultimate union in the Elysian regions of eternal bliss described in the last act. The play, therefore, naturally falls into three divisions each having a distinct atmosphere of its own-the first four acts constituting the first division, the fifth and sixth the second, and the seventh act the last.
For the first four acts the scene is laid in the hermitage. The poet has already in the prelude intimated that it was the time of pleasant summer, and even within the precincts of the sacred grove every tree and plant is touched by its magic fingers so that ""the wild-wood bloom outglows the garden flowers."""
"The Kiratarjuniyam of Bharavi: Cantos I-III (Text, Eng. Tr. & Introd.): Text with Mallinatha's commentary, Prose order of the Slokas, Notes, Translation into English and Hindi by M.R. Kale.
The Kiratarjuniya is a Mahakavya and is named after its chief incident, viz. the fight between Siva under the guise of a Kirata (Mountaineer) and Arjuna. This metrical composition describes the journey of Arjuna to the mountain Indrakila, part of Himalayas, for the propitiation of the gods Indra and Siva and the final obtainment of the divine weapons Pasupata and others from the gods."
The plot of the Malvikagnimitra is a masterpiece of clever construction, where the interest is chiefly concentrated on the central story of the king's love for the maid, and every incident is subordinated to the main theme. The element of conflict, which is of the very essence of drama is mainly external; we see how the queen almost feebly and pathetically opposes the king's attempts to secure the sight of Malavika; but finding that the forces ranged against her were too strong for her, she decides to go along the current and make the better of its course rather than endeavour to stem the tide at the risk of a capsize.
This edition is, to our knowledge, the first which is infinitely more useful and handy than either having the translation on the same page just below the text, or at the end of the text. Further it has been our endeavour to make the work as critical and useful for the students as possible, without either encumbering it with tiresome discussions of technical and scholastic points, or skipping over difficult and necessary details about rhetorical or grammatical points. Special care has been taken to give a correct orthography of the Prakrit words, after a careful and critical comparison of the various editions of the play before us.
It will be readily admitted that in spite of the many critical edition of the plays of Kalidasa, editions of the plays on the lines of the up-to-date editions of the classics in the West have not so far been published. This edition is, to our knowledge, the first which is infinitely more useful and handy than either having the translation on the same page just below the text, or at the end of the text. Further it has been our endeavour to make the work as critical and useful for the students as possible, without either encumbering it with tiresome discussions of technical and scholastic points, or skipping over difficult and necessary details about Variae Lectiones or rhetorical or grammatical points. Special care has been taken to give a correct orthography of the Prakrit words, after a careful and critical comparison of the various editions of the play before us.
"The Meghaduta is a small lyrical poem written uniformly in the Mandakranta metre, and consisting of 121 stanzas. It is divided into two parts, known respectively as the Purvamegha and the Uttaramegha. A 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"
"The Satakas are an original work. 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.
In the Niti Sataka Bhartrhari inculcates certain principles intended to guide men in their daily life. 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 which he holds up for our admiration and imitation is Benevolence or service of our fellow-men. This lofty virtue he inculcates in verses which are at once beautiful and instructive.
In 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.
This volume comprises two of the three famous Satakas (collection of one hundred stanzes) 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 the moral virtues such as self-respect, perseverance, benevolence and moral courage etc. 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."
"The Ratnavali or the 'Jewel Necklace' is a drama of the Natika type by Sriharsa. Theme is the marriage, through various obstacles and at the clever intervention of the minister Yaugandharayana, of king Udayana and Ratnavali, daughter of the king of Ceylon.
A brief but sufficiently exhaustive commentary in sanskrit has been written, as there was no suitable ancient commentary available on this play. Another feature of this edition is the introduction wherein all that has been known of the author and the play has been put together for ready reference and and systematic study."
Svapnavasavadatta of Bhasa: Edited with a short Sanskrit Commentary, English Translation and Critical Notes
Poems are like mirrors; they reflect thoughts when you read them. When you close your eyes, they speak to you. They also connect with you in your own frame and then draw you out to think beyond.
Sandeep Kishore’s poems will draw you out from the normal world to a different realm. They will talk to your heart and also challenge your mind to seek higher, different altitudes.
Conflicts between the heart and mind have perhaps existed ever since the beginning of human civilization. Whether in love or in pain, to seek or to give, to understand or to imbibe, to teach or to learn, Sandeep Kishore’s poems will connect with you in your own way.
AUTHOR OF THE BOOK
Sandeep is the CEO & MD of Zensar Technologies, a leading digital solutions and technology services company. He is also a Management Board Member at RPG Enterprises.
Sandeep is a transformational, people-oriented and results-driven leader. He is a global business leader with experience across the US, Europe and Asia. A key interface at the Board, CXO and Governance levels to drive strategic business imperatives and outcomes across the company, he leads the strategy with external stakeholders, most notably with strategic customers, industry and financial analysts, and technology leaders.
Sandeep is a well-regarded thought leader and is regularly invited to speak at several industry events, analyst forums, leading management schools, World Trade Associations, Confederation of Indian Industry, IBEF, TiE, CSIA, JATES and other global technology events.
Sandeep is an alumnus of IIT Bombay, India, and based at Zensar’s US headquarters in Silicon Valley, California, USA.
Apart from his technology career he is a published author. He has written two bilingual books of Hindi-English poems, Your Shadow Wants to Walk Alone and Old Seeds of a New Tree. The net proceeds from his books are donated to the cause of skill development and vocational training programs through the non-profit organization that he co-founded, Har Asha Foundation.
Specification
- Product Code :BK9040
- Size :9.9 x 6.5 x 1.8 inches
- Weight : 1 kg.
- Author : (Kalidasa) Pandit Shriramtej Sjastro
- ISBN : 938032619X, 978-9380326191
- Publisher :Chaukhamba Sanskrit Prakashan
- Edition :October 10, 2014
- Cover :Hardcover
- Language :English
- Pages :796
Description
-
Specification
- Product Code :BK9042
- Author : Jagdisha Chandra Mishra
- Publisher :Chaukhamba Sanskrit Prakashan
- Edition :2010
- Cover :Hardcover
- Language :Sanskrit & Hindi
- Pages : 4+48+440
Description
Language: Sanskrit Text with Hindi Translation