Books

A thought that comes on a person's mind and is externalised into speech or utterance it stays there in the form or shape of an image as a picture. This image or picture is rather unsubstantial as long as it stays in the depth of the mind. As it gradually surfaces and resurfaces it is, then, externalised and concretised in some recognisable form, as speech. Thus, it logically follows, 'imaging' precedes 'materialising' or 'externalising' or 'objectifying'. It is the quality of the mind that should be regarded as a mark of excellence when the image is transferred into 'speech'. So image making is a common feature with us and in this sense we are all artists. Now, mere objectifying is not the whole truth. A true artist must bring his understanding of the subject matter into an accountable way and add to it the colour of imagination. This capability, generally speaking, is an essential mark of a true artist, so much so that he, as an artist, develops the power to make the intelligent viewers happy. In fact, painting like love and music, has the power to make man happy. It is the interaction, between the painter and the viewer, that is the highest reward a painter can think of.

When it comes to considering the interaction among thought, language and painting. We should at once take note of the fact that in terms of the Jain philosophy the process of thinking is known as anekanta-drsti and that the manner and way of definitively expressing it through a comprehensible medium is generally called syadvada. in terms of anekantavada, every phenomenon contains duality in it, so painting as a form of fine art cannot escape this duality or, for that matter, the concept of non-absolutism. A painter, who for instance, is engaged in giving shape to an abstract idea or even a concrete matter, must also show the duality inherent in it, if he is to give it a touch of inclusive completeness. (The ultimate truth with which he is concerned through the medium of painting can be arrived at through the stepping-stones of duality that must remain implicit in his subject matter.)

The Purana is a class of literature that treats of ancient religion, philosophy, history, sociology, politics and other subjects. It is an Encyclopaedia of various branches of knowledge and ancient wisdom. It has been defined as a class of literature that contains material on the topics of Creation, Dissolution of Manus, Ages of Manus, Genealogies and the History of glorious kings. For dealing primarily with these subjects it has been called Pancalaksana a little that was incorporated in the Puranas themselves and had become popular by the Fifth Century A.D., for it was included by Amarasimha in his lexicon 'Amarakosa'. But as the process of interpolation continued, the Pancalaksana definition was found inadequate. The Puranic redactors adopted a Dasalaksana definition that suited the contemporary text. Still the dynamic forces were at work and the process of insertion, modification and abridgement went on and it was soon discovered that the Dasalaksana definition too fell short of an actual fact. It was found that the puranas contained certain aspects that were not covered by any of the five or ten characteristics. Besides some of the characteristics covered by the Pancalaksana or Dasalaksana definition were not found in certain Puranas. In fact the Purana as a class represents the different phases and aspects of life of diverse ages. It is impossible to adopt a standard definition for the class of literary composition that contains heterogeneous phases and aspects. Moreover, a definition framed on the numerical basis of points is bound to be imperfect. The Puranas are divided into two classes the Mahapuranas and the Upapuranas. Each class consists of eighteen puranas. Thus the number of the Puranas is thirty six.

The Samkhya of Kapila has influenced every school of Indian philosophy. Among the treatises explaining its teachings, only two have survived intact, the rest being either in fragments or totally lost. One of these, the Samkhya-pravachana-sutram with two commentaries by Aniruddha and Vijnana-bhiksu form the body of this book, and the others Kapila-sutram, Samkhya-karika of Isvarakrisna and Panchasikha-sutram are given in appendices. The Samkhya relies on the ruler of logic for establishing the validity of its tenets. Its object is to differentiate between the soul and the non-soul. It starts with the primordial cause called prakriti or pradhana which resulted in effect, this world. It has put forward a theory of evolution to explain all objects, animate and inanimate, of this world as an infinite number of permutations and combinations of the three gunas-sattva, rajas and tamas. Its essence consists of two principles : Prakriti and Purusa. It opposes Vedic sacrifices but not the Vedas. It does not deny God but states that His existence cannot be proved. Its importance can be gauged from the fact that the Vedantasutra devotes sixty out of hundred and three aphorisms to refute its doctrines. The appendices provide all the available texts with indices for aphorisms and words. The translation, with its lucid explanation of the texts and commentaries, brings the ideas of the renowned Samkhya within reach of all.

The Siva Samhita is a Sanskrit text on yoga enumerating its concepts and cognate principles. In the five chapters are discussed and elaborated the essentials necessary for the practice of yoga, ways of attaining siddhi, the philosophy of existence, importance of yoga, the spirit, maya or illusion, the microcosm, the functions of the body, the principles of pranayama or breathing, asanas or postures, the Kundalini and its awakening, the various forms of yoga, etc. An important treatise on the subject, the present text with its translation into English should prove to be of immense value to the scholars and students, of the subject. Printed Pages: 96.

Never before have all the various facets of the teachings of Swami Ramdas (1884-1963) been brought together in one comprehensive volume.
Like a beautiful multicoloured garland of fragrant flowers, Servant of God is a collection of extracts from the writings of Ramdas that are arranged under 101 chapter headings.
The very phrases of Ramdas form the chapter headings which range from "Aboration of the Lord` to Zoroaster Taught the Suzerainty of God".

Every year thousands of pilgrims travel to Brindavan, the village where Krishna is said to have lived as child, There, in one of north India's great spiritual centres, they witness a series of religious dramas called ras lilas, whose central roles are performed by children. By translating four plays that collectively span this cycle, John Hawley provides a lively perspective on the mythology of Krishna as Hindus experience it today. His book contains an opening chapter describing the setting in which the plays are enacted and relating them to the religious and emotional world of viewers adn performers, a substantial introduction to each of the four plays, and forty-eight evocative photographs.

This is a comprehensive, critical and comparative study of all aspects of the philosophy and religion of Sri Caitanya. In the first three chapters the history of the Vaisnava religion is traced from the earliest Vedic period to pre-Caitanya Vaisnavism in Bengal and some controversies regarding the life of Sri Caitanya and the Sampradaya or the sect to which he belongs are set at rest. In the succeeding chapters the problems of philosophy and religion are discussed in detail. It is shown how Sri Caitanya breathes a new spirit into philosophy and religion by transcending the narrow and mutually conflicting 'isms' and dogmas and reconciling them in a higher synthesis by means of the concept of the absolute as Bhagavan and the doctrine of Acintyabhedabheda or inconceivable identity-indifference. The importance of bhakti as the exclusive means of attaining God is His highest and sweetest form is stressed. Prema or divine love is distinguished from eroticism and established as the highest end. The doctrine of rasa or transcendental relish is explained and Parakiya rasa is established as the highest rasa. Printed Pages: 260.

This book is a dramatic presentation in three Acts about one of the most significant episodes of the Shrimad Bhagavatam the birth of Lord Krishna. It is a story about the atrocities committed by King Kamsa and his subsequent fall and death by Krishna.

ACT ONE deals with the tragic fate of Devaki and Vasudeva, Krishna`s parents, and their incarceration into prison.

ACT TWO is a joyous account of Krishna`s early childhood, his divine relationship with the Gopis and Radha.

ACT THREE sees the culmination of the divine prophecy, and the death of Kamsa.

A richly illustrated sourcebook of Indian spirituality in question-and-answer form, exploring how to know the Divine, honor all creation and see God everywhere, in everyone.

The Master Course Trilogy you will find in this book the deepest truths and in-sights of Indian spirituality, some of it never published before, all of it relevant to your personal awakening on the path to merging with God. Drawn from fifty years of yogic realizations and sharing the Hindu mystical teachings with aspirants, Dancing with siva is the first book of a remarkable trilogy called The Master Course. The trilogy is a detailed summary of astanga yoga also called raja yoga, which contains eight successive steps, each one dependent upon the one that precedes it. These eight steps are yama (restraint), niyama (observance), asana (posture), pranayama (breath control), pratyabhara (sense withdrawal), dharana (concentration), dhyana (meditation) and samadhi (contemplation).

The trilogy articulates in lucid terms why you must begin at the beginning, with a firm foundation of philosophical clarity and good character, and proceed from there. Dancing with Siva lays out the philosophical, Vedic-Agamic beliefs, attitudes and expectations of the Saivite Hindu religion.

Living with Siva, the second book of the trilogy, explores Saivite lifestyle, culture, family life, character-building and the overcoming of uncomplimentary habits. It focuses on yama, niyama and, in a lesser way, asana and pranayama (hatha yoga).

Bauddha Darshan tatha anya Bharatiya Darshan (Pratham Bhag): Aetihasik Shodhpurna, Pakshapatrahit, Tulnatamak Vivechan

"The author's direct aim in the present work is to furnish the historians of the special sciences with new material which will serve to widen the scope of their survey. The Hindus no less than the Greeks have shared in the work of constructing scientific concepts and methods in the investigation of physical phenomena, as well as of building up a body of positive knowledge which has been applied to industrial technique; and Hindu scientific ideas and methodology (e.g. the inductive method or method of algebraic analysis) have deeply influenced the course of natural philosophy in Asia-in the East as well as the West-in China and Japan, as well as in the Saracen Empire. The author has undertaken a comparative estimate of Greek and Hindu science. Hindu Philosophy om its empirical side was dominated by geometrical concepts and methods. The author has cared to see that the Sanskrit philosophico-scientific terminology, however difficult from its technical character, is rendered exceedingly precise, consistent, and expressive.


Review:

Excerpts from reviews:

The Vedantists believe Maya to be the ""material cause"" of the world. The power of Maya is the power to realise the unreal-to impart practical Reality or mediate existence to that which does not and cannot possess absolute Reality or self-existence. Maya is at once real and unreal, while the Brahma (Self)is a absolute Reality, absolute Intelligence, and absolute Bliss. The world evolves out of Maya so that Maya in the Vedanta replaces the Prakriti of the Sankhya. But Maya and by implication the world, originate out of Brahma, not by a process of evolution, but of Vivarta ( Self-alienation). The self alienation of the Absolute, action through Maya, produces in the beginning Akasa- one, infinite, ubiquitous, imponderable, inert and all-pervasive.
B.K.KELKAR,Organiser, July 1986

Dr. Seal was a well-known and respected teacher in science and his monographs on certain themes relating to Indian Science throw a helpful light on the approach of the Hindu mind to the study of matter, Life and Mind. The author gives a comparative estimate of the Greek and Hindu sciences.He points out that the Hindu philosophy on its empirical side was influenced by concepts from physiology; the Greek was influenced by geometrical concepts and methods. He also examines to what extent the Indian sciences influenced developments in the Mid-East and Far-East.
M.P. PANDIT, World Union

The seven chapters comprising the book take up for discussion mechanical, physical and chemical theories; ideas of mechanics (kinetics), accoustics, plant life, animal classification,physiology and biology; and, finally, the Hindu doctrine of scientific method. The exposition is very lucid and an impressive effort is made to support all statements with original quotations drawn from Hindu, Buddhist, and Jain sources.
T.N. MADAN, Institute of Economic Growth"

Sri Madhavacarya (1238-1317) was the historical founder of the Dvaita system, which is one of
the three principal schools of Vedanta. He was a native of Tulunadu in Karnataka. Pajakaksetra,
eight miles south-east of the modern town of Udipi, on the West coast of S. India, was the village of his birth. He lived seventynine years.

He appeared on the Indian philosohical scene after the systems of Sankara and Ramanuja had been well established. The reasons which led him to propound a new system of Vedanta were his doctrinal differences and ideological dissatisfaction with contemporary trends and schools of thought within and without Hinduism and particularly with the system of Sankara which was the dominant philosophy of the time. In spite of the Theistic revolt against Sankara led by Ramanuja, Madhva could not agree with him on many points of Theistic doctrine. So he felt called
upon to give a new lead in thought to his countrymen.

Madhavaís writings are characterized by extreme brevity of expression and compression of thought. They need the help of a very good commentary to be understood in their fulness of thought and depth of meaning and intention. His commentator Jayatirtha has infused into them the necessary amplitude of utterance and expansiveness of thought and wealth of details.

This book is to give a complete, copious, critical and comparative exposition of Sri Madhavacarya's system of philosophy, bringing out its logical strength and metaphysical consistency and satisfyingness. It is intended to be an organic presentation of the system in all its essential aspects. It differs from all the other works in the field, including Dasgupta's, in showing how the concepts and categories of Madhava's philosophical thought have been conceived and formulated and have been put into a coherent system and in what relation they stand to those of other allied and rival systems. It brings out the special significance and interconnections of Madhava's doctrines and the architectonic unity of his system in relation to its parts. The reader is enabled to see for himself and appreciate the precise value and significance of some of Madhava's distinctive contributions to the perennial problems of religion and philosophy-particularly 'Indian Philosophy', for doctrine of Saksi, Svatantra, Visesa, Savisesabheda and Creation as Paradhinavisesapti.

Not only is such a systematic and critical exposition of Madhavaís philosophical system called for, but it has long been overdue. Metaphysically, it embodies the most powerful and sustained refutation of Vedantic monism. It has produced front-rank thinkers like Madhava, Jayatirtha and Vyasatirtha. It has an extensive philosophical literature of rare philosophical penetration, in Sanskrit. It has become the living faith of a large section of the people living in present-day India.

The volume is a good presentation of the philosophy of Sri Madhvacarya, complete in its architectonic unity. The author probes its ontological and epistemological foundations, and critcally examines the structure erected on them. The discussion focuses on crucial doctrines of theism, and brings to light for the first time the striking parallelisms of thought between Madhva and his Western contemporary St. Thomas Aquinas. Light is also thrown on how Madhva and his commentators anticipated the views of modern philosophers like Spencer, Russell and Hobhouse on the nature of time, space and memory. The latest researches on Madhvacarya's role in the Vedantic Bhakti movement and his attempt to harmonize the Upanisadic texts on monism and dualism are substantially drawn upon.

Though the scholars in the country have tried to trace the genesis of the Ramayana from the Vedic and post-Vedic literature, with the fragments of the story of Rama found scattered in these texts, but the most important job in the composition of the story of Rama was done by the sage Valmiki, who happened to be the foremost of the Indian Sanskrit poets. He composed the work on the basis of the brief of Rama's story provided to him by the sage Narada, as well as the fragments of the story collected by him with the extensive travelling of the country which immensely added to its popularity with the masses. After the sage Valmiki, several subsequent poets brought out Ramayana texts in Sanskrit as well as in the regional languages. The work composed by Madhava Kandali in Assamese language happens to be one of the earliest works of medieval period, having been composed in the fourteenth century AD. The Ramayana of Krttivasa was composed in the fifteenth century, while the Ramacaritamanasa by Tulasidasa in the sixteenth century AD. The work of Madhava Kandali was composed on the basis of the Valmiki Ramayana, though some variations are noticed here and there. The present work is an English translation of the Madhava Kandali Ramayana in Assamese. Printed Pages: 600.

This book is a classic study of a monumental work, the Mahabharata, perhaps the largest epic in world literature. It is an epic study of the epic on account of the voluminous size it has itself attained, the kaleidoscopic variety of the themes it covers, the great diversity of approaches it canvasses, the wide array of contributions it includes and the high standard of scholarship it achieves. Readership: Students and specialists of Hinduism, comparative religion, comparative literature, comparative mythology and classics.

The Mahabharata is an Itihasa which holds fascination for scholars of different disciplines. There is material here in this vast text for anthroploogists, sociologists, philosophers, scholars of religious studies, astrophysicists ans many more. While earlier scholarship has mainly been in the fields of religion and philosophy and in the dating of the Itihasa since the publication of the critical edition scholars have been engaged in researching its contents both critically and comparatively in very many areas and in novel ways.

This book on Ethics draws upon the words of wisdom found in the Mahabharata, following the spirit of Bernard Williams' proposal that we look for inspiration for the modern-day ethical understanding in the ideas of the past. In elucidating the literary and religious meaning of the Mahabharata, the author probes for the ethical and epistemological truth it contains, in the frame of reference of the uniquely Indian variety of existentialism. In the process he has not only come to an understanding of the principle of morality, along with the relation holding among Satya (Factual Truth), Rta (Truth as Value) and Dharma (Righteousness in Conduct), but has come up with observations that shed fresh light on the analysis of the epic itself.

Long age when this book first appeared in the opening year of the century the great Epic, Mahabharata had not been thoroughly examined to see what literature it reflected had not received a careful investigation from the metrical side its philosophy had been reviewed only in a most haphazard fashion and its relation to other epic poetry had been almost judgement on the question of the date and origin of the poem of which scholars knew as yet this poem of which scholars knew as yet scarcely more than that before a definitive answer could be given the whole huge structure must be studied from many points of view.

In the land of Brahman the way to the finality of human destiny, ti Sindhi and self-fulfillment, leads the pilgrim through existential contradictions and absurdities. With such markings belying the desire to proceed along a straight path, the transmigrating subject finds himself cast into a labyrinth mysteriously designed for his sole need and purpose. Such is the road of Bodhidharma. The seeker for the Ultimate Reality has no choice but to trudge resolutely, in stark solitude, undaunted by failure and discouragement. Aged on by the persuasions of Bodhidharma he strives with heroic fortitude till finally he breaks through to knowing that his pains and joys, as well as the toilsome coils of the labyrinth itself, had been of the substance of his ontological freedom. The labyrinth only happened to be the necessity through which Jinan-multi is felt as a home-coming. The dweller within then sees that, during the time of his adhesion to Bodhidharma, he was as he had always been, and now is ancient.

This is the first part of the Padma Purana in English translation and the thirty-ninth volume in the series on Ancient Indian Tradition and Mythology. It comprises the first thirty-three chapters of the first section called Srstikhanda or the Section on Creation of the Purana which is very huge in size. This Purana, as it appears in the Venkaesvara edition which this translation follows, consists of seven big sections or Khandas, namely, Srsti, Bhumi, Svarga, Brahma, Patala, Uttara and Kriyayogasara and is said to contain 55000 verses, though the actual number is much less. The translation of the whole Purana is planned to run into as many as ten volumes of the present size and may take some years for its completion.

The Padma Purana takes its name after the Primordial Lotus from which god Brahma, the Creator, was born. Dr. Deshpande has given a brief Khanda wise summary of the Purana in his Introduction which appears in this volume. As the 'Contents' show, the reader will find herein and enjoy some very interesting accounts and stories, such as that of the churning of the ocean by the gods and demons, the destruction of Daksa's sacrifice by god Siva, the chopping-off of Brahma's fifth head by the same god, the drinking-up of the ocean by the sage Agastya and so on. A very amusing story appears in Chapter 13, of how Brhaspati, the preceptor of gods, impersonates Sukra, the preceptor of demons, and how he corrupts and demoralizes the latter by preaching heretical doctrines to them with a view to make the gods who were very often defeated by the demons in war, victorious over them. A good portion of this Part is also devoted to the glorification of Pukara as a sacred place of pilgrima.

ISBN: Part-I: 9788120804791, Part-III:9788120806245, Part-IV:9788120806634, Part-V:9788120807013, Part-VI: 9788120807419,

Part-VII:9788120807686, Part-VIII:9788120808072, Part-IX:9788120808812, Part-X:9788120808973

Brahmavaivartapurana figures as the tenth in the traditional list of the Puranas. It is divided into four parts called khandas, comprising 267 chapters. The khandas are: Brahmakhanda: 30 chapters, Prakrti-Khanda: 67 chapters, Ganapatikhanda: 46 chapters and Srikrsnajanmakhanda: 133 chapters.

It is well known that the Brahmavaivarta is a Vaisnavite Purana and the sole objective of the work is to glorify the life and achievements of Sri Krsna, an incarnation of Visnu and his Sakti Radha. Many episodes and topics have been interwoven to embellish the main theme of the work. In this Purana, Krsna is not simply an incarnation, he is far superior to and even creator of Prakrti. He is God above all gods.

Part I, i.e., Brahmakhanda deals with the creation of the universe including the gods and animate and inanimate beings by Brahman, the creator God, who is, according to this Purana, none other than a manifestation of Krsna and acts under the guidance of the latter.

Part II, i.e., Prakrtikhanda deals with Prakrti, the primordial matter. According to this Purana, Prakrti is not inert as she is conceived by the Sankhya philosophy, but is intelligent; she is the primary goddess of creation. In compliance with Krsna's desire, she is manifested as the five goddesses, viz., Durga, Radha, Laksmi, Sarasvati, and Savitri. Many stories about these deities have been narrated and rituals for their worship described in this part.

Part III, i.e., Ganapatikhanda narrates many legends about Ganesa, the elephant-headed god, widely worshipped throughout India and even outside. Though named Ganapatikhanda, this part deals with the birth and life of both sons of Siva, viz., Ganesa and Skanda Karttikeya. According to this Purana, Ganesa is also a manifestation of Krsna. Hence, there is no mention of Ganapatya sects who worshipped Ganesa as the Supreme Godhead. The variations in the images of this deity, found in literature and on icons find no mention in the Purana.

Part IV, i.e., Srikrsnajanmakhanda is the most important of all books of this Purana. It deals not only with the birth of Krsna, as signified by the title, but also his whole life, especially his battles and love dalliances with the cowherdesses (gopis), in particular, with Radha. Radha, who is not even mentioned in the major Vaisnava Puranas like Bhagavata, Visnu, and Harivamsa, has risen in this Purana, to a great importance. It is interesting to note that she is depicted here as a married wife of Krsna.

Editorial Reviews

"In this book the author has dealt with the musical terms as found in the old sastras and are also in common use. He has explained these terms in simple language with reference to their history of origin. Description of seventy-eight different musical instruments and forty-seven different Talas are also there. An essential aid to research-scholars and students of music.

The Bengali version of the book Bharatiya Sangeetkosh earned for him ""Sangeet Natak Academy"" award as the best book on music published during the period from 1960 to 1968. Bimalakanta Roychaudhuri was born in 1909 in all illustrious family of musical heritage. He had his training in music from Sitalchandra Mukhopadhyay, Sitalkrishna Ghosh, Amir Khan (Sarod) and then from Inayet Khan, the foremost Sitar players of those days. He also had his musical training from his maternal uncle Birendrakishore Roychaudhuri and maternal grandfather Brojendrakishore Roychaudhuri. He took part in the translation of ""Sangeet Ratnakara"" from Sanskrit to Bengali under the patronage of Brojendrakishore Roychaudhuri. He was Chairman of the Board of Musical Studies of the University of Calcutta. His work ""Raga Vyakarana"" (in Hindi) has been published by the Bharatiya Jnanpith.

The growing interest of the Western, especially the English-speaking nations towards the North Indian Classical Music is more evident now than ever before. It is no doubt a sign for us to be happy about; at the same time it causes us deep concern whenever we try to appreciate
the great responsibility that has devolved upon us in presenting the correct interpretation of musical terms of the ancient Sanskrit
Sastras.

Aphoristic couplets of the ancient Sanskrit Texts, as they mostly are, even with their annotations, easily lend themselves to be
misinterpreted today. Painfully bearing this in mind the author has attempted this dictionary with great trepidations. He has depended solely on his own inner resources in interpreting the musical terms rather than allowing himself to be influenced by any other publications in English or in any other languages, lest he should tread on the trap of terminological inexactitude.

Review:

""This is an excellent text-book for it imparts knowledge of the ocean of music in the form of little drops. It is interesting to note that every word in music literature has a depth of meaning while the author explains the origin of each word with its history and development over the years along with suitable examples. The book reveals the meaning of 341 words and is indeed a music encyclopedia."" - Indica, Vol.:40, No.2, September, 2003

""The work explains, in very simple and clear language, the technical terms as found in Sastras and also those in common use. The history of the origin of the words, description of seventy-eight musical instruments and forty-seven varieties of talas."" - Dwaram V.J. Lakshmi, S.V.U. Oriental Journal Vol.: 46, No.182, 2003

""In this era, when Indian music is spreading worldwide, the author has rightly felt it a duty to prepare this Dictionary of musical terms. He presents the proper interpretation of musical terms of the ancient Sanskrit Sastras and explains them with reference to their origin and development. An additional fact is that the author remains true to Indian tradition and is not influenced by the Western methods of interpretation and presentations. Styled and arranged in such simple and precise form, this book will definitely be an essential aid for researches and students of music."" - V.K. Journal of Oriental Research Vol.71-73. p. 18

""This one covering words and terminology, Sanskrit, derivative and colloquial, applicable and applied to Hindustani Classical (Art) Music, is the foremost one, even considering the more recent publications on the usage of music terminology."" - R.C. Mehta, Journal of the Indian Musicological Society Vol.: 31, Jan-Dec.2000"

The present book attempts to supplement the work of Pargiter on the Cultural plane. Pargiter was concerned with the dynastic records of the Puranic texts while this book aims to interpret "cultural history" from the Vayu Purana. The work is divided into ten chapters arranged systematically. The first five chapters contain facts of intellectual culture and the last five of material culture. The presentation of material has involved a great deal of translation and interpretation of the Puranic text. The work has two appendices and a critical introduction. Appendix A identifies the places and tribes. Appendix B describes the centres of pilgrimage. Introduction surveys the previous research on the Puranas, on the Vayu particularly. It discusses the antiquity of the Vayu, its value for the cultural history and the method followed in the present investigation. It also gives an outline of political history as found in the Vayu Purana. This book is valuable not only for Indian Culture, but also for a critical edition of Vayu, and consequently of other Purana material.

The Mahapuranas embody the received tradition of Hindu mythology. This anthology contains fresh translations of these myths, only a few of which have ever been available in English before, thus providing a rich new portion of Hindu mythology.

The book is organized into six chapters. "Origins" contains myths relating to creation, time, and space. "Seers, Kings and Supernaturals" relates tales of rivers, trees, animals, demons, and men, particularly heroes and sages. Myths about the chief gods are dealt with in three separate chapters: Krsna, Visnu, and Siva. The chapter The Goddess presents stories of the wives and lovers of the gods, as well as of Kali, the savage battle goddess.

In their introductions, the editors provide a historical setting in which to discuss Hindu mythology as well as full analysis of its basis sources. The many names given the original. The editors have provided a thorough glossary to make these names accessible.