Valmiki Ramayana: Balakanda


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Critical edition with English translation and with five classical commentaries, Amr̥takaṭaka by Mādhavayogī, ca. 1675-ca. 1750. Dharmakūṭa by Tryambakarāyamakhị, 17th cent.; Rāmāyaṇaśiromaṇi by Śivasahāya; Tattvadīpikā by Maheśvaratīrtha and Rāmāyaṇatilaka by Rāma, 18th cent.







Indian Horizons


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Ramayanas of Kampan and Eluttacchan


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Comparative study of RamayanĐamĐ of Kampar, 9th century, and AddyatmaramatanĐamĐ of Eløuttaccan, 16th century.







Valmiki's Ramayana


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One of India’s greatest epics, the Ramayana pervades the country’s moral and cultural consciousness. For generations it has served as a bedtime story for Indian children, while at the same time engaging the interest of philosophers and theologians. Believed to have been composed by Valmiki sometime between the eighth and sixth centuries BCE, the Ramayana tells the tragic and magical story of Rama, the prince of Ayodhya, an incarnation of Lord Visnu, born to rid the earth of the terrible demon Ravana. An idealized heroic tale ending with the inevitable triumph of good over evil, the Ramayana is also an intensely personal story of family relationships, love and loss, duty and honor, of harem intrigue, petty jealousies, and destructive ambitions. All this played out in a universe populated by larger-than-life humans, gods and celestial beings, wondrous animals and terrifying demons. With her magnificent translation and superb introduction, Arshia Sattar has successfully bridged both time and space to bring this ancient classic to modern English readers.




New Quest


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Authority and Meaning in Indian Religions


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This title was first published in 2003. Can a text be used either to validate or to invalidate contemporary understandings? Texts may be deemed 'sacred', but sacred to whom? Do conflicting understandings matter? Is it appropriate to try to offer a resolution? For Hindus and non-Hindus, in India and beyond, Valmiki is the poet-saint who composed the epic Rà mà yaõa. Yet for a vocal community of dalits (once called 'untouchables'), within and outside India, Valmiki is God. How then does one explain the popular story that he started out as an ignorant and violent bandit, attacking and killing travellers for material gain? And what happens when these two accounts, Valmiki as God and Valmiki as villain, are held simultaneously by two different religious groups, both contemporary, and both vocal? This situation came to a head with controversial demonstrations by the Valmiki community in Britain in 2000, giving rise to some searching questions which Julia Leslie now seeks to address.




BEPI


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