Timeless Classic Books

Description

"‘On the morning of 19 September, while Miss Mountstephen was still away, Miss Garnett-Orme was found dead in her bed. The door was locked from the inside. On her bedside table was a glass. She was positioned on the bed as though laid out by a nurse or undertaker.’ From ‘A Mussoorie Mystery’ by Ruskin Bond.

There are very few readers who don’t get a feeling of satisfaction from reading a good short story. It is the ending to a story that can make the reader sit up and think about it—some can be good, some twisted and some absolutely anticlimactic! Read about a couple who set out to get the perfect gift for each other and the surprising twist in the end in ‘The Gift of the Magi’; a robotic dancing partner, which creates more menace than a human partner ever can in ‘The Dancing Partner’; and Bond’s own telling of a mystery set in Mussoorie, which caught the fancy of none other than Conan Doyle, the creator of Sherlock Holmes; and many more such stories. Selected and edited by Ruskin Bond, this collection is abound with several fantastic, scary, surprising and humorous stories.

AUTHOR OF THE BOOK

Ruskin Bond has been writing for over sixty years, and now has over 120 titles in print—novels, collections of short stories, poetry, essays, anthologies and books for children. His first novel, The Room on the Roof, received the prestigious John Llewellyn Rhys Prize in 1957. He has also received the Padma Shri (1999), the Padma Bhushan (2014) and two awards from Sahitya Akademi—one for his short stories and another for his writings for children. In 2012, the Delhi government gave him its Lifetime Achievement Award. Born in 1934, Ruskin Bond grew up in Jamnagar, Shimla, New Delhi and Dehradun. Apart from three years in the UK, he has spent all his life in India, and now lives in Mussoorie with his adopted family."

Specification

• Product Code : BK8664
• Publisher : Rupa Publications India
• Edition : April 10, 2017
• Pages : 142
• Weight : 120 gm.
• Size : 5.9 x 0.3 x 8.3 inches
• Cover : Paperback
• Author : Ruskin Bond
• Language : English
• ISBN-10: 8129135825
  ISBN-13: 978-8129135827

Specification:

• Publisher : Indica Books
• By : Gol
• Cover : Paperback
• Edition : December 31, 2003
• Pages : 58
• Weight : 150 gm.
• Size : 10.9 x 8.2 x 0.2 inches
• Language : English
• ISBN-13 : 978-8186569344
• ISBN-10 : 8186569340
• Product Code : BK14247

Description:

The Mughal dynasty of India began in the first half of the 16th century after the conquest of Delhi by Babar. After the death of Emperor Aurangzeb in 1707, the immense empire began to fall apart, while small hindu and muslim kingdoms came into ascendacy. Thus, speaking of the Mughals means speaking about that period of two scarce centuries that left a precious artistic and architectonic legacy for humanity, out of which the Taj Mahal stands out by its own right. Based on the history of the Mughal dynasty and the building of their most knowned monument, the Taj Mahal the imaginative artist Gol, specialist of historical comic and author of the comic book "A pilgrimage to Kashi" has created this great comic, mixing history and imagination. This comic book is not exclusively meant for children.

Young doe-eyed maidens cast bewitching glances in the moonlight. Birds frolic, flowers bloom in a riotous kaleidoscope and the shifting seasons bear witness to the amorous games of lovers. And through this boisterous celebration of beauty and bounty, timeless wisdom is dispensed through brief, colourful vignettes. In Three Hundred Verses, Bhartrihari, one of the greatest Sanskrit poets of all time, brilliantly expounds on our most enduring concerns and dilemmas: living, loving and leaving. Although composed centuries ago, these poems amply display the full force of his genius. Bursting with lush imagery and brimming with deep philosophical musings, these verses covering a wide range of themes that resonate even today—from the sensuous stirrings of passionate love to poignant reflections on life’s inherent transience; from notions of wealth and wickedness to the nature of fate and fortitude. By turns playful and wise, A.N.D. Haksar’s gorgeous and accessible translation captures the verve, acuity and erotic charge of Bhartrihari’s most significant work.

When my concentrated mind was purified; I directed it to the knowledge of the recollection of past lives’ —The Buddha on the night of his enlightenment Associated with the living traditions of folk tale; drama and epic; the Jatakas recount the development of the Bodhisatta—the being destined to become the present Buddha in his final life—not just through the events of one lifetime but of hundreds. Written in Pali; the language of the Theravada Buddhist canon; the Jatakas comprise one of the largest and oldest collections of stories in the world dating from the fifth century BCE to the third century CE. Generations in South and South-East Asia have grown up with these tales. This volume contains twenty-six stories drawn from various ancient sources; and each story reflects one of the ten perfections—giving; restraint; renunciation; wisdom; strength; acceptance; truthfulness; resolve; loving kindness and equanimity. A detailed introduction elaborates on the ten perfections; explains the forms of enlightenment as well as the structure; and the historical and geographical contexts of the stories. Sarah Shaw brings to life the teachings of Buddhism for the scholar and lay reader alike.

An extraordinary detailed manual on statecraft and the science of living by one of classical India's greatest minds; Kautilya; also known as Chanakya and Vishnugupta; wrote the Arthashastra not later than 150 AD though the date has not been conclusively established. Legend has it that he was either a Brahmin from Kerala or from north India; however; it is certain that Kautilya was the man who destroyed the Nanda dynasty and installed Chandragupta Maurya as the King of Magadha. A master strategist who was well-versed in the Vedas and adept at creating intrigues and devising political stratagems; Kautilya's genius is reflected in his Arthashastra which is the most comprehensive treatise of statecraft of classical times. The text contains fifteen books which cover numerous topics viz.; the King; a complete code of law; foreign policy; secret and occult practices and so on. The Arthashastra is written mainly in prose but also incorporates 380 shlokas. Artha; literally wealth; is one of four supreme aims prescribed by Hindu tradition. However; it has a much wider significance and the material well-being of individuals is just a part of it. In accordance with this; Kautilya's Arthashastra maintains that the state or government of a country has a vital role to play in maintaining the material status of both the nation and its people. Therefore; a significant part of the Arthashastra has to do with the science of economics. When it deals with the science of politics; the Arthashastra describes in detail the art of government in its widest sense—the maintenance of law and order as also of an efficient administrative machinery.

Kalidasa’s most famous play refashions an episode from the Mahabharata, magnificently dramatizing the love story of Shakuntala, a girl of semi-divine origin, and Dushyanta, a noble human king. After their brief and passionate but secret union at her father’s forest ashram, Dushyanta must return to his capital. He gives Shakuntala his signet ring, promising to make her his queen when she joins him later. But, placed unawares under a curse, he forgets her—and she loses the ring that would have enabled him to recognize her. Will the lovers be reunited? The world’s first full-length play centred on a comprehensive love story, The Recognition of Shakuntala is an undisputed classic of the ancient period. Vinay Dharwadker’s sparkling new translation is the definitive poetic rendering of this romantic-heroic comedy for the twenty-first century stage. His absorbing commentary and notes give contemporary readers an unparalleled opportunity to savour the riches of a timeless text.

Three Women (Nashtaneer, Malancha, Dui Bon) is by Rabindranath Tagore. Nashtaneer (The Broken Nest), Malancha (The Arbour), and Dui Bon (The Two Sisters) are considered to be some of Tagore’s finest prose works. Subtle, full of psychological nuance, and lyricism, this is vintage Tagore.

This feast of smiles was put together giving the secret strategies and all the tricks of courtesans One of Kshemendra’s finest satires, The Courtesan’s Keeper is a delightful and rambunctious rendition of the life and times of the courtesan Kankali as she teaches the ways of the world to her ward Kalavati. From the attractive courtesan and her shrewd keeper to the experienced barber and the avaricious trader, the book brings to life the vibrant society of Kashmir Valley a thousand years ago through a host of characters, each drawn in vivid detail. With its terse narrative, directness and economy of style, and fast-paced action, the book is fully suited for the twenty-first-century reader.

Late medieval poems from Kerala that still resonate in every Malayali’s heart touchstones of faith in Kerala. Puntanam’s Jnana-paana may claim to be the first original modern poem in Malayalam; simple and innocent, it still speaks directly to the reader. Melpattur’s Narayaniyam is ‘the last great hurrah of classical Sanskrit’ in India; the poem excerpted here, majestic in its humility, describes a vision of the Lord. With his elegant verse translations, Vijay Nambisan brings these poems to a new audience. Also translated is a poem by Mahakavi Vallathol which relates the story of Melpattur and Puntanam’s meeting and how the Sanskritist scorned the vernacular poet. In his incisive ‘Translator’s Apology’, Nambisan explores the dynamics of Malayali culture; places its literature in context; studies matters of prosody; and questions the attitude of an elitist language to a regional one.

Tilism-e-Hoshruba is an epic narrative of the adventures of the legendary Persian hero Emir Hamza—the protagonist of Hamza Nama—his sons and grandsons. The epic opens with the commander-in-chief of the Islamic army, Hamza, pursuing Laqa, who makes false claims to divinity. Laqa takes refuge in Kohistan, adjacent to the enchanted land of Hoshruba, ruled by the formidable King of Sahirs, Afrasiyab Jadoo. Afrasiyab reveres Laqa and deputes his sahirs or wizards to help him fight Hamza. Hamza’s grandson Asad then sets out to conquer Hoshruba, assisted by the clever trickster Amar, who possesses divine artefacts such as a cloak of invisibility and a magic pouch containing parallel worlds. Aided by powerful allies and beset at every step by magical snares, dangerous enchantments and seductive sorceresses, the Islamic army finally conquers Hoshruba. Tilism-e-Hoshruba has enthralled generations of readers with its chivalrous heroes, breathtakingly beautiful princesses, powerful sahirs, sahiras and demons. This brilliant condensed translation by Shahnaz Aijazuddin sensitively reinterprets the highly Persianized Urdu of the original text into this eminently readable book that retains the essence of the original.

The god Shiva is utterly seduced by Mohini, the enchanting female form assumed by the god Vishnu during the churning of the ocean for nectar. A barber employs wit and wile and rumours of witchcraft to win his wife back from the lustful attentions of their king. The celestial nymph Urvashi curses the Pandava prince Arjuna when he rejects her sexual advances. A woman caught in adultery befools her elders with a religious ritual. A man with a disagreeable missing wife insists nevertheless that she be recovered by his ruler who has a similar problem. Refined, colloquial, romantic, cynical, satirical by turns, these stories of erotic love, elegantly translated from the Sanskrit classics, make a sustained argument for the secular ends of life of desire tempered with discrimination and pleasure with restraint.

Every moment it seeks to slip from the mind’s nook Fresh poetic meaning is a gazelle to be captured The Captured Gazelle is an elegant and lucent translation of the poems of the seventeenth-century Persian poet Mulla Tahir Ghani, better known as Ghani Kashmiri. Eulogized by poets such as Mir and Iqbal, Ghani is an outstanding representative of sabk-e-Hindi or the ‘Indian style’ in Persian poetry, which became a hallmark of the Mughal–Safavid literary culture. The introduction situates Ghani against his unique background in which Iranian and Indian poetic cultures came together to create a glorious literary age in Kashmir, while the translations capture Ghani in his wide spectrum of moods—satirical, playful, self-pitying, pessimistic, mystically resigned—bringing alive his wit and ingenuity in a modern idiom without losing hold on the tone.

Dandin's work as a novelist, poet and pioneering theorist of literary style has secured for him an important place in classical Sanskrit literature. He lived in Kanchi, near present-day Chennai, in the period c. AD 650?750, during the Pallava rule. The Dasa Kumara Charitam is a prose romance recounting the exploits of Prince Rajavahana and his nine companions. Its colourful tales of adventure are notable for their ironic humour, amoral outlook and uninhibited descriptions of contemporary life and manners. A remarkable feature of the stories is the geographical sweep of their action, ranging from present-day Punjab to Kerala, Gujarat to Assam and all the way to the islands of the Indian Ocean. Also remarkable is the rich variety of characters and situations. Dandin vivifies each personage, major and minor, and provides lively accounts of assassinations, executions, dance festivals and royal assemblies, describes at length the training of a courtesan, and even the tools for burgling a house. Even though Tales of the Ten Princes can be enjoyed for its absorbing stories alone, it is also a wonderfully detailed sociological account of an important age in ancient India.

The vast ocean of stories that influenced storytelling the world over 'The Kathasaritasagara' is said to have been compiled by a Kashmiri Saivite Brahmin called Somadeva in AD 1070, although the date has not been conclusively established. Legend has it that Somadeva composed the Kathasaritasagara for Queen Suryavati, wife of King Anantadeva who ruled Kashmir in the eleventh century. The stories in this book are retold from ten of the eighteen books of the original Kathasaritasagara. The most remarkable feature of the Kathasaritasagara is that unlike other texts of the time, it offers no moral conclusions, no principles to live by and is throughout a celebration of earthly life. The tale of Naravahanadatta, the prince of the vidyadharas, the sky-dwellers with magical powers, comprises the main narrative and is used as an outer frame to introduce the stories in the text. Promiscuous married women and clever courtesans, imbecile Brahmins, incompetent kings and wise ministers, wicked mendicants and holy ascetics, cursed men and men who are granted boons, evil non-human creatures and friendly magical beings, all jostle for attention in Arshia Sattar’s masterful translation of this timeless collection of tales.

Red Lilies and Frightened Birds is a collection of poems in praise of the three ancient Tamil royal dynasties—Cheras; Cholas and Pandyas. Translated from the early medieval Tamil classic Muttollayiram; these beautifully crafted verses retain a surprisingly contemporary tone—a testament to their enduring appeal over the centuries. While some of them are odes to the splendour of the king’s country and city; his prowess in war; and the ruining of the enemy country; others reveal how young women; deeply infatuated with the king; pine and long for him. M.L. Thangappa’s translation brilliantly brings to life the playful inventiveness and heady imagery of the original verses. This edition also includes an illuminating introduction by A.R. Venkatachalapathy which places this classic in its historical and cultural context.

The breathtaking poems in Love Stands Alone speak to us across time, space, language and culture. The interior, akam, and the exterior, puram, form their two overarching themes. The akam poems are concerned with love in all its varied situations: clandestine and illicit; conjugal happiness and infidelity; separation and union. The puram poems encompass all other aspects of worldly life: wars and battlefields, the munificence of kings and chieftains, and the wisdom of bards. With a comprehensive introduction by A.R. Venkatachalapathy, M.L. Thangappa’s translations delight the senses and bring alive a world long past.

Kumarasambhavam celebrates the love story of Siva and Parvati, whose passionate union results in the birth of their son, the young god Kumara. Beginning with a luminous description of the birth of Parvati, the poem proceeds in perfectly pitched sensuous detail through her courtship with Siva until the night of their wedding. It plays out their tale on the immense scale of supreme divinity, wherein the gods are viewed both as lovers and as cosmic principles. Composed in eight scintillating cantos, Kumarasambhavam continues to enchant readers centuries after it was first written. Hank Heifetz's sparkling translation brings to life the heady eroticism and sumptuous imagery of the original.

A masterly translation of the Tamil version of Ramayana The epic story of Rama, which is part of the Indian collective consciousness, has been retold in many regional languages. Pre-eminent among the many vernacular retellings of the Ramayana is the twelfth-century Tamil version by Kamban. The son of a temple drummer, Kamban is reputed to have had an impressive mastery of Tamil and Sanskrit classics. Fascinated by the lore of Ramayana, he immersed himself totally in it. Though Kamban acknowledges his indebtedness to the Sanskrit version of the Ramayana by Valmiki, his is an independent work, enriched by various religious, philosophical and literary influences. The Kamba Ramayana differs from Valmiki’s in significant ways. Though cast in the heroic mould of a Purushotama or ‘the best among men’, Valmiki’s Rama is still a man. Kamban, on the other hand, never allows the reader to forget the godhood of Rama. His Ravana too, though flawed, is a heroic figure. While Valmiki’s diction is sparse and direct, Kamban’s exuberant prose sparkles with wit and inventiveness. Translated into English by the late P.S. Sundaram, this edition has been abridged and edited by his long-time friend N.S. Jagannathan. Though pared down from the original six volumes to a single one, this translation retains the magic and poetry of the original.

The monsoon night passes like a knife— again and again the heart is cut away The seventeenth-century ascetic Anandghan (Cloud of Bliss) is one of the outstanding poets of Jain vernacular literature. His transcendental songs have been popular for over three centuries and remain part of the Jain devotional canon even today. Anandghan’s songs—which even inspired Mahatma Gandhi—are not restricted to Jain themes alone but illuminate how religious differences are superficial in comparison with the inner experience of the Self. The poet’s use of striking and fresh imagery vividly conjures the world of seventeenth-century India even as he persuades listeners to grasp the transcendental dimensions of their lives within the everyday struggles of material existence. This rigorous new translation mirrors the raw immediacy of Anandghan’s songs and highlights their universal appeal.

Amir Khusrau, one of the greatest poets of medieval India, helped forge a distinctive synthesis of Muslim and Hindu cultures. Written in Persian and Hindavi, his poems and ghazals were appreciated across a cosmopolitan Persianate world that stretched from Turkey to Bengal. Having thrived for centuries, Khusrau’s poetry continues to be read and recited to this day. In the Bazaar of Love is the first comprehensive selection of Khusrau’s work, offering new translations of mystical and romantic poems and fresh renditions of old favourites. Covering a wide range of genres and forms, it evokes the magic of one of the best-loved poets of the Indian subcontinent.

The poems of the fourteenth-century Kashmiri mystic Lal Ded, popularly known as Lalla, strike us like brief and blinding bursts of light. Emotionally rich yet philosophically precise, sumptuously enigmatic yet crisply structured, these poems are as sensuously evocative as they are charged with an ecstatic devotion. Stripping away a century of Victorian-inflected translations and paraphrases, and restoring the jagged, colloquial power of Lalla’s voice, in Ranjit Hoskote’s new translation these poems are glorious manifestos of illumination.

The poems in this book are some of the earliest about Visnu, one of the Hindu Trinity, also known as Tirumal, the Dark One. Tradition recognizes twelve alvars, saint-poets devoted to Visnu, who lived between the sixth and ninth century in the Tamil-speaking region of south India. These devotees of Visnu and their counterparts, the devotees of Siva (nayanmar), changed and revitalized Hinduism and their devotional hymns addressed to Visnu are among the earliest bhakti (devotional) texts in any Indian language. In this selection from Nammalvar's works, the translations like the originals reflect the alternations of philosophic hymns and love poems, through recurring voices, roles and places. They also enact a progression"from wonder at the Lord's works, to the experience of loving him and watching others love him, to moods of questioning and despair and finally to the experience of being devoured and possessed by him.

Poet; philosopher and merchant; Banarasidas had no precedent in literature or tradition that might have inspired him to write his life’s story or guided him in his task. His motivation to write his story was simple: ‘Let me tell my story to all.’ Completed in the winter of 1641; in Agra; Ardhakathanak is the first autobiography in an Indian language. Banarsidas charms us with his transparency and frankness; revealing as much of himself as possible. And he punctuates the fast-flowing narrative of his life every now and then to muse on the nature of human existence. The result is an astonishing account that is more modern than medieval in tone; and free of formulaic conventions and stylized ornamentation. At the end of his ‘half story’; Banarasi becomes as intimate to us as an old friend. We know the ups and downs of his life almost as well as we know our own and we come to identify with his intellectual and spiritual struggles; and perhaps even share them.

Look, my feet measure beyond earth and sky!’ he said and touched the sky. I have surrendered to my lord who glanced at me with his large radiant eyes. The Tiruviruttam is an iconic poem by Nammāḻvār (c. ninth century CE), the greatest of the āḻvār poet-saints of the Tamil Śrīvaiṣṇava tradition. Its hundred interlinked verses celebrate the love between an anonymous heroine and hero, who come to be identified with Nammāḻvār and his beloved deity, Viṣṇu. The poet masterfully weaves the erotic and esoteric to reveal both the contours of love and the never-ending cycles of separation and union, of birth and death, from which only Viṣṇu can offer release. In A Hundred Measures of Time, Archana Venkatesan has crafted a sonorous free-verse rendering and an accompanying far-ranging essay to delight poetry lovers and scholars alike.