Shilappadikaram

The peerless young Kovalan leaves his loyal wife Kannaki for the courtesan Madhavi, and though he returns to her, he still meets his death because of her ill-omened ankle bracelet. The Shilappadikaram has been called an epic and even a novel, but it is also a book of general education. Adigal packed his story with information: history merging into myth, religious rites, caste customs, military lore, descriptions of city and country life. And four Cantos are little anthologies of the poetry of the period (seashore and mountain songs, hunters and milkmaid s song). Thus the story gives us a vivid picture of early Indian life in all its aspects.

Men And Women Of Maturai Of The Four Temples! I Curse This City. Its King Erred In Killing The Man I Loved One Of The World'S Masterpieces, The Cilappatikaram (5Th Century Ce) By Ilanko Atikal Is India'S Finest Epic In A Language Other Than Sanskrit. It Spells Out In Unforgettable Verse The Problems That Humanity Has Been Wrestling With For A Long Time: Love, War, Evil, Fate And Death. The Tale Of An Anklet Is The Love Story Of Kovalan And Kannaki. Originating In Tamil Mythology, The Compelling Tale Of Kannaki Her Love, Her Feats And Triumphs, And Her Ultimate Transformation To Goddess Follows The Conventions Of Tamil Poetry And Is Told In Three Phases: The Erotic, The Heroic And The Mythic. This Epic Ranks With The Ramayana And The Mahabharata As One Of The Great Classics Of Indian Literature And Is Presented For The First Time In A Landmark English Verse Translation By The Eminent Poet R. Parthasarathy, Making It Accessible To A Wider Audience. Winner Of The 1995 Sahitya Akademi Prize For Translation (English), The 1994 Pen/ Book-Of-The-Month Club Translation Citation Of The Pen American Centre, And The 1996 Association For Asian Studies A.K. Ramanujan Book Prize For Translation.

Are Indian women powerful mother goddesses, or domestic handmaidens trailing behind men in literacy, wages, opportunities, and rights? Have they been agents of their own destinies, or voiceless victims of patriarchy? Behind these colorful over-simplifications lies the reality of many feminine personas belonging to various classes, ethnicities, religions, and castes. This two-volume set looks at Indian history from ancient to modern times, revealing precisely why ideas of gender rights were not static across eras or regions. Raman's work is a reflection on the various ways in which women in a non-Western culture have developed and expressed their own feminist agenda. Are Indian women powerful mother goddesses, or domestic handmaidens trailing behind men in literacy, wages, opportunities, and rights? Have they been agents of their own destinies, or voiceless victims of patriarchy? Behind these coloful over-simplifications lies the reality of many feminine personas belonging to various classes, ethnicities, religions, and castes. This two-volume set looks at Indian history from ancient to modern times, revealing precisely why ideas of gender rights were not static across eras or regions. Raman's work is a reflection on the various ways in which women in a non-western culture have developed and expressed their own feminist agenda. Individual chapters highlight the enduring legacies of many important male and female figures, illustrating how each played a key role in modifying the substance of women's lives. Political movements are examined as well, such as the nationalist reform movement of 1947 in which the ideal of Indian womanhood became central to the nation and the push for independence. Also included is a survey of women in contemporary India and the role they played in the resurgence of militant Hindu nationalism. Aside from being an engaging and readable narrative of Indian history, this set integrates women's issues, roles, and achievements into the general study of the times, providing a clear presentation of the social, cultural, religious, political, and economic realities that have helped shape the identity of Indian women.

An authority on Hinduism and renowned for his directorship of the Institute of Comparative Music Studies in Berlin and Venice, Alain Daniélou is also an accomplished pianist, dancer, player of the Indian vînâ, painter, linguist and translator, photographer, and world traveler. To these attainments he has added The Way to the Labyrinth--as vivid, uninhibited, and wide-ranging a memoir as one is ever likely to encounter, now translated and published in English for the first time. Born of a haute-bourgeoise French family--his mother an ardent Catholic, his father an anticlerical leftwing politician, his older brother a cardinal--Daniélou spent a solitary childhood. Escaping from his family milieu, he went to Paris, where he fell in with avant-garde, bohemian, sexually liberated circles, among whose luminaries were Cocteau, Diaghilev, Max Jacob, and Maurice Sachs. But however fervently he plunged into various activities, he felt some other destiny awaited him. After a number of journeys, some of them highly adventurous, he found his real home in India. He spent twenty years there, fifteen of them in Benares on the banks of the Ganges. There he immersed himself in the study of Sanskrit, Hindu philosophy, music, and the art of the ancient temples of Northern India, and converted to the Hindu religion. But times changed, and soon after India gained its independence, he returned to live again in Europe and devoted much of his great energy to the encouragement of traditional musics from around the world.

For two thousand years, a small colony of Jews in Cochin, South India, enjoyed security and prosperity, fully accepted by their Hindu, Muslim, and Christian neighbors. In this most exotic corner of the Diaspora, Jews flourished in the spice trade, agriculture, the professions, government, and military service. India's tolerant, nurturing atmosphere produced a Jewish prime minister to a Hindu maharaja; an autonomous Jewish principality; Hebrew and Malayalam-language poets; powerful, well-educated women; and Qabbalists revered by Hindus, Muslims, Christians, and Jews alike. Cochin's Jews were so well-integrated into Hindu society that they evolved an identity which was both fully Indian and fully Jewish. This book analyzes the strategies by which this dual identity was established. The Cochin Jews have narrated a historical legend which emphasizes their longstanding residence in India, the site of Jewish autonomy under Hindu patronage, and their attestable origin in ancient Israel, the center of the Jewish universe. Although the Cochin Jews remained faithful to Jewish law and custom, Hindu symbols of nobility and purity were adopted into their religious observances, resulting in some of the most exotic religious practices in the Jewish world. The Jews of Cochin mirrored Hindu social structure and became a caste, well-positioned in India's hierarchy. Yet in emulating caste behavior, Jews came to discriminate against one another, in a breach of Jewish law, giving rise to a controversy which lasted five hundred years. Despite millennia of security, when their two beloved homelands, India and Israel, attained independence in the late 1940s, virtually all of the Jews living in Cochin opted for the more precarious life in Israel. This book concludes with an exploration of their reasons for leaving India and an appraisal of their adaptation to Israeli life.

Life is unfair: the virtuous Kannagi deserves a loving husband, but selfish beauties and foolish kings combine to rob her of happiness. Her patience snaps, eventually. Pure in her love, this gentle woman is transformed into an avenging angel, raining death and doom on all her foes, until the gods are forced to intervene. Ilango Adigal's Tamil classic, Shilappadikaram presents life with all its flaws but also with hope.