Contents: Introduction, The Empires of Ancient India, The Vakatakas, Post- Mauryan India, Political Order and Ideas, Social and Political Thought and Institutions, Kulyavapa, Dronavapa and Adhavapa, South India, The Age of Imperial Kanauj, The Mudrarakshasa the Web of Diplomacy, Valmiki, Vyasa and Kalidasa, R.C. Dutt s Translation of the Epics, Classical Literature, Conclusion.

Mudraraksasa Is A Historical Play Of The Nataka Type In Seven Acts Written By Vishakadatta In 6Th Century A.D., In Which Chanakya, The Minister Of King Chandragupta Of Pataliputra, Wins Over Rakshasa, The Minister Of The Nandas To The Side Of Chandragupta. It Is An Unique Play In Many Respects. The Play Is Based On A Political Theme And It Bears Testimony To The Consummate Skill Of Visakhadatta As A Dramatist. It Does Not Present Any Of The Recognized Dramatic Sentiments (Rasa), But Introduces A New, Hitherto Unrecognized Sentiment Of Intense Rivalry Between Two Sharp-Witted Ministers Dedicated To The Service Of Their Respective Kings.

Thye Mudrarakshasa, unlike the majority of Sanskrit plays, is purely a political drama. It has for its theme, besides elevation of Chandragupta to the throne of Magadha, wining over of Rakashsa, the hostile minister of the Nanda dynasty to the side of Chandragupta and adoption of measures to strengthen the rule by Chanakya, the renowned politician of his times. In the words of H.H.Wilson; It is a historical or political drama, and represents a curious state of public morals, in which fraud and assassination are the simple means by which inconvenient obligations are open enemies removed. It is not, however, that such acts are not held in themselves as crimes, or that their perpetrators if instigated by vulgar vice or ferocity, are not condemned as culprits; it is only when the commission of the crime proposes a political end that it is represented as venial, and is compatible with an amiable. it includes the commentary of Dhundiaja, English translation, critical and explanatory notes, Introduction and various readings.

The aristocrat who wrote this vigorous political play eschewed sentimentality in favor of realistic characterization and forceful action. It is 316 BCE, one year after Chandra·gupta Maurya, aided by his subtle minister Chánakya, has seized the kingdom of Mágadha from the last king of the Nanda dynasty. Rákshasa, Nanda’s incorruptible minister, flees abroad and plots his vengeance, while Chánakya seeks to win him over to honor Chandra·gupta Maurya as his new king. The aristocrat who wrote this vigorous political play eschewed sentimentality in favor of realistic characterization and forceful action. It is 316 BCE, one year after Chandra·gupta Maurya, aided by his subtle minister Chanákya, has seized the kingdom of Mágadha from the last king of the Nanda dynasty. Rákshasa, Nanda's incorruptible minister, flees abroad and plots his vengeance, while Chanákya seeks to win him over to honor Chandra·gupta Maurya as his new king. Co-published by New York University Press and the JJC Foundation For more on this title and other titles in the Clay Sanskrit series, please visit http://www.claysanskritlibrary.org

Seventy-two stunning findings about Alexander the Great and the assassin of Alexander the Great is finally identified. Who killed Alexander the Great? After over two thousand years of speculation, the assassin of Alexander is finally identified. To verify the truth, this historical narrative searches through a mass of conflicting records, including Indian and Greek classical texts. By assimilating new information from multiple sources, Ajith Kumar stitches together this scattered history with 72 pieces of fresh evidence to solve the perplexing murder mystery. Alexander’s destiny, it seems, was determined the moment he stepped into Taxila in India in 326 BC, as he was helplessly trapped in a different world, where an invisible enemy was leading a secret war against him. The Arthasastra of Chanakya, an epic treatise on statecraft and warfare, presents the multiple strategies of the 'secret war' which diverted and decimated the Greek army, and killed its supreme commander. In The Murder of Alexander the Great, Book 2: The Secret war, Ajith Kumar presents a new version of ancient history that still remains hidden in ancient Indian texts. The puzzling mystery behind Alexander's premature death is documented in Chanakya's 'Arthasastra,' a military manual of ancient India, which reveals devastating effects of the Secret War strategy employed by the Indians during the Greek invasion in 326 BC. The exotic weapon that killed Alexander is named as the 'Destroyer of time' in the Arthashastra, a military manual, and the Sanskrit Puranas. The Puranas also hold untold chapters of hidden history, which reveal how the Indians decisively destroyed the worldwide empire of Alexander the Great and changed the world for ever. The two-millennium-old murder mystery takes us back in time to the farthest corners of the primitive world, only to end in a stunning climax that lays bare the elusive assassin of Alexander.

Mahatma Gandhi and Jawaharlal Nehru helped create the myth of a nonviolent ancient India while building a modern independence movement on the principle of nonviolence (ahimsa). But this myth obscures a troubled and complex heritage: a long struggle to reconcile the ethics of nonviolence with the need to use violence to rule. Upinder Singh documents the dynamic tension between violence and nonviolence in ancient Indian political thought and practice over twelve hundred years. Political Violence in Ancient India looks at representations of kingship and political violence in epics, religious texts, political treatises, plays, poems, inscriptions, and art from 600 BCE to 600 CE. As kings controlled their realms, fought battles, and meted out justice, intellectuals debated the boundary between the force required to sustain power and the excess that led to tyranny and oppression. Duty (dharma) and renunciation were important in this discussion, as were punishment, war, forest tribes, and the royal hunt. Singh reveals a range of perspectives that defy rigid religious categorization. Buddhists, Jainas, and even the pacifist Maurya emperor Ashoka recognized that absolute nonviolence was impossible for kings. By 600 CE religious thinkers, political theorists, and poets had justified and aestheticized political violence to a great extent. Nevertheless, questions, doubt, and dissent remained. These debates are as important for understanding political ideas in the ancient world as for thinking about the problem of political violence in our own time.