In the year 1829 King Bagyidaw of Burma appointed a committee of scholars to write a chronicle of the Burmese kings. The name of the chronicle was taken from the Palace of glass, in which the compilation was made. The present translation is based on the Mandalay edition of 1907. It begins with the third part which opens with history of the three Burmese kingdoms of Tagaung, Tharehkittara, and Pagan. The fourth and fifth parts continue the history of Pagan until the time of its fail.

In the year 1829 King Bagyidaw of Burma appointed a committee of scholars to write a chronicle of the Burmese kings. The name of the chronicle was taken from the Palace of glass, in which the compilation was made. The present translation is based on the Mandalay edition of 1907. It begins with the third part which opens with history of the three Burmese kingdoms of Tagaung, Tharehkittara, and Pagan. The fourth and fifth parts continue the history of Pagan until the time of its fail.

The Glass Palace Begins With The Shattering Of The Kingdom Of Burma, And Tells The Story Of A People, A Fortune, And A Family And Its Fate. It Traces The Life Of Rajkumar, A Poor Indian Boy, Who Is Lifted On The Tides Of Political And Social Turmoil To Build An Empire In The Burmese Teak Forest. When British Soldiers Force The Royal Family Out Of The Glass Palace, During The Invasion Of 1885, He Falls In Love With Dolly, An Attendant At The Palace. Years Later, Unable To Forget Her, Rajkumar Goes In Search Of His Love. Through This Brilliant And Impassioned Story Of Love And War, Amitav Ghosh Presents A Ruthless Appraisal Of The Horrors Of Colonialism And Capitalist Exploitation. Click Here To Visit The Amitav Ghosh Website

A study of "the ideological foundations" of the monarchical governments of Southeast Asia, specifically in Hindu-Buddhist cultures, this book examines political thought on the nature of rule.

Scholars have long accepted the belief that a Theravada Buddhist Mon kingdom, Rāmaññadesa, flourished in coastal Lower Burma until it was conquered in 1057 by King Aniruddha of Pagan—which then became, in essence, the new custodian and repository of Mon culture in the Upper Burmese interior. This scenario, which Aung-Thwin calls the "Mon Paradigm," has circumscribed much of the scholarship on early Burma and significantly shaped the history of Southeast Asia for more than a century. Now, in a masterful reassessment of Burmese history, Michael Aung-Thwin reexamines the original contemporary accounts and sources without finding any evidence of an early Theravada Mon polity or a conquest by Aniruddha. The paradigm, he finds, cannot be sustained. How, when, and why did the Mon Paradigm emerge? Aung-Thwin meticulously traces the paradigm's creation to the merging of two temporally, causally, and contextually unrelated Mon and Burmese narratives, which were later synthesized in English by colonial officials and scholars. Thus there was no single originating source, only a late and mistaken conflation of sources. The conceptual, methodological, and empirical ramifications of these findings are significant. The prevalent view that state-formation began in the maritime regions of Southeast Asia with trade and commerce rather than in the interior with agriculture must now be reassessed. In addition, a more rigorous look at the actual scope and impact of a romanticized Mon culture in the region is required. Other issues important to the field of early Burma and Southeast Asian studies, including the process of "Indianization," the characterization of "classical" states, and the advent and spread of Theravada Buddhism, are also directly affected by Aung-Thwin’s work. Finally, it provides a geo-political, cultural, and economic alternative to what has become an ethnic interpretation of Burma’s history. An electronic version of this book is freely available thanks to the support of libraries working with Knowledge Unlatched, a collaborative initiative designed to make high-quality books open access for the public good. The open-access version of this book is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0), which means that the work may be freely downloaded and shared for non-commercial purposes, provided credit is given to the author. Derivative works and commercial uses require permission from the publisher.