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This text presents new English translations of 150 erotic poems composed in India's three classic languages, Old Tamil, Sanskrit and Maharasti Prakit. The poems are selected from anthologies that date from as early as the first century C.E.
Many Mahābhāratas is an introduction to the spectacular and long-lived diversity of Mahābhārata literature in South Asia. This diversity begins with the Sanskrit Mahābhārata, an early epic poem that narrates the events of a catastrophic fratricidal war. Along the way, it draws in nearly everything else in Hindu mythology, philosophy, and story literature. The magnitude of its scope and the relentless complexity of its worldview primed the Mahābhārata for uncountable tellings in South Asia and beyond. For two thousand years, the instinctive approach to the Mahābhārata has been not to consume it but to create it anew. The many Mahābhāratas of this book come from the first century to the twenty-first. They are composed in nine different languages—Apabhramsha, Bengali, English, Hindi, Kannada, Malayalam, Sanskrit, Tamil, and Telugu. Early chapters illuminate themes of retelling within the Sanskrit Mahābhārata itself, demonstrating that the story's propensity for regeneration emerges from within. The majority of the book, however, reaches far beyond the Sanskrit epic. Readers dive into classical dramas, premodern vernacular poems, regional performance traditions, commentaries, graphic novels, political essays, novels, and contemporary theater productions—all of them Mahābhāratas. Because of its historical and linguistic breadth, its commitment to primary sources, and its exploration of multiplicity and diversity as essential features of the Mahābhārata's long life in South Asia, Many Mahābhāratas constitutes a major contribution to the study of South Asian literature and offers a landmark view of the field of Mahābhārata studies.
How perceptions of land and space influence social and aesthetic conditions in the Tamil region of India.
These new translations of the Tiruppavai and Nacciyar Tirumoli composed by Kotai, the ninth-century South Indian mystic-poetess, capture the lyricism of the Tamil originals. Kotai's poems--two of the most significant compositions by a female mystic--express her encounters with the divine Vishnu through the use of a vibrant verbal sensuality.
Material Devotion in a South Indian Poetic World contributes new methods for the study and interpretation of material religion found within literary landscapes. The poets of Hindu devotion are known for their intimate celebration of deities, and while verses over a thousand years old are still treasured, translated, and performed, little attention has been paid to the evocative sensorial worlds referenced by these literary compositions. This book offers a material interpretation of an understudied poem that defined an entire genre of South Asian literature -Tirukkovaiyar-the 9th-century Tamil poem dedicated to Shiva. The poetry of Tamil South India invites travel across real and imagined geography, naming royal patrons, ancient temple towns, and natural landscapes. Leah Elizabeth Comeau locates the materiality of devotion to Shiva in a world unique to the South Indian vernacular and yet captivating to audiences across time, place, and tradition.
Thematically organised, this is an annotated anthology of translations from the Sanskrit, Tamil and Maharashtri Prakit devotional poetry of the South Indian Srivaisnava philosopher Venkatanatha.
A lyrical translation of an inspired selection of verses from the earliest Buddhist monks and nuns. More than two thousand years ago, the earliest disciples of the Buddha put into verse their experiences on the spiritual journey--from their daily struggles to their spiritual realizations. Over time the verses were collected to form the Theragatha and Therigatha, the "Verses of Elder Monks" and "Verses of Elder Nuns" respectively. In Songs of the Sons and Daughters of the Buddha, renowned poets Andrew Schelling and Anne Waldman have translated the most poignant poems in these collections, bringing forth the visceral, immediate qualities that are often lost in more scholarly renditions. These selections reveal the fears, loves, mishaps, expectations, and joys of the early monks and nuns, when, struck by wild insight, they cried out the anguish or solace they knew in their lives.
‘Look, my feet measure beyond earth and sky!’ he said and touched the sky. I have surrendered to my lord who glanced at me with his large radiant eyes. The Tiruviruttam is an iconic poem by Nammāḻvār (c. ninth century CE), the greatest of the āḻvār poet-saints of the Tamil Śrīvaiṣṇava tradition. Its hundred interlinked verses celebrate the love between an anonymous heroine and hero, who come to be identified with Nammāḻvār and his beloved deity, Viṣṇu. The poet masterfully weaves the erotic and esoteric to reveal both the contours of love and the never-ending cycles of separation and union, of birth and death, from which only Viṣṇu can offer release. In A Hundred Measures of Time, Archana Venkatesan has crafted a sonorous free-verse rendering and an accompanying far-ranging essay to delight poetry lovers and scholars alike.
Written in Iceland around the year 1500, the little book now known only as AM 434a is a treasure trove of medieval medical knowledge. The book lists healing uses for over ninety different herbs. It gives advice on health matters ranging from bloodletting to steam baths to the influence of the moon on health and human life. And it contains a number of magical spells, charms, prayers, runes, and symbols to bring health, wealth, and good fortune. The roots of the healing traditions in AM 434a go back thousands of years before the book itself was written. We are honored to present the first complete English translation of AM 434a. Complete notes and commentary explain this texts's historical and cultural background. Medievalists, historians of science and magic, herbalists, and anyone interested in medieval Scandinavian lore and life will find this book indispensable.
Honeymoon Couples and Jurassic Babies is the first in-depth study of Sabha Theater, a type of Tamil-language popular theater that started in Chennai (Madras) in the period following India's independence, thriving especially between 1965 and 1985. Breaking new ground in the study of stage and performance, this interdisciplinary book presents a complex view of a significant genre, using historical research and ethnographic information obtained through interviews with performers, writers, and audience members, as well as observations of rehearsals, performances, and television and film shootings. This careful coverage not only contextualizes Sabha Theatre historically, politically, and aesthetically within the wider history of the Tamil stage and a performance scene that includes classical dance and mass media but also reveals how its plays express a Tamil Brahmin identity that is at once traditional and modern. Analyzing what particular plays mean to the specific, urban, elite Brahmin community that produces and consumes them, Kristen Rudisill examines humor that reveals a complex Brahmin identity and surveys markers of moral superiority.