topics: |  literature | poetry | fiction | drama | anthology | world | 16th-c | 17th-c

Even in India, vernacular writing - Tukaram, or Basavanna - is little known. I discovered entire genres of Indian poetry and writing - much of it amazingly good, in this wonderful series.

Excerpts

Basavanna 33: Monkey on a tree

	      	  	 p.12

Like a monkey on a tree
it leaps from branch to branch :

  how can I believe or trust
  this burning thing, this heart ?

  it will not let me go
  to my Father,
  my lord of the meeting rivers.

			[tr. A.K. Ramanujan]

Basavanna : You can make them talk

			p.12

You can make them talk
if the serpent
has stung
them.

You can make them talk
if they’re struck
by an evil planet.

But you can’t make them talk
if they’re struck dumb
by riches.

Yet when Poverty the magician
Enters, they’ll speak
at once,

   O lord of the meeting rivers.

			[Basavanna 132; tr. from Kannada by A.K. Ramanujan.

			 "lord of the meeting rivers" is AKR's inspired
			rendering of Basavanna's signature (aMkita), his
			personal deity, "kudalasangamadeva".  kudalasangama
			is the confluence or sangam of the Krishna and
			Malaprabha rivers at Kalyan in Karnataka, and the
			deva is the deity (Shiva) in the temple here.

		 	AKR describes Basavanna as the "incandescent" voice
	 		of Virashaivism, a sect that rejected entrenched
	 		casteism in religion in 11th c. India.  His tenets,
	 		which found nearly two lakh followers during his
	 		lifetime, rejected inequality of every kind,
	 		ritualism and taboo, and glorified work (kAyaka)
	 		and bhakti to the Lord.
				- from Speaking of Siva p.64

Basavanna : I don't know time-beats and metre

I don't know anything like time-beats and metre
nor the arithmetic of strings and drums;

I don't know the count of iamb or dactyl.
My lord of the meeting rivers
as nothing will hurt you
I'll sing as I love.

			[Basavanna 494; tr. A.K. Ramanujan]

Basavanna : The rich will make temples for Siva

				p.13

The rich will make temples for Siva
What shall I, a poor man, do?

My legs are pillars, the body the shrine,
the head a cupola of gold.

Listen,
O lord of the meeting rivers,
things standing shall fall,
but the moving ever shall stay.

			[tr. A.K. Ramanujan]

	 [the low-caste man has no temple, but he knows that god lives not in
	  the perishable stone but in his heart.  The metaphor of the temple
	  and the body is deeply entrenched; see the elegant analysis by
	  translator A.K. Ramanujan in Speaking of Siva )


original poem in kannada:

	ಉಳ್ಳವರು ಶಿವಾಲಯ ಮಾಡುವರು ನಾನೇನು ಮಾಡಲಿ ಬಡವನಯ್ಯಾ
	ಎನ್ನ ಕಾಲೇ ಕಂಬ, ದೇಹವೇ ದೇಗುಲ, ಶಿರವೇ ಹೊನ್ನ ಕಳಸವಯ್ಯಾ
	ಕೂಡಲಸಂಗಮದೇವಾ ಕೇಳಯ್ಯಾ, ಸ್ಥಾವರಕ್ಕಳಿವುಂಟು ಜಂಗಮಕ್ಕಳಿವಿಲ್ಲ,

	uLLavaru shiválaya máduvaru nánénu mádali badavanayyá
	enna kále kambha dehavé degula shiravé honna kaLashavayyá
	kúdala sangama devá keLayya sthavarakkaLivunTu jangamakaLivilla

the song is sung by S.P. Balasubramainiam in the movie _Kranthiyogi
Basavanna_ (1983), based on Basava's life.  Here is the song from youtube

Mahadeviyakka : Who cares

			p.17

Who cares
    who strips a tree of leaf
    once the fruit is plucked?

Who cares
    who lies with the woman
    you have left?

Who cares
    who ploughs the land
    you have abandoned?

After this body has known my lord
    who cares if it feeds
    a dog
    or soaks up water?

			(tr. A.K. Ramanujan)

			Mahadevi (akka = elder sister) left home and
			wandered the streets naked, seeking union with
			Shiva.  She joined the Virashaivas at kalyANa, but
			eventually found Shiva in the Shri Shaila hills of
			Andhra.

Mahadeviyakka : Better than meeting

Better than meeting
And mating all the time
Is the pleasure of mating once 
After being far apart.

When he’s away 
I cannot wait 
To get a glimpse of him.
Friend, when will I have it 
Both ways,
Be with Him,
Yet not with Him, 
My lord white as jasmine? 

			(tr. A.K. Ramanujan)

Tukaram (1608-1649)

like basavaNNa, tukArAm is a poet-saint in the bhakti tradition.  he was born
into a lower-caste family at the village Dehu near Pune.  these were harsh
times, with famine running over two years in a row, and a plague epidemic as
well. in his early years, he saw many near ones die - his parents, his first
wife, and a son.

for some years, he tried to manage his fields, and to run a shop, but
gradually lost interest in worldly affairs and ran up enormous debts. at age
20, he left trying to manage the household, and went off to a forest where he
is said to have meditated for 15 days until Vithoba (a form of Krishna) came
to him. subsequently he re-built an old temple and started living there,
spending his time in bhajan and kirtan.  he started composing songs as well.
one day, he had a dream where Pandurang (Vitthal), the form of Vishnu worshipped in the
in the pilgrimage town of pandharpur, came to him along with the saint-poet
Namdev (Namdeo).  What Namdeo and Vitthal told him in the dream is recounted
in this poem (p. 21):

	I was only dreaming
	Namdeo and Vitthal
	Stepped into my dream
	"Your job is to make poems,"
	Said Namdeo.
	"Stop fooling around."

	[while Vitthal says]:

	"The grand total
	Of the poems Namdeo
	vowed to write
	Was one billion."
	"All the unwritten ones, Tuka,
	Are your dues."

so Tukaram started composing poems with vigour.  much of his poetry is
offered to the deity from the pandharpur temple, viTThala, or to Pandurang -
both forms of the krishNa incarnation of Vishnu.

like basavanna, his poetry has an intimacy with his god, and an irreverence
towards established religion.  in one of his poems, he talks of Narayan
(Vishnu) having incurred debts, in terms that clearly reflect his own
experience with debts:

		Narayan
		is insolvent
		He has borrowed
		Right and left.

		Pay up, pay up,
		Clamour the creditors.
		He dare not stir
		In his own house.

		He hides
		Under the bed.
		Maya declares
		He isn't in.
			(tr. Arun Kolatkar).

arvind mehrotra, while discussing why the modern marathi-english poet arun
kolatkar liked the blues, suggests that there is an affinity of spirit
between many blues lyrics and Tukaram; each speaks in the idiom of the
street.  For instance

    It's a long old road, but I'm gonna find the end.
    It's a long old road, but I'm gonna find the end.
    And when I get there I'm going to shake hands with a friend.

"could just as well have been Tukaram, though it is Bessie Smith".
Kolatkar: Collected poems, p. 30,

even in his lifetime, Tukaram became widely venerated as a saint.  at one
point, some brahmins opposed his work, and a manuscript with his poems was
thrown into the nearby indrayAni river.  however, after some days, the
manuscript floated up intact. the maratha ruler Shivaji visited him.

In the following centuries, Tukaram has exerted an enormous influence on
the indian bhakti tradition; some of his disciples, along with others from
madurai joined the followers of sri chaitanya in reviving the cult of
mathura and vrindavan.  his songs remain widely popular and his village of
dehu with the river indrayAni has become an important pilgrimage spot.

these translations by the noted marathi poet dilip chitre are from his
"says Tuka".  a number of other translations also exist - see a close
analysis by Ashok R. Kelkar in Tender ironies (p.244-249)
Kelkar concludes that

	In the balance, both Kolatkar and Chitre have similar goals but
	Kolatkar brings it off more successfully than Chitre, [who] overdoes
	things somewhat.

Tukaram : I was only dreaming

			 tr. Dilip Chitre, p.21

I was only dreaming
Namdeo and Vitthal
Stepped into my dream
 “Your job is to make poems,”
Said Namdeo.
“Stop fooling around.”

Vitthal gave me the measure
And slapped me gently
To arouse me
From my dream
Within a dream

“The grand total
Of the poems Namdeo
vowed to write
Was one billion.”
He said,
“All the unwritten ones, Tuka,
Are your dues.”

Tukaram : Have I utterly lost my hold on reality

				tr. Dilip Chitre,   p.22

Have I utterly lost my hold on reality
To imagine myself writing poetry?
I am sure your illustrious devotees,
All famous poets, will laugh at me.

Today, I face the toughest test of life:
Whereof I have no experience,
Thereof I have been asked to sing.

I am the innocent one asked to sin,
Without any foretaste of what I must commit.
I am just a beginner, untutored in the art,
My master himself is unrevealed to me.

Illuminate, and inspire me, O Lord.
Says Tuka, my time is running out.

Tukaram : Where does one begin with you?

				p. 23

Where does one begin with you?
O Lord, you have no opening line
It’s so hard to get you started.

Everything I tried went wrong.
You’ve used up all my faculties.

What I just said vanished in the sky
And I’ve fallen on the ground again.

Says Tuka my mind is stunned:
I can’t find a word to say.

Tukaram : Some of you may say

			p.23

Some of you may say
I am the author
Of these poems
But
Believe me
This voice
Is  not my own.

I have no
Personal skill.
It is
The cosmic one
Making me speak.

What does a poor fellow like me
Know of the subtleties of  meaning?
I speak what Govind
Makes me say.

He has appointed me
To measure it out.
The authority rests
With the Master;
Not me.

Says Tuka, I’m only the servant.
See?
All this bears
The seal of his Name.

To arrange words

To arrange words
In some order
Is not the same thing
As the inner poise
That’s poetry.

The truth of poetry
Is the truth
Of being.
It’s an experience
Of truth.

No ornaments
Survive
A crucible.
Fire reveals
Only molten
Gold.

Says Tuka
We are here
To reveal.
We do not waste
Words.

Tukaram: When my father died

			tr. Dilip Chitre,   p.24

When my father died
I was too young to understand;
I had not to worry
About the family then.

Vithuf,  this kingdom is Yours and mine.
It’s not the business of anyone else.
My  wife died:
May she rest in peace.
The Lord has removed
My attachment.

My children died:
So much the better.
The Lord has removed
The last illusion.

My mother died
In front of my eyes
My worries are all over
Says Tuka.


links:
* find all the Tukaram poems from this book listed at
	http://www.tukaram.com/english/anthology.htm
* a clear biography at by Swami Sivananda at sivanandaonline.org

Ksetrayya : A Young Woman to a Friend

				p.27

Those women, they deceived me.
They told me he was a woman,
and now my heart is troubled
by what he did.

First I thought
she was my aunt and uncle's daughter,
so I bow to her, and she blesses me:
"You'll get married soon,
don't be bashful. I will bring you
the man of your heart."

"Those firm little breasts of yours
will soon
grow round and full," she says.
And she fondles them
and scratches them
with the edge of her nail.

"Come eat with me," she says,
as she holds me close
and feeds me as at a wedding.

     Those women, they told me he was a woman!

Then she announces:
"My husband is not in town.
Come home with me."
So I go and sleep in her bed.

After a while she says,
"I'm bored. Let's play
a kissing game, shall we?
Too bad we're both women."

Then, as she sees me falling asleep,
off my guard,
she tries some
strange things on me.

     Those women, they told me he was a woman!

She says, "I can't sleep.
Let's do what men do."
Thinking "she" was a woman,
I get on top of him.

Then he doesn't let go:
he holds me so tight
he loses himself in me.
Wicked as ever, he declares:

"I am your Muvva Gopala!"
And he touches me expertly
and makes love to me.

     Those women, they told me he was a woman!

Ksetrayya and eroticism

Ksetrayya was most likely a court poet in mid-17th c. Andhra.  His
deity is Muvva Gopala (a form of Krishna) is most likely from a
temple in present day village of Muvva (the place Muvvapuri appears in his
work).

Ksetrayya's work shows the rise of eroticism in the bhakti tradition (e.g.
Jayadeva (13th c), see Kangra Paintings of the Gita Govinda)

The uninhibited eroticism in these poems invoked considerable anguish in
post-victorian india.  Ksetrayya's poems were not available in printed form,
and were first collected and printed under the aegis of scholars such as
Vissa Apparavu or patrons like the "the Maharaja of Pithapuram (who had long
family associations with courtesans)".  The maharaja sponsored
G.V. Sitapati's volume of Ksetrayya's songs.  However, they tended to dilute
the eroticism and present it as a mere allegory for the union of jiva and
isvara, the yearning human soul and god.

For the 1952 edition of G. V. Sitapati's Ksetrayya padams, E. Krishna
Iyer wrote in his English introduction:

       Is it proper or safe to encourage present day family girls to go in
       for Ksetraya padas and are they likely to handle them with
       understanding of their true devotional spirit? At any rate can a pada
       like 'Oka Sarike' ["if you are so tired after making love just
       once"] be ever touched by our girls?

Ksetrayya : A Courtesan to her lover

					p. 27

Pour gold as high as I stand, I still won't sleep with you.
Why be stubborn, Muvva Gopala? Why all these tricks?

You set women afloat on your words,
break into their secret places,
deceive them with affectionate lies,
excite them in love play,
get together the whole crowd one day,
and then you steal away like a spinach thief.

     Pour gold as high as I stand

You coax women's affections,
make them amorous and faint,
do things you shouldn't be doing,
confuse them, lie in bed with them,
and then you leave without a sound,
shaking your dust all over them.

     Pour gold as high as I stand

You opportunist,
you excite them from moment to moment,
make mouths water,
show them love to make them surrender,
drown them in a sea of passion,
and by the time the morning star appears —
you get up and vanish.

     Pour gold as high as I stand.

		[Ksetrayya pada #216, tr. AK Ramanujan and VN Rao]
		 title in telugu: niluvuna nilivedu , sung to raga kalyANi

Contents

List of Illustrations		xv
Preface 			xvii
Acknowledgments 		xxii
About the Editors 		xxiv
The Early Modern Period						       1
The Early Modern Period : Illustrations
    Don Cristobal Colon, Admiral of Ships Bound for the Indies 	xxx
    Map. The World in 1500					       2
    Color Plate 1. Albrecht Darer, Self-Portrait
    Color Plate 2. Agnolo Bronzino, Allegory (Venus, Cupid, Folly, and Time)
    Color Plate 3. Leonardo da Vinci, Muscles of the Neck and Shoulders
    Color Plate 4. Sophonisba Anguissola, The Chess Game
    Color Plate 5. Pieter Brueghel the Elder, Landscape with the Fall of Icarus
    Color Plate 6. Frontispiece to the Codex Fejérváry-Mayer
    Color Plate 7. Malinche and Devil masks
    Color Plate 8. Miguel Cabrera Portrait of Sor Juana Inés de la Cruz
Timeline							       6

Crosscurrents: The Vernacular Revolution

Vernacular Writing in South Asia

    Basavanna (1106-c. 1167) (tr. A. K. Ramanujan)		       12
        Like a monkey on a tree					       12
        You can make them talk					       12
        The crookedness of the serpent				       12
        Before the grey reaches the cheek			       12
        I don't know anything like time-beats and meter		       13
        The rich will make temples for Siva			       13
    Resonance: Palkuriki Somanatha: from The Legend of Basavanna
		(tr. Rao)	14    (3)
    Mahadeviyakka (c. 1200) (tr. A. K. Ramanujan)		       17
        Other men are thorn					       17
        Who cares						       18
        Better than meeting					       18
    Kabir (early 1400s)  (tr. Linda Hess and Shukdev Sinha)  	       18
        Saints, I see the world is mad				       18
        Brother, where did your two gods come from?		       19
        Pandit, look in your heart for knowledge		       20
        When you die, what do you do with your body?		       20
        It's a heavy confusion					       21
        The road the pandits took				       21
    Tukaram (1608-1649)	(tr. Dilip Chitre) 			       21
        I was only dreaming					       21
        If only you would					       22
        Have I utterly lost my hold on reality			       22
        I scribble and cancel it again				       23
        Where does one begin with you?				       23
        Some of you may say					       23
        To arrange words					       23
        When my father died					       24
        Born a Shudra, I have been a trader			       25
     Kshetrayya (mid-17th century) (tr. A. K. Ramanujan)	       25
        A Woman to Her Lover					       25
        A Young Woman to a Friend				       26
        A Courtesan to her lover				       27
        A Married Woman Speaks to Her Lover			       28
        A Married Woman to Her Lover (1)			       29
        A Married Woman to Her Lover (2)			       29
    Resonance: Wu Cheng' En (c. 1500-1582)			       30
        from Journey to the West (tr. Anthony C. Yu)		       33
    Resonance: from The Ramayana of Valmiki: [Hanuman searches for Sita]
		(tr. Goldman and Goldman)			       108

The Rise of the Vernacular in Europe 114 (35)

    Biblical Translations					       115
    Comparative Versions of Psalm 23 (``The Lord Is My Shepherd'')	116
	from The Vulgate (with English rendering)		       116
	Clement Marot: from Psalms (tr. Jane Tylus)		       117
	Jan Kochanowski: from Psalterz Dawidow (tr. Clare Cavanagh)	118
	The Bay Psalm Book					       119
    The Gospel of Luke 1:26--39					       120
	Lucrezia Tornabuoni de' Medici: from The Life of Saint John the
	    Baptist (tr. Jane Tylus) 				       120
	Martin Luther: from The Bible (tr. James A. Parente, Jr.)	121
	William Tyndale: from The New Testament			       122
    New World Psalms						       122
	Bernardino de Sahagun: from Psalmodia Christiana
		(tr. 	Arthur J. O. Anderson)			       122
	John Eliot: from Up-Biblum God				       126

Attacking and Defending the Vernacular Bible

    Henry Knighton: from Chronicle (tr. Anne Hudson)		       128
    Martin Luther: from On Translating (tr. Michael and Bachmann)	128
    The King James Bible: from The Translators to the Reader	       130
    Women and the Vernacular					       132
	Dante Alighieri: from Letter to Can Grande Della Scala
		(trans. Robert S. Haller)			       118
	Desiderius Erasmus: from The Abbot and the Learned Lady
		(trans. Craig Thompson)				       119
	Catherine of Siena: from A Letter to Raymond of Capua
		(trans. Suzanne Noffke)				       122
	Sor Juana Inés de la Cruz: from Response to "Sor Filotea"
	    (trans. Margaret Sayers Peden)			       138

Early Modern Europe

GIOVANNI BOCCACCIO (1313-1375)					       162
  Decameron (tr. G.H. Mc William)				       164
    Introduction						       164
    First Day, Third Story [The Three Rings]			       171
    Third Day, Tenth Story [Locking the Devil Up in Hell]	       172
    Seventh Day, Fourth Story [The Woman Who Locked Her Husband Out]	176
    Tenth Day, Tenth Story [The Patient Griselda]		       179

MARGUERITE DE NAVARRE (1492-1549) 				       188
  Heptameron (trans. P.A. Chilton)
    First Day, Story 5 [The Two Friars and a Shrewd Ferrywoman]
    Fourth Day, Story 32 [The Woman Who Drank from Her Lover's Skull]
    Fourth Day, Story 36 [The Husband Who Punished His Faithless Wife by Means of a Salad]
    Eighth Day, Prologue
    Eighth Day, Story 71 [The Wife Who Came Back from the Dead]

FRANCIS PETRARCH (1304-1374)					       199
    Letters on Familiar Matters (trans. Aldo S. Bernardo)
    To Dionigi da Borgo San Sepolcro [On Climbing Mt. Ventoux]
    from To Boccaccio [On imitation]
        RESONANCE Laura Cereta: To Sister Deodata di Leno
		(trans. Diana Robin)
    Canzoniere (trans. Mark Musa)
    During the Life of My Lady Laura
	 1 ("O you who hear within these scattered verses")
	 3 ("It was the day the sun's ray had turned pale")
	 16 ("The old man takes his leave, white-haired and pale")
	 35 ("Alone and deep in thought I measure out")
	 90 ("She'd let her gold hair flow free in the breeze")
	 126 ("Clear, cool, sweet running waters")
	 195 ("From day to day my face and hair are changing")
    After the Death of My Lady Laura
	 267 ("O God! that lovely face, that gentle look")
	 277 ("If Love does not give me some new advice")
	 291 ("When I see coming down the sky Aurora")
	 311 ("That nightingale so tenderly lamenting")
	    Resonance : Virgil: from Fourth Georgic (trans. H.R. Fairclough)
	 353 ("O lovely little bird singing away")
	 365 ("I go my way lamenting those past times")
	 from 366 ("Virgin, so lovely, clothed in the sun's light")
    RESONANCES: Petrarch and his translators			       222
	Petrarch: Canzoniere 190	(trans. Robert Durling)
	Thomas Wyatt: Whoso List to Hunt			       223
	Petrarch: Canzoniere 209 (trans. Robert Durling)
    	Chiara Matraini: Fera son io di questo ombroso loco	       225
    	Chiara Matraini: I am a wild deer in this shady wood	       225

PERSPECTIVES Lyric Sequences and Self-Definition

LOUISE LABÉ (c. 1520-1566)					       226
    When I behold you (trans. Frank J. Warnke)
    Lute, companion of my wretched state
    Kiss me again
    Alas, what boots it that not long ago
    Do not reproach me, Ladies
MICHELANGELO BUONARROTI (1475-1564)
    Illustration. Michelangelo, Tomb of Giuliano de' Medici (see Eisenstein)
    This comes of dangling from the ceiling (trans.
    	 Peter Porter and George Bull)				       231
    My Lord, in your most gracious face
    I wish to want, Lord
    No block of marble
    How chances it, my Lady
VITTORIA COLONNA (1492-1547)
    Between harsh rocks and violent wind (trans. Laura Anna Stortoni and Mary Prentice Lillie)
    Whatever life I once had

WILLIAM SHAKESPEARE (1564-1616) 				       234
Sonnets
	1 ("From fairest creatures we desire increase")
	3 ("Look in thy glass, and tell the face thou viewest")
	17 ("Who will believe my verse in time to come")
	55 ("Not marble nor the gilded monuments")
	73 ("That time of year thou mayst in me behold")
	87 ("Farewell: thou art too dear for my possessing")
	116 ("Let me not to the marriage of true minds")
	126 ("O thou, my lovely boy, who in thy power")
	127 ("In the old age black was not counted fair")
	130 ("My mistress' eyes are nothing like the sun")

JAN KOCHANOWSKI (1530-1584) 					       239
	Laments (trans. D.P. Raclin et al.)
	1 ("Come, Heraclitus and Simonides")
	6 ("Dear little Slavic Sappho, we had thought")
	10 ("My dear delight, my Ursula and where")
	14 ("Where are those gates through which so long ago")

SOR JUANA INÉS DE LA CRUZ (c. 1651-1695) (trans. Alan S. Trueblood)
    She disavows the flattery visible in a portrait of herself, which she
	calls bias
    She complains of her lot, suggesting her aversion to vice and justifying
	her resort to the Muses
    She shows distress at being abused for the applause her talent brings
    In which she visits moral censure on a rose
    She answers suspicions in the rhetoric of tears
	(trans. Margaret Sayers Peden)
    On the death of that most excellent lady, the Marquise de Mancera

NICCOLÒ MACHIAVELLI (1469-1527)

    The Prince (trans. Mark Musa)
    Dedicatory Letter
    Chapter 6. On New Principalities Acquired by Means of One's Own Arms and Ingenuity
    Chapter 18. How a Prince Should Keep His Word
    Chapter 25. How Much Fortune Can Do in Human Affairs and How to Contend with It
    Chapter 26. Exhortation to Take Hold of Italy and Liberate Her from the Barbarians
    Resonance: Baldesar Castiglione: from The Book of the Courtier
	(trans. Charles S. Singleton)

Sir Thomas More (1478-1535)

    from Utopia (tr. C. G. Richards)				       264

PERSPECTIVES Literature of Religious Crisis

Desiderius Erasmus (c. 1466-1536)				       292
    from Praise of Folly (tr. Betty Radice)			       293
Martin Luther (1483-1546)					       307
    from To the Christian Nobility of the German Nation (tr. Jacobs and Ackerman)	308
    from The Enslaved Will (tr. Ernst F. Winter)		       308
Thomas Muntzer (c. 1489-1525)					       312
    from Sermon to the Princes (tr. Robert A. Fowkes)		       313
Saint Teresa of Avila (1515-1582)				       315
    from The Interior Castle (tr. E. Allison Peers)		       316
Saint John of the Cross (1542-1591 (tr. John Frederick Nims))	       324
Domenico Scandella (1532-1599)					       326
    from His Trials Before the Inquisition (tr. John and Anne C. Tedeschi)	327

FRANÇOIS RABELAIS (c. 1494-1553)
Gargantua and Pantagruel (trans. J.M. Cohen)
    Book 							       1
	The Author's Prologue
	Chapter 3. How Gargantua Was Carried Eleven Months in His Mother's Belly
	Chapter 4. How Gargamelle, When Great with Gargantua, Ate Great Quantities of Tripe
	Chapter 6. The Very Strange Manner of Gargantua's Birth
	Chapter 7. How Gargantua Received His Name
	Chapter 11. Concerning Gargantua's Childhood
	Chapter 16. How Gargantua Was Sent to Paris
	Chapter 17. How Gargantua Repaid the Parisians for Their Welcome
	Chapter 21. Gargantua's Studies
	Chapter 23. How Gargantua Was So Disciplined by Ponocrates
	Chapter 25. How a Great Quarrel Arose Between the Cake-bakers of Lem& and the People of Grandgousier's Country, Which Led to Great Wars
	Chapter 26. How the Inhabitants of Lerne, at the Command of Their King Picrochole, Made an Unexpected Attack on Grandgousier's Shepherds
	Chapter 27. How a Monk of Seuilly Saved the Abbey-close
	Chapter 38. How Gargantua Ate Six Pilgrims in a Salad
	from Chapter 39. How the Monk Was Feasted by Gargantua
	Chapter 40. Why Monks Are Shunned by the World
	Chapter 41. How the Monk Made Gargantua Sleep
	Chapter 42. How the Monk Encouraged His Companions
	Chapter 52. How Gargantua Had the Abbey of Theleme Built for the Monk
	from Chapter 53. How the Thelemites' Abbey Was Built and Endowed
	Chapter 57. The Rules According to Which the Thelemites Lived
    Book 							       2
	Chapter 8. How Pantagruel, When at Paris, Received a Letter from His Father
	from Chapter 9. How Pantagruel Found Panurge
    Book 							       4
	Chapter 55. Pantagruel, on the High Seas, Hears Various Words That Have Been Thawed
	Chapter 56. Pantagruel Hears Some Gay Words

LUIS VAZ DE CAMÕES (c. 1524-1580) 372

Map. De Gama's Voyage, 1497-1498 374
The Lusiads (trans. Landeg White)
    Canto 1 [Invocation]
    Canto 4 [King Manuel's dream]
    Canto 5 [The curse of Adamastor]
    Canto 6 [The storm; the voyagers reach India]
    Canto 7 [Courage, heroes!]
    Resonance
    from The Journal of the First Voyage of Vasco da Gama (1497-1499)
	(trans. E.G. Ravenstein)

MICHEL DE MONTAIGNE (1533-1592)

    Essays (trans. Donald Frame)
    Of Idleness
    Of the Power of the Imagination
    Of Cannibals
    RESONANCE
	Jean de Léry: from History of a Voyage to the Land of Brazil,
	    Otherwise Called America (trans. Janet Whatley)
	Illustration. Mourning Tupi, from History of a Voyage to the Land of
	    Brazil
    Of Repentance

MIGUEL DE CERVANTES SAAVEDRA (1547-1616)

Don Quixote (trans. John Rutherford)
    Illustration. Gustave Dore, engraving for Cervantes' Don Quixote
    Book 1
	Chapter 1. The character of the knight
	Chapter 2. His first expedition
	Chapter 3. He attains knighthood
	Chapter 4. An adventure on leaving the inn
	Chapter 5. The knight's misfortunes continue
	from Chapter 6. The inquisition in the library
	Chapter 7. His second expedition
	Chapter 8. The adventure of the windmills
	Chapter 9. The battle with the gallant Basque
	Chapter 10. A conversation with Sancho
	from Chapter 11. His meeting with the goatherds
	Chapter 12. The goatherd's story
	from Chapter 13. The conclusion of the story
	from Chapter 14. The dead shepherd's verses
	from Chapter 15. The meeting with the Yanguesans
	from Chapter 18. A second conversation with Sancho
	Chapter 20. A tremendous exploit achieved
	Chapter 22. The liberation of the galley slaves
	from Chapter 25. The knight's penitence
	from Chapter 52. The last adventure
    Book 2
	Chapter 3. The knight, the squire and the bachelor
	Chapter 4. Sancho provides answers
	Chapter 10. Dulcinea enchanted
	from Chapter 25. Master Pedro the puppeteer
	Chapter 26. The puppet show
	Chapter 59. An extraordinary adventure at an inn
	Chapter 72. Knight and squire return to their village
	Chapter 73. A discussion about omens
	Chapter 74. The death of Don Quixote
	Resonance
	Jorge Luis Borges: Pierre Menard, Author of the "Quixote"
		(trans. Andrew Hurley)

FÉLIX LOPE DE VEGA Y CARPIO (1562-1635)

	Fuenteovejuna (trans. Jill Booty)

WILLIAM SHAKESPEARE (1564-1616) 610

	The Tempest
	RESONANCE
	Aimé Césaire: from A Tempest (trans. Emile Snyder and Sanford Upson)

JOHN DONNE (1572-1631) 675

	The Sun Rising
	Elegy 19: To His Mistress Going to Bed
	Air and Angels
	A Valediction: Forbidding Mourning
	The Relic
	The Computation
	Holy Sonnets
	Oh my black soul! now thou art summoned
	Death be not proud, though some have called thee
	Batter my heart, three-person'd God
	I am a little world made cunningly
	Oh, to vex me, contraries meet in one
	Devotions Upon Emergent Occasions
	10: "They find the disease to steal on insensibly"
	from 17: "Now, this bell tolling softly for another, says to me: Thou
		must die."
	Sermons
	from The Second Prebend Sermon, on Psalm 63:7 ("Because thou hast
		been my help, therefore in the shadow of thy wings will I
		rejoice")

ANNE BRADSTREET (1612-1672)

	The Author to Her Book
	To My Dear and Loving Husband
	A Letter to Her Husband, Absent upon Public Employment
	Before the Birth of One of Her Children
	Upon the Burning of Our House, July 10th, 1666
	On My Dear Grand-child Simon Bradstreet
	To My Dear Children

JOHN MILTON (1608-1674)

	On the Late Massacre in Piedmont
	When I Consider How My Light Is Spent
	Paradise Lost
	from Book 1
	from Book 4
	Book 9
	from Book 12

Mesoamerica: Before Columbus and After Cortes 761

Illustration. Mayan relief of Lady Xoc
Map. Mesoamerica in 1492
Map. Tenochtitlan
Illustration. Aztec screenfold book
Illustration. Mayan ballplayers
Illustration. The Virgin of Guadalupe on a cactus

from POPOL VUH: THE MAYAN COUNCIL BOOK
    (recorded mid-1550's) (trans. Dennis Tedlock)
	[Creation]
	[Hunahpu and Xbalanque in the Underworld]
	[The Final Creation of Humans]
	[Migration and the Division of Languages]
	[The Death of the Quiche Forefathers]
	[Retrieving Writings from the East]
	[Conclusion]

SONGS OF THE AZTEC NOBILITY (15th-16th centuries)
	Burnishing them as sunshot jades (trans. John Bierhorst)
	Flowers are our only adornment
	I cry, I grieve, knowing we're to go away
	Your hearts are shaken down as paintings, O Moctezuma
	I strike it up — here!—I, the singer
	from Fish Song: It was composed when we were conquered
	from Water-Pouring Song
	In the flower house of sapodilla you remain a flower
	Moctezuma, you creature of heaven, you sing in Mexico

Perspectives: The Conquest and Its Aftermath

Illustration. Cortés accepting the Aztec's surrender

CHRISTOPHER COLUMBUS (1451-1506)
    from Letter to Ferdinand and Isabella (7 July 1503) (trans. R.H. Major)
BERNAL DIAZ DEL CASTILLO (1492-1584)
    from The True History of the Conquest of New Spain
	(trans. A.P. Maudslay)
    from THE AZTEC-SPANISH DIALOGUES OF 1524 (trans. Jorge Klor de Alva)
HERNANDO RUIZ DE ALARCÓN (c. 1587-c. 1645)
    from Treatise on the Superstitions of the Natives of this New Spain
	(trans. Michael D. Coe and Gordon Whittaker)
    RESONANCE
	Julio Cortdzar: Axolotl (trans. Paul Blackburn)
BARTOLOMÉ DE LAS CASAS (1474-1566)
    from Apologetic History (trans. George Sanderlin)
SOR JUANA INÉZ DE LA CRUZ (c. 1651-1695)	879
    from The Loa for the Auto Sacramental of the Divine Narcissus
	(trans. Patricia A. Peters and Renee Domeier)   880

Bibliography 		889
Credits 		895
Index 		899
Map: World in 1500



link:  instructors' manual