Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

"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"

This court epic describes events leading up to the birth of Kumara, the war god who will defeat the demon Taraka. The gods try to use Kama, the Indian Cupid, to make the ascetic god Shiva fall in love with the daughter of the Himalaya mountain. Kama fails, and is burnt to ashes by the angry Shiva. Then Parvati, the daughter of the mountain, herself turns to asceticism to win the husband she longs for. She is successful, and the climax of the poem is the marriage and lovemaking of Shiva and Parvati, parents of the universe.

The greatest long poem in classical Sanskrit, by the greatest poet of the language, Kali-dasa's The Birth of Kumara is not exactly a love story but a paradigm of inevitable union between male and female, played out on the immense scale of supreme divinity. In this court-epic, the events are described leading up to but not including the birth of Kumara, the war god destined to defeat the demon Taraka.

Co-publishedby New York University Press and the JJC Foundation

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

A new English translation of Raghuvaṃśa by the celebrated Sanskrit poet Kalidasa, who inspired such modern writers as Goethe and Tagore. For a millennium and a half, Kalidasa’s works—from The Cloud Messenger to The Recognition of Shakuntala—have delighted audiences in India and beyond. Although the renowned poet and dramatist inspired many literary works over the centuries, little is known about his life. He likely lived in central India in the late fourth or early fifth century. Kalidasa’s The Lineage of the Raghus, or Raghuvaṃśa, belongs to the Sanskrit literary tradition of mah�k�vya, or court poem. It recounts the lives of ancient kings in the sūryavaṃśa, the Solar Dynasty who ruled from the capital city of Ayodhya. The poem describes, among other episodes, the quest for offspring by Dilipa, a descendant of the primordial king Manu; the world conquest of his son Raghu, which offers a panorama of the Indian subcontinent; the exploits of the famous Rama, an incarnation of Vishnu; and the debaucheries of Agnivarna, which jeopardize the future of the lineage. This volume presents a new edition of the Sanskrit text in the Devanagari script alongside a fresh English translation of this enduring epic.

Sanskrit Messenger poems evoke the pain of separated sweethearts through the formula of an estranged lover pleading with a messenger to take a message to his or her beloved. The plea includes a lyrical description of the route the messenger will take and the message itself. The first was the Cloud Messenger, composed by Sanskrit's finest poet, Kali-dasa, in the fifth century CE. This inspired the next, the Wind Messenger, composed in praise of King Lakshmana-sena of Gauda (Bengal) in the twelfth century by Dhoyi, one of his court poets. Numerous more followed, including the third in the CSL selection, the sixteenth-century Swan Messenger, composed in Bengal by Rupa Go-svamin, a devotee of Krishna.

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

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