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As the title indicates, this book is a critical study of an Indian epic, ëThe Ramayanaí. It proceeds in the same order as that of Sanskrit original consisting of : Bala kanda, Ayodhya kanda, Aranya kanda, Kishkindha kanda, Sundara kanda, Yuddha kanda and Uttara kanda. While Valmikiís Ramayana is composed of about 24,000 slokas (verses), ëRamayana the Poisonous Treeí consists of 16 stories, long and short, accompanied by 11 ëlinksí (narratives that ëlinkí the stories) and 504 foot-notes that show evidence from the Sanskrit original in support of the critique. Besides the main components of the text, this book has a long ëPrefaceí discussing the social essence of the epic in the context of history of evolution of human society from the ancient times to the modern times. The book also offers a critical review of the works of ësome earlier critics of Ramayanaí. The authoress describes Ramayana as a Poisonous Tree because it defends the autocratic rule of the kings against the people, their imperial expansion by invading other weak kingdoms, exploitation of the poor by the rich, oppression of lower castes by upper castes, aggression of the civilized non-tribal communities against primitive tribal communities, male chauvinism against women, superstitious beliefs against the rational thinking, fathersí domination over sons, elder brothersí superiority over younger brothers and so on. She substantiated her arguments by providing hundreds of foot notes from the Sanskrit original. She characterizes the culture of Ramayana as predominantly ëfeudalí in nature with an admixture of remnants of primitive ëtribalí culture. The book, it is hoped, will be of interest to both academic and non-academic circles. It is relevant to the students, teachers and researchers who are connected with such disciplines as South Asian Studies, Cultural Studies, Comparative Literature, Comparative Religions, Indology, Literary Criticism and so on. It is also relevant to the social and political activists who would like to disseminate ëprogressiveí ideas among the people who are subjected to various forms of inequality: Class, Caste, Gender, Race, Ethnicity. Ranganayakamma (born 1939) is a writer of novels, stories and essays in Telugu. She has published about 60 books.
Countless ages ago, when men and animals could speak together and powerful brahmanas could effect miracles, the uncontrollable King Ravana was terrorizing the universe. This edition records the adventure of Rama, the Lord of righteousness, as He struggles to overcome the forces of Ravana. The absorbing narration has delighted and enlightened countless generations in India, and its timeless spiritual insights are compellingly relevant in today's confused world.
The Life of a Text offers a vivid portrait of one community's interaction with its favorite text—the epic Ramcaritmanas—and the way in which performances of the epic function as a flexible and evolving medium for cultural expression. Anthropologists, historians of religion, and readers interested in the culture of North India and the performance arts will find breadth of subject, careful scholarship, and engaging presentation in this unique and beautifully illustrated examination of Hindi culture. The most popular and influential text of Hindi-speaking North India, the epic Ramcaritmanas is a sixteenth century retelling of the Ramayana story by the poet Tulsidas. This masterpiece of pre-modern Hindi literature has always reached its largely illiterate audiences primarily through oral performance including ceremonial recitation, folksinging, oral exegesis, and theatrical representation. Drawing on fieldwork in Banaras, Lutgendorf breaks new ground by capturing the range of performance techniques in vivid detail and tracing the impact of the epic in its contemporary cultural context.
While Mahabharata's Bhagvad-Gita is taken as a philosophical guide, Ramayana's Sundara Kãnda is sought for spiritual solace; many believe that reading it or hearing it recited would remove all hurdles and usher in good tidings! Miracles apart, it's in the nature of this great epic to inculcate fortitude and generate hope in man for it’s a depiction of how Hanuman goes about his errand against all odds. Besides, it portrays how Seetha, on the verge of self-immolation, overcomes despair to see life in a new light? With rhythm of its verse and the flow of the narrative this sloka to sloka transcreation of the canto beautiful of Valmiki's adi kavya - the foremost poetical composition in the world, Hanuman's Odyssey that paves the way for Rama to rescue his kidnapped wife is bound to charm the readers and listeners alike. Interestingly, as the following verse illustrates, it was the forerunner of the magic realism of our times – “Gripped she then him by shadow / Cast which Hanuman coast to coast, Recalled he in dismay then / What Sugreev said at outset / That one fiend had aptitude / To grip its prey by mere shadow.” On a personal note, my paternal grandfather, Bulusu Thimmaiah-garu, like many in his time, was a life-long practitioner of Sundara Kãnda parayana (the epic’s daily recital in part or full), whose spirituality could have providentially guided me in this, rather an effortless, trans-creative endeavour.