"The Raghuvamsa sings of the great solar race of Iksvaku in which Visnu was pleased to become incarnate as Rama, that he might destroy the demon Ravana and free the gods and men from his tyranny. This supremacy he had won through the favour of Brahman whom he had won over by his austerities. When, therefore, his yoke had become too hard to bear, when the gods themselves were enslaved or banished, they went to Visnu and sought his help. This the God readily agreed to do by becoming incarnate as Rama, Dasarathaís son; for the overweening demon, when he prayed to Brahman to be made invulnerable, had omitted to secure himself against mere human foes.
This story of the Ramayana forms the central theme of our poem. The first nine cantos trace the fortunes of Ramaís four immediate predecessors, cantos X to XV the story of Rama himself, his wonderful birth, his noble youth and manhood, his marriage with Sita, the latterís abduction by Ravana, Ramaís victory over Ravana and his happy reign, and the touching narrative of the bandon- ment of Sita upto the very end as we have it in the Ramayana; and cantos XVI to XIX carry on the tale of the kings who came after Rama to a sad decline in Agnivarna, ""a worthless libertine whose excesses had the merit of hastening his death."" His widowed queen who was pregnant ascends the throne as regent in behalf of her unborn son, and the poem as we have it abruptly ends on this note of hope."
"The present edition is meant for such of the students as have not the means of securing private assistance... . A full English translation has been given of all difficult verses. But in the case of easier ones, the translation stops after giving a rendering of the unintelligible parts only. The same has been done with regard to the difficult prose passages. Thus there is scope left for the boys to exercise their own brain power. A short commentary explaining all difficult compounds and giving the prose order of difficult verses has been added. In the case of intricate passages the editor has added, sometimes a word, at others, a sentence or two to make the sense clear. The exigencies of space, however, did not permit him to add full explanations. But what is given is sufficient to make the text intelligible to a student of ordinary under-standing. A special feature of the present edition is this-that it gives different readings and some additional verses found in two MSS consulted by me.
The student will observe that the reflections and citations which are so profusely interspersed in the first three Tantras become much less copious in the last two-a circumstance which, However, much adds to the interest, if not to the utility, of the compilation.
The Pancatantra is a famous literary work of Visnusarman the Court-Pandit of Kind Amarasakt of Mahilaropya in the south. Originally it was intended by the author to educate the princes of his patron in the science of politics and practical life. The work comprises five tantras consisting of stories interpersed with verses which are full of political maxims applicable to exigencies of life. The present edition contains besides the text, copious notes and literal translation in English."
"The Satakas are an original work. They are three in number, viz. Sringara, Niti and Vairagya. They must have been composed by the poet after he had renounced the world. Probably the Niti Sataka was written first, then followed the Sringara and lastly the Vairagya Sataka.
In the Niti Sataka Bhartrhari inculcates certain principles intended to guide men in their daily life. First and foremost of these is Self-respect. He points out the value of independence and asks his readers not to lose self-respect in the midst of even overwhelming difficulties and trials in slokas couched in very impressive language. Another virtue to which the poet draws attention is perseverance. Men of firm minds, says he, carry to a successful conclusion whatever they undertake. A third virtue which he holds up for our admiration and imitation is Benevolence or service of our fellow-men. This lofty virtue he inculcates in verses which are at once beautiful and instructive.
In the Vairagya Sataka the poet inculcates the principle of renunciation. He tells us to undermine desire, in verses which hold out the greed of worldly men to ridicule and the arrogance of the rich to contempt. He exhorts his readers to turn from worldly pleasures which give not lasting happiness but often disappoint, and to seek mental calm in the solitude of the forest. The poet often draws a glowing picture of the perfect happiness which men who have renounced the world enjoy.
This volume comprises two of the three famous Satakas (collection of one hundred stanzes) of the famous poet philosopher Bhartrhari. The first of them the Niti Sataka is proposed to guide people in their daily life and it lays emphasis on the moral virtues such as self-respect, perseverance, benevolence and moral courage etc. The second, Vairagya Sataka exhorts the readers to turn away from worldly pleasures and seek mental calm in the solitude of the forest. It is edited by M. R. Kale who has added a simple commentary in sanskrit and english translation and copious notes."
The Mudrarakshasa is a historical play and is mainly concerned with Chandragupta's elevation to the throne of Magadha or South Bihar, on the fall of the Nanda dynasty, and the adoption of measures to strengthen his rule by Chanakya, the renowned politician of his time. The events represented in the play cover a period of about a year, as shown further on, and it is necessary, for a clear understanding of the intricate policy of Chanakya during this period, that the reader should have an insight into the history of the time.
A race of kings, designated ëthe Saisunagas' from Sisunaga the first king, reigned in Magadha, according to R.C. Datta, from 637-370 B.C. Their capital was Pataliputra also called Kusumapura. Mahanandin was the last monarch of this dynasty. He had a son named Nanda, otherwise called Mahapadma by a woman of the Sudra class. He was a powerful and ambitious king but was exceedingly avaricious. He had by one wife eight sons, Sumalya and others, and according to tradition he had a son, named Chandragupta, by another wife of low extraction. The Nandas reigned, accordng to V. Smith, for fifty years, from 372ñ322 B.C. The play presents dramatic depiction of a political plot to win over Rakshasa, the ablest minister of Nanda, in Chandragupta's side, through the guile of Chanakya.
Thye Mudrarakshasa, unlike the majority of sanskrit plays, is purely a political drama. It has for its theme, besides elevation of Chandragupta to the throne of Magadha, wining over of Rakashsa, the hostile minister of the Nanda dynasty to the side of Chandragupta and adoption of measures to strenghen the rule by Chankaya, the renowned politician of his times. In the words of H.H.Wilson; It is a historical or political drama, and represents a curious staste of public morals, in wich fraud and assassination are the simple means by which inconvenient obligations are open enemies removed. It is not howere , that such acts are not held in themselves as crimies, orthat their perpetrators, if instigated by vugar vice or ferocity, are not condemned as culprits; it is only when the commission of the crime proposes a poliotical end that it is represented as venial, and is compatible with an amiable.
It includes the commentary of Dhundiaja, English translation, critical and explanatory notes, Introduction and verious readings.
It is a historical or political drama, and represents a curious state of public morals, in which fraud and assassination are the simple means by which inconvenient obligations are acquitted, and troublesome friends or open enemies removed. - H.H. Wilsom
"Hailed as a Shakespearean play, written a few centuries before shakespeare, Sudraka's Mrichchhakatika is one of the most significant Sanskrit dramas for more than a few reasons. Set in the ancient city of Ujjayani, Mrichchhakatika is ""rife with romance, comedy, intrigue and a political subplot detailing the overthrow of the city's despotic ruler by a shepherd, [and] is notable among extant Sanskrit drama for its focus on a fictional scenario rather than on a classical tale or legend. Mrichchhakatika also departs from the traditions enumerated in the Natyashastra that specify that dramas should focus on the alives of the nobility and instead incorporates a large number of middle and lower-caste characters who speak a wide range of Prakrit dialects."" Much celebrated in the West because of its plot structure, following several successful nineteenth century translations and stage adaptations, Mrichchhakatika remains the prominent drama in Sanskrit, widely translated, adapted and performed internationally.
This volume includes the text translated by M. R. Kale along with relevant background essays and criticism, to enable students of literature to understand the long tradition of theater in India on one hand; and on the other, its subsequent negotiations with the West, traversing, accommodating, negotiating and becoming what we call Modern Indian Drama today."
"The Meghaduta is a small lyrical poem written uniformly in the Mandakranta metre, and consisting of 121 stanzas. It is divided into two parts, known respectively as the Purvamegha and the Uttaramegha. A certain Yaksha condemned to banishment for neglect of his duty by his master Kubera, the god of wealth, takes up his abode on Ramagiri in the Vindhya mountains. After spending there eight month"
The plot of the Malvikagnimitra is a masterpiece of clever construction, where the interest is chiefly concentrated on the central story of the king's love for the maid, and every incident is subordinated to the main theme. The element of conflict, which is of the very essence of drama is mainly external; we see how the queen almost feebly and pathetically opposes the king's attempts to secure the sight of Malavika; but finding that the forces ranged against her were too strong for her, she decides to go along the current and make the better of its course rather than endeavour to stem the tide at the risk of a capsize.
This edition is, to our knowledge, the first which is infinitely more useful and handy than either having the translation on the same page just below the text, or at the end of the text. Further it has been our endeavour to make the work as critical and useful for the students as possible, without either encumbering it with tiresome discussions of technical and scholastic points, or skipping over difficult and necessary details about rhetorical or grammatical points. Special care has been taken to give a correct orthography of the Prakrit words, after a careful and critical comparison of the various editions of the play before us.
It will be readily admitted that in spite of the many critical edition of the plays of Kalidasa, editions of the plays on the lines of the up-to-date editions of the classics in the West have not so far been published. This edition is, to our knowledge, the first which is infinitely more useful and handy than either having the translation on the same page just below the text, or at the end of the text. Further it has been our endeavour to make the work as critical and useful for the students as possible, without either encumbering it with tiresome discussions of technical and scholastic points, or skipping over difficult and necessary details about Variae Lectiones or rhetorical or grammatical points. Special care has been taken to give a correct orthography of the Prakrit words, after a careful and critical comparison of the various editions of the play before us.
"The Kiratarjuniyam of Bharavi: Cantos I-III (Text, Eng. Tr. & Introd.): Text with Mallinatha's commentary, Prose order of the Slokas, Notes, Translation into English and Hindi by M.R. Kale.
The Kiratarjuniya is a Mahakavya and is named after its chief incident, viz. the fight between Siva under the guise of a Kirata (Mountaineer) and Arjuna. This metrical composition describes the journey of Arjuna to the mountain Indrakila, part of Himalayas, for the propitiation of the gods Indra and Siva and the final obtainment of the divine weapons Pasupata and others from the gods."
"This work aims at teaching the principles of polity guided by morality, presenting them in the agreeable form of stories written mainly in prose interspersed with verse. It belongs to that class of compositions which imparts instructions through fables inspired by the wisdom of its place and time. Yet every fable in this work and every maxim drawn from it can still be applied to human characters irrespective of time and place.
The work is divided into four books: The book I describes how to win friends. The book II deals with the circumstances leading to the loss of friends. The book III relates war and the book IV to conciliation. The object of the work is to train the young mind in the chief affairs of life by acquainting them with the accumulated experiences of past ages. The work is very interesting as well as instructive.
This edition contains the text, the sanskrit commentary ""Marma Prakasika"", a full translation and notes in English. All difficult words and expressions have been explained in easy Sanskrit and English. A few slokas have been interpreted in a new way and an attempt has been made to give a meaning to a few quotation from Kamandaka, hitherto given up by commentators as knotty."
The present grammar has been prepared with a view to meet the growing educational need of university students. The author has done his best to bring the present grammar up to the requirements of the students. In writing the various chapters of this book, the author has closely followed Pannini, as explained by Bhattoji Diksita. Many of the rules given here are translations of the relevant Sutras of Panini. The original Sutras are given in footnotes, where necessary. Sandhis and declensions are fully treated; compounds which dominate classical Sanskrit literature have received special attention; formation of feminine bases has been illustrated; Taddhita affixes have been arranged in an alphabetical order. A special feature of the present grammar is the chapter on the "Conjugation of Verbs." The general rules given are amply illustrated by examples. All the verbs which change their pada when preceded by particular prepositions are given in an alphabetical order. The chapter on Syntax contains almost everything given in the first 20 chapters of author's Guide to Sanskrit Composition; the chapter on Prosody is based on the Chandomanjari and the Vrttaratnakara. The author has spared no pains to make the book as useful and as complete as possible.
"The Dasa-kumara-carita or `Adventures of the Ten Princes`, contains stories of common life and reflects a faithful picture of Indian society during the period.
The Dasakumaracarita consists of It consists of (1) Purvapithika, (2) Dasakumaracarita Proper, and (3) Uttarapithika. The Purvapithika consists of five Uchchhvasas of which the first one deals with the birth of the ten boys, the second with the Digvijaya of Rajavahana, the third with the adventures of Somadatta and his marriage with Princess Vamalocana, the fourth with the adventures of Puspodbhava and his wedlock with the adventures of Puspodbhava and his wedlock with Balacandrika and fifth with the marriage of Rajavahana with Avantisundari. The Dasakumaracarita proper consists of eight Uchchhvasas which deal with the adventures of (1) Rajavahana, (2) Apaharavaram, (3) Upaharavarman, (4) Arthapala, (5) Pramati, (6) Mitragupta, (7) Mantragupta, and (8) Visruta. The Uttarapithika which is a short chapter by way of supplement winds up the story which ends with the slaying of Manasara and the annexation of Malava to Puspapura and division of the empire into several principalities.
The edition consists of variants, English translation, explanatory and critical notes and an exhaustive introduction. It is designed to meet the requirements of the University students in all respects."
"The Dasa-kumara-carita or `Adventures of the Ten Princes`, contains stories of common life and reflects a faithful picture of Indian society during the period.
The Dasakumaracarita consists of It consists of (1) Purvapithika, (2) Dasakumaracarita Proper, and (3) Uttarapithika. The Purvapithika consists of five Uchchhvasas of which the first one deals with the birth of the ten boys, the second with the Digvijaya of Rajavahana, the third with the adventures of Somadatta and his marriage with Princess Vamalocana, the fourth with the adventures of Puspodbhava and his wedlock with the adventures of Puspodbhava and his wedlock with Balacandrika and fifth with the marriage of Rajavahana with Avantisundari. The Dasakumaracarita proper consists of eight Uchchhvasas which deal with the adventures of (1) Rajavahana, (2) Apaharavaram, (3) Upaharavarman, (4) Arthapala, (5) Pramati, (6) Mitragupta, (7) Mantragupta, and (8) Visruta. The Uttarapithika which is a short chapter by way of supplement winds up the story which ends with the slaying of Manasara and the annexation of Malava to Puspapura and division of the empire into several principalities.
The edition consists of variants, English translation, explanatory and critical notes and an exhaustive introduction. It is designed to meet the requirements of the University students in all respects."
"The Abhijnanasakuntalam is an unparalleled work of the great poet and playwright Kalidasa, the brightest star in the firmament of Indian poetry. No other composition of this poet displays more the richness of poetical genius, the warmth and play of fancy, the profound knowledge of human heart that this masterly production.
The present edition is unique in several essentials. The editor has adopted the most popular and appropriate version of the text. He has put the variants in the footnotes. He has added a short Sanskrit commentary, copious notes, an exhaustive introduction and several useful appendices. The English translation of the text is literal as well as idiomatic.
It is hoped that this edition will meet the long-felt requirement of university students and the general reader alike."
"The Abhijnanasakuntalam is an unparalleled work of the great poet and playwright Kalidasa, the brightest star in the firmament of Indian poetry. No other composition of this poet displays more the richness of poetical genius, the warmth and play of fancy, the profound knowledge of human heart that this masterly production.
The present edition is unique in several essentials. The editor has adopted the most popular and appropriate version of the text. He has put the variants in the footnotes. He has added a short Sanskrit commentary, copious notes, an exhaustive introduction and several useful appendices. The English translation of the text is literal as well as idiomatic.
It is hoped that this edition will meet the long-felt requirement of university students and the general reader alike."
"Kalidasa is admired for the portrayal of human emotion on the canvas of natural loveliness. Based on an anecdote mentioned in the Mahabharata, the simple tale of Sakuntala and Dushyant has been turned into poetical painting of picturesque scenery through his wonderful imagination. No poet had a richer and fuller sense of sensuous loveliness or a more masterly command of the resources of suggestive incidents, imagery and pictorial phrasing such as would reveal that loveliness in words.
Tagore remarks there are two unions in Sakuntalam and the central motif of the play is the progress from the earlier union of the first three acts with its youthful beauty and romance through an interval of separation and intense and speechless agony to the ultimate union in the Elysian regions of eternal bliss described in the last act. The play, therefore, naturally falls into three divisions each having a distinct atmosphere of its own-the first four acts constituting the first division, the fifth and sixth the second, and the seventh act the last.
For the first four acts the scene is laid in the hermitage. The poet has already in the prelude intimated that it was the time of pleasant summer, and even within the precincts of the sacred grove every tree and plant is touched by its magic fingers so that ""the wild-wood bloom outglows the garden flowers."""
The present English translation is based on the original German work written by Professor Winternitz and has been revised in the light of further researches on the subject by different scholars in India and elsewhere. Vol. I relates to Veda (the four Samhitas), Brahmanas, Aranyakas, Upanisads, Vedangas and the Literature of the ritual. The Ramayana and the Mahabharata. Puranic literature and Tantra. Vol. II deals with the Buddhist Literature of India and the Jaina Literature. Vol. III covers Classical Sanskrit Literature comprising ornate Poetry, Drama, Narrative Literature, Grammar, Lexiocography, Philosophy, Dharma-Sastra, Artha-Sastra, Architecture, Music, Kama-Sutra, Ayurveda, Astronomy, Astrology and Mathematics.
"The present English Translation is based on the original German work written by Professor Winternitz and has been revised in the light of further researches on the subject by different scholars in India and elsewhere.
Volume I is divided into two section. Section I relates to Veda (the Four Samhitas), Brahmanas, Aranyaka, Upanisads, Vedangas and the literature of the Ritual. Section II relates to the study of two great Epics of India-the Ramayana and the Mahabharata. It carries out a general survey of the Puranic literature, and provides ample information about the Tantras too.
Volume II contains two section viz. Buddhism and Jainism. The edition has been translated from the original, incorporating the additional information as found in Mrs. Ketkar's translation from which a larger part of the text has been reproduced here verbatim.
Volume III covers the history of classical Sanskrit literature and scientific Indian literature with its characteristics, grammar, lexicography, philosophy, dharmasastra, architecture, sangitasastra, kamasastra, ayurveda, astronomy, astrology and mathematics and also has an appendix."
"The present English Translation is based on the original German work written by Professor Winternitz and has been revised in the light of further researches on the subject by different scholars in India and elsewhere.
Volume I is divided into two section. Section I relates to Veda (the Four Samhitas), Brahmanas, Aranyaka, Upanisads, Vedangas and the literature of the Ritual. Section II relates to the study of two great Epics of India-the Ramayana and the Mahabharata. It carries out a general survey of the Puranic literature, and provides ample information about the Tantras too.
Volume II contains two section viz. Buddhism and Jainism. The edition has been translated from the original, incorporating the additional information as found in Mrs. Ketkar's translation from which a larger part of the text has been reproduced here verbatim.
Volume III covers the history of classical Sanskrit literature and scientific Indian literature with its characteristics, grammar, lexicography, philosophy, dharmasastra, architecture, sangitasastra, kamasastra, ayurveda, astronomy, astrology and mathematics and also has an appendix."
"Introduction to Sanskrit, in two volumes, is designed to open the door to India’s rich spiritual literature. This self-teaching guide presents Sanskrit pronunciation, grammar, and vocabulary in simple and systematic steps, allowing students to easily master the fundamentals of this enchanting language. Each lesson includes instruction in alphabet, grammar, and vocabulary, with concise explanations and easy practice exercises. Also included in Part One is a reading from the Bhagavad-Gita and Sanskrit quotations from the Rk Samhita, Upanisads, Yoga Sutas, Brahma Sutras, and Manu Smrti. Part Two uses verses from the Bhagavad-Gita to teach principles of grammar, and includes additional essays on Sanskrit grammar and pronunciation.
This text is written to fulfill a need that still remains, which is to make the introductory study of Sanskrit simple, concise, and systematic, thereby making it more accessible and enjoyable for a beginning student. The text is not a complete survey of Sanskrit grammar, or even a primer. It is meant to be a ëpre-primer,í a step-by-step introduction to the fundamental aspects of the language.
Review:
“A useful primer acceptable to all Sanskrit students, no matter what their orientation. It fills a real need in supplying an approach which does not rush past the all-important foundations of ample practice with simple sentences.”, —David Reigle, Sanskrit Professor ""
...endorses this book and strongly recommends it for use by Sanskrit students... It is the finest textbook for beginners.""-The India Times, February, 1992
""Since we are conducting Sanskrit courses in our academy, we have been researching suitable teaching books. Having come across Thomas Egenes's Introduction to Sanskrit, we seem to have found what we were looking for."" - Sanskrit Academy, Brunate, Italy
""A didactically well-structured and student-friendly text.""-Prof. G.Van Haren, The Netherlands"
"This text focusses on the beginning study of Classical Sanskrit, although several of the quotations are in Vedic Sanskrit. Normally, Vedic Sanskrit is studied after Classical Sanskrit is learned.
This text is written to fulfill a need that still remains, which is to make the introductory study of Sanskrit simple, concise, and systematic, thereby making it more accessible and enjoyable for a beginning student.
After completing this text, you should be able to study any of the above Sanskrit textbooks more comfortably, or begin Part Two of this text. Part Two will feature the reading of selected verses from the Bhagvad-Gita, accompanied by a more thorough explanation of unfamiliar rules of grammar as they are encountered in the reading. Both volumes together will cover the basic rules of Sanskrit grammar. For college classes, Part One covers the standard material for a one-semester course and Part Two for the second semester. After completing Part Two, the student should be able to read the Bhagavad-Gita with the aid of a Sanskrit dictionary and a word-by-word English translation.
There are several reasons to study the subtle and refined language of Sanskrit. The sound,script, grammar, and systematic nature of the language is charming in itself, something of great beauty. The study of Sanskrit creates orderliness within the mind because Sanskrit is a highly systematic language, reflecting the orderliness of nature itselt.
Introduction to Sanskrit, in two volumes, is designed to open the door to India's rich spiritual literature. This self-teaching guide presents Sanskrit pronunciation, grammar, and vocabulary in simple and systematic steps, allowing students to easily master the fundamentals of this enchanting language. The text gently leads the beginner through small steps with clear, concise explanations. Each lesson includes instruction in alphabet, grammar, and vocabulary, with easy practice exercises at the end. Also included is a reading from the Bhagavad-Gita and Sanskrit quotations from the R.K. Samhita, Upanisads, Yoga Sutras, Brahma Sutra, and Manu Smrti. Part Two uses verses from the Bhagavad-Gita to teach principles of grammar, and includes additional essays on Sanskrit grammar and pronunciation.
Review:
""A useful primer acceptable to all Sanskrit students, no matter what their orientation. It fills a real need in supplying an approach which does not rush past the all-important foundations of ample practice with simple sentences."" - David Reigle, Sanskrit Professor ""
...endorses this book and strongly recommends it for use by Sanskrit students...It is the finest textbook for beginners.""-The India Times, February, 1992
""Since we are conducting Sanskrit courses in our academy, we have been researching suitable teaching books. Having come across Thomas Egenes's Introduction to Sanskrit, we seem to have found what we were looking for.""-Sanskrit Academy, Brunate, Italy
""A didactically well-structured and student-friendly text."" - Prof. G. Van Haren, The Netherlands
""It you're interested in do-it-at home learning of basic Sanskrit, this is among the best books we've seen. It is calibrated to small learning steps with appropriate exercises. The description of grammatical rules is clear...great place to start.""-Hinduism Today, September, 1990.
""Introduction to Sanskrit, by Prof. Thomas Egenes, is now undoubtedly the number one introductory Sanskrit text in use in the world today."" - theosophy.net/hct/hct9703.pdf
""Whether you are a teacher or a student, this is best book on the market. It includes the alphabet, pronunciation, grammar, and vocabulary. Both Devanagari script and transliteration are used."" - Sanskrit.bharat.com/Date/Books
""I have been using Introduction to Sanskrit in my first-year class at the University of Colorado at Boulder. After an unhappy experiment with another first-year text, I have been very satisfied with this one. The students like it, and it works well for them."" -Susan Trip, Univ. of Colorado
""Egenes is the best that I have seen."" - IANC's Sanskrit Granthalaya Bookstore
""Thomas Egenes's Introduction to Sanskrit seems the one to choose, judging from the reviews, which appear well-informed.""-cs.vu.nl/dick/Summaries/Misc/NatLang.html
""Introduction to Sanskrit, in two volumes is designed to open the self-teaching guide, present Sanskrit pronunciation, grammar and vocabulary in simple and systematic steps, allowing students to easily master the fundamentals of this enchanting language."" - Amazon.com"
This volume represents a good sample of current scholarship on South Asian languages, historical, descriptive, and typological. It includes material pertaining to most of the linguistic stocks of South Asia (Indo-Aryan, Dravidian, Munda, Tibeto-Burman, even Burushaski-along with important comparisons with some of those outside it) - by contributors from six different countries. It grew out of an international contributors from six different countries. It grew out of an international conference on South Asian languages held in Moscow in July 2003.
"The Eighteenth Round Table of South Asian Language Analysis (SALA) was organised by the Centre of Linguistics and English, School of Languages, Jawaharlal Nehru University, New Delhi (India), January 4-6, 1997. The conference was attended by scholars from all over the world and about 150 papers were presented in 20 parallel sessions and plenary sessions. This volume is a representative sample of the breadth and quality of research that is being carried out in South Asian linguistics today."
"This is a thoroughly revised and expanded version of a book published earlier under the same title in 1972. It has been redrafted as an introductory text-book for students of linguistics by giving copious examples and also exercises and recommended readings. It has been prepared with students of the Indian subcontinent in mind, as the examples derive primarily from the languages (Dravidian, Indo-Aryan and Tibeto-Burman) of this area."