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The present paper showcases that how the anthology Modern Indian Literature undertakes the readers on an endless voyage of emotions through poetry and enables the readers to live and relive those emotions. While going through the current of such emotions, souls of the reader's get purified unravelling the contribution of poetry towards humans making which is the topmost requirement of the present materialistic and highly ambitious world. Besides, this paper gives voice to the injustices of the past, resistance, the legacy of ancestors, bliss of rustic lifestyle, futility of adventures, helplessness, dislike for the city life and respite in the country life championing the doctrine of love, peace and harmony with human as well as natural world. [ABSTRACT FROM AUTHOR]

The following research paper highlights the embedded mythical notions or in other words, the folkloric traditional myths of the natives of a major community of Haryana, that are supposed to be the core of any culture and tradition. Then, the paper plunges into the representation of the glimpses of country life. There is a striking comparison between 'the modern products' and 'the antique ones' with reference to the selected poems. And, how the introduction of such modern items can be the cause of the psychological trauma of the women present in the family; has been the concern of the paper. From the depiction of the mother's anguish, the argument shifts to the depiction of the youth's chaos. Starting from the New Critical thought, the paper analyzes the poems, as per the New Historicist thought of Stephen Greenblatt. In the fourth part of the paper, we discuss the nativity of Haryanvi people which gets reflected in the Kavya by Dr. Jagbir Rathee. In the next portion of the research paper, the content of the poems presents a critique of the society at large. As the paper progresses, it describes a panoramic view of society and culture and throws light on how the cherished past has become just a copy of the faded memories of the bygone times, that slowly is flowing out of the mental construct of the upcoming generation. Last but not the least, the issues related with the translation of the original text into the "target language" (Mannur, n.pag.) has been dealt with. All in all, after studying the poems with a critical lens, it can be substantiated that literature is the mirror of the social, cultural, and the economic aspects of society. It is to be noted that the poems analyzed in the following paper were given by the poet himself in January 2014. [ABSTRACT FROM AUTHOR]

Although the Indian Peninsula had not historically been under Ottoman rule, the Muslims living in the region have had long-standing religious, historical, friendly, and emotional relationships with the Anatolian people. Throughout history, people in places such as Pakistan, Bangladesh, and Kashmir with their dense Muslim populations did not withhold their financial or moral support for the Anatolian people. They did not hesitate to support the Ottomans, whom they saw as the flag bearers of Islam, during either the Russo-Turkish war, known as 93 Harbı in Turkish, or the Gallipoli Campaign of 1915-1916. They were most upset by the abolition of the caliphate and took a long time to accept this situation. Many scholars and poets from India wrote books defending the caliphate, as well as elegies for Abdul Hamid Han, the caliph of Muslims, and for the Ottomans. Some of these scholars and poets who lived in the late 19th and early 20th centuries were Faiz-ul Ḥasan al-Saharanpuri, Zulfiqar Ali al-Diyobendi, Wahiduddin Ali al-Hyderabadi, Adib Pishavari, Hamiduddin Farahi, and Anwar Shah al-Kashmiri and were born and raised on the Indian subcontinent. This study examines the poems of these six mentioned poets who defended the caliphate and the Ottomans, as well as their praises about Sultan Abdul Hamid Han. [ABSTRACT FROM AUTHOR]

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The history of modern Indian poetry in English as evidenced in anthologies is riddled with many modernist tendencies, both linguistic and political. Within anthologies, poetry becomes not merely literary and artistic pieces, but agents in a larger narrative. To establish an argument for Indian poetic modernism (post-1950) in anthologies requires an inquiry into the processes in which editors, through the paratextual matters, (titles, prefaces, introductory notes, headnotes, endnotes etc.) help create a persuasiveness about newness or modernity. With more than 200 Indian poetry anthologies published since 1950, there is also the problem of selecting an authoritative volume that reflects the national canon. By juxtaposing Gérard Genette's (1991) paratextual theory and Ramond Williams's (1977) epochal theory of classifying the dominant, residual, and emergent cultural tendencies, this paper attempts to understand poetry anthologies as commodities and cultural vehicles constantly striving for dominance. An argument is made that any canon -- modernist or otherwise -- is a sub-product of this cultural and material struggle. Thus, the purpose of this paper is to provide an alternate understanding of the arrival of modern Indian English poetry canon as a form of construction that occurs within the pages of anthologies. [ABSTRACT FROM AUTHOR]

The Cornell Bombay Poets' Archive was initially started with Adil Jussawalla's donation of his massive archive to the Special Collections at Cornell University. Jussawalla has been collecting and documenting the state of Indian letters, more precisely the state of Indian poetry, for over fifty years. This essay takes a representative archival document from this collection to show the abiding engagements of the poet with the world in which he lived. This text is a planner/diary (a 'date book'), which contains a set of notes for an unwritten novel from the 1970s, when Adil Jussawalla's career as poet and writer was in its early stages. The planner/diary shows us the multiple trajectories of the conflicted space of the English writer in post-Independence India that we must heed when studying Indian modernisms: the peculiar combinations of pasts and presents to create an Indian modern; the combination of the trans-regional with the translocal with the deeply personal; and the refusal to sentimentalise anything. [ABSTRACT FROM AUTHOR]

Nund Rishi (1378–1440), or Shaikh Nūr al-Dīn Nūrānī, revered and remembered by most Kashmiris as the 'Alamdār (flag-bearer) of Kashmir, is one of the most significant figures in the history of religion and literature in Kashmir. The mystical poetry of Nund Rishi is not merely one among the many Muslim literary apocalypses across the Middle East and South Asia, it also constitutes an 'apocalypse from below'—a vernacular apocalypse that questions religious and political authority in medieval Kashmir. The mystical poetry (shruk) of Nund Rishi transforms the elements of a traditional apocalyptic mode in Islamic eschatology into a vernacular literary apocalyptic. [ABSTRACT FROM AUTHOR]

This paper will convey the reason for the launch of the first South Asian Diaspora Festival, Matwaala via the keynote delivered at the TLAN: Transformative Language Arts Network conference, Scottsdale, Arizona in October 2019. Matwaala's mission is to increase the visibility of South Asian diaspora poets in the USA. Launched in 2015, the inaugural festival was hosted in Austin followed by yearly festivals in New York/Long Island as geographically the area is a hub of numerous colleges and universities. Co-directed by US-based poets Usha Akella and Pramila Venkateswaran, the festival follows a satellite model of readings on the campuses of academic institutions with the intended directive to expose faculty and students to South Asian literature. Since 2015, Matwaala has executed projects and initiatives: yearly festivals; in 2020, Matwaala facilitated a poetry wall--24 poems by 24 South Asian poets for the Smithsonian Exhibit Beyond Bollywood at the Irving Arts Center and Museum in Irving, Dallas in collaboration with Think India Foundation1; poetry readings by South Asian poets in collaboration with India Currents; 2019 festival of five women poets hosted by Stony Brook University and Matwaala 2021 will feature four readings by poets of color in four categories: African American, Native American, South/Central American and Mexican. [ABSTRACT FROM AUTHOR]

This paper examines the critique of Brahminical patriarchy in the radical poetry of MeenaKandasamy and UshaAkella. While both poets, one Dalit and the other Brahmin, represent polar nodes of the caste spectrum, their poems delve into the intersections of women's lives and examine the layers of oppression that women negotiate. In addressing gender-caste violence and the othering as a result of privilege, Kandasamy's and Akella's poetry offers us opportunities for a deeper critique and dialogue. [ABSTRACT FROM AUTHOR]

In this article, I seek to argue that Meena Kandasamy's (1984 -) poetic endeavours call for an alternative academic framework beyond mere symbolism, textualism and identitarian determinism. I suggest that although much has been inscribed on her positionality as a Dalit feminist, not enough critical evaluation has focused on how performativity and theatricality permeate her body of work as a whole. Her expressions can be studied as a clarion call to transcend norms, forms, and practices through an embodied experientiality of self and an invitation to consciously ruminate on the art of poetry itself, that too in English originating from margins of everyday life in South Asia, but as reverberations for the entire world. This article will perform a close reading of select poems from the two poetry collections by Meena Kandasamy - Touch (2006) and Ms Militancy (2010) to substantiate the arguments and bring about her contribution to form, content, and new directions in Indian Writing in English. [ABSTRACT FROM AUTHOR]

Meena Kandasamy, the youngest and the rebellious poet of contemporary literary world, always proves that poetry is not just a form to express the aesthetics of a language; it is also a form which substantiates the power of a language in a society. Our society is tightly constructed with caste, religion, customs and superstitions and some deep rooted taboos which act as parasites. These taboos strongly tangle around the legs of the society and the necks of women. Our society is suffocating through such taboos which are intertwined with our caste system and especially with our women. Hence the paper intends to discuss Meena Kandasamy's Touch, which is her first anthology of poems, used as a weapon to dissect and destroy the taboos which make the women of the marginalized to grieve. Such an exploration is important to understand the fractions in the sufferings of a woman. This paper further celebrates Touch as a master who teaches the victims to violate the taboos and it also gazes Meena Kandasamy as a voice giver for marginalized women, against their social oppression. [ABSTRACT FROM AUTHOR]

The article argues that a critical encounter with pre-modern literatures from the national past is long overdue under the impact of a globalized discourse of sexuality. Its effects are already felt at the level of both pedagogy and literary reading, one reconstituting the other, in the 'global classroom', a self-conscious pedagogical space imagined by the new educational policy to bring about a globally accredited cultural homogeneity. The case study comes from teaching erotic poetry at an Indian university, from the joint literary complex of Hindi and Urdu in South Asia, a theme uncomfortably located in national culture not just because of its sexuality but its association with non-national linguistic elements which the article terms 'Indo-Islamic'. The overlapping of the sexual modern with the Indo-Islamic resurfaces a tension in the nationalized body of literary writing in Hindi/Urdu, the major 'national' languages of South Asia. This encounter of erotic poetry in old Hindi and Urdu with globalized sexuality, the article shows, offers a chance to reflect on how literary studies are being reshaped by the assumptions of a monolingual, monocultural global sexuality in our nationalist times. [ABSTRACT FROM AUTHOR]

Mirza Ghalib does not need any kind of introduction as he is a world famous poet for having made a significant contribution to the Urdu and Persian literature. He says about himself as a poet:haiñ aur bhī duniyā meñ suḳhan-var bahut achchhe kahte haiñ ki 'ġhālib' kā hai andāz-e-bayāñ aur At the same time Ghalib is very popular in South Asia even among unlettered people both because of the striking universal appeal of his verses and his style. One of the predominant concerns of his poetry is the way Ghalib talks about death. The theme of death is the quintessential feature of his poetry. It is such an important theme of his poetry that it almost gains the status of a character in his poetry as it occurs again and again in his poetry. Therefore the present research paper makes an attempt to highlight this particular obsessional tendency of Ghalib and relates it with these life events which kept haunting him from time to time. An attempt has also been made to look at the different connotations of death as used by Ghalib across his poetry. There are many aspects in his which have been critically examined by critics all over the world but this aspect-the most predominant feature of his poetry has not been examined at all, hence the present research paper makes an attempt to examine it critically. The paper also highlights how Ghalib foregrounds this unconventional technique of the treatment of death which creates defamiliarisation. [ABSTRACT FROM AUTHOR]

Described as'the father of post-independence Indian verse in English, "Nissim Ezekiel is one of India's finest poets. Winner of the 1983 Sahitya Academy Award for his poetry collection Latter Day-Psalms, Ezekiel has penned numerous poems on everyday objects that testify to postcolonial India's rich literary history. Apart from his prose and plays, Ezekiel asserts a strong influence on Indian writing in English especially through his poetry. He has published collections such as A Tune to Change, Sixty Poems, The Third, The Unfinished Man, The Exact Name, Hymns in Darkness and Latter-Day Psalms. On his passing away in January 2004 at the age of 76, Ezekiel was calledthepoet'spoetby The Independent of London. Another poet of Indian origin, Geeta Chhabra, had the privilege of being tutored under Ezekiel's pativnage. This paper addresses the similarities in the poetry of Nissim Ezekiel and Geeta Chhabra as depicted through the images of the Orient in Chhabra's poetry collection of forty poems and photographs titled'An Indian Ode to the Emirates. [ABSTRACT FROM AUTHOR]

Translation is a process in which a text in one language is translated into the other language for the purpose of providing it to the readers of the other language. In this way, a larger community of readers can read and understand the culture of the other language and areas. It is hardly possible to retain the same order in target language. The translation of poetry is much more difficult to translate. First of all, it is impossible to translate an epic like Ramcharitmanasa into verse. Since this epic is composed in a regional language, i.e. Awadhi, there are many words those are culture-specific and therefore difficult to translate. Tulsidasa has used many figures of speech in his work. These figures of speech provide it richness, vitality and musicality. But while translating it from Awadhi to English, these figures of speech can't retain their richness. [ABSTRACT FROM AUTHOR]

History is said to be the narration of significant event that have occurred somewhere in the past. Earlier, it was looked up to as an authentic document of certain period and its veracity was never questioned. The investigation regarding its genuineness is just recent when scholars realized that different historical versions of the same period were available. Each version spoke different stories, often contradictory, about the same period. Now the question arises, how far the history is authentic? Historians write history based on their personal agenda and biasness. Thus the investigation began and up to now the debate still lingers on which version to accept as real and which to discard as unreal. Besides history books, plethora of information about historical facts are available online, therefore, selecting the right version has become difficult. Surprisingly, details of authentic historical events have started reflecting in poetry. The function of poetry has changed drastically since the First World War. Certain sections of poets have become imbued with the reality and pressing issues of their surroundings. They have started representing the reality of the events as it is and this kind of poetry could be seen emerging from the Northeastern part of India. The present paper attempts to explore the historicity as reflected in the poems of Robin S Ngangom and to see how his poem plays a major role in bringing out the social and political issues of Manipur. [ABSTRACT FROM AUTHOR]

The paper elicits the Supernatural elements present in Indian Epic Ramayana. The great epic was inscribed by a sage named Valmiki. The term supernatural indicates the meaning, a force or power beyond humanness or normal. It is often associated with God, demigod, demon, devil and spirits. The epic, Ramayana is enriched with supernatural elements. For instance, the character Ravan who is the villain of this epic has ten heads and twenty hands. Having ten heads and twenty hands are quite unnatural and magical. The main purpose of this research paper is to bring out the characters with supernatural calibre and elements in the great epic Ramayana. [ABSTRACT FROM AUTHOR]

The Rāmāyaṇa of Vālmīki, although widely renowned as a kāvya, and, indeed, as the very origin and inspiration of the entire genre of poetry, is also understood to be an itihāsa, a history. It shares, in fact, both non-mutually exclusive genre designations with its sister epic, the Mahābhārata. Nonetheless, the central books of the work, particularly kāṇḍas two through six, in large measure read as much like a romance as they do an account of human military and political history. In this article, I argue that the lack of such history in these books was a concern of the authors of the epic’s seventh and final kāṇḍa, the Uttarakāṇḍa, and that one of the several functions of this important but generally understudied, frequently criticized and often excised book is to remedy this perceived lack. In support of this argument, I compare the treatment of history in the Rāmāyaṇa and the Mahābhārata and examine a series of largely ignored Uttarakāṇḍa passages in which the authors appear to revise and extend the military and political history of the earlier kāṇḍas in ways suggestive of their reading of the Mahābhārata. [ABSTRACT FROM AUTHOR]

This paper analyzes two poems written by Sir Mohammed Iqbal, a 20th century philosopher-poet, who played a significant role in the Indian struggle for independence from the British Raj. I argue that in the Complaint and the Answer to the Complaint, Iqbal utilizes a Muslim jeremiad to construct an Indian-Muslim identity that is steeped in history yet looks towards new possibilities for people struggling under an oppressive colonial regime. The paper concludes that Iqbal combines elements of Biblical, conservative, and progressive jeremiads to dissolve the contradictions of tradition/progress and spirituality/political agitation that had immobilized his community. [ABSTRACT FROM AUTHOR]

This article considers how Bombay's English-language poets have negotiated and re-imagined this iconic and highly mediated city. It suggests that poetry in general, and the work of Bombay's poets in particular, is especially able to articulate what Henri Lefebvre characterized as the "lived" dimension of space. Unlike Bombay's novels, which have been read as an allegory of the city at large, its poems offer an alternative perspective, presenting Bombay as a space of intimate experiences, social interactions and fleeting impressions. Indeed, Bombay's poets often present the city as an affective space, placing an emphasis on the fleeting impressions and experiences it offers its subjects. This article examines the work of a selection of Bombay's poets working from the 1950s until the present - among them, Arun Kolatkar, Adil Jussawalla, Dilip Chitre, Namdeo Dhasal, Amit Chaudhuri, Arundhathi Subramaniam, R. Raj Rao and Imtiaz Dharker - and who attend to the ephemeral and transient experience of the city. In doing so, their work critiques both the popular image of Bombay as a so-called maximum city of extremes and demonstrates poetry's specific spatial dynamic, which enables it to capture the dynamic and transient experience of space itself. [ABSTRACT FROM AUTHOR]

The article discusses the poetry scene in Bombay, India focusing on the city's diverse population, its wealth of resources and cultural differences, views of poets such as Dilip Chitre and Arundhathi Subramaniam, and impacts of the city's geocultural landscape on the literary production.

Indians have been writing verse in English at least since the 1820s. It made its beginning under adverse circumstances and after an initial struggle for a place in the world of English literature has achieved a distinct identity of its own. Indian women poets also write on a variety of themes with multiple layers of meanings. It will be true to say that the most important dimension and variety to Indian English poetry was impacted by the female writers starting with Toru Dutt, Sarojini Naidu, and Kamala Das, Imtiaz Dharkar, Mamta Kalia, etc. till date. Indian poetry in English by women has undergone several phases of experimentations in terms of themes and expressions in the last sixty years. The confessional mode of Kamala Das in which she expresses the trials and tribulations of modern Indian women has forced the shocked the traditional 'male world' to listen to her protest. Her poetry has influenced several other contemporary poets who ate writing multiple issues from a woman's point of view. The present paper is a general study of the poetry by Mamta Kalia, Gauri Deshpande and Kamala Das. Though these three woman poets wrote during different periods of time and having different social backgrounds, they give voice to the concerns of women in general and Indian women in particular in their own individual style. [ABSTRACT FROM AUTHOR]

The article examines the representation of the life of transgender in Kalki's poems.

This article examines the literary strategies employed by a devotional poet who wrote about recent events in the eighteenth century, in order to shed light on contemporary notions of social responsibility. Taking the poetic treatment of Ahmad Shah Abdali's invasion of North India and the sacking of Vrindavan in 1757 as its primary focus, the article will discuss how political and theological understandings of lordship converged at a popular level, such that a deity could be called to account as a neglectful landlord as well as venerated in a bhakti context. It examines the redaction of tropes inherited from both vaisnava literature and late Mughal ethical thought, and considers the parallels between the Harikala Beli, a Braj Bhasha poem, and immediately contemporary developments in Urdu literature, particularly the shahr ashob genre. As such, it uses poetic responses to traumatic events as a guide to the interaction between multiple intellectual systems concerned with human and divine expectations and obligations. [ABSTRACT FROM PUBLISHER]

The article discusses the development and changes to prosodic verse in Telugu literature and Sanskrit literature. Topics mentioned include the aspects of cadenes of poetry, the impacts on the popularity of realism of prose among poetry works and the concept of poet juxtaposes. It also explores the contributions of poets Gadiyaram Venkata Sesha Sastry, Veluri Sivarama Sastry and Puttaparti Narayanacharya.

An essay is presented on Mappila, the body of scholarship on the Muslims of Malabar in Kerala, India. It seeks to urge that Mappila genres such as the mala and the mawlud be best appreciated as transformative practices that produce Mappila subjectivity and selfhood. It also discusses the constitutuve role of genre in what the author described as the self-fashioning of Mappila Muslims in the state.

The article offers information on the co-relation between Saussurean linguistics and Indian poetic system alamkara. Topics include the history of the two systems wherein alamkara was considered as one of the oldest Indian poetics' systems, the affinities between Saussurean linguistics and alamkara featuring the two parts of which are linguistic and emotive, and the study by Swiss linguist Ferdinand de Saussure about structuralism.

Reading Ramanujan's poetry and prose leaves often an elusive trail of impressions bordering on Buddhist philosophy and practices. In exploring traces and intertexts available, one would perceive, these are but closely and intricately interwoven with the ideas and concepts in poems that have been treated as Hindu or Western things obviously in the first place. Before coming to deal with Ramanujan's Buddhist consciousness in detail, an attempt is made to gain insights from his poetic dimensions that subtly conceal and reveal simultaneously a Buddhist in him. [ABSTRACT FROM AUTHOR]

This paper proposes to throw light on Eroticism in the contemporary social life as depicted in the Poetry of Jayanta Mahapatra. As hunger and sexuality remain our basic issues, Mahaptra says frankly about love and sexuality. He compares today's eroticism with the help of three K's --' Kamasutra' 'Konaraka' and 'Khajuraho'. Eroticism, the issue of conjugal life and love laden aestheticism is lost its fragrance and freshness for the amalgamation of 'glocal' and westernized model. The perverse sex culture marginalizes the aesthetic 'rasa' eroticism. Vatsayan's Kamasutra's sixty four petals of erotic postures, the iconography sculptured on temples of 'Konaraka' and 'Khajuraho', 'rasa' erotic vision of 'sr'ngara','abhiman', 'auchitya', 'vasana', 'kama', 'rati', 'sambhoga', all are smashed by westernized sex culture. Our vital force in erotic culture should be controlled and disciplined following the paths of three K's and also other authentic erotic lessons--magnetized by the power of 'shakti' in different forms of 'Durga' and "Chousatti Y ogini". [ABSTRACT FROM AUTHOR]

Arun Kolatkar's Kala Ghoda depicts postmodern socio-political India. It represents the life of the underprivileged and highlights its absolute disparity with the technological and material progress of India. It portrays the lives of people living on the streets - sweepers, lepers, prostitutes, beggars, drunkards, and others like them. It brings objects, animals, rubbish, and ecology together. Kolatkar observes the marginalized poor, against the overcrowded, advanced, capitalistic Mumbai, to pinpoint that their condition has not changed in post-colonial India. Their condition was neither good in the pre-British times, nor did it improve in the colonial period, and continues to go on in the same miserable drudgery even today! The features of postmodernism like irony, humour, minimalism, techno culture, writing of the long poem by dividing it into shorter pieces, consumerism, commodity glorification, identity crisis and so on, are all reflected in Kala Ghoda. Kolatkar does not indulge in the past traditions of India, but focuses on the wider, modern world and the people living in capitalist urbanization. This paper attempts to highlight the life of Mumbai portrayed in "Breakfast Time at Kala Ghoda". The scene of the underprivileged coming together for breakfast and enjoying life quite optimistically stands entirely in contrast to the lives of their masters. This poem emphasizes their pangs. It gives a call in a humorous and ironical tone to the entire humanity to think of the hypocrisy of progress affecting the lives of the poor of India. [ABSTRACT FROM AUTHOR]

This essay meditates on the work of three Indian poet-translators: Toru Dutt, A.K. Ramanujan, and Arun Kolatkar. It explores whether these three share a way of translating, or at least a sensibility. Does the global stride of their work make them exemplars of “world literature”, or is theirs an “Indian” view; or both? [ABSTRACT FROM PUBLISHER]

The article presents a comparison of the feminist reading of the poetry of poets Kamala Das and Dorothy Livesay. It mentions Livesay's feminine verses enjoy respect being personal and mentions that description of sexual love depicted in the Canadian poetry. It explores the feminine sensibility in the poetry of women poets as a fine expression of the significance of love.

Rabindranath Tagore's contribution to literature covers almost all areas of art and literature - from nursery rhyme to refined poetry; from fairy tale to full-blown novel; from discourses to thought-provoking plays; from careless sketches to abstract painting and so on. But why did he refrain from writing elegy? His attempts with a few of his poems like "Chhabi" "Biswa Shok". "Niskriti" and a book of elegiac verses called "Smaran" are but a defensive position Tagore takes personally to excuse himself of his reluctance or, inability to deal with the rich and refined area of elegy. This article presents the case of an elegy as a very early literary form popular and practiced at all times. This study also focuses on why readers and critics have been silent on the issue as to why did Tagore refrain from elegy? With a background and development of elegy as a genre, attempts are made to weigh between the myths and the reality surrounding Tagore's genius and his apparent reluctance to write elegy and find an answer to the possible reasons for this great literary abstention. [ABSTRACT FROM AUTHOR]

The figure of Draupadi in the Mahabharata has fascinated authors, commentators and scholars for the complexity of her character. This enigmatic figure has been the subject of many contemporary writings wherein she gets a new lease of life in the hands of feminist writers who see her either as a victim of patriarchal social ideology or as a woman who is strong and resists oppressive power structures with strategies unique to her personality. Chitra Banerjee Divakaruni's The Palace of Illusions is one of the recent attempts by an Indian diasporic writer who tries to rewrite the grand Indian epic from the perspective of Draupadi and providing the contemporary reader with an insight into Draupadi's complex personality. [ABSTRACT FROM AUTHOR]

This article is a continuation of a study published in AOH 66/1 (2013), pp. 25-45 entitled 'What makes a good poet according to Someśvaradeva? Poetic merit, demerit and the ethics of poetry in the Surathotsava and the Kīrtikaumudī'. It provides the texts and the first English translations of several verses concerning ethics (Surathotsava 1.1-1.64 and Kīrtikaumudī 1.1-1.47) by the 13th-century poet Someśvaradeva, which had formed the basis of the analysis in that study. The edited texts here improve upon the older published versions, and, in the case of the Surathotsava, utilise textual variants and glosses to difficult puns not given in the printed text, by additionally taking into account two manuscripts. [ABSTRACT FROM AUTHOR]

With the growth of Indian poetry in English many Indian women poets have come to the periphery of writing poems. Toru Dutt or Kamala Das inspired many women poets to hold their pens to be vocal against women's oppression in Indian society even after India's Independence. But women's position is still the same as it was oppressed by male dominated society before. Though society has changed and the view towards women has also changed, Indian poets have represented women as oppressed and negative. They are "problems". They are subjects to their male counterparts and thus their position becomes objective. In the poems of Gagan Gill, Eunice de Souza, Jyotsna Milan, Hira Bansode, Mrinal Pande, Vaidehi and many others modern Indian women are represented as a group of "powerless women". But, are women always oppressed by men? In this respect I have dealt with both man and woman as represented by the Indian poets in different languages throughout the country. We have seen how balance cannot be drawn by paving a battleground between man and woman. And without the balance peace is hardly discernible in our society. The position of both men and women rests on mutual cooperation. The battle of power can only make unrest. In this paper I have tried to focus on the position of both men and women in the translated of Indian poetry of many Indian poets into English. [ABSTRACT FROM AUTHOR]

The post-independence bilingual Indian poet Arun Kolatkar (1932–2004) uses cartographic images and narratives of travel to interrogate the newly independent Indian nation. Focusing on the city of Bombay/Mumbai, the poet persistently maps the city and its environs in unconventional ways: on foot, through eating habits and clothing. Such walking documentation of city spaces provides a resistant alternative to privileged viewpoints of spaces and people, as de Certeau points out, and Kolatkar’s poetry targets the neoliberal world of post-independence India by juxtaposing the cartographic global with the intensely local. But he goes farther. This essay shows that the cartographic impulse in Kolatkar’s poetry is based on the poet’s contradictory desire to achieve two concurrent yet opposite goals: one, to document the periphery of the modern world of Bombay/Mumbai (and therefore to make this subprime indigent life visible within authoritative contexts); two, to simultaneously also shield this periphery from the consuming eyes of the rest of the world (including from those of the reader of his own work). The poet’s goal is to highlight the resistant edge and then make disappear this vehemently local element before it gets devoured by the exoticizing gaze of the global and the metropolitan. [ABSTRACT FROM PUBLISHER]

Amir Khosrow Dehlavi, the famous poet of India, is one of the most prolific poets of Persian language who has influenced deeply the poetry of Persian poets after himself in Iran and Indus lands. Though most of his fame refers to his Mathnavies, there are a number of good and elaborated sonnets belonging to him which show his high status in Persian poetry. The Divan of his sonnets has been published several times in Iran and India. Among these is Tehran's published version with the introduction of Saeed Nafisi and corrected by M. Darvish which has been used by Iqbal Salah al-Din as one of the main criteria in his later correction of Amir Khosrow's Divan. Since this latter correction is not found in Iran, Muhammad Roshan has published the very work of Iqbal Salah al-Din with some minor changes and eliminating variant copies. This correction, which today is referenced as a source in most researches and articles, has mistakes, Tashifs and minor and major problems. This article aims to show some fundamental problems and Tahrifs and Tashifs in the published Divan of Amir Khosrow on the basis of three authentic manuscripts of his Divan and also point to some of his newly-found poems and verses. [ABSTRACT FROM AUTHOR]

In this part importance and specialize of sushruta are specified. In Part -- 1 all the translation works in all the available languages is narrated. After studying all those books and keeping in to mind about a comprehensive work of sushruta it is necessary to elaborate in this present text. This part is divided into 5 sections. (A) All available commentaries taken in to consideration for this part is written, (B) Specialities of sushruta are most important as he has narrated all eight sections of Ayurveda elabroted widely where as caraka has only narrated mainly selected part of kAya-cikitsA and left other sections for other authors e.g., "atra dhAnavantareyaNAM adhikArah" etc., Specifying a list of all sections and chapters with the numbers of prose + poetery, (C) None of the translator or commentator touched the importance of sushruta in the literature of samskRta, where as sushruta was a great poet. Giving similar resemblance of common use by mass, he tried to explain the tough subject in simpler mode of knowledge for proper understanding to all public. He has specifically selected the prosody for the specified subject. Examples are given in this section. (D) sushruta has written prosody in14 metres and long sentences too in samskRta that shows his ability and wast knowledge in the literature. All references of each and every metre is noted from all sections of sushruta with complete reference numbers. And no where this subject is published till now- (E) A challenging word regarding the work of sushruta "shArIre sushruto naSTah" is turned back while quoting various references of shArIra-sthAnam and placing its world wide importance by various writers. [ABSTRACT FROM AUTHOR]

Abdul Rahman, a great modern Tamil poet, is greatly admired among the Tamils all over the world, but his works are not yet available to the literary world of the different countries. His major work poses great challenge to the translator in terms of linguistic, cultural, social, religious and racial ethos. His provocative and thought-provoking literary creation, uṟankum aḻaki is tough to translate. The translator would succeed only by invoking and utilizing his own literary and aesthetic sense to rise to the level and expectations of literary demands of Abdul Rahman's literary output. This paper, while outlining some of the translation difficulties currently encountered in Abdul Rahman's work uṟankum aḻaki, presents a summary of the book as prelude to detailed translation. [ABSTRACT FROM AUTHOR]

The article compares the Sanskrit epic poem, the Rämäyaṇa by legendary Indian poet Valmiki, which is part of Hindu religious texts, with the ancient Greek epic poem the Odyssey by legendary Greek poet Homer. The history of comparison of Hindu epics in Sanskrit with ancient Greek epics is also addressed with an emphasis on implications for understanding of the Odyssey.

The article explores Indian poet Rabindranath Tagore's affinities with English Romantic poet William Wordsworth based on the formers' poetry and prose. Topics include Tagore's view on how Wordsworth depicts beauty as something luminous that finds new expressions in nature, Wordsworth's influence on Tagore to turn to nature to write, and the link between Wordsworth's love of the simple folk and common objects of nature and Tagore's nature poetry.