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The poets of classical India regarded love as the first and deepest of passions. Translator and scholar Andrew Schelling perfectly encapsulates the history and passion of eighth-century India in this collection. “A single stanza of the poet Amaru,” declared a ninth-century poetry critic, “may provide the taste of love equal to what’s found in whole volumes.” Graceful and yet remarkably playful, intensely passionate, and at times hinting of divine transcendence, the poems translated here offer poignant glimpses into the many faces of erotic love. This collection, known in Sanskrit as the Amarushataka (“One Hundred Poems of Amaru”), was compiled in the eighth century and remains to this day one of India’s finest collections of love poetry. Legend connects the poetry’s authorship to King Amaru of Kashmir, while present-day scholars generally consider it an anthology of the verses of many poets.
This classic anthology of translations has long been out of print. The poems come from one of the earliest surviving texts of Tamil poetry, the Kuruntokai, an anthology of love lyrics probably recorded during the first three centuries AD. Seventy-six of these classical poems have here beengiven a modern language and form. In an effort at fidelity to the effect of the images and their placement in the original, Ramanujan has given a visual shape to the poems by typographic devices. An essay on Tamil poetry explains its techniques and enriches the reader's pleasure in these quiet, controlled, yet dramatic poems.
The ancient Tamil poetic corpus of the Caṅam ("The Academy") is a national treasure for Tamilians and a battle-ground for linguists and historians of politics, culture and literature. Going back to oral predecessors probably dating back to the beginning of the first millennium, it has had an extremely rich and variegated history. Collected into anthologies and endowed with literary theories and voluminous commentaries, it became the centre-piece of the Tamil literary canon, associated with the royal court of the Pandya dynasty in Madurai. Its decline began in the late middle ages, and by the late 17th century it had fallen into near oblivion, before being rediscovered at the beginning of the print era. The present study traces the complex historical process of its transmission over some 2000 years, using and documenting a wide range of sources, in particular surviving manuscripts, the early prints, the commentaries of the literary and grammatical traditions and a vast range of later literature that creates a web of inter-textual references and quotations.
For thousands of years, India has excelled at erotic love poetry, and the genius of its devotional poetry often harnesses great energy and mystical insight. It is in fact often hard to tell whether the poets are offering poems of spiritual longing using the garment of love poetry, or writing erotic poems in the guise of devotion. Perhaps, in a country where erotic sculpture routinely ornaments its many temples and the gods are known for their explosive sexuality, this question has little meaning to these remarkable writers. In their devotional traditions, eroticism and mysticism seem inseparable. This wonderful selection spans 2,500 years, and includes work originally sung or recited by their well–known bards: Kabir, Mirabai, Lal Ded, Vidyapati and Tagore. There are also poems from the Upanishad, from ancient Sanskrit poetry and Punjab folk lyrics. The poets have largely emerged from the ranks of the dispossessed: leather workers, refuse collectors, maidservants, women, & orphans. Their vision is of a democratic society in which all voices count, much like American gospel and blues, Shaker songs, or the grand vision of Walt Whitman. Often they faced persecution for speaking candidly, or daring to speak of spiritual matters at all. The notes include profiles of these legendary lives. Several of these poets simply vanished, absorbed into a deity, or disappeared in a flash of purple lightening. A few produced miracles—most of them have clouds of mystery around them. Andrew Schelling has drawn on the work of 24 other translators, including Ezra Pound, Robert Bly, W. S. Merwin, Jane Hirschfield and Denise Levertov, to build what will be the finest anthology of India's erotic and spiritual poetry for the general read ever assembled.
10/13/201010/13/2010
According to the Kama Sutra, the erotic handbook written two thousand years ago, when the wheel of ecstasy is in motion “there is no textbook at all, and no order.” Indian Love Poems is a unique gathering of poems from across more than two and a half millennia that attempts to catalog the disordered ecstasies of love, ranging from the Kama Sutra and earlier works up to present-day India and the poets of the Indian diaspora. Indian Love Poems features works from the classical languages of Sanskrit and Tamil and such later languages as Hindi, Urdu, Malayalam, Bengali, and English. Emerging from many Indian cultures and eras, the poems collected here reflect a variety of erotic and spiritual passions, and celebrate the powerful role of desire–both male and female–in the intricate dance of existence. From the twelfth-century female poet Mahadeviyakka to the twentieth-century Nobel Prize winner Rabindranath Tagore to such contemporary poets as Kamala Das and Vikram Seth, this glittering tapestry of lyric voices beautifully and sensually evokes the transfiguring force of love.
Over 150 familiar works by English and American poets: John Donne's "The Ecstasy," William Blake's "The Garden of Love," as well as poems by Shakespeare, Milton, Keats, Whitman, Dickinson, many more.