Show: Mehandī Hai Racanevālī. Pallavi's first husband Mandar Deshmukh is in conversion therapy when she and her new husband Raghav Rao discover that Mandar is alive. Mutual attraction blossoms between Raghav's secretary and loyal friend Farhad Nawaz and Mandar, who recovers his memories as he returns to his family. Mandar is disturbed to learn that Raghav tormented Pallavi, and offers to rescue her, hiding his homosexuality. While Mandar wants answers for why he was made to disappear, and Farhad encourages Mandar to come out as gay, Pallavi seeks legal advice to sort out her marital status respectably, and Raghav is trying to atone for his broken promises with the help of his imaginary personality, Luṅgīvālā Raghav, and an intuitive dog named Damayanti. The title is a line from Kālidāsa's poem Meghadūta; the language is Saṃskṛta. At the gate of a lover's home stands "the young Mandar-tree burdened with flowers within hand's reach" (translation of "hasta-prāpya-stabaka-namito bāla-Mandāra-vṛkṣaḥ"), which his wife has lovingly raised as their child. A closeted gay person's lovable qualities are like unplucked flowers that only burden the young tree and bend it down. Cover Credit: @KoeliDalmiya

Show: Mehandī Hai Racanevālī. Who would want insolent Raghav Rao for a son-in-law? Vijay Deshmukh detests Raghav, and Raghav thinks Vijay is crazy, but Pallavi's marriage to Vijay's son Mandar is ending, and Raghav already considers Pallavi his wife. Will Raghav find the right words to appease his father-in-law and keep his promise to Sharada, his mother-in-law? Will Vijay regret believing anything that Raghav says? How will Raghav cheer up Pallavi's best friend Manasi who dreads him? Pallavi wonders if Raghav is ready for her to know his secret identity as the philanthropist Ramaswami and his secret practice of classical Bharatanatyam dance. With advice from his imaginary personality Luṅgīvālā Raghav, Raghav delivers the answers. When Raghav Rao first met Sharada Deshmukh, who would become his mother-in-law, she mistook him for a delivery boy. Many months later, Raghav must earn the title of Delivery Boy when Sharada challenges him to take a tiffin to his father-in-law Vijay and make sure he eats it. My other story "Hasta-prāpya-stabaka-namito bāla-Mandāra-vṛkṣaḥ" is a prequel to this story. Each chapter in this story can be read as a standalone short story. Cover Credit: Sevenstreaks of India Forums

Show: Mehandī Hai Racanevālī. Raghav and Pallavi are expecting their first child and want to give thanks with a dinner at Pooswami Old Age Home. However, first they have a long talk about the secrets that they already share, about Raghav's past cruelty to Pallavi and his efforts to win over her family, about Pallavi's changing ideas of avenging herself against Raghav and her reasons for wanting a life with Raghav, and about the life that they want for their child. Danger awaits them at the dinner, while Pallavi reflects on their future and Raghav remembers his past. The title means "To Resolve the Darkness of Obstacles" and comes from a prayer (the invocation of Saṃjīvanī - Mallinātha's commentary on Kālidāsa's Kumārasambhava) that Pallavi recites to invoke her family deity, Gaṇapati Bāppā. Cover Credit: Sevenstreaks of India Forums

this book contains OS and stories of our favourite couple raghvi😍. Dive into this book.I am waiting for your valuable comments like pearls.........here you will get some corals of laughter...romance.....emotional conversations and many more.......... NOTE- "there are dangerous shark 🐬even in the beautiful sea so if you find a mistake like fish then catch it in net and bring it to me"😁.....let's start..

You may have watched a movie or TV show based on Mahābhārata, or read an adaptation or translation of the story, or even written a fan fiction from the point of view of your favourite character. Have you ever wondered how an incident or dialogue sounded in the original Saṃskṛta text? What values did Kṛṣṇa Vāsudeva, Karṇa Rādheya etc. espouse according to their speeches in the critical edition's reconstruction of the text as it was several centuries ago? Unfortunately, most people of Indian origin or affinity don't make the effort to read Saṃskṛta. Through this book, I would like to make it accessible to my readers. I have created fan fiction and translated the text that inspired it, but please try to sound out the original Saṃskṛta as well, and feel its rhythm. Mahābhārata is fiction in the public domain. Everyone who retells the story adds or ignores something, as I do in this book. You may or may not like my Mahābhārata fan fiction (please tell me either way!), but the purpose of this book is to give everyone the opportunity to read their favourite parts of Mahābhārata in the original Saṃskṛta - a musical, enchanting, and refined language. Your contributions and requests are welcome. The title is spoken by Gāndhārī to Kṛṣṇā Draupadī (Strīparvan 15.20): "Just as you are, even so am I; or who would reassure me?" How many characters from Mahābhārata may have felt lonely in shared experiences? Cover picture of Satyabhāmā Sātrājitī visiting Kṛṣṇā Draupadī is from Mahābhārata with Hindi translation by Paṇḍita Rāmanārāyaṇadatta Śāstrī Pāṇḍeya, Gita Press (Gorakhpur). Cover Credit: devashree_h of India Forums

Held up by Kṛṣṇa's hand while the clouds sent by Śakra pour rain all over the place, the hill Govardhana tells his story and describes the experience of being lifted into the sky to touch the clouds. The title is from Mahābhārata: Harivaṃśa, and means "Experiencing dreams from the rainclouds, cave-openings shut tight, on the pillow of Kṛṣṇa's arm." Cover Credit: tournesol of India Forums

Show: Sundarā Manāmadhe Bharalī. As the Śrāvaṇa rain pours over them, Latika joins Abhimanyu on the terrace for a talk about marriage, rain, work, and family. The title inverts a simile from Kālidāsa's poem Meghadūta, and means "The passionate woman who wears her hair like a rain-shedding mass of clouds." Cover Credit: @PriyaArshiSarun

Show: Mehandī Hai Racanevālī. Raghav Rao needed a transfusion of four units of blood after hitting his head on the blunt end of a nail on the wall, just after removing the wedding photograph that upset his wife, Pallavi. My other story "Hasta-prāpya-stabaka-namito bāla-Mandāra-vṛkṣaḥ" tells you how Raghav recovered quickly and Pallavi's first husband Mandar Deshmukh was discovered alive. This is an alternative story in which Raghav lay in a coma for four months, dreaming of the last four months of storyline drama that never really happened. He wakes up to a visit from Pallavi's and his bitter enemy, Mandar's uncle's wife Sulochana. Sulochana has grown fond of her rich and speechless son-in-law, forgetting her lust for revenge and remembering the time he thought she was a suicide bomber and stroked her all over with a wand. Now that Raghav's awake, it's time for Sulochana to take out a peacock feather and have some fun! Cover Credit: @PriyaArshiSarun

On earth, only the turtle Akūpāra still remembered Indradyumna's glorious deeds. While being unforgotten allowed Indradyumna to stay in heaven for now, he developed athazagoraphobia, an overpowering fear of being forgotten. Many characters and incidents from Mahābhārata would be totally forgotten today if not for vestiges in the text that are dramatized in the next six chapters: (1) the battle of Dauḥśāsani with Prativindhya Draupadeya; (2) Bhojyā's reaction to her husband Yuyudhāna Sātyaki's battle with his childhood playmate Duryodhana; (3) Śikhaṇḍin's wife Dāśārṇī meeting Sthūṇa Yakṣa whose manhood her husband had borrowed; (4) Bhīṣma shooting at Śikhaṇḍin; (5) the battle of Śikhaṇḍin's son Kṣatradeva and Duryodhana's son Lakṣmaṇa; (6) blind Dhṛtarāṣṭra's interest in coloured horses. The eighth chapter sketches the lost story of Vidurā and her son Saṃjaya based on clues from their dialogue quoted by Kuntī. Readers have been warned that these are stories of battles, containing violent deaths of several characters, dead bodies, and dismemberment. The book is not marked Mature because the violence is not graphic. The title is Saṃskṛta and means "Your fame is torn up." Cover Credit: @PriyaArshiSarun

In Mahābhārata, Kṛṣṇā Draupadī receives Jayadratha hospitably, offering him and his entourage whatever she has on hand for breakfast. Vṛkodara Bhīma and her other husbands have gone hunting because fifty slaughtered animals are not enough to feed them, their brāhmaṇa dependents, and their servants for the day. Kṛṣṇā assures Jayadratha that Yudhiṣṭhira is on his way back with more food: various kinds of antelope and deer and elk (aiṇeya, pṛṣata, nyaṅku, hariṇa, śarabha, ṛśya, ruru, śambara), as well as hares, oxen, boars, buffalo, and other animals. However, Jayadratha is hungry for something other than breakfast, left behind by the Wolf-Belly and her other husbands ... Kṛṣṇā herself! The lifestyles and experiences of diverse characters from Mahābhārata are presented in the other chapters: (1) Satyabhāmā; (2) Śikhaṇḍin's wife Dāśārṇī; (3) Babhru Akrūra's wife Sauvīrī who was abducted by Śiśupāla; (4) Kṛpī; (5) Duḥśalā and Jayadratha; (6) Subhadrā and Uttarā with Parikṣit; (7) Kṛṣṇa's half-brother Jarā and his mother Turī; (8) Prātikāmin the chariot-driver of Duryodhana; (9) Sāmba who pretended to carry Babhru's child while married to Babhru's daughter Vasuṃdharā; (10) Kareṇuvatī the sister of Dhṛṣṭaketu; (11) Ekalavya the son of Śrutadevā; (12) Śakuni's nephews Vikarṇa and Citrasena. The title is Saṃskṛta and means "I'll give you fifty animals for breakfast." Cover Credit: @PriyaArshiSarun