Santoshi Chalisa In English Rhyme along with original text

Munindra Misra has written the popular Chalisa in English rhyme keeping the original text The Chalisa include those of Lord Ganesh, Shiva, Vishnu, Krishna, Ram, Surya, Hanuman & Shani and Goddess Gayatri, Durga, Sarasvati, Lakshmi, Kali, Ganga and Santoshi

Many persons have written the Mantras, Stotras, Stuti, Chalisa and Aarti in English but this is the first time that they have been written in English rhyme. The Author, Munindra Misra has covered the most popular Hindu Gods and Goddesses and thus made it easier for people to comprehend the meaning and also appreciate the same in rhyme. The Deities covered are Lord Ganesh, Lord Shiv, Lord Vishnu, Lord Krishna, Lord Ram, Lord Hanuman, Lord Shani, Ma Gayatri, Ma Durga, Ma Laxmi, Ma Mahakali, Ma Saraswati, Ma Ganga and Ma Santoshi and others. A general understanding of each deity has also been written by the author in English rhyme as a primer to each Deity.

The Life of a Text offers a vivid portrait of one community's interaction with its favorite text—the epic Ramcaritmanas—and the way in which performances of the epic function as a flexible and evolving medium for cultural expression. Anthropologists, historians of religion, and readers interested in the culture of North India and the performance arts will find breadth of subject, careful scholarship, and engaging presentation in this unique and beautifully illustrated examination of Hindi culture. The most popular and influential text of Hindi-speaking North India, the epic Ramcaritmanas is a sixteenth century retelling of the Ramayana story by the poet Tulsidas. This masterpiece of pre-modern Hindi literature has always reached its largely illiterate audiences primarily through oral performance including ceremonial recitation, folksinging, oral exegesis, and theatrical representation. Drawing on fieldwork in Banaras, Lutgendorf breaks new ground by capturing the range of performance techniques in vivid detail and tracing the impact of the epic in its contemporary cultural context.

The nautanki performances of northern India entertain their audiences with often ribald and profane stories. Rooted in the peasant society of pre-modern India, this theater vibrates with lively dancing, pulsating drumbeats, and full-throated singing. In Grounds for Play, Kathryn Hansen draws on field research to describe the different elements of nautanki performance: music, dance, poetry, popular story lines, and written texts. She traces the social history of the form and explores the play of meanings within nautanki narratives, focusing on the ways important social issues such as political authority, community identity, and gender differences are represented in these narratives. Unlike other styles of Indian theater, the nautanki does not draw on the pan-Indian religious epics such as the Ramayana or the Mahabharata for its subjects. Indeed, their storylines tend to center on the vicissitudes of stranded heroines in the throes of melodramatic romance. Whereas nautanki performers were once much in demand, live performances now are rare and nautanki increasingly reaches its audiences through electronic media—records, cassettes, films, television. In spite of this change, the theater form still functions as an effective conduit in the cultural flow that connects urban centers and the hinterland in an ongoing process of exchange.

The First Book On Annuasl Horoscopy Or Varshaphala (The Tajika System) Which Id Fully Illustrate.