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Madhuravijayam, or V...
Madhuravijayam, or Virakamparacarita of Gangadevi
by: Dr. Sujatha Reddy$21.00
ISBN: 9788124610626
Year Of Publication: 2021
Edition: 1st
Pages : v,145
Bibliographic Details : Bibliography
Language : English, Sanskrit
Binding : Hardcover
Publisher: D.K. Printworld Pvt. Ltd.
Size: 23
Weight: 352
The Madhuravijayam (Sanskrit: मधुराविजयम्), meaning “The Victory of Madurai”, is a fourteenth-century CE Sanskrit poem written by the poet Gangadevi. It is also named the Vīra Kamparaya Caritam by the poet. Gangadevi, also known as Gangambika, was a poetess in the Vijayanagara Empire during the fourteenth century and chronicled the story of the victory of her husband, Kumara Kampana, son of Bukka Raya I, over the Muslims in Madurai, in the form of a poem. The poem celebrates the victory of the Vijayanagara Empire’s crown prince, Kamparaya, over Madurai. In addition to battle scenes a wash with blood, gore and plenty of poetic fantasy, the poetess describes how her husband Kampa passes the time between wars with his multitude of beautiful wives.
This edition is prepared to highlight that it is composed by a woman and it is the first woman writing in Sanskrit recognized by scholars and comprises of the original Sanskrit text with a new English translation. It forms the 4th volume under the series: Women Writings in Sanskrit Literature. The historical value of this work is discussed along with the introduction of this work. The authoress, instead of drawing the subject matter from the well-known Puranas (as is usual with the generality of Sanskrit poets), has chosen the biography of her royal consort as fit subject to exhibit her remarkable poetical talents.
The work is in the form of a classical kavya conforming to the rules laid down in the treatises on poetics and contains the usual lengthy description of the seasons, the twilight, the rising of the moon and other necessary topics. The authoress writes in the Vaidarbhi style.
Acknowledgements
Introduction
1.प्रथम सर्ग: (Canto 1)
2.द्वितीय सर्ग: (Canto 2)
3.तृतीय सर्ग: (Canto 3)
4.चतुर्थ सर्ग: (Canto 4)
5.पञ्चम सर्ग: (Canto 5)
6.षष्ठ सर्ग: (Canto 6)
7.सप्तम सर्ग: (Canto 7)
8.अष्टम सर्ग: (Canto 8)
9.नवम सर्ग: (Canto 9)
Conquest of Madhura: Text in Analysis
Bibliography
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Lalita-Sahasranama A Comprehensive Study of One Thousand Names of Lalita Maha-Tripurasundari $50.00
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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Chandogya Upanisad Translation and Commentary $45.00
Chandogya is the most intriguing of all the Upanishads. It begins with directing the priests of a Soma-yaga to see the hidden wisdom-significance in what they perform and recite as a brute ritual. This sublimating of ritualism gradually leads us to perceiving the entire life system as a yaj¤a held in and performed by Brahman. The next step this perception leads us to is “sarvam khalvidam brahma” (everything here indeed is Brahman). Then the enquiry as to what this Brahman is, begins. The answer we arrive at is “tat tvam asi” (That thou art). Finally we realize “atmaivedam sarvam” (atma indeed is everything here, or myself indeed is everything here). From this self-identity with “everything,” with Brahman, we never return to our identity with individuated forms pertaining to the world of becoming. The present commentary explicates in a lucid way how thinking progresses in this Upanishad, along with unravelling its schematic, structural and dialectical intricacies, both subjective and objective, both universal and particular.
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Lalita-Sahasranama A Comprehensive Study of One Thousand Names of Lalita Maha-Tripurasundari (PB) $34.00
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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Atreyashiksha $32.00
Atreyashiksha is one of the Shiksha texts of the Krishna-Yajurveda, Taittiriya school. This text has been critically edited and translated consulting two palm-leaf manuscripts which are currently the only discovered manuscripts of this text in public libraries. Shiksha texts deal with phonetics and phonology of the Vedas and the method of proper pronunciation and recitation. The Atreyashiksha is well-structured in terms of arranging its topics of discussion.
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. -
Asvalayana-Samhita of The Rigveda (2 Vols. Set) $72.00
Among the twenty-one Sakha-Samhitas of the Rigveda, as mentioned by Patanjali, only seven Samhitas were known by name and among these too, only one Sakala-Samhita was available in printed form so far. Now with the publication of the present editon of the Ashvalayana-Samhita a complete picture of a new Sakha-Samhita will come to fore for the first time. In comparison to the Sakala-Samhita, the Ashvalayana-Samhita has 212 additional mantras among which some occur in the common suktas and others form 16 additional complete suktas. Among these additional suktas special mention may be made of Kapinjala-sukta (II.44), Lakshmi-sukta (V.88-89), Pavamana-sukta (IX.68), Hiranya-sukta (X.130), Medha-sukta (X.155) and Manasa-sukta (X.171).
The book in two volumes presents the full text of the Ashvalayana Samhita of the Rigveda with padapatha, marked with proper accent marks. The additional mantras of the Ashvalayana Samhita followed by their translation in English and Hindi are also provided at the end of the Samhita text.
In a detailed introduction of the text the learned editor has examined the existence of Sakha-Samhitas of the Rigveda as mentioned by the Puranas, Patanjali, Mahidasa and other authorities, scrutinising textual evidence in support of them. The focus is, however, on the Ashvalayana-Samhita, with a background on Acarya Ashvalayana and exploring the antiquity, treatment of accent and padapatha of the text by referring to various sources.
Parthasarathy –
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