Naimisha God S Own Story The Middle Game

MOVES & COUNTERMOVES Animish, the disciple teetering between scepticism and awe around Krishna’s divinity, inherits his Master’s mantle as the latter proceeds to Badari to pursue his self-realisation goals. Asareer's belief solidifies, and divine anecdotes about Krishna continue to enthral him. While the chasm between the viewpoints of both friends keeps widening, Krishna attains a God-like stature and comes to be feared by his opponents and revered by his devotees and sages alike. Meanwhile, rivalries explode between cousins. Kauravas, led by the determined Duryodhana, manipulate the king to their advantage while Pandavas fight for survival. Draupadi's entrance, forging a solid alliance between Pandavas and the powerful Panchala kingdom, adds a new twist to the story. And, through it all, the enigmatic Krishna emerges as the central figure, unfolding his own fascinating tryst with destiny. The game of one-up-manship between Kauavas and Pandavas, which resembled the opening stage of a chess game to Animish during the graduation ceremony of princes, moves into the next stage, the middle game. Kauravas and Pandavas were entangled in a prolonged fight over the chessboard of fate, with advantage shifting back and forth like in a bitter middle game of chess that does not produce a clear winner. Find inside the dramatic events of Krishna’s battles with Jarasandha, the setting up of the Dwaraka kingdom, Draupadi’s Swayamvara and her unconventional polyandrous marriage, the rise and fall of Indraprastha Empire, multiple marriages and battles of Krishna, the fortune-turning dice game where a wife was put on stake, and a host of other exciting events. Join Animish and Asareer, two good friends who disagree on matters of faith, to watch the enthralling moves and countermoves in the intricate middle phase of the story and analyse for yourself which moves are blunders and which ones are brilliancies. What did destiny ordain for the kings who thought they were players but were mere pawns on fate’s chess board?

Animish belongs to the ashram of a mysterious Master in the forest of Naimisha whose antecedents, ideologies, and even name are shrouded in secrecy. When he visits the city of Mathura, along with his friend Asareer, he hears a voice from the skies warning the antagonist, Kamsa, that his nemesis would be born to his dear sister Devaki who was just married to the Yadava prince, Vasudeva. The mysterious voice claims itself as 'Akashvani', the celestial voice that can see the events of the past, the present, and the future. While everybody believes the foreboding, Animish is the only one to think he knows the truth. Set in the period B.K. 10, a decade before Krishna was born, this sets Animish in the lifelong quest of following Shri Krishna and the truth. The story of Animish runs parallel to the story of Shri Krishna and Pandavas and Kauravas.

THE MAHABHARATA ENDURES AS THE GREAT EPIC OF INDIA. But while Jaya is the story of the Pandavas, told from the perspective of the victors of Kurukshetra; Ajaya is the narrative of the ÔunconquerableÕ Kauravas, who were decimated to the last man. At the heart of IndiaÕs most powerful empire, a revolution is brewing. Bhishma, the noble patriarch of Hastinapura, is struggling to maintain the unity of his empire. On the throne sits Dhritarashtra, the blind King, and his foreign-born Queen Ð Gandhari. In the shadow of the throne stands Kunti, the Dowager-Queen, burning with ambition to see her firstborn become the ruler, acknowledged by all. And in the wings: Parashurama, the enigmatic Guru of the powerful Southern Confederate, bides his time to take over and impose his will from mountains to ocean. Ekalavya, a young Nishada, yearns to break free of caste restrictions and become a warrior. Karna, son of a humble charioteer, travels to the South to study under the foremost Guru of the day and become the greatest archer in the land. Balarama, the charismatic leader of the Yadavas, dreams of building the perfect city by the sea and seeing his people prosperous and proud once more. Takshaka, guerilla leader of the Nagas, foments a revolution by the downtrodden as he lies in wait in the jungles of India, where survival is the only dharma. Jara, the beggar, and his blind dog Dharma, walk the dusty streets of India, witness to people and events far greater than they, as the Pandavas and the Kauravas confront their searing destinies. Amidst the chaos, Prince Suyodhana, heir of Hastinapura, stands tall, determined to claim his birthright and act according to his conscience. He is the maker of his own destiny Ð or so he believes. While in the corridors of the Hastinapura palace, a foreign Prince plots to destroy India. And the dice fallsÉ

New York Times Bestselling Author Sidney Sheldon’s most popular and enduring heroine—Tracy Whitney of If Tomorrow Comes—returns in a sensational sequel full of passion, suspense, and breathtaking twists.

The seventy-two entries in this volume explore, among other topics, the history, geography, and religion of Greece, Plato's mythology and philosophy, the powers of marriage in Greece, heroes and gods of war in the Greek epic, and origins of mankind in Greek myths. Ancient Egyptian cosmology, anthropology, rituals, and religion—closely linked to Greek mythology—are also discussed. "In a world that remains governed by powerful myths, we must deepen our understanding of ourselves and others by considering more carefully the ways in which the mythological systems to which we cling and social institutions and movements to which we are committed nourish each other. Yves Bonnefoy's Mythologies not only summarizes the progress that has already been made toward this end, but also lays the foundation for the difficult work that lies ahead."—Mark C. Taylor, New York Times Book Review "The almost 100 contributors combine, with characteristic precision and élan, the arts of science and poetry, of analysis and translation. The result is a treasury of information, brilliant guesswork, witty asides, and revealing digressions. This is a work of genuine and enduring excitement."—Thomas D'Evelyn, Christian cience Monitor

First Ebook Edition - March 2016

Can tragic views of the human condition as known to Westerners through Greek and Shakespearean tragedy be identified outside European culture, in the Indian culture of Hindu epic drama? In what respects can the Mahabharata epic's and the Bhagavadgita's views of the human condition be called 'tragic' in the Greek and Shakespearean senses of the word? Tragic views of the human condition are primarily embedded in stories. Only afterwards are these views expounded in theories of tragedy and in philosophical anthropologies. Minnema identifies these embedded views of human nature by discussing the ways in which tragic stories raise a variety of anthropological issues-issues such as coping with evil, suffering, war, death, values, power, sacrifice, ritual, communication, gender, honour, injustice, knowledge, fate, freedom. Each chapter represents one cluster of tragic issues that are explored in terms of their particular (Greek, English, Indian) settings before being compared cross-culturally. In the end, the underlying question is: are Indian views of the human condition very different from Western views?