The Bhagavad Gita opens with a crisis - Prince Arjuna despairs on the battlefield, unsure if he should fight his kinsmen in a dreadful war. For Easwaran, the Gita's epic battle represents the war in our own hearts and Arjuna's anguish reflects the human condition: torn between opposing forces, confused about how to live. Sri Krishna's timeless guidance, Easwaran argues, can shed light on our dilemmas today. Placing the Gita's teachings in a modern context, Easwaran explores the nature of reality, the illusion of separateness, the search for identity, the meaning of yoga, and how to heal the unconscious. The key message of the Gita is how to resolve our conflicts and live in harmony with the deep unity of life, through the practice of meditation and spiritual disciplines. Sri Krishna doesn't tell Arjuna what to do. He points out the prince's choices, and then leaves it to Arjuna to decide. Easwaran shows us clearly how these teachings still apply - and how, like Arjuna, we must take courage and act wisely if we want our world to thrive.

"John Stratton Hawley miraculously manages to braid the charged erotic and divine qualities of Krishna, the many-named god, while introducing us-with subtle occasional rhyme-to a vividly particularized world of prayers and crocodile earrings, spiritual longing and love-struck bees." -Forrest Gander, winner of the Pulitzer Prize for Poetry An award-winning translation of Hindi verses composed by one of India's treasured poets. The blind poet Surdas has been regarded as the epitome of artistry in Hindi verse from the end of the sixteenth century, when he lived, to the present day. His fame rests upon his remarkable refashioning of the widely known narrative of the Hindu deity Krishna and his lover Radha into lyrics that are at once elegant and approachable. Surdas's popularity led to the proliferation, through an energetic oral tradition, of poems ascribed to him, known collectively as the Sursagar. This award-winning translation reconstructs the early tradition of Surdas's verse-the poems that were known to the singers of Surdas's own time as his. Here Surdas stands out with a clarity never before achieved.

Ideal for courses in beginning Sanskrit or self-study, this textbook employs modern, tried-and-tested pedagogical methods and tools, but requires no prior knowledge of ancient languages or linguistics. Devanagari script is introduced over several chapters and used in parallel with transliteration for several chapters more, allowing students to progress in learning Sanskrit itself while still mastering the script. Students are exposed to annotated original texts in addition to practise sentences very early on, and structures and systems underlying the wealth of forms are clearly explained to facilitate memorisation. All grammar is covered in detail, with chapters dedicated to compounding and nominal derivation, and sections explaining relevant historical phenomena. The introduction also includes a variety of online resources that students may use to reinforce and expand their knowledge: flash cards; video tutorials for all chapters; and up-to-date links to writing, declension and conjugation exercises and online dictionaries, grammars, and textual databases.

How You Can Talk With God explains how we can all experience God's presence directly in our lives. A favorite of spiritual seekers around the world, it shows us how to pray with greater intimacy -- to create a deep and fulfilling personal relationship with the Divine. This is a book to keep by the bedside, discovering with each reading new gems of inspiration and wisdom.

Four Testaments brings together four foundational texts from world religions-the Tao Te Ching, Dhammapada, Analects of Confucius, and Bhagavad Gita-inviting readers to experience them in full, to explore possible points of connection and divergence, and to better understand people who practice these traditions. Following Brian Arthur Brown's award-winning Three Testaments: Torah, Gospel, Quran, this volume of Four Testaments features essays by esteemed scholars to introduce readers to each tradition and text, as well as commentary on unexpected ways the ancient Zoroastrian tradition might connect Taoism, Buddhism, Confucianism, and Hinduism, along with the Abrahamic faiths. Four Testaments aims to foster deeper religious understanding in our interconnected and contentious world.

The first book to put the sacred and sensuous bronze statues from India's Chola dynasty in social context From the ninth through the thirteenth century, the Chola dynasty of southern India produced thousands of statues of Hindu deities, whose physical perfection was meant to reflect spiritual beauty and divine transcendence. During festivals, these bronze sculptures-including Shiva, referred to in a saintly vision as "the thief who stole my heart"-were adorned with jewels and flowers and paraded through towns as active participants in Chola worship. In this richly illustrated book, leading art historian Vidya Dehejia introduces the bronzes within the full context of Chola history, culture, and religion. In doing so, she brings the bronzes and Chola society to life before our very eyes. Dehejia presents the bronzes as material objects that interacted in meaningful ways with the people and practices of their era. Describing the role of the statues in everyday activities, she reveals not only the importance of the bronzes for the empire, but also little-known facets of Chola life. She considers the source of the copper and jewels used for the deities, proposing that the need for such resources may have influenced the Chola empire's political engagement with Sri Lanka. She also investigates the role of women patrons in bronze commissions and discusses the vast public records, many appearing here in translation for the first time, inscribed on temple walls. From the Cholas' religious customs to their agriculture, politics, and even food, The Thief Who Stole My Heart offers an expansive and complete immersion in a community still accessible to us through its exquisite sacred art. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

The Mahabharata preserves powerful journeys of women recognized as the feminine divine and the feminine heroic in the larger culture of India. Each journey upholds the unique aspects of women's life. This book analytically examines the narratives of eleven women from the Mahabharata in the historical context as well as in association with religious and cultural practices. Lavanya Vemsani brings together history, myth, religion, and practice to arrive at a comprehensive understanding of the history of Hindu women, as well as their significance within religious Indian culture. Additionally, Vemsani provides important perspective for understanding the enduring legacy of these women in popular culture and modern society.

Ishita Pande's innovative study provides a dual biography of India's path-breaking Child Marriage Restraint Act (1929) and of 'age' itself as a key category of identity for upholding the rule of law, and for governing intimate life in late colonial India. Through a reading of legislative assembly debates, legal cases, government reports, propaganda literature, Hindi novels and sexological tracts, Pande tells a wide-ranging story about the importance of debates over child protection to India's coming of age. By tracing the history of age in colonial India she illuminates the role of law in sculpting modern subjects, demonstrating how seemingly natural age-based exclusions and understandings of legal minority became the alibi for other political exclusions and the minoritization of entire communities in colonial India. In doing so, Pande highlights how childhood as a political category was fundamental not just to ideas of sexual norms and domestic life, but also to the conceptualisation of citizenship and India as a nation in this formative period.

The Arthasastra is the foundational text of Indic political thought and ancient India's most important treatise on statecraft and governance. It is traditionally believed that politics in ancient India was ruled by religion; that kings strove to fulfil their sacred duty; and that sovereignty was circumscribed by the sacred law of dharma. Mark McClish's systematic and thorough evaluation of the Arthasastra's early history shows that these ideas only came to prominence in the statecraft tradition late in the classical period. With a thorough chronological exploration, he demonstrates that the text originally espoused a political philosophy characterized by empiricism and pragmatism, ignoring the mandate of dharma altogether. The political theology of dharma was incorporated when the text was redacted in the late classical period, which obscured the existence of an independent political tradition in ancient India altogether and reinforced the erroneous notion that ancient India was ruled by religion, not politics.

Burning the Dead traces the evolution of cremation in India and the South Asian diaspora across the nineteenth and twentieth centuries. Through interconnected histories of movement, space, identity, and affect, it examines how the so-called traditional practice of Hindu cremation on an open-air funeral pyre was culturally transformed and materially refashioned under British rule, following intense Western hostility, colonial sanitary acceptance, and Indian adaptation. David Arnold examines the critical reception of Hindu cremation abroad, particularly in Britain, where India formed a primary reference point for the cremation debates of the late nineteenth century, and explores the struggle for official recognition of cremation among Hindu and Sikh communities around the globe. Above all, Arnold foregrounds the growing public presence and assertive political use made of Hindu cremation, its increasing social inclusivity, and its close identification with Hindu reform movements and modern Indian nationhood.

In India, statues of Ganesh are placed at the inner gates of many temples, symbolizing his role as keeper of sacred spaces. Here, pilgrims and passersby pay homage and seek his blessings. It is this symbolic presence at the entrance of our most holy places that makes Ganesh such a vital figure in our lives.
Stationed at the threshold of sacredness and awareness, mediating between the possibility of the profound and our often habitual, mundane perception of the world, Ganesh is the guiding force behind this very moment of experience - where desire meets possibility. "Ganesh: Removing the Obstacles" offers practical and meaningful interpretations of folk narratives and sacred texts concerning the larger-than-life elephant-headed god, Ganesh.

Through in-depth analysis of musical theatre choreography and choreographers, Making Broadway Dance challenges long-held perceptions of Broadway dance as kitsch, disposable, a dance form created without artistic process. Setting out to demonstrate that musical theatre dance is not a monolith but rather multi-varied in terms of dance styles, aesthetics and methodologies, author Liza Gennaro provides insights into how Broadway dance is made. By examining choreography for musical theatre through the lens of dance studies, script analysis, movement research and dramaturgical inquiry, she treads in uncharted territory by offering a close examination of a dance form that has heretofore received only the most superficial interrogation. She also explores how musical theatre choreographers create within the parameters of librettos, enhance character development and build dance languages that inform and propel narrative. By considering influences from ballet, modern, postmodern, Jazz, social and global dance, she reveals a rich understanding of musical theatre dance. This book exposes the choreographic systems of some of Broadway's most influential dance-makers including George Balanchine, Agnes de Mille, Jerome Robbins, Katherine Dunham, Bob Fosse, Savion Glover, Sergio Trujillo, Steven Hoggett and Camille Brown, and is essential reading for theatre and dance scholars, students, practitioners, and Broadway fans.

Tantra has been defined as "a mystical philosophy" and as "an unorthodox religious tendency." Both definitions are incomplete. While Tantra has mystical, philosophical and religious aspects it is, above all, a technique of action - a system of physical, mental and spiritual disciple incorporating meditation, yoga, and sacramental worship in the widest sense of the phrase. This system has one purpose: the transformation of the individual - his or her rebirth to a new existence, . There is no "tantric faith" to be accepted or rejected on the bases of thought and emotion. tantrics make the same claim as Western magicians: "if you follow a certain course of action you will be led back to the roots of your own identity and will learn the truth about yourself and the universe you inhabit." Tantra of Westerners is a complete theoretical and practical guide to the Way of Action, covering the concepts of pleasure and pain, power and passivity, esoteric physiology, Tantra and Qabalism, right-hand and left-hand Tantra, tantric ritual for westerners and the arousal of kundalini - the serpent power, . Francis King (1934-1994) was a well known authority on magick, mysticism and religion. His books includes Ritual Magic in England and The Magical World of Aleister Crowley.

“I wish I had a sister who loved me so fiercely.” Surya and Anjani are twins, but they could not be more different. Anjani is calm, devout and responsible, while Surya just wants to party the days away. When they leave the safety of their affluent Durban suburb to attend university in the Eastern Cape, Anjani knows where her duty lies – to look after Surya at all costs. There is no way their conservative Hindu parents would have let them go otherwise. But fate intervenes in the form of a vicious assault, and for a while it seems as though the twins’ bond may be shattered forever. As they start rebuilding their lives, little do they know that divine providence is on their side.

"The books line up on my shelf like bright Bodhisattvas ready to take tough questions or keep quiet company. They stake out a vast territory, with works from two millennia in multiple genres: aphorism, lyric, epic, theater, and romance."
--Willis G. Regier, "The Chronicle Review"

"No effort has been spared to make these little volumes as attractive as possible to readers: the paper is of high quality, the typesetting immaculate. The founders of the series are John and Jennifer Clay, and Sanskritists can only thank them for an initiative intended to make the classics of an ancient Indian language accessible to a modern international audience."
--"The Times Higher Education Supplement"

"The Clay Sanskrit Library represents one of the most admirable publishing projects now afoot. . . . Anyone who loves the look and feel and heft of books will delight in these elegant little volumes."
--"New Criterion"

"Published in the geek-chic format."
--"BookForum"

"Very few collections of Sanskrit deep enough for research are housed anywhere in North America. Now, twenty-five hundred years after the death of Shakyamuni Buddha, the ambitious Clay Sanskrit Library may remedy this state of affairs."
--"Tricycle"

aNow an ambitious new publishing project, the Clay Sanskrit Library brings together leading Sanskrit translators and scholars of Indology from around the world to celebrate in translating the beauty and range of classical Sanskrit literature. . . . Published as smart green hardbacks that are small enough to fit into a jeans pocket, the volumes are meant to satisfy both the scholar and the lay reader. Each volume has a transliteration of the original Sanskrit texton the left-hand page and an English translation on the right, as also a helpful introduction and notes. Alongside definitive translations of the great Indian epics -- 30 or so volumes will be devoted to the Maha-bharat itself -- Clay Sanskrit Library makes available to the English-speaking reader many other delights: The earthy verse of Bhartri-hari, the pungent satire of Jayanta Bhatta and the roving narratives of Dandin, among others. All these writers belong properly not just to Indian literature, but to world literature.a
--"LiveMint"

aThe Clay Sanskrit Library has recently set out to change the scene by making available well-translated dual-language (English and Sanskrit) editions of popular Sanskritic texts for the public.a
--"Namarupa"

After Bhishma is cut down at the end of the previous book of the "Maha-bharata," the book which bears his name, Duryodhana selects Drona as leader of his forces. Drona accepts the honor with Bhishma's blessing, despite his ongoing personal conflicts as mentor to both the Pandava and Kaurava heroes in their youth. The fighting rages on, with heavy losses on both sides. Furious and frustrated, Duryodhana accuses Drona of collaborating with the enemy, but he replies that as long as Arjuna is on the field, the Pandavas will remain invincible. When Arjuna is finally diverted from the main action of the battle, Yudhi-shthira entrusts Arjuna's son Abhimanyu with the task of making a breach in the Kaurava formation. Abhimanyu rampages through Drona's army, but at last is cornered by several Kaurava warriors and finally killed by Jayad-ratha.

Co-published by New York University Press and the JJC Foundation

For more on this title and othertitles in the Clay Sanskrit series, please visit http: //www.claysanskritlibrary.org

Reciting the Goddess is the first book-length study of Nepal's goddess Svasthani and the popular Svasthanivratakatha textual tradition. In the centuries following its origin as a simple local legend in the sixteenth century, the Svasthanivratakatha developed into a comprehensive Purana text that is still widely celebrated today among Nepal's Hindus with an annual month-long recitation. Jessica Birkenholtz uses the Svasthanivratakatha as a medium through which to view the ways in which political and cultural shifts among Nepal's ruling elite were taken up by the general public. Drawing on both archival and ethnographic research, the book examines Svasthani and the Svasthanivratakatha within the shifting literary, linguistic, religious, cultural, and political contexts of medieval and modern Nepal from the sixteenth century to the present. It also explores both the complementary and contentious relationships between Nepal's heterogeneous Newar Hindu and high-caste hill Hindu communities, and those of Nepal as a Hindu kingdom vis-a-vis Hindu India. Reciting the Goddess brings the Svasthani devotional tradition to light as a new case study in the discussion of the making of Hindu religious identity and practice in Nepal and South Asia.

This edited volume seeks to build a scholarly discourse about how Hinduism is being defined, reformed, and rearticulated in the digital era and how these changes are impacting the way Hindus view their own religious identities. It seeks to interrogate how digital Hinduism has been shaped in response to the dominant framing of the religion, which has often relied on postcolonial narratives devoid of context and an overemphasis on the geopolitics of the Indian subcontinent post-partition. From this perspective, this volume challenges previous frameworks of how Hinduism has been studied, particularly in the West, where Marxist and Orientalist approaches are often ill-fitting paradigms to understanding Hinduism. This volume engages with and critiques some of these approaches while also enriching existing models of research within media studies, ethnography, cultural studies, and religion.

Paramahansa Yogananda lays the groundwork for living a life of enduring happiness and success. This is the first title in his How-to-Live series explaining how to overcome negativity and inertia, harness the dynamic power of our own wills, and create a happiness that endures all trials.

This volume contains a critical edition, English translation and essays on the initial section of the Kasikavrtti (7th c. CE), the oldest complete commentary on the Astadhyayi of Panini.

Keshab Chandra Sen (1838-84) was one of the most powerful and controversial figures in nineteenth-century Bengal. A religious leader and social reformer, his universalist interpretation of Hinduism found mass appeal in India, and generated considerable interest in Britain. His ideas on British imperial rule, religion and spirituality, global history, universalism and modernity were all influential, and his visit to England made him a celebrity. Many Britons regarded him as a prophet of world-historical significance. Keshab was the subject of extreme adulation and vehement criticism. Accounts tell of large crowds prostrating themselves before him, believing him to be an avatar. Yet he died with relatively few followers, his reputation in both India and Britain largely ruined. As a representative of India, Keshab became emblematic of broad concerns regarding Hinduism and Christianity, science and faith, India and the British Empire. This innovative study explores the transnational historical forces that shaped Keshab's life and work. It offers an alternative religious history of empire, characterised by intercultural dialogue and religious syncretism. A fascinating and often tragic portrait of Keshab's experience of the imperial world, and the ways in which he carried meaning for his contemporaries.

This is the first critical edition in transcription with facing English translation of a medieval Sanskrit text that is known in most parts of India, especially in Bengal. The Krsnakarnamrta ("Nectar to the Ears of Krishna") is a devotional anthology of stanzas in praise of the youthful Krishna, "the dark blue boy," "Lord of Life," lover of the milkmaids in Indian legend, and an incarnation of the great God Vishnu. Of its importance there can be no doubt: for many devout Indians it is a Book of Common Prayer, whose short and ardent hymns to the Lord Krishna come frequently and familiarly to mind. Frances Wilson here provides a masterly English translation of this moving expression of religious adoration. Collating over seventy manuscripts, she has established an authoritative Sanskrit text, including its literary and critical history. In the full introduction, she discusses the legends that have arisen about its author, the mysterious L&#299lasuka Bilvamangala. Medieval Sanskrit studies have in the past been much neglected by European scholars. In breaking free of the classical traditions of Sanskrit philology, Wilson has produced a work that is of profound relevance to the study of Indian civilization today.