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Why did shakuni have to come to Hastinapur? His own gandhara folks believed that he wanted to take revenge against the Kauravas. They, however, knew nothing about shakuni’s disturbing secret and his actual intention. What was shakuni’s real motive? What was the secret he was trying to guard from the world with all his efforts? In Hastinapur, shakuni would get entrapped in an inescapable mesh of the past, the present, and the future. He could have freed himself from the tangle by cracking a particular riddle that he would only be able to solve too late. What was the riddle about? What made him finally realise that he had just been used? This is the untold story of shakti laced with love, desire, envy, Malice, and vengeance. This is a heart-rending chronicle of some grievously wounded people you can never hate, even if you fail to love or pity them.
The Pandavas and the Kauravas are returning to modern world in a different outlook but with same powers in this book “Barbarika”. While the Hindu Mythology says it is because of the boon Krishna gave to the “greatest warrior of the Dwapara Yuga” – Barbarika, Science says it is because of an epigenetics experiment conducted by “Master of Epigenetics” – Vishaka. The Kurushetra War begins here between Shyam and Dr. Meghvarna to attain the power every man wants.
The historical novel ‘Ashoka the Great’ is the life story of one of India’s greatest monarchs, living in the 3d century B.C. The Ashoka-chakra, the wheel of Dharma, adorns since India’s independence the Indian flag. His nearly 40 years’ government is viewed today by scholars as the first welfare state the world has known. In part 1 of the trilogy, The Wild Prince, we see how his passionate but honest character leads him often into difficulties. He is praised for his pride and courage yet feared for his direct tough actions, looking through the trickery of enemies. As the successor of his father he becomes The Wise Ruler, part 2, a governor ruling with wisdom, strict laws and justice. After a terrible war in which numerous people lost their life, he embraced Buddhism, forswearing all wars of attack. After years of ruling, applying the wisdom of Gautama the Buddha, he becomes Dharmashoka, the great admonisher, part 3.
Then, the exquisitely handsome body of Karna of generous acts, who should have been worthy of perpetual happiness, let go of that refulgent head with the kind of extreme reluctance evinced by a wealthy person in leaving his own prosperous home, or by a saintly one in forsaking virtuous company. [The Mahabharata, Karna-Parva; 91.53-54] In these lines of evocative pathos, the Mahabharata pays its ultimate tribute to Karna, who has hardly a rival in world literature to match his credentials as a uniquely nuanced heroes' hero – towering above Hector in righteous valour, above Arjuna in generosity, and above all else in conscientious attachment to the principles of noblesse oblige. This is the intriguing story of a hero who, despite being born to royalty was, like the Biblical Moses, cast away by his mother. Brought up lovingly by a lowly charioteer and his wife, his whole life was one great struggle against cruel destiny, and against all the odds placed in his way by the inequities of his time. In the process, he blazed a new trail of glory, emerging as the adorable exemplar of purushakaara (manly effort), with tremendous achievements both as a man and also as a warrior. Yet society never gave him his due, despite being as upright as Yudhishthira, as strong as Bhima, as skilful as Arjuna, as handsome as Nakula and as intelligent as Sahadeva. Rebuffed and insulted by society at every step, he developed some flaws engendered by a defiant spirit and nurtured by association with the evil designs of Duryodhana, his benefactor prince. But those very contrarieties seem to enhance and enliven the dramatic appeal of his character as one of the brightest stars of the Mahabharata's star cast. Written in an engagingly flowing style and with an imaginative transcreation of the epic storyline, Karna: the Unsung Hero of the Mahabharata should strike a responsive chord in the minds, specifically of today's Mahabharata aficionados and generally of all lovers of exalted human drama.
THE MAHABHARATA ENDURES AS THE GREAT EPIC OF INDIA. But while Jaya is the story of the Pandavas, told from the perspective of the victors of Kurukshetra; Ajaya is the narrative of the ÔunconquerableÕ Kauravas, who were decimated to the last man. At the heart of IndiaÕs most powerful empire, a revolution is brewing. Bhishma, the noble patriarch of Hastinapura, is struggling to maintain the unity of his empire. On the throne sits Dhritarashtra, the blind King, and his foreign-born Queen Ð Gandhari. In the shadow of the throne stands Kunti, the Dowager-Queen, burning with ambition to see her firstborn become the ruler, acknowledged by all. And in the wings: Parashurama, the enigmatic Guru of the powerful Southern Confederate, bides his time to take over and impose his will from mountains to ocean. Ekalavya, a young Nishada, yearns to break free of caste restrictions and become a warrior. Karna, son of a humble charioteer, travels to the South to study under the foremost Guru of the day and become the greatest archer in the land. Balarama, the charismatic leader of the Yadavas, dreams of building the perfect city by the sea and seeing his people prosperous and proud once more. Takshaka, guerilla leader of the Nagas, foments a revolution by the downtrodden as he lies in wait in the jungles of India, where survival is the only dharma. Jara, the beggar, and his blind dog Dharma, walk the dusty streets of India, witness to people and events far greater than they, as the Pandavas and the Kauravas confront their searing destinies. Amidst the chaos, Prince Suyodhana, heir of Hastinapura, stands tall, determined to claim his birthright and act according to his conscience. He is the maker of his own destiny Ð or so he believes. While in the corridors of the Hastinapura palace, a foreign Prince plots to destroy India. And the dice fallsÉ
In this exciting rendition of the renowned classic, Krishna Dharma retells this epic as a fast-paced novel, but fully retains the majestic mood of the original. As the divinely beautiful Draupadi rose from the fire, a voice rang out from the heavens foretelling a terrible destiny. “She will cause the destruction of countless warriors.” And so begins one of the most fabulous stories of all time. Mahabharata plunges readers into a wondrous and ancient world of romance and adventure. A powerful and moving tale, it recounts the history of the five heroic Pandava brothers and their celestial wife. Cheated of their kingdom and sent into exile by their envious cousins, they set off on a fascinating journey on which they encounter mystical sages, mighty kings, and a host of gods and demons. Profound spiritual themes underlie the enthralling narrative, making it one of the world’s most revered texts. Culminating in an apocalyptic war, Mahabharata is a masterpiece of suspense, intrigue, and illuminating wisdom.
The rediscovery of the 13 plays of Bhasa Mahakavi and their publication in Thiruvananthapuram in 1912 by Mahamahopadhyaya T. Ganapatisastri was as important an event in the recovery of India's cultural and literary history as was the deciphering of the Ashokan edicts in the 19th century in the recovery of India's political history. Bhasa was known from allusions by other poets and fragments stretching from the time of Kalidasa all the way to the 12th century. Inexplicably, he vanished from India's collective memory since then. At the same time, the reverence in which he was held is amply evident from the regularity of references to him and the unanimity of critics and rasikas on the superb quality of his work. The recovered Bhasa has now taken his rightful place in the stage and is presented again and again not only in Sanskrit but in most modern Indian languages too. It is an eloquent demonstration of his enduring power to move an audience, his undiminished relevance and, most important of all, the stunning stage worthiness of his works, the quality that raises him far above every other ancient dramatist of India known to us.