This classic anthology of translations has long been out of print. The poems come from one of the earliest surviving texts of Tamil poetry, the Kuruntokai, an anthology of love lyrics probably recorded during the first three centuries AD. Seventy-six of these classical poems have here beengiven a modern language and form. In an effort at fidelity to the effect of the images and their placement in the original, Ramanujan has given a visual shape to the poems by typographic devices. An essay on Tamil poetry explains its techniques and enriches the reader's pleasure in these quiet, controlled, yet dramatic poems.

10/13/201010/13/2010

Classical Chinese poetry reached its pinnacle during the T'ang Dynasty (618-907 A.D.), and the poets of the late T'ang-a period of growing political turmoil and violence-are especially notable for combining strking formal inovation with raw emotional intensity. A. C. Graham’s slim but indispensable anthology of late T’ang poetry begins with Tu Fu, commonly recognized as the greatest Chinese poet of all, whose final poems and sequences lament the pains of exile in images of crystalline strangeness. It continues with the work of six other masters, including the “cold poet” Meng Chiao, who wrote of retreat from civilization to the remoteness of the high mountains; the troubled and haunting Li Ho, who, as Graham writes, cultivated a “wholly personal imagery of ghosts, blood, dying animals, weeping statues, whirlwinds, the will-o'-the-wisp”; and the shimmeringly strange poems of illicit love and Taoist initiation of the enigmatic Li Shang-yin. Offering the largest selection of these poets’ work available in English in a translation that is a classic in its own right, Poems of the Late T’ang also includes Graham’s searching essay “The Translation of Chinese Poetry” as well as helpful notes on each of the poets and on many of the individual poems.

The poems in this book are some of the earliest about Visnu, one of the Hindu Trinity, also known as Tirumal, the Dark One. Tradition recognizes twelve alvars, saint-poets devoted to Visnu, who lived between the sixth and ninth century in the Tamil-speaking region of south India. These devotees of Visnu and their counterparts, the devotees of Siva (nayanmar), changed and revitalized Hinduism and their devotional hymns addressed to Visnu are among the earliest bhakti (devotional) texts in any Indian language. In this selection from Nammalvar's works, the translations like the originals reflect the alternations of philosophic hymns and love poems, through recurring voices, roles and places. They also enact a progression"from wonder at the Lord's works, to the experience of loving him and watching others love him, to moods of questioning and despair and finally to the experience of being devoured and possessed by him.

In The Interior Landscape the great Indian poet and translator A.K. Ramanujan has drawn on a celebrated anthology of classical Tamil poetry to compose an unforgettable sequence of love poems. The story unfolds in a series of dramatic exchanges between a shifting array of characters—the lovers, relatives, friends, rivals, and sundry passersby—and as it does we are conducted through five phases of love, from first meeting, anxiety, infidelity and separation to final union, each associated with a lush interior landscape of its own. Immersed in the glories of the natural world, the poems evoke the whole spectrum of love while also capturing the gossip and wisecracking of those who look on from outside.

How is it that this woman's breasts glimmer so clearly through her saree? Can't you guess, my friends? What are they but rays from the crescents left by the nails of her lover pressing her in his passion, rays now luminous as the moonlight of a summer night? These South Indian devotional poems show the dramatic use of erotic language to express a religious vision. Written by men during the fifteenth to eighteenth century, the poems adopt a female voice, the voice of a courtesan addressing her customer. That customer, it turns out, is the deity, whom the courtesan teases for his infidelities and cajoles into paying her more money. Brazen, autonomous, fully at home in her body, she merges her worldly knowledge with the deity's transcendent power in the act of making love. This volume is the first substantial collection in English of these Telugu writings, which are still part of the standard repertoire of songs used by classical South Indian dancers. A foreword provides context for the poems, investigating their religious, cultural, and historical significance. Explored, too, are the attempts to contain their explicit eroticism by various apologetic and rationalizing devices. The translators, who are poets as well as highly respected scholars, render the poems with intelligence and tenderness. Unusual for their combination of overt eroticism and devotion to God, these poems are a delight to read.