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Plants personify the divine— The Rig Veda (X.97) Trees and plants have long been held sacred to communities the world over. In India, we have a whole variety of flora that feature in our myths, our epics, our rituals, our worship and our daily life. There is the pipal, under which the Buddha meditated on the path to enlightenment; the banyan, in whose branches hide spirits; the ashoka, in a grove of which Sita sheltered when she was Ravana’s prisoner; the tulsi, without which no Hindu house is considered complete; the bilva, with whose leaves it is possible to inadvertently worship Shiva. Before temples were constructed, trees were open-air shrines sheltering the deity, and many were symbolic of the Buddha himself. Sacred Plants of India systematically lays out the sociocultural roots of the various plants found in the Indian subcontinent, while also asserting their ecological importance to our survival. Informative, thought-provoking and meticulously researched, this book draws on mythology and botany and the ancient religious traditions of India to assemble a detailed and fascinating account of India’s flora.
This translation is of thirteen Sanskrit plays discovered in South India by the late Pandit Ganapati Sastri and edited by him in the Trivandrum Sanskrit Series. It comprises the following titles: 1. Pratijnayaugandharayana, 2. Svapnavasavadatta, 3. Carudatta, 4. Pancaratra, 5. Madhyamavyayoga, 6.Pratima-nataka, 7.Dutavakya, 8.Dutaghatotkaca, 9.Karnabhara, 10.Urubhanga, 11.Avimaraka, 12.Balacarita, and 13.Abhiseka. Sastri attributed all the thirteen plays to Bhasa and the prevailing opinion of the scholars is in agreement with him, though the available evidence is not conclusive and so the question still remains open. The translation was done by two eminent Sanskrit scholars. It was published s early as 1930 and a reprint is now issued in view of a persistent demand of scholars. Pandit Ganapati Sastri attributed all thirteen plays to Bhasa, a famous dramatist earlier than Kalidasa. Some verses are ascribed to Bhasa by medieval anthologies, but only ten with unanimity. We are told that he composed a Svapnavasavadattam (his best play) and that in another play the device of the wooden elephant was used. Characteristic features of his work are described by Bana, and other poets evidently held him in high estimation. One or two verses from his plays are quoted by writers on poetics. Otherwise, the text of BhasaÍs numerous plays had completely disappeared. The learned editor of the Trivandrum plays found that they contained a Svapnavasavadattam (the best play in the collection), and, in the Pratijna-Yaugandharayanam, a scene dealing with the wooden elephant. He noticed also certain peculiarities in the technique of the plays which he regarded as signs of antiquity. All these points confirmed the opinion that Bhasa was the author.
Routledge Handbook of Asian Theatre is an advanced level reference guide which surveys the rich and diverse traditions of classical and contemporary performing arts in Asia, showcasing significant scholarship in recent years. An international team of over 50 contributors provide authoritative overviews on a variety of topics across Asia, including dance, music, puppetry, make-up and costume, architecture, colonialism, modernity, gender, musicals, and intercultural Shakespeare. This volume is divided into four sections covering: Representative Theatrical Traditions in Asia. Cross-Regional Aspects of Classical and Folk Theatres. Modern and Contemporary Theatres in Asian Countries. Modernity, Gender Performance, Intercultural and Musical Theatre in Asia. Offering a cutting edge overview of Asian theatre and performance, the Handbook is an invaluable resource for academics, researchers and students studying this ever-evolving field.
This book is a substantially modified and enlarged version of the author's "Ancient India: An Introductory Outline" (Delhi, 1977) and surveys the major developments in India's social, economic and cultural history up to the end of the ancient period and the beginning of the early middle ages and explains the rise and growth of states with reference to their material basis. Special attention has been paid to the elements of change and continuity in society, economy and culture, and to the changing forms of exploitation and consequent social tensions as well as to the role of religion and superstition in society. The book demolishes the popular historiographical stereotypes created by the Hindu-chauvinist communal writings. It also gives the lie to the view that the Indian society has been stagnant and changeless -- a view which was propagated by Western scholars in the heyday of British imperialism and continues to be peddled ingeniously in our own times. The assassination of Mahatma Gandhi ... and the demolition of the Baburi Masjid are two ... unforgettable milestones in the unfolding of the backward-looking Hindu revivalist and fascist politics of contemporary India. Since both Harappa and Mohenjodaro are situated now in Pakistan, the Hindu revivalists are busy locating the epicentre of the Harappan culture in the elusive Saraswati valley.
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