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Intrigue and suspense, coincidence and adventure blend happily together to join a handmaiden and a king in blessed matrimony. Kalidasa, the greatest of Sanskrit poets, wove a tale that caters to every reader's taste. Warring cousins, wily courtiers, jealous wives, disguised princesses, all play their part in his play, which continues to thrill centuries after it was first written.
Reprint of the original, first published in 1877.
The Bookweaver’s Daughter is an #OwnVoices YA fantasy—a tale of magic, Indian lore, and radical female friendship, written by debut author, Malavika Kannan, when she was 17 year old. Malavika is an Indian-American novelist, feminist writer, and political activist raised in the suburbs of Central Florida and currently a freshman at Stanford University. In the ancient Indian kingdom of Kasmira, stories don’t begin with “once upon a time.” Instead, Kasmiris start a woman’s story with those who came before her: her parents, grandparents, ancestors. For fourteen-year-old Reya Kandhari, her story always starts the same: with the fabled line of Bookweavers, tracing centuries back to the lost Yogis—the mythical guardians of Kasmiri culture who created the world itself. As a result, Reya’s entire life has been shaped by words. Words of mystique and mythology. Words of magic that allow her father, the Bookweaver, to bring his stories to life. Words of power that make him the target of tyrants who will stop at nothing to destroy magic in Kasmira. Living in disguise as a peasant in the fields, Reya’s sole focus is protecting the Bookweaver’s secret. But when her father is taken, Reya must flee deep into the jungle, alone with her best friend Nina and one ancient book. Grappling with Reya’s newfound magic, the two girls find themselves in the center of a war of liberation where magic reigns unchecked, and destiny takes a dark turn. As the stakes get higher, Reya realizes that her father’s legacy contains more power than she ever imagined. For Reya Kandhari is more than just a fugitive—she is a symbol of revolution. And that makes her a threat. In a tale of magic, Indian lore, and radical female friendship, Reya must pass the final test: the Bookweaver’s daughter must weave her own destiny. The fate of Kasmira depends on it.
Its frivolous subject may have been the reason why Malavika and Agni mitra is sometimes considered to be the least significant of the three dramas of Kali dasa, the poet laureate of Indian antiquity who probably lived in the fifth century CE. Yet the play’s lively and playful plot more than makes up for its lack of deities, heroic prowess and pathos. The machinations of King Agni mitra’s jester to help him add a dancing girl to his harem in spite of the subtle intrigues of the two jealous queens carry the gallant hero through hope and despair to the happy ending.
A Cultural History of Plants in the Post-Classical Era covers the period from 500 to 1400, ranging across northern and central Europe to the Mediterranean, and from the Byzantine and Arabic Empires to the Persian World, India, and China. This was an age of empires and fluctuating borders, presenting a changing mosaic of environments, populations, and cultural practices. Many of the ancient uses and meanings of plants were preserved, but these were overlaid with new developments in agriculture, landscapes, medicine, eating habits, and art. The 6 volume set of the Cultural History of Plants presents the first comprehensive history of the uses and meanings of plants from prehistory to today. The themes covered in each volume are plants as staple foods; plants as luxury foods; trade and exploration; plant technology and science; plants and medicine; plants in culture; plants as natural ornaments; the representation of plants. Alain Touwaide is Scientific Director at the Institute for the Preservation of Medical Traditions, Washington, D.C., USA. Volume 2 in the Cultural History of Plants set. General Editors: Annette Giesecke, University of Delaware, USA, and David Mabberley, University of Oxford, UK.