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Kadambarinataka of N...
Kadambarinataka of Narasimha
A Dramatic Version of Banas Classic Kadambari by: Hideaki SatoThis is the first-ever English translation of Narasimhas Kadambarinataka and its critical evaluation. It highlights the plays importance in Sanskrit-Prakrt literature of medieval India and compares it with the kavyas of classicists like Sudraka.
₹540.00
ISBN: 9788124600641
Year Of Publication: 1997
Edition: 1st
Pages : xvi, 300
Bibliographic Details : Abbreviations; Bibliography
Language : English
Binding : Hardcover
Publisher: D.K. Printworld Pvt. Ltd.
Size: 25 cm.
Weight: 750
It is the first ever English translation of Narasimhas Kadambarinataka. And also its first critical evaluation, highlighting not only its high importance in Sanskrit-Prakrit literature of medieval India, but also how this fourteenth-century play compares favourably with the masterly kavyas of the classicists like Sudraka, Kalidasa, Bhavabhuti and Rajashekhara.
Kadambarinataka is essentially a dramatic version of Kadambari : an internationally celebrated novel/romance of the seventh century, authored by the legendary Bana and his son. For over six centuries, it has remained unacknow-ledged and unnoticed owing to the prevailing prejudice against the whole range of Sanskrit-Prakrit literature that came to be written after the 10th century or so. Though the play saw its only printed edition in 1936, it was not studied in perspective nor has it so far been translated into any language. Dr. Hideaki Sato retrieves Kadambarinataka from the centuries of oblivion, offering this literary masterpiece, in two parts, to English-knowing audiences the world over. Part One, in the nature of a critical introduction, focusses on Narasimha: the author, his times and his writings; together with insightful analyses of his natakas sources, plot structure, language, style, innovative elements, and how far it has deviated from Banas Kadambari. Part Two comprises the English rendering of Kadambarinataka which, based directly on its two manuscripts available today, also carries extensive textual notes.
Foreword
Preface
Abbreviations
Part One
An introduction to the Kadambarinataka of Narasimha
1. Preliminary
2. The Critical Apparatus for the Study of the Kadambarinataka
The Madras Sanskrit-prakrit Manuscript
The Madras Sanskrit Chaya Manuscript
V. Krishnamacharyas Printed Edition
3. The Poet Narasimha and His Works
Narasimhas Country, Times and Genealogy
Narasimhas Works
Narasimhas Royal Patronage and the Kadambarinatakas Date
4. The Kadambarinatakas Source Story and Its Originality
The Three Versions of the Story of Kadambari
The Kadambari Version — The So-Called Brihatkatha Version — he Avantisundari Version
The Originality of the Novel Kadambari
5. Some Basic Problems Concerning Narasimhas Dramatization of the Novel Kadambari
The Title and the Type of the Play
The Languages and the Style
The Verses and the Meters
6. Narasimhas Treatment of the Novel Kadambaris Plot in His Kadambarinataka
Different Views on Innovations in a Nataka Plot
The Altered Sequences of Incidents
Innovated Incidents
Innovations in the Characters
7. A Further Analysis of the Plot Structure of the Kadambarinataka
The Arthaprakritis
The Opening Benediction and the Prologue
The Acts
The Preludes
The Samdhis
The Samdhyangas
The Angas of the Mukha Samdhi — The Angas of the Pratimukha Samdhi — The Angas of the Garbha Samdhi — The Angas of the Avamarsha Samdhi — The Angas of the Nirvahana Samdhi
The Samdhyantaras
The Patakasthanakas
8. The Garbhanka: A Special Feature of the Kadambarinataka
The Garbhanka According to Theorists
The Garbhankas in Other Sanskrit-Prakrit Plays
The Garbhanka in the Kadambarinataka
9. The Rasas of the Kadambarinataka
Theories of Rasa
The Rasas Developed in the Kadambarinataka
10. Concluding Remarks
Part Two
A Complete English Translation of the Kadambarinataka of Narasimha with Detailed Textual Notes
Note on the Translation
Dramatis Personae
The Kadambarinataka of Narasimha
Opening Benediction
Prologue
Shuddhavishkambhaka: Prelude to Act one
Act One
Act Two
Praveshaka: Prelude to Act Three
Act Three
Mishravishkambhaka: Prelude to Act Four
Act Four
Culika: Prelude to Act Five
Act Five
Ankamukha: Prelude to Act Six
Act Six
Mishravishkambhaka: Prelude to Act Seven
Act Seven
Mishravishkambhaka: Prelude to Act Eight
Act Eight
Bibliography
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Sale!Manusmriti-Prachina Bharatiya Mulya evam Darshan (Part 2) ₹765.00
“प्रस्तुत ग्रन्थ प्राचीन भारतीय मूल्य एवं दर्शन शृंखला के द्वितीय भाग है। मनुस्मृति प्राचीन भारतीय धर्मशास्त्र परम्परा का आधारभूत ग्रन्थ है। भारत का प्राचीन धार्मिक इतिहास सामाजिक संरचना, राजनीतिक मान्यताओं इस ग्रन्थ में जो प्रतिनिधिक वर्णन मिलता है।
मनुस्मृति मूल रूप से आध्यात्मिक मान्यता परक ग्रन्थ रहा, जिसमें कालक्रमः से समाज.व्यवस्था, वर्णव्यवस्था एवं अनेकानेक बातें समाहित होती चली गईं। तथापि मनुस्मृति की सर्वोपरिता आर्यवर्त में सहसीरों वर्ष तक निर्विवाद रही। धर्म, कर्म, कर्तव्य, सूतक, प्रायश्चित्त एवं संस्कार आदि के लिए आज भी स्रोत ग्रन्थ के रूप में मनुस्मृति संदर्भ ग्रन्थ है।” -
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Atmopadesa Sataka, mentioning one single principle, explains that mere virtue of gaining knowledge is not an end in itself. Its usefulness should be seen in the social, religious and veneration realms.
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Yet another masterly piece of Hindu spiritual wisdom, Aitareya essentially reinforces the grand Upanishadic message which is neither a picturesque mythology nor a promise of heaven nor a threat of hell. It is yet another reminder (from the ancient seers) of our cosmic connection showing how this universe, this phenomenal world of ours, and all that is created, whether movable or immovable, are unfolded from one primeval casual Reality: atman, variantly called the Supreme Spirit, Pure Consciousness or Prajnanam Brahma; and how, in turn, atman perceives itself as the one underlying substance of all these phenomena. A distinguished exponent of Vedanta, Swami Muni Narayana Prasad reinterprets this Upanishad, developing refreshing insights into its textual discourse, its meaning, and its message. Also included in this critical commentary are its original Sanskrit text, Romanised transliteration, and verse for verse English translation. Appended to the Rigveda, Aitareya Upanishad comprises three chapters (IV-VI) of the Aitareya-Aranyaka which, in itself, is a continuation of Aitareya Brahmana. And as one of the principal Upanishads is invaluable as much to the discerning readers as to the scholars of Indian philosophy.
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In the Hindu sacred literature, Sahasra-namas: the texts embodying literally “the Thousand Names” of a deity, constitute a genre in their own right. And Lalita-Sahasranama (LS) is a veritable classic in the traditional writings of the kind — a classic widely acknowledged for its lucidity, clarity and poetic excellence. A medieval work of unknown authorship eulogising Shakti: the Mother Goddess, this Sahasranama is not just a masterly exposition of Shri Lalita’s cult, but also sets out the deity’s diverse epithets — like, for instance, Kundalini, Nirguna, Saguna, Parashakti or Brahman — which continue to evoke reverence as mantras with ‘mystic powers’. Also included among these names are the goddess’s other panegyric descriptions that have come to have profound, esoteric connotations in tantric practices — epitomizing, thus, the fundamental tenets of tantrashastra. Here is a brilliant critical edition of Lalita-Sahasranama meticulously analysing, for the first time, each of Shri Lalita’s thousand names — by a variety of themes, like the Goddess’s conceptual representations, anthropomorphic forms, disposition, abodes, kinships/consorts, ritualistic worship, and her supremacy in pantheonic hierarchy. Also explaining and interpreting anew these thousand names on the basis of time-honoured commentaries, Dr. Joshi under-scores the high importance of Lalita-Sahasranama in philosophy, tantra, yoga, sahasranama literature, and rituals of various descriptions. The book includes the original Sanskrit text of LS, its romanised transliteration and, additionally, an Appendix listing Sri Lalita’s thousand names in the A-Z sequence.
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Sale!Atreyashiksha ₹720.00
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When compared to the other Shikshas of the Taittiriya school, the Atreyashiksha, in keeping its focus on the discussion on the different methods of Vedic recitation, namely, word-reading (padapatha), sequential reading (kramapatha), tangled reading (jatapatha) and the five varieties of the reading of the phonic sequences (varnakramas), holds a unique position in the corpus of the Shiksha literature. A close reading of the text shows that the main aim of the text is to explain the practical aspects of the different ways of Vedic recitation, in whose connection it describes the theoretical elements of Shiksha too.
The book, therefore, serves as a practical guidebook to Vedic reciters who recite the above-mentioned readings of the Taittiriya Krishna-Yajurveda along with the continuous reading. While describing the methods of recitation, the Atreyashiksha gives enough emphasis on the theoretical nuances. The phonological rules, most of which are expressed in the Taittiriya Pratishakhya, are also illustrated in this text. This book consists of a detailed introduction, the critically edited text in Devanagari script, its Roman transliteration and an authentic English translation.
