Chinmaya Summer School 2017 - Day 1

Chinmaya Vishwavidyapeeth and Chinmaya International Foundation have jointly organized a ten-day Summer School from 17 to 26 June, 2017 to realize the spirit of Indian culture through the creations of Vyāsa, Vālmīki, Kālidāsa (and Guṇāḍhya) at the Adi Sankara Nilayam, Veliyanad. The Summer School is support by Indian Council of Philosophical Research. Prekshaa is delighted to present a daily summary of the discussions over the course of the next ten days.

Day 1, Session 1: Inauguration

After a melodious invocation by Swapnil Chaphekar (Faculty, Chinmaya Nada Bindu Gurukula), N M Sundar (Trustee, Chinmaya International Foundation and Campus Director, Chinmaya Vishwavidyapeeth) welcomed all the participants—young and old—to the birthplace of Adi Shankara. The Chinmaya International Foundation was established as the research wing of the Chinmaya Mission. He mentioned that Summer School 2017 was a tribute to the masters of our ancient civilization.

After the lighting of the lamp by the dignitaries, Naresh Keerthi (Faculty, Chinmaya Eswar Gurukula) introduced Prof. B Mahadevan (Vice Chancellor, Chinmaya Vishwavidyapeeth). The vice chancellor praised the wonderful choice of title for the summer schools. “This is a wonderful combination of three great personalities. When we talk about a work, we basically talk about the personality of the creator of the work,” he said. While it is quite a task to cover such an expansive topic in a short period of ten days, he expressed immense confidence that Dr. Ganesh would not only introduce these great masters to the participants but also inspire them to go back and read these works deeper. Prof. Mahadevan said that culture is important for society, and more ancient the culture, the more valuable it is. Culture must be preserved at all costs because without culture, society will lose its identity. He concluded by saying that the situation is filled with hope, for it is no joke for close to sixty people to turn up for a ten-day-long workshop such as this one.

Prof. K T Madhavan (Chair of International Studies at Kerala Sanskrit Academy, Thrissur) gave the inaugural address. He began by invoking the famous verse of Vyāsa "श्लोकार्धेन प्रवक्ष्यामि यदुक्तं ग्रन्थ कोटिभिः / परोपकारः पुण्याय पापाय परपीडनम् " (I will tell you in half a verse what has been said in a million books: helping others is good, harming others is bad.) He mentioned that these great poets—Vyāsa, Vālmīki, Kālidāsa—are the representatives of the culture of Bharātavarṣa. He said, “While the three of them have several agreements in technique, plot development, character portrayal, description of nature, and their connection with culture, they have their own individuality and it would be unfair to compare the three.” When the culture is disturbed, the country is destroyed; it is the culture of Bhārata that connects people from different backgrounds in India, like the thread that holds together flowers of various colours in a garland. This is the reason why our enemies have always tried to attack our culture. Prof. Madhavan stressed on the point that the preservation of culture depends on our womenfolk and that they must be empowered.

Prof. Sreekala Nair (Dean, Faculty of Social Sciences, Head of the Department of Philosophy, Sree Sankaracharya University of Sanskrit, and Member of Indian Council of Philosophical Research) began by saying that Vyāsa, Vālmīki, and Kālidāsa are luminaries in the galaxy of world literature, and not just of Sanskrit literature. Their works have been inspirations for generations, not just to writers and poets but to all artists. She mentioned that any country or society that wants to develop should nourish and promote its culture. Self identity is essential for a society; if we don’t know ‘who we are’ that is a sad day for any society. In India, philosophy and literature are interconnected. Sanskrit language is the foundation of our culture. It is inseparable from Indian culture and ethos. She concluded by recalling the words of Tagore, who said that the Indian intellect lives in a joint family and not a nuclear family, implying that the various disciplines in India have always been interconnected, not discrete.

Naresh Keerthi then introduced Śatāvadhāni Dr. R Ganesh (Academic Director, Summer School 2017) in glowing words. In his short speech, Dr. Ganesh said, rather humorously, that poets were like master thieves – they steal from so many places, from so many sources, and are a veritable treasure house. They are perennial sources for joy. And a rasika who finds joy in poetry has pleasure without the pressure. He narrated the famous exchange between the seer Bhṛgu and his father Varuṇa from the Taittirīya Upaniṣad, emphasizing on how the quest for the son stopped once he attained ānanda.

The DVD set of Kalayoga (Summer School 2016) was released by Swami Sharadanandaji (Senior Acharya, Chinmaya International Foundation and Member of the Management Board, Chinmaya Vishwavidyapeeth).

Swami Sharadananda briefly spoke about the importance of dharma and how the puruṣārthas are present in the works of Vyāsa, Vālmīki, and Kālidāsa. He said that the Itihāsa and Purāṇas were able to capture the essence of the Vedas in simple language. He requested all the participants not only to enjoy and learn through the Summer School but to go forward and become representatives of dharma and our great culture.

Day 1, Session 2: Introduction to the Summer School

Śatāvadhāni Dr. R Ganesh

After all the participants introduced themselves, Dr. Ganesh gave a quick introduction to the Summer School. He said that it is always better to read Indian language translations of these Sanskrit classics rather than depend on English translations. There is a cultural context to several words of Sanskrit that are easily accessible in the regional languages of India but are impossible to capture in English. He gave the example of the word agni, which in English is just fire, but has a deep cultural connection in India. It is fire alright but much more than fire. He emphatically said, “English has not become the cultural lingua franca of India and it will never be able to. Sanskrit was the cultural lingua franca and continues to be so, through the various regional languages.” He went on to explain the uniqueness of the Indian tradition. Some civilizations and cultures in the past had the epic tradition, like the Greeks and Romans. Some of these ancient epics include Beowulf, Iliad, Odyssey, Aeneid, and Gilgamesh. These did not, however, have a Holy Scripture or gospel. Some cultures had holy texts, like Judaism, Christianity, and Islam but didn’t have epics. Some like the Chinese, Japanese, Inca, and Maya civilizations had neither epics nor gospels. It is only in India where we have sacred works like the Vedas and the epics like Rāmāyaṇa and Mahābhārata. The greatest beauty, however, is that we have the tradition of adhering to a text and then transcending it. While adhering to a work is a necessity, transcending it is essential. While the Vedic literature was deva-kendrita (centered around deities), the epics are jīva-kendrita (centered around humans), and the works of Kālidāsa are bhāva-kendrita (centered around emotions). In the Vedas, the deities help humans as they are; in the epics, deities incarnate as humans; and in later poetry, the focus is on human emotions. Dr. Ganesh mentioned how this theme is beautifully brought out in D V Gundappa’s Antaḥpuragītā. And when we explore jīva and bhāva, even the devas will be there to worship it.

Day 1, Session 3: Life Principles from the Vālmīki Rāmāyaṇa

Prof. B Mahadevan

Prof. Mahadevan started his talk by giving three reasons for reading the Itihāsa and Purāṇa literature. First, they help clarify the ideas of the Vedas in simple language. Second, the epics give us two separate approaches – what is the ideal way and what happens in reality. If Rāmāyaṇa shows us the ideal path to living, Mahābhārata gives a view of what happens when people try to follow that path and fail or succeed. Third, in the original works, Vyāsa and Vālmīki never lose an opportunity to share a fundamental principle of living. Prof. Mahadevan went on to analyze the character of Rāvaṇa using what he called a universal framework of destruction in six stages:

Stage 1. The character develops enormous strength. However, striving for greatness and achieving it naturally leads to ego. Although Rāvaṇa measured in greatness with Rāma, he did not measure in goodness.

Stage 2. The character indulges in adharmic acts. The heightened ego removes fear of dharma and he loses control of his senses. He doesn’t allow for dissent of any kind.

Stage 3. The character invites the wrath of people and is cursed. The wicked person digs his own grave. It is the beginning of his end.

Stage 4. The destruction begins. The character doesn’t listen to wise counsel from any source.

Stage 5. The destruction is imminent as the character is blinded from reality. Upon realizing the situation, the character becomes desperate and resorts to foul play.

Stage 6. Aftermath is colossal. When a leader commits a mistake, there is destruction not just of the self but also of family. It is too late even to repent.

Day 1, Session 4: The Philosophy of the Epic Tradition

Śatāvadhāni Dr. R Ganesh

Dr. Ganesh gave an overview of the workshop by laying out the philosophy of the epic tradition. He mentioned that the great poets of the past had a fantastic communication skill. As long as human nature remains, these poets will have relevance. As long as humans are emotional beings, these epics will be read. There is something in them for everyone.

Dr. Ganesh emphasized that the purpose of art is ānanda (enjoyment) and attempting to extract a social message from a work of art is to destroy it. The epics help us sublimate our existence. It is when we transcend the threshold of ignorance that we have awareness. Our epics naturally help us to know ourselves.

He explained the difference between kāvya and śāstra using an example from dance. In the classical dance tradition of India, we have mudras and hastas. Mudras are used to insulate oneself from the world while hastas are used to communicate something to the world. Śāstra is focussed and instructional while kāvya is communicative and entertaining. If kāvya can be likened to a fresh fruit, śāstra is like a capsule with the vitamin present in the fruit.

We all accept our existence without any questions; it is self-evident. So also, our emotions are self evident. We don’t need anyone else to tell us whether we are happy or sad. Existence (sat), awareness (cit), and bliss (ānanda) are self-evident. No external proof is needed. Bliss is therefore our natural state. Any deviation from bliss is unnatural.

All of us have desires (kāma) and find the means (artha) to fulfil them. The desires and the means to their fulfilment must be managed by the sustainability principle (dharma). Dharma is both an enforcement and a realization; the former is implemented by the law while the latter is evolved through culture. This culture teaches us to look at everyone as extensions of ourselves. When this culture becomes a part of our nature, then dharma graduates to mokṣa, the state of lasting bliss. The path tread by the sādhaka of Vedānta with mindfulness becomes the way of living of the siddha, who is perfected in Vedānta.

An observant person realizes the greater cosmic order in the universe, what our ancient seers called ṛta. Having realized this order and the interconnectedness of everything, he naturally develops a gratitude for his existence and what he is receiving from the universe. This feeling of ṛṇa, cosmic indebtedness, inspires one to tread the way of dharma, which helps sustain the grand order behind the universe. How to follow the path of dharma? This is given in the beautiful pedagogy of yajña (sharing and offering), dāna (philanthropy, giving) and tapas (effort, penance). This results in Goodness in thought, Truth in speech, and Beauty in action.

Both Vyāsa and Vālmīki are great poets but when we compare them, we find that the Mahābhārata is more profound when compared to the Rāmāyaṇa both in form and content. While the strength of Vyāsa is divergence, Vālmīki’s strength is convergence. While Mahābhārata’s storyline is long and winding, Rāmāyaṇa’s storyline is a short, straight line. While Vyāsa and Vālmīki have different approaches, their purposes are the same.

Dr. Ganesh concluded with a poignant observation about Vyāsa, who was such an open-minded and unbiased writer. Typically, when we want to abuse another—in any language—we point fingers at the other’s birth; in other words, we abuse his mother. When this is the case, Vyāsa openly shares the secret of his birth, which one could easily look down upon in contempt. Dr. Ganesh concluded by quoting a beautiful verse from the समयोचित-पद्य-मालिका –

कानीनस्य मुनेः स्वबान्धववधूवैधव्यविध्वंसिनो
नप्तारः किल गोलकस्य तनयाः कुण्डाः स्वयं पाण्डवाः |
तेऽमी पञ्च समानयोनिरतयस्तेषां गुणोत्कीर्तना-
दक्षय्यं सुकृतं भवेदविकलं धर्मस्य सूक्ष्मा गतिः ||

Vyāsa, the saint, was a kānīna (born to his mother while she was still unmarried). He fathered the children of his brothers’ widows and thus those children (Pāṇḍu and Dhṛtarāṣṭra) became golakas (born to widows through niyoga). The Pāṇḍavas, grandchildren of Vyāsa, were kuṇḍakas (born through other men while the father was still alive). They were married to a single woman, Draupadi, and thus had indulged in polyandry. Celebrating their lives would yield infinite virtue forever. The way of dharma is intriguing yet so sublime!




Prekshaa is a premium journal of Indian culture and philosophy drawing from the vast and timeless treasure trove of various aspects of India's grand heritage.

Prekshaa Publications

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived in...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்....

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...


इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...


इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।


इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।


इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।


अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...


ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...


“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...